Fall 1990

Bcrklcc t o ,a! y
A Forumfor Contemporary
Music and Musicians

12 Arif Mardin"61 on the PastandPresent

of PopularMu.~;ic

18 The Rootsof Roggae

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 FALL ¯ 1990
VOLUME ¯ II
NUMBER ¯ 2

Conte~ts

LEAD SHEET by President Lee Eliot Berk ............... 2

BERKLEE BEAT
Berklee HonorsThree with HonoraryDegrees, NewClasses and Leaders in Music
Technology, UpcomingAlumni Directory, Return of the Fulbrights ..... 3

ALUMNIPROFILE:"BLUEJAY" PATTEN by Alma Berk

SaxophonistJay Patten ’69 has had a busyyear with ~tozensof Nashvillestudio gigs,
concerts with Crystal Gayle, and the release of his CBSRecords debut ..... 6

ALUMNI SPECIAL:COMMERCIAL MUSIC--’I’HECI-IIICAGO CONNECTION

Chicagohas become a creative havenfor those with a gift for the 30-secondspot. Four
alumnishare their insights on the businessand their secrets for success. .8

ONTHECOVER: Celebrated A FEWMINUTES WITHARIF MARDIN by Andrew Taylor

producer Arif Mardin ’61
takes time out to talk, start-
ing on page 12. Photo by
NARAS/Ken Sax.
A legacyof hit records as a producer,arranger, and record executivecan leave youa
little pressed for time. But Arif Mardin’61 wouldn’twantit any other way. .12
THEROOTS OFREGGAE by Lawrence McClellan, Jr.
Theevolutionof Jamaica’smostpopularindige~nous n~usicis as rich anddiverse as the
country itself ........................ 18

THEBASICSOF AMBICHORDS by Robert Freedman

CommercialArranging DepartmentChairmanRobert Freedmandescribes his ap-
proach to a versatile and unique chord form ............. 22

ALUMNOTES
News, quotes, and recordings of note ............... 24

SHOPTALK
AES, Summer NAMM,New Music Seminar 11, NSAI .......... 29

"MUSICMAKES
THEDIFFERENCE"
DECLARATION
,ANDPETITION. .31
 LEAD SHEET

Bcrklee t o d
A Publication
of the Officeof Development
Director
JohnCollins
The Difference
Managing
Editor
AndrewTaylor President Lee Elio’t Berk
FeatureEditors
AlmaBerk
ChiefPublicAffairsOfficer
CollegeNewsandAlumniFeatures ~! usic Makesthe Difference" is the theme of an impor-
tant national campaign initiated by the National
LawrenceMcClellan,Jr. Association of Music Merchants (NAMM),one of the
Chairman,
Professional
Education Division country’s leading music industry organizations.
MusicEducation
andGeneralEducationFeatures The program is a national petition campaignsupported
LarryMonroe
"70 by the Music Educators National Conference (MENC),
Chairman,
Professional
Performance
Division the Music Teachers National Association (MTNA),the
Performance
Features National Academy of Recording Arts and Sciences
(NARAS),the Piano Technicians Guild (PTG), and
TedPease’66
Chairman,
Professional
WritingDivision other organizations. The goal is to demonstrate broad,
Composition
Features active national support for the value of musicas a national
education priority in the schools.
DonaldPuluse Sponsors of tlhe petition campaignare concerned that
Chairman,
MusicTechnology
Division while numerousgatherings and reports have stressed the
MusicTechnology
Features need for Americato improve the education of our youth,
Production
Consultant little has been said specifically about the advancementof
JudithLucas,Directorof Publications musicand the other arts as being essential to a sound, well-
rounded education.
CopyEditor The supporting points of this campaign are worth
Stephen
Melisi serious consideration--especially during these difficult
Coordinator
of Alumni
Relations times for public education across the country. Musicedu-
CarrieSemanco
’86 cation fosters creativity, teaches effective communication,
provides basic tools for a critical assessmentof the world
Assistant
to theOfficeof Development around us, and encourages the abiding values of self-
ChikaOkamoto’87
discipline and commitment. Music is, furthermore, an
important means to self-discovery and self-expression.
As the alumni-oriented music magazineof Berklee Therefore, instruction in music and the other arts must be
Colleg~of Music,Be~kleetodayis dedicatedto informing,
viewed as central to a complete education--not only by
enriching, and serving the extendedBerklee community.
Bysharing informationof benefit to alumniaboutcollege virtue of their intrinsic worth, but also because they are
matters, musicindustry events, alumniactivities and ac- fundamental to what it means to be an educated person.
complishments,and musical topics of interest, we hope In addition to the petition campaign, the MusicMakes
Berklee today will becomeboth a valuable forumfor our the Difference program will include three forums to be
family throughoutthe world and an importantsource of conductedthis fall in major cities throughoutthe country.
commentarym contemporary music. These forums will serve as public sounding boards regard-
ing the importanceof music education at an early age. The
Berklee today (!SSN1052-3839)is publishedthree times result of these meetings will be the focal point of a Na-
a year by the BerkleeCollegeof MusicOffice of Develop- tional Symposiumthat will be held in Washington, D.C.,
ment. All contents © 1990by Berklee College of Music in early Marchof 1991. A group of nationally recognized
unless otherwisenoted. Addresschanges,press releases, leaders will present the report and the petition to the
letters to the editor, alumninews,advertisinginquiries,
nation in an appropriate setting.
and reader commentsshould be addressed to Berklee
today, BerkleeCollege of Music,1140BoylstonStreet, Support for this campaignis aworthwhilematter for all
Boston,MA02215,(617) 266-1400,extension 438. Alumni of us who value the contribution which music makes to
are invitedto mailactivities materialssuitablefor feature our lives and to our society. For those interested, this issue
coverageto the chief public affairs officer; or AlmaBerk of Berklee today includes a reprint of the declaration and
can be reachedat extension 236. Submissionsaccepted. petition on pages 3i and 32. These provide the necessary
information materials for you to becomea supporter.
2 Berklee today Fall 1990
 Berklee beat
CONVOCATION
"90
Berklee’s recent enter-
ing student convocation
offered the opportunityto
welcomethe Class of 1994
and to honor three major
News of note figures in musicbroadcast-
ing, education, and per-
from about formance. President Lee
Eliot Berkpresented hon-
town and orary doctor of music
around the degrees to Voiceof Amer-
ica personality Willis
world Conover, music educator
WilliamStanley, and re-
nowned drummer, key-
boardist, and composer
Jack DeJohnette. Pro-
ducer/arrangerJoe Mardin
’85 appeared as alumni
speakerfor the event.
Honorary doctorof music Since 1955, Willis
degreerecipientandjazz Conover has broadcast
leaderJackDeJohnettesits "Jazz Hour/MusicU.S.A."
in withstudentperformerson Voiceof Americaradio.
duringthe1990entering
stu- In countriessuffering from
dentconvocation
concert. political repressionor eco-
Fall1990
nomicdeprivation, arld in Student groups under his
areas whereeventhe small- direction have toured Eu-
est acts of personalor crea- rope 10 times and have re-
tive expressionare denied, cordedmorethan 20 award-
Mr. Conoverhas provided winningand critically ac-
an invaluablebridge to the claimedrecordings.
opportunity,individuality, Jack DeJohnette has
and freedomof jazz. provenhimselfto be a gifted
While the absence of musician in the most com-
Voice of America broad- plete sense. Fromsoloist to
casts in the United States sidemanto groupleader, his
has kept Conovera hkiden talent spansstyles fromthe
gemin his homecountry, traditional to the avant
his international broadcasts garde. This talent extends
have madehim a worldwide from drums to keyboards
celebrity. Awriter for Jazz to composition.
Forumonce wrote of ]him: A graduateof the Ameri-
"If any one person can be can Conservatoryof Music
credited with makingjazz a in Chicago, DeJohnette is
global phenomenon, tlhere notedfor his workas a side-
isn’t evena close runner-up manwith such diverse art-
to Willis Conover." ists as BettyCarter, Thelo-
Musiceducator William nious Monk, Bill Evans,
Stanleywashonored for his Chick Corea, Miles Davis,
support and promotion of and Keith Jarrett. Healso
excellence in high school has received international
music education. Through recognition for his workas
his years of dedicatedserv- a leader with NewDirec-
ice as coordinatorof music tions and Special Edition.
at Hall HighSchoolin West During the convocation
Hartford, Connecticut, he event, producer/arranger
has nurturedand influenced Joe Mardin ’85 served as
the lives of countless stu- alumni speaker. Mardinhas
dents on their road to musi- arranged or produced ef-
cal discovery. forts for suchartists as Are-
Stanley’s continuing tha Franklin, Tommy Page,
dedication and quest for Ofra Haza, and Chaka
excellencebuilt whatwasa Khan.Mardinis also noted
small department at Hall for his co-productionwork
Highinto a major force in with his father Arif Mardin
national competitions and ’61 (see page12).
internationaltours. His jazz The convocation event
showbandof players, sing- closed with a spirited con-
ers, and dancers has per- cert by current students,
formed to audiences of featuring animpromptujam
morethan 15,000each year. with Jack DeJohnette.
Berklee today 3
NEWNEWSAND
VIEWSIN MUSIC
TECHNOLOGY
Duringthe past decade,
the role of computer and
microchiptechnology has
changedthe waythe world
works, learns, and thinks.
This has beenespeciallytrue
in the world of contempo-
rary music,wherean under-
standing of moderntech-
nologyis becoming increas-
ingly important.
To answer this growing
role of moderntechnology
for the contemporarymu-
sic professional,Berkleehas
formeda newposition and
launchedseveral newclasses
in musictechnology.
A new addition to the
college administration, the
assistant dean of curricu-
the new position. Mash
bringsto the task: his exten-
sive knowledge of music
synthesis and computer
technology. FormerAssis-
tant Chairman of Music
Synthesis Dennis Thur-
mondhas taken on Mash’s
former position, pledging
the sameaggressiverole in
advancingthe department’s
educationalopportunities.
Anothermajor develop-
DavidIViash’76, assistant ment in the area of technol-
deanof curriculum for aca- ogy is a new category of
demic technology. courses on MusicTechnol-
ogy. Thesecourses, cover-
lum for academictechnol- ing manybasics of music
ogy, will study andsuggest technology, are designed
new and innovative ap- for students in musictech-
proaches to teaching and nology majo’rs such as
learning with advanced MusicSynthesis and Music
equipment. Former Music Production and Engineer-
Synthesis Department ing. The courses bring to-
Chairman David Mash’76 gether aspects of technol-
wasrecently appointed to ogy essential to modern
producers, engineers, and
electronic music perform-
ers.
"Musictechnologyis no
longer isolated in special
areas," says MusicTechnol-
ogy Division Chairman
Don Puluse. "We wanted
to address someof the com-
monareas in a more com-
prehensive way."
Initially, four coursesin
the newcategory will be
offered--technology prob-
lem-solving, digital and
analog audio, MIDI, and
synchronization.
In addition to techno-
logical advancements in
other areas and depart-
ments,the newposition and
the new courses are de-
signed to keep Berklee on
the cutting edgeof contem-
porary music and music
education technology.

RETURN
OF THE
FULBRIGHTS
ThreeBerkleeprofessors
returned from their terms
as Fulbright lecturers and
researchers overseaswith a
new perspective on world
music and world events.
Associate Professor of
Music Synthesis Richard
Boulanger returned from
six months in Krakow,
Poland,as a senior lecturer
at that city’s Academy
Music. AssociateProfessor
of English Joe Coroniti
returned from his senior
of
lectureship in Cameroon.
AndJon Nelson, an assis-
tant professor in Composi-
tion, returned froman elec-
tronic music facility in
Stockholm, Sweden,where
he was composing on a
Fulbright research grant.
In additionto his lecture
schedule, Boulanger took
his opportunityoverseasto
give concerts of his elec-
tronic music throughout
4 Berklee today
Poland as well as in Swe-
land has a long wayto go. the professorat the headof
den, Czechoslovakia, and "Theyall ge*: Keyboard the class lecturing and the
France. magazine and know about studefits just takingnotes."
"Thereis not muchtele-
the latest equipment,"he Despite this unfamiliar-
explains. "Theydidn’t have ity with the Americansys-
vision in Poland," Bou-
langer says, "about two
the technology, but they tem, Coroniti managedto
knewthey wantedit."
hours a night, with two get his messagesacross in
stations to choosefrom.So,
"Mystudents had some two graduate-level courses
difficulty with in-class dis- and one third-year course.
the concerteventswerevery
well attended. Musically,
cussions," adds Joe Cor- Jon Nelson spent 10
they are incredibly ad-
oniti, whotaught AmeN- months at the EMSstudio
vanced." can Literature at the Uni- in Stockholm, Sweden,
In terms o{ technology,
versity of Yaounde in composinga workfor cello
Boulangeradmits that Po-
Cameroon. "They were and prerecorded tape. The
used to the European piece, entitled "Six Etudes
F~ ching, with Breves," is scheduled for
performancesin Worcester
and Bostonthis February.
"It was a very produc-
tive year," says Nelson,who
also completedhis doctoral
dissertation while abroad.
"It wasexciting andstimu-
lating to be in anothercul-
ture. I wouldn’ttrade the
experiencefor anything."
All three Fulbrightwin-
ners will be sharing their
experiencesand insights on
their journeys with fellow
faculty membersand stu-
e~ensive~ythrougho~~d dents this semester.
Fall1990
 TODAY,BOSTOIM; nology Division Chairman
DonPuluse, "and to guide
TOMORROW... students and professionals
towardsa greater awareness
Plans are in the works of hearing protection."
for a two-day seminar on Theseminarwill include
the Berklee campusfocus- a panelof artists andclini-
ing on the strong Boston cians on hearing awareness
musicproductionindustry. as wellas a panelof leading
On November19 and 20, local record executivesand
Berklee’s Music Technol- producers. A highlight of
ogy Divisionwill host sev- the event will be a digital
eral panels and events to recording session--includ-
bring the local production ing pre-production meet-
professionals together and ing and session work--to
to reinforce the status of take place on the Berklee
Composer/keyboardist JoeZawinul"59 leadsa keyboardBoston’s thriving music PerformanceCenter stage.
clinicduring Berklee’s program
in Perugia, Italy. industryin the international "Berklee holds a unique
music marketplace. position in the local music
THEBERKLEE during a ceremonyin Pe- Dayone will offer stu- industry," says Puluse.
rugia, Italy. dentactivities. Daytwowill "We’rea part of the Boston
ROADSHOW Pagnotta was a driving provideevents for Boston’s scene, but wecan also pro-
force behindthe formation musicprofessionals. vide a neutral ground. We
TheB erklee on the Road of Italy’s PerugiaJazzClub "Wewould like to en- are mainlyinterested in the
programwas in high gear in 1955,givingthe city its hance the national and issues."
this summeras faculty and first taste of suchjazz leg- worldwideawarenessof the More information is
staff broughta piece of the ends as Louis Armstrong, health of Boston’s music available through the Mu-
Berklee experience to mu- ChetBaker,andothers, lie scene," says Music~[~ech- sic TechnologyDivision.
sic students in LosAngeles, continued his leadership
Italy, andJapan. role in the club throughout
The programfeatured a the 1960s,buildingto a high IT’S IN THEMAIL
numberof firsts this year. point in 1973, when he
Berklee in Los Angeleswas helped launch the Umbria All alumniwith. current addresses will soonbe
the first such programon Jazz Festival. Throughhis receiving an importantAlumniDirectory question-
the West Coast, drawing continued support, that naire in the mail. This is being sent to give every
morethan 130talented stu- event has become one of alumnusand alumnathe.. opportunity to be accu~
dents fromthe L.A. area. Europe’sleading festivals. rarely listed in the upcoming newBerkleeCollegeof
The Berklee in Italy Pagnotta was also hon- MusicAlumniDirectory.
programin Perugia wasthe ored for his continuingrole Thedirectory will providean invaluableresource
first programthere to fea- as a supporterof jazz edu- for findingold friends, classmates,andfellowalumni.
ture lectures by a Berklee cation. His vision of the But you can only be fo~undif you are listed. So,
alumnusof international importance of jazz has please, be su.re to complete~indreturn yourdirectory
stature. Keyboardist and brought extensive educa- questionnaire as soon as
composerJoe Zawinul ’59 tion, inspiration,andschol- possible.
enthralled students in the arship opportunities to Oncereceived, your
Perugia programwith in- Europe’smusicstudents. information will be ed- ~ ,~EN~
sights andperspectivesfrom Berkleein Japanbrought ited and processed by the ~ ~3A~R[
his years as a leadingfigure extensive study of music HarrisPublishingC.o., Inc. ~,.,.
in jazz. theory, performance, and The impressive newdirec- //"-~-~-
Anotherfirst in Italy was technology to almost 200 tory is e~xpectedto include ~ ..........
the off-campus award of students. Asin past years, more than 15,500 Berklee ~ .....
Berklee’s honorarydoctor the demandfor the program alumni.
of musicdegree. wasoverwhelming, initiat- If you don’t return your
Jazz supporter Carlo ing a flood of more than questionnaire, there is a ~~l .....
Pagnotta received the hon- 1200 applications from possibility you may be ~...~ ’
orary degree from Deanof youngJapanese musicians. inadvertently omitted. So ~
Students LawrenceBethune The Japan program in- don’t take a chance; watchfor your ques-
’71 and Professional Per- cludedclasses in musicthe- tionnaire and rememberto return it
formance Division Chair- ory, performance,and tech- promptly.
man Larry Monroe ’70 nology.
Fall1990 Berklee today 5
 ALUMNI PROFILE

Jay Patten ’69:

Flight of the "Blue Jay"
by Alma Berk

~I~ ville
fter morethan a decade of workingas a top Nash-
studio musician and conductor/saxophonist
workedwith numerousrock, fusion, and jazz bands.
"L.A.is whereI really got mychopstogether," reflects
for CrystalGayle,Jay Patten’69 has releasedhis first solo Patten, "in rehe~.rsal bands whichmet every day to play
album for the CBSlabel. Black Hat & Saxophonenot the musicof various composers.I endedup playing with
only spotlights Patten’s heavyweightmusicians I’d
distinctive alto andsoprano heardaboutall of mylife."
work, but also showcases At the urging of friends,
his vocal and guitar styl- Patten and fellow musician
ings as well as his formi- Keiran Kane(of the coun-
dablecompositional ability. try duo the O’Kanes)
The album is currently loaded up a station wagon
being aired on 235 radio and headedfor Nashville.
stations, followingits aus- OnPatten’s first day in
piciousentry onto the Bill- the "Music City," famed
board Jazz and Adult Con- producer Don Gant con-
temporarycharts. tacted him to work on an
After graduating from album by Bobby Braddock
Berkleewith a Professional for the Elektralabel.
Music Diplomain Instru- "It was a good time to
mental Performance, Pat- cometo Nashville," states
ten (knownto his Berklee Patten. "There weren’t
colleaguesas JosephPellec- manysax players with my
chia) spent three years on style."
the road as lead vocalist Since that time, "Blue
with the GlennMiller or- Jay," as he is knownin
chestra, then underthe di- Nashville circles, has be-
rection of Buddy De- comeone of the top saxo-
Franco. After his stint in phonists in town, working
the Miller band, Patten with Johnny Cash, Leon
movedto Los Angeles, and Russell, MichaelJohnson,
Dobie Gray, and T.G.
AlmaBerk is chief public Sheppard. His most endur-
affairs officer anddirector JayPatten’69 releasedhis solo debut,BlackHat & ing gig has beenwith noted
of public information. Saxophone, onCI~SRecords, country vocalist Crystal
6 Berkleeto da y Fall1990
Gayle, for whomPatten plays saxo-
phone and acoustic rhythm guitar and
conducts orchestral concerts.
Whennot working with Gayle, he
leads the Jay Patten Band, which has
been a solid unit for 10 years. That
band is featured on the new record-
ing and is touring to support the re-
lease.
Comprised of three vocal and 10
instrumental tracks, the album fea-
tures 12 Patten originals and an in-
strumental cover of Todd Rundgren’s
"Can WeStill Be Friends." The mu-
sic spans a wide range of styles from
the steady swingof the title track and the funk of "Bitter-
sweet" to the atmospheric modal soundscapes of "Lane’s
Journey." The latter track is a tribute to the late Lane
Langston’69, a classmate of Patten’s at Berklee.
"Lane was a special friend," he says. "Charlie Mariano
[’51] had a great impact on both Lane and me in our stu-
dent days. For this cut, I played someCharlie Mariano-
style soprano sax on top of layers of acoustic guitar, man-
dolin, and keyboards."
In the course of his travels with the Crystal Gayle
band, Patten has run into manyof his Berklee friends and
classmates. While in Bostonlast summer,he visited Berklee
professors John LaPorta and Joe Viola
’53, two of his most influential in-
structors.
"Eve, ryday I think of howfortu-
nate I was to study with these teach-
ers," states Patten. "Their wordskeep
playing back in my mind.
While backing Gayle on a recent
appearance on NBC’s "Tonight
Show," Jay had the opportunity to
reminisce with Ernie Watts ’66, a
memberof the NBC "Tonight Show"
Orchestra. Patten met Watts on his
first day at Berklee.
"I remembersitting in the lobby
of the dorms on NewburyStreet, putting mytenor to-
gether so I could practice," recalls Patten. "Froman adja-
cent roomI heard these screaming alto lines. I just took
mytenor apart, put it back in the case, and went up to my
room. Later, I learned it was Ernie I’d heard warmingup.
For a while I was really worried. I thought everyone at the
school played like that."
Today, Patten is a seasoned and respected music indus-
try veteran. With his album doing well on the charts and
an itinerary bookedsolid with sessions and concerts with
someof Nashville’s top stars, this year promisesto be one
of Patten’s best.

Sound Advice from

Berklee Schirmer Books
Alumni Student Referral

Help give an interested, deserv-

ing young musician more infor-
mation on Berklee College by
filling out this form and sending
it to the address below.
Name
Address
Sound Advice: The Musician’s Guide
to the Record Industry
Waync Wadhams 1990 ISBX 0-02-872692-8 ~2g.,95
For songwritcrs, rccor{ling artists, an{I aspiring musicians.
Sound Advice: The Musician’s Guide
to the Recording Studio
X~:dyIlC ~l{Iha/ns 1990 ISBN0-02-872694-4 834.95
Basic techniques for rotor{ling and mixing in the
{lcsignc{l D}r the mffsician.

Sound Advice: 2 Co~npact Disc Set

City ~13"HCXVa(lllatllS 19~)0 ISBX(}-02-872693-6 ~29.95
Rccor{ling techniques, a comt}lctc mix{lown session, and
State ZIP. IcclHlical {lala.

Instrument On the Track: A Guide to

Send the completed form to:
Berklee College of Music
Office of Admissions
1140 Boylston Street
Boston, MA02215
E TOD 1090
Contemporary Film Sco~ng
FrcdKarlinan{IRavburnWright 1990 ISBXO-O2-873810-X 849.95
Foreword by.John William:~
All thc technical and crcalivc asl}ccts ofc{}mposing fihn
scores. Inclu{tcs a complete click track booli.
Available From:

Fall 1990 Berkleet o d a y 7

 ALUMNI SPECIAL

Commercial Music
The Chicago Connection
Andrew Taylor

B t justSofeels right. to someas a national advertising center, Chicagois the

goesthe tag line on a familiar series of Mazda homeof the secondlargest collection of advertising agen-
commercials.Like most slogans, Mazda’scatch phrase is cies in the UnitedStates. This concentrationhas provided
intendedto capture manythings: the uniqueaspect of the a flourishing business for talented composers,producers,
product, the current focus of the company,the intangible arrangers, and performers.
"something"that maytouch the listener’s intellect or "Chicagois a nice marketto be in becauseyou can make
emotions.Alot is expectedof those four short words.But NewYork wagesand live on a Chicagocost of living,"
their powerto movepeople is undeniable.
Just as muchis expected of commercialmusic--the
underscoring or featuredsongof a radio or televisionspot.
Aswith an effective film score, commercial musiccan add
a depth beyond the spoken words and visual images.
Whenthe music works, the listener doesn’t hear the
endless meetings,discussions, politics, rewrites, over-
dubs, and productiontechniquesthat wentinto the proj-
ect. When all the pieces cometogether,it just feels right.
"Themostchallengingaspect of the job for us is coming
up with the right tune for the right client," says Mark
Weinstein’77,co-founderof Klaff/WeinsteinMusicwhich
composed Mazda’strademarksong. "It can be difficult. It
can be easy. It’s alwaysrewarding. Whensomebody says,
’Youguyshave capturedthe essence of whatweare, who
weare, and the wayweperceive ourselves,’ we feel we
havehit a homerun."
Withnine Clio awardsand a long list of advertising
"hits" including Budweiser’s"Bring Out Your Best,"
Coca-Cola’s"Can’t Beat the Feeling," MichelobLight’s
"For the Winners," and McDonald’s"McDonald’sand
You,"Klaff andWeinsteinhavehit the ball out of the park
with impressiveconsistency.

TheChicago Scene
Weinsteinis one of a groupof Berkleealumnisucceeding Gary
Klaff(left) andMark
Weinstein
"77havewrittenproduct
in the busy Chicago commercialmusic scene. Unknown anthems for Budweiser,
McDonald’s,
andPizzaHut.
8 8erklee today Fall1990
 MUSiCiAN Magazineis great. MIJSICIANMagazine’sA&RProject is amaz-
It’s the number one magazine ingl It wasthe first real concreteevidencewe
that we read. We’ve read h~ of wl~ to contact and that manyof the
things in it that youcan’t read p~opleint(~-rested in our handhadthe powerto
anywhereelse--like the Jimi sig~. It filled in reliable details wheremost
Hendrixexposbby Noel Red- other sourcesjust cloudedthings up.
dingor the Brian Wilsoncome- --Materialissue
hackarticle.
We’vereally learned a lot
from MUSICIAN.
--Heretix

MUSICIAN Magazineis not afraid to do

something unusual,it exposes artists who
wouldn’tget coveredelsewhere.It’s not
just picturesof heavymetalguitarists and
tablature. For me, MUSICIAN is the most
diverseand interesting of all the music
magazines.
--RobbenFord
I find MUSICIANMagazinean
invaluable sourceof informa-
tion for me. It goes beyondall
the tech magazinesand covers
the whole musicscene.
After reading hundreds --Danny Gatton
of Keith Richards inter-
views, MUSICIANMaga-
zine got Keithto openup
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the Stones have been issue of MUSICIANMagazine
able to sublimate their and devouringevery page. Ol~ce
personal problems and I pick it up, I can’t put it down
struggles for the goodof until I’m finished.
the hand.Wecould really --Jim Keltner
relate to that. TheTraveling Wilburys
--The Subdudes

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Wherethe Players Do the Talking
 and stylistic versatility. Theother
SOUNDS
OF CHICAGO
FROMTHE CCMPA alumniagree that masteryof all musi-
cal styles andarrangementtechniques
The Chicago commercialmusic scene has becomea major player in is essential to a commercialmusic
the national advertising community.Throughan annual creative show- housethat hopesto survive.
case called "Soundsof Chicago," the ChicagoCommercialMusicPro- "Sometimes you are writing
ducers Association (CCMPA) worksto sustain and celebrate that fact. Beethovenin the morningand Art of
"The CCMPA was foundedtwo years ago for two primary reasons," Noise in the afternoon," says Bruce
says association president Jesse Browne."First, wewantedto promote Upchurch. "Then the next day, you
the musicof the Chicagocommercial musicproducersin a friendly, non- might be doing country and Depeche
competitiveatmosphere.Andsecond, wewantedto give somethingback Mode.Simplyput, the moreversatile
to our roots, specifically by supportingthe next generation." you are, the moreyou work."
Co-sponsoredby Advertising Age’s Crea- "Alot of peopledevelopa particu-
tivity magazine,this year’s Soundsof Chicago lar niche," says BobbyFrancavillo.
event began doing just that by launching a "Butit is very difficult in a business
sizeable scholarshipfund for Berkleestudents like this to makeanybold statements.
with an aptitude for commercialmusic. Our approach has been just to do
"Berkleewasan obviouschoicefor our first great work,hitting it up the middle,
scholarship," Browneexplains, "since that’s and honestly being able to do any-
whereso manyof the creative people in Chi- thing. I think the companies that have
cagogot their start." : taker~ that approachhavebeenable to
The CCMPA/CreativityScholarship is sched- survive the longest. Andthe ones that
uled to be awardednext year. have chosento be pigeonholedeither
are not as pigeonholedas they once
wereor they are out of business."
says BruceUpchurch’79, founder of staff of most housesmustmasterevent "Whenwe are given a project,"
Music Oasis, Inc., another busy aspect of the music-making process.. says Weinstein,"wecan pick any one
commercialmusichouse. "Not that it Larry Pecorella ’79 and Bobby of a thousandapproaches.That keeps
is cheap to live here. But comparing Francavillo ’79, co-ownersof Intui- you thinking. Andit keeps things
Chicagoto NewYorkis like ’expen- tion Music,Inc., deal with that chal- interesting. If you write in only one
sive’ versus’ridiculouslyexpensive.’" lenge by dividing the tasks between style, youwill get pigeonholed.That
Upchurch opened shop in Chi- them. Francavillo is responsible for is the worst thing that ca~ happento
cago in 1985, movingfrom Dallas. most of the writing and arranging. anywriter or jingle house."
Becauseof his backgroundin direct Pecorella has becomeadept at pro- "Besides, I enjoy the variety,"
television and radio music, his com- duction and management.The com- Upchurchadds. "I enjoy the fact that
panyhas a widerclient base than other bination has provento be a powerf~,l I have had enough education and
Chicagofirms--incorporating proj- one. After only five years in Chicago, experience to go from Brandenburg
ects for Betty Crocker,Sears, Cheer, the companyis one of the busiest concertos to Thin Lizzy and feel
Kraft, Luvs, and Keebler, as well as houses around, scoring accounts for equally comfortablewith both."
direct musi.cspots for television and 7-Up, Kelloggs, Oldsmobile, May-
radio stations. belline, Pillsbury, McDonald’s, Se.- TheIntangibles
"I find that we’remorediversified cret, Allstate, and ThreeMusketeers. Accordingto all four alumni, people
in the type of workwedo, especially Francavillois especiallyproudof the skills andan intuitive mindare just as
for Chicago,"he says. "Ninety-nine series of complex full orchestralspots importantas a masteryof the techni-
percent of the companies here do he created for 7-Up’scartoonish "On cal andstylistic aspectsof music.In
nothing but commercialmusic for ad the Spot" campaign. commercialmusic, understandingand
agencies. It’s what99 percent of the "Since we movedto Chicago, we fulfilling the client’s needsis more
musicbusiness is in Chicago." have never complained about not than half the battle.
havingany work," says Francavillo. "Thereare a lot of intangibles to
TheBusiness "Weare very devotedto our clientele think about before you sit downand
A commercial music house works and they are very loyal to us. Which write a song," says Weinstein. "We
with an advertising agencyto provide makesit a really happy atmosphere look at the client’s history, wherethey
musicfor a television or radio ad-- and cuts downon the aggravation." are in the market, whothey address,
usually taking the score frominitial "Sometimes we have too much what they want to say, and the way
concept to final synchronizedtape. work," Pecorella says with a smile. they perceive themselves. Youmay
The music can take the form of an ~’Andthat is a nice problemto have." writea terrific tune.Butif it isn’t the
orchestral or synthesizedunderscore, right song for the right product,
a rearrangement of apreexistingpiece, ThePigeonhole nobodyis goingto buy it."
or an all-out product anthem. As a Pecorella and Francavillo attribute Upchurchgoes through a similar
result of this widerange, the small muchof their successto their musical laundrylist withhis clients.
10 Berklee
t o d ay Fall1990
 "Youhave to be able to pick the
client out froma palette of different
personalities,"he explains. "Doesthis
guy really meanwhathe says ? Is he
sayingwhathe thinks he wants?Is he
confused? DoI knowbetter whatwill
workfor this project?"
Accordingto Weinstein, the com-
municationgap can be vast. But it is
also an understandableproblem.
"Musicis oneof the mostdifficult
things to communicate," he says. "It
is hard enough between two musi-
cians. Imaginehowdifficult it is for
somebodywho may not understand
musicas well as you do."
"Of course, they are also thinking
about other things," adds Pecorella.
"Theyare thinking about the meeting
they just cameout of with the brand
manager,and about what the director
thought, and about whatthe creative
director thinks. Youhave to under-
stand where they are comingfrom.
Andsometimes,you have to be more
creative whenyou are workingwithin
those guidelines."
Withthis variety of forcesat work,
commercial music house personnel
often can becomeas muchpoliticians
as musicians.
"This is a very humanbusiness,"
says Upchurch."Youhave to be able
to talk to somebody andpull out their
ideas even thoughthey can’t explain
themwell, musically. Youalso have
to put out fires whensomeonegets
their feathers ruffled. If you can’t
communicate,you are nowhere."
"Alot of times,the client will come
up with what sound like ridiculous
comments,"says Francavillo. "But
I’ve foundthat if I listen, it makesme
a better musician. Their comments
are of the common man.So they help
me connect with more people. When
I look back, those ’ridiculous’ com-
ments almost always improvedwhere
whereI wasgoing."
MarkWeinstein also likes to re-
mainopen to changesin his work.
"It is a living, breathingbusiness,"
he says. "Nothingis written in stone.
All of the lead sheets are written in
pencil."
Making it Work
Staying on top andremainingflexible
as a commercialmusic writer, pro- LarryPecorella
ducer, or arranger requires a mixed production
Fall1990
bag of talents. Thesealumni stress
versatility, communication skills, a
strongintuition, andtalent.
"Talent is a given," says Larry
Pecorella. "You have to do good,
consistent work, day in and day out.
Andthen you can’t be a jerk. The
clients haveto like you."
"It starts withtalent, but that is just
the beginning,"says Weinstein."What
distinguishesthe successfulpeopleis
that they are bright. Theycan makea
connection between what is right
musicallyand whatis right conceptu-
ally. Thetwoare not alwaysthe same."
"Youalso haveto get usedto rejec-
tion," Upchurchadds. "As muchas
50 to 75 percent of what wedo gets
thrown away in the form of demos
that neverhit the air. It canbe politi-
cal. The product could get panned.
The ad agency approach might not
fly. Rejection can comefor a number
of reasons. There is no roomin this
business for getting your feelings
hurt."
Evenwith all of these talents in
tow, a young musician mayfind it
difficult to breakinto the fast-paced,
competitive business of commercial
music production.
"It’s a little like getting credit,"
Upchurchexplains. "On your first
credit application, they look at you
and say, ’Wecan’t give you credit be-
cause you don’t havecredit.’ It’s a
"79(left) andBobby
Francavillo
"79imoved
theircommercial
house,
IntuitionMusic,
to Chicago
in 1985.
viciouscircle. It is the samein this
business. Youcan advertise. Youcan
haveyour sales representative knock
downevery door in Chicago.But you
will get more mileage out of some-
bodyat the agencysaying,’I like that.
Whodid that?’"
Upchurch’soutlook has a bright
side, as well.
"If youbelieve in yourselfand you
truly are good," he says, "there’s
alwaysa place for you, no matter how
muchcompetition there is."
I~loui.g theCraft
l-)espite the odds,all four alumnihave
built fi~rst-rat~ businessesin the sec-
ond mostactive advertising center in
the country. Their musicreaches more
listeners than most leading artists
couldhopeto attract. In fact, someof
their themesmaybe running through
your head right now.
LarryPecorellasees the successof
Intuition Music and of his alumni
peers as a continuingprocessof refin-
ing and extendingtheir craft.
"Yo~rcraft is no longerjust sitting
downand learning your instrument,"
he says.. "Yourcraft is yourbusiness.
It’s the music.It’s yourrelations. It’s
yoursales rep. It’s yourreel. It’s the
whole thing. Andyou have to lo0k
consta~tly for waysto perfect each
area and grow and keep moving. You
can’t stop." ~
music
Berklee today 11
 A Few Minut~3s
with Arif Mardin

A short break in the busy life of a Grammy-winning

producer, arranger, and record executive
by Andrew Taylor

A rif Mardin’61 looks at his watch,and office on a cold January morning,"he told an
then back at the control roomwindow audience of Berklee seniors in 1983. "It was
on the opposite wall of the studio straight out of an old Italian movie.I waswear-
soundstage.It has beenonly 15 minutessince he ing a wide-rimmed Borsalinohat, a clumsylong
wasin there last--mixing the tracks for Bette coat. I wascarryingtwobattered suitcases which
Midler’s newalbum--but it has been a jam- contained a mixture o~ mam~scriptsand cloth-
packed15 minutes. In that quarter hour, he has ing. I musthavelookedlike a refugee whohad
eaten half an order of take-out fish and chips just beenreleased fromEllis Island."
(the worst he has ever had, by the way), in- Like a refugee, Mardinhad left a lot behind
structedthe studio staff on the afternoonsched- himto cometo America.After completingstud-
ule, anddiscusseda lifetime of experiencesand ies at the Economicsand Commerce Faculty of
insights with a slightly dazedBerkleeemployee. Istanbul University,he waspreparedfor a steady
Whilehis schedule is tight, Mardinnever career in business. His father wasChairmanof
seemsharried--at everystep he is quiet, thought- the Boardof Turkpetrol, where he was prom-
ful, andcharming.Butafter 15 minutesof talk- ised a respectableposition.
ing about himself,he is ~anxiousto get backto "All wentaccordint,~to the masterplan until
whathe loves to do, and to whathe does best: DizzyGillespie cameto Istanbul with his big
putting inspired musical momentson record. band," Mardinsays. "Dizzy and QuincyJones
Like a schoolboyachingfor recess, Arif Mardin [’51] encouragedmeand helped me. The fire
is ready to get backto work. that had beensmolderingin nay heart, mydesire
For morethan 25 years, Mardinhas brought for a career in musicwasrekindled."
that same enthusiasm and dedication to the Quincy Jones took some of Mardin’s ar-
business he adores. Evenwhenhe first entered rangements back to NewYork where he re-
Berkleein 1958,fresh fromhis native Istanbul, corded themfor Voice of Americaradio with
he had an undeniablehungerfor newideas and such major players as Phil Woods,Art Farmer,
an unquenchablelove for music. and HankJones. Thesetapes madetheir wayto
"I remembermyarrival in Boston and the Berklee and wonMardinthe first QuincyJones
subsequententrance to Mr. [Lawrence]Berk’s Scholarship.
Fall 1990~.ovo~wo~s~w~ Berklee to day 13
 important. I think the first producer
that broughtin a certain style anda
t heart, I ama modernist.I personal stamp was Phil Spector--
with h!is "wall of sound"and his very
personaltouch and technical irnprint
may grow very old, and still that pe.oplestarted to recognize.
Lately, I think, MichaelJackson
and QuincyJones, with their mega-
will be looking for the next hit Thriller, madeit possiblefor pro-
ducers~, to cometo the forefront, espe-
cially !in the Grammy awards. When
new thing. I wonmyproducer’s awardin 1974,
wewe.re pre-telecast--unimportant,
not glamorous.It waslike that for a
long time until Quincyand Michael
After studyingandthen teaching at Berklee, Jackson madeit happen. WhenQuincygot the
Mardin madethe journey to NewYork where Producerof the Yearaward, it wasfront-line
he foundsomesuccess offering arrangementsto television. Now,weare on the regular program.
club and touring jazz bands. In I963, he was Thereis also a greater awarenessof producers
offered a job as a studio assistant by Atlantic by the record-buyingpublic.
Records Vice President Nesuhi Ertegun, and
his auspiciouscareer in pop musicbegan. Doyou think’, you havea personalstamp?
Almost30 years later, Arif Mardinis vice I’min between.I do havea personalstyle. At
president of the Atlantic RecordingCorpora- the sam~time, I try to bring out the best of the
tion with an impressivelist of productionand artist.
arrangingcredits that includes recordingswith I can’t do the: sameproductionfor different
Aretha Franklin, the Bee Gees, ChakaKhan, artists. First of a J1, singershavedifferentranges.
Bette Midler, Carly Simon, Hall and Oates, Bette Midler has a wonderful mezzorange.
AverageWhiteBand, Judy Collins, and Donny ChakaKhanha.,; a high range. So, whdnyoutry
Hathaway. He has received four Grammy to providethe settings for these jewels, theyall
nominations in addition to his four Grammy will be different. Thearrangementswill have
awards. His most recent Grammywas 1989’s different charac~:eristics.However, in the use of
Recordof the Yearfor Bette Midler’srecording reverbsandeffects andcertain technicalaspects,
of "WindBeneath MyWings." He received an I dotendto use thingsthat I like. There,I think
honorarydoctor of music degree from Berklee there is a certai~t personalstyle. ButthenI may
in 1985.Hewasalso pleased that his son, Joe changeit immediatelyfor another group.
Mardin’85, graduated from Berklee that same
year. (Joe is nowa frequent co-producerand Whatwasyo ur first productionproject ?
arrangerwith his father.) Myfirst pop co-production with TomDowd
This year, Mardinwas honoredas Turkish- wasthe YoungRascals in 1965("GoodLovin’").
AmericanManof the Year by the Boardof the Wewere house producers then, supervisors--
.Assemblyof Turkish-AmericanAssociations. they didn’t evencall us producers.
Asan addedhonor, his speechfrom that awards
event wasentered into the CongressionalRec- Did you haw;as muchcontrol over the sound
ord as a testamentto the vitality of the Americanand production back then?
dream. Wehad corttrol of the sound, but not a
Aquarter of a century has done nothing to monopoly. I hate to be a tyrant. It’s not like the
diminishArif Mardin’slove and enthusiasmfor Svengalisaying, "Liebchen,this is howit’s going
musicor the music business. Evenwithin the to be. Sing andget out." Thereare somepeople
spgnof a quarter of an hour,yousensethat this like that. I prefer a moredemocraticprocess.I
collection of talent, dedication, charm,andin- love to pick brains. I love to get input from
sight wasalwaysdestined to reach the peak of manydifferent people. Andif I hear something
his profession.It wasjust a matterof time. gooddiscussedin the other corner of the room,
I listen to it andI mayapplyit.
Recordproducerssuch as yourselfhaveplayed
a majorrole in the musicindustry. Whydo you Hasthat feeling helpedyoustay in tune with
think so little hasbeenwrittenaboutyouor your contemporarystyles?
profession? I keepup. I listen to Englishrecords, U.S.
At one point, what we did was considered records; I havea lot of recordstaped for meon
routine. Peopledidn’t think that wewere that a periodic basis--avant garde records, R&B
1~, Berklee t od a y Fall1990
 records. Mymusicalgrowthcoincidedwith the listener wouldget up and turn the albumover.
bebopera of Charlie Parkerand DizzyGillespie Nowit’s a continuous 40-minuteto one-hour
whenthey were exploding. I was a youngster program. Sequencingis w3ry important. You
listening to their records. At the sametime, I can’t let the listener get bored.
love modern twentieth-century music from Of coursethe technical aspects are great. We
Stravinsky, Bartok, and Shoenbergto the ex- used to cheat whenwe mastered on vinyl. On
pressionists into all the modernstuff. loud passages, the masteringengineer used to
At heart I’m a modernist. I maygrow very take the levels downfor two bars and then go
old, andI still will be lookingfor the nextnew backup, or reducethe bottomendof the record
thing. I guess that keepsmealive andyoung. for two bars becausethe record skips. It’s no
problem with CDor cassette. That kind of
Howmuchdo you produce for an audience masteringtechniqueis obsolete. Youjust make
andhowmuchfor yourself or for the artist? the best soundwith all the great dynamics.
That is very important.
I think,first of all, youhave
to be true to yourself and
true to the artist. If I do
somethingfor B ette Midler
and she is not here, I al-
ways try to second-guess
the situation, saying,
"Wouldshe like this? Is
this Bette?"
But then there is a dan- I
get of goingtoo muchinto
art and ignoringyourother
primeresponsibility:trying
to makea commercialrec-
ord. So, the balancingact is
makinga commercialrec-
ord that also will stand the
test of time.
It should be something
that you’re proud of--you Arif Mardin presentsa clinic onadvanced produlction techniquesto a classof
shouldn’t wince whenyou Berklee students.
listen to it the following
year. I alwayslike to sneakthings in that are Hasthe CDaffected anything else, like the
really goodand will be discovered by other length of a single?
people. Thelength of a single de.pendson what the
The producermust makea competitive rec- radio stations wouldspare, computing the length
ord. Hehas to makea living. Butif youbetray of musicversus the length of time they sell. In
your profession by being sloppy and unmusi- the ’60s it wastwo-and-a-lhalf minutes;three
cal, that is a sin. minuteswasunheardof. Nowit’s muchlonger.
So, whoknows.
Canit feel limiting to target a specific It’s interesting, there is a three-minute78
demographic? rpmrecord form--ahnost like the rondo form,
At myage, I don’t have to slave too much the sonata form, and so on. For a lot of jazz
about it. I can pick and choose. Prestigious masterpiecesfromthe ’30s or ’40s, that wasthe
artists like Bette Midleror RobertaFlackdon’t time they had to workwith. Theframe wasthat
haveto compromise their reputations trying to two minutes and 45 seconds or three minutes
target their audience.Becauseit usually back- and five seconds, whateverit was. Anda lot of
fires. If the artist or myselfdon’tfeel whatwe incredible Louis Armstrongor DukeEllington
are doingandweare cynically trying to corner masterpieces were madein the three-minute
a certain market,it won’tbe commercial. People form. It was amazinghowsolos were allotted,
will see throughthat very easily. howvariations on a themewere done, and then
howit wascut.
Howhas the compactdisc changedthe way WithLPs, that concisenessdisappeared. We
you producea recording? endedup with wallpaper music. It sounds like
Thesimplestthings are different. Weusedto the samesolo is playingfor 10 minuteson a jazz
havean intermission betweensides, wherethe record whereasthe substanceof that solo would
Fall1990 Berklee today 15
 be eight bars. But the "old-timers~" in a three- The school was small--one townhouse, with
minute form, had no superfluous notes. Every- a few hundred students. It was like a small
thing was what was needed. If the man played family atmosphere. Larry Berk’s office was
eight bars, he put all he had in those eight bars. downstairs; the late Bob Share was across the
hall; Joe Viola was down the hall, teaching
So, you can run into problems when you lose saxophone. It was a really wonderful family
limitations. unit. Now,they have expanded it into some-
Right. Definitely. I’m not saying that being thing muchbigger. But the warmthis still there.
concise is better than the long form. But defi-
nitely, mediocre musicians or people who like Are you still on the lookout for newartists?
to ramblea lot, are nowcaptured. Andthat kind Always. That keeps my career and my pro-
of playing is on record. duction techniques alive. For example, years
ago, I.had the privilege of being associated with
Your first love was jazz. Howdid you be-. Scritti Politti. It’s great to workwith creative,
come such a major pop producer? hip, and modern people because it rubs off on
I cameto Berklee on the first Quincy Jones you. They maylearn something from me, and I
Scholarship. Then, I taught there. Then mywife learn something lfrom them.
and I said, "Let’s moveto the big city." No Mylatest youngartist, youngerthan myson,
offense to Boston, but we movedto NewYork. is Tommy Page. ][oe and I produced a few sides
For the first year, I gave piano lessons and wrote on his first album. Wemadeone song that was
a few tunes. Mywife was working at the United the most requested record in America. It was a
Nations; so that’s howwe got along. huge success in E~r, ope. Andhere we went up to
Then, Nesuhi Ertegun, a partner at Atlantic 32 in the charts--which was great for a brand
who passed away last year, called me up and newartist.
said, "I need an assistant at the studio." I knew
it was pop music, but I said, "I’11 take it. Any- Whenyou are putting a project together,
thing to do with music, I’ll take." WhenI went what do you listen for in a song?
in there with myexpertise from Berklee, they It sounds very corny to say, but it has to
started to give melittle projects--arranging and touch a certain l~onest emotionand say it in a
so on. Andthen, it grew. different way. Almost everything has been
I was a studio manager,too, so I had to learn written about. But it’s the way you permutate
production, test pressings, and this and that-- and combine a~d recombine those elements
keepinga log, tapes, libraries. At the sametime, that makesit soundoriginal. In a song, I always
I moonlighted and wrote arrangements for look for howthis person said the usual stuff in
Atlantic’s groups--some jazz, some pop. I a very different way.
graduated to being a producer when the Young A simple exampleis that you can say, "I feel
Rascals were signed by Atlantic. And Atlantic so lonely," which is normal. But that song Yes
told the group, "Look, there’s a young man recorded a few years ago, "Ownerof a Lonely
from Berklee who can help you with your ar- Heart," is a way of turning around something
rangements, and this veteran engineer, Tom everybodyknowsand saying it a different way.
Do.wd,whowill be in charge of all the sounds.’7 So, the title of a song or a hook line has to
So, we becamea team. Tomand I produced a lot havesomethingoriginal in it, or extremelyheart-
of records together. felt--so simple but so wonderful. It’s very dif-
Then, Jerry Wexler, who was my boss, took ficult to find songslike that.
Tomand me as his team, and the three of us
produced a lot of records, including Aretha In what ways do you see pop music evolving
Franklin and Dusty Springfield. or changing?
I have no problem with pop because music is It’s still the song. However it’s set, the song
music. I love any kind of exciting energetic is very important. Technique may change. At
music or music that is meaningful. So now I one point, we had an unbelievable amount of
have jazz and pop and everything in myheart. machinery playing the music. Nowthe reaction
against that has brought us to today where,
Do you have strong memories from coming again, humansare playing. I like to use synthe-
to Berklee from Istanbul? sizers and sequencers mixedwith real players.
Oh, yes. It was amazing. It was fantastic At times, I maydo a live session. But I’m not
working with people like Herb Pomeroy, who a retro person saying, "The good old days were
really openedup a lot of doors for me. Not only great." The good old days were fantastic. But
washe a friend, but he wasa great teacher. He is you have to keel? moving forward and do what
still a great teacher. Ray Santisi was another is best for a song. Don’trecord out of habit. But
great friend. do what’s best for a song.

16 Berklee today Fall 1990

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 The Roots
of Reggae
Jamaica’s most popular indigenous music
the child of manystyles

ince the late 1960s,the Carib- international spokesman

for the music
S bean, United States, Africa,
England, and Canadahave wit-
andthe conceptof Rastafari.

RastaMusic
nessed a steady growthin the popu-
larity and developmentof Jamaica’s Reggaeevolved from manyJamaican
most popular musical form--reggae. musical sources. The music’s most
In America, three reggae albums pervadingideas weregeneratedby the
reached Billboard’s Top100 in early Rastafarian movement,whichorigi-
1979. In addition, the popularity of nated during the early 1930s.
reggae in Americahas influenced Thecult’s two mostimportantfig-
majorartists such as Stevie Wonder, Rhyflzmsl~iayed ures were Marcus Garvey and the
b y Roberta Flack, Bob James, Johnny on lhe Burru former emperor of Ethiopia, Haile
Nash, and KennyGarrett to write drums {the bas~ Selassie. Garveywasreferredto as the
/. a wr e n c e drunk,
fundeh,an~J "Prophet"andSelassie as the "Living
and/or record reggae-style music,
Mc C I e I I a n, The chief proponents of reggae, repeater) were God."Rastafariansbelieve in the di-
d r. however, are Rastafarians from Ja- keyinfluence011 vinity of Haile Selassie whichcan be
maica. Thesereligious menserve as reg~aemusic. traced throughthe Bible.
the key spokesmenfor the musicand
its powerfulmessage--whichfocuses
primarilyon the strugglesof Jamaica’s
poor majority. Someof the most
popular reggae artists and spokesmen
to date are JimmyCliff, Peter Tosh,
Toots and the Maytals, Third World,
and the Mighty Diamonds. During
the ’70s, the mostimportantfigure in
reggae was the late BobMarley. He
wasconsideredby his followersas the

Lawrence McClellan, Jr., chairs

Berklee’s Professional Education
Division. Fundingfor his researchon
this topic wasprovidedby the Consor-
tium on ResearchTraining (CORT).
18 Berklee
t oday ILLUSTRATION
BYKARLATOLBERT Fall1990
 Prior to Selassie’s coronationas
emperorof Ethiopia in 1930, he was
commonly referred to as "Ras" while
his real namewas actually "Tafari."
Subsequently, the term "Rastafari"
was adoptedas the nameof those who
consideredthemselvestrue followers
of Selassie. Heis nowreferred to as
"Jah" by all Rastamen.Rasta culture
and consciousnessis primarily reli-
gious and centered around peace and
harmonyamongblack people, espe-
cially the poor and oppressed. The
movementalso advocates the even-
tual return of all blackpeopleto Af-
rica-the motherland.
Musicis an integral part of the
Rastafarian’sreligious andsocial life.
Hebelieves in praising the Lordwith
musical instruments--"with harps
and cymbals"--whichis in keeping
with teachings from the Old Testa-
ment. AlthoughRasta music differs
fromreggae, it is the basic creative
source from whichreggae is devel-
oped. Rasta music is basically drum
music with vocal chanting reminis-
cent of someWestAfrican music. In
fact, Rasta music developed from
Burru music (a form of African mu-
sic) and wasvery popular on Jamai-
can plantations during the time of
slavery.
BurruMusic
Burrumusicwasone of the few Afri-
can musicalforms permitted by slave
mastersin Jamaicabecauseit lifted the
spirits of the slaves. Themusicalso
served as a woi’k metronome to help
speedup production.Needlessto say,
Burru bands were popular among
both slaves andslave masters.
Burru drummers only played
musicin the fields and werenot re-
quired to engage in manual labor.
Consequently, Burru mencould not
makea living after slavery because
they were not experienced in field
work. Therefore, Burru mentook to
the streets and were regardedas the
bumsand criminals in their society.
However,the Burru have now lost
that stigma and are being sought out
to help preserve the music.
Burru drummersplayed three dif-
ferent drums which are now being
used by Rasta musicians.Theyare the
bass drum, fundeh, and repeater.
Theseand similar instruments can be
Fall1990
MENTO SKA
Keyboard,
guitar,or banjo Keyboard
I/’~," ~ */ J)J _1 "~ .~lJ J II
II Bass e ~m -
ROCKSTEADY
AKeyboard
.... ~ / ///
Bass
IX IX IX IX IX
,’u X’ X’ X’
~ ~
F F
Mento, ska, and rock steady were three major influences on the
development of reggae. Someof that influence is evident in the above
examples.
Thebanjo or guitar pattern in the mentoexampleis similar to key-
board rhythmicpatterns found in reggae accompaniments.It is also
interesting to note that the mentobass pattern is similar to some
Americanrhythmand blues bass patterns.
Ska developed primarily as instrumental music with fast tempos.
Basic rhythmicfigures in a typical ska accompaniment differ fromthose
in mento.
In rock steady, wecan see the tran~sition fromska to reggaetaking
place. Thekeyboardpattern in the "B" section is ska, while the pattern
of the "A"section is totally different.
tracedbackto Africain certain places is playedwith the hands.Thesmallest
like Ghana, Nigeria, and parts of drum,the repeater, is madefromthe
Ethiopia. Burru-type drummingwas hollowedtrunk of a coconuttree and
used in religious ceremonies
in Africa construtctedsimilar to the fundeh.
and is one of the oldest Jamaican Burru musicmadeits wayinto the
musical forms. The three drumsare Rastafarians’ religious ceremoniesin
knowncollectively as Akete (shown the late ’40s and becamethe founda-
on page18). tion of Rasta music. In addition to
Thebass drumis the largest of the B.urru drums,present-dayRasta bands
three drumswith a headmadeof goat are often augmentedwith instruments
skin. The head is usually about 12 such as harmonicas,graters, guitars,
inches in diameter and held with a windinstruments, and other miscel-
metal rim by hookslaced with a rope. laneous percussion instruments like
The drumis tuned by tension with a tile paper drum.
rope and played with a cloth padded Duringthe early ’70s, the influ-
stick. Thefundehis smaller than the ence of Rasta musicbecameapparent
bass drumwith a goat skin head that in reggae. For example,electric bass
Berkleet o d a y 19

REGGAE
Melody
Keyboards Fmin
Bass
~’"k!,i k
’,
Drums ~J. x
players in reggae bandsbeganto imi-
tate the Rasta bass drumwhile the
rhythmguit~tr or organtook over the
pattern of the fundeh( v. ~ ). Later
on, the lead guitar beganto imitate
repeater drum rhythms. More re-
cently, however,reggae bass players
have begunto developrhythmicpat-
terns different fromthose of the Rasta
bass drummer.
In addition to Rastafarian music,
other musical styles preceded and
helpedshapethe current style of reg-
gae. The most notable styles were
mento,ska, and rock steady.
Mento
Like Burru music, mentohad strong
African roots and containedelements
fromJamaicanplantation worksongs.
Mentoflourishedduringthe ’30s, ’40s,
and ’50s and is consideredto be in-
digenousJamaicandancemusic.It is a
song and dance style usually per-
formedin common time or 4/4 meter
with accents on the fourth beat of
each measure.
Popular mentotunes are used re-
peatedlywith different sets of lyrics
to suit manydifferent occasions. The
songsare often used to mockor laugh
at people within a particular social
group. Often, the subtle messagesin
the lyrics are only understoodby the
people within that group.
Presently, mento bands perform
for dancingand festive occasionsin
the rural areas of Jamaicausingtradi-
tional homemade musicalinstruments
such as maracasand drums.
20 Berklee
t oda y
between ska and reggae. Moreover,
rock steady served as the vehicle of
vocal expression that formed the
foundationfor reggae’s development.
Reggae
In the late ’60s, reggaeemergedas a
Gmin C7 synthesis of mento, ska, and rock
steady. The obvious impact reggae
madeon Jamaicancultural life was
immense.In an issue of the Jamaica
Journal, Barbara Gloudenwrote of
the movement:"Fromthe reggae sub-
culture arose new heroes and new
inspiration to youngsters whohith-
erto havenever foundany exampleto
inspire them."
Gloudenfurther felt that the Ras-
tafarian cult exerted the mostinflu-
encein shapingthe direction of popu-
Ska lar music,drama,painting, andsculp-
Duringthe late ’50s, ska evolvedfrom ture in Jamaicanculture.
a combination of mento and Ameri- ManyJamaican musicians gener-
can rhythmand blues. Skaalso devel- ally agree that the two most impor-
oped along with the sound reproduc- tant aspects of reggaeare the message
tion system whichbrought the music in the lyrics of the tuneand"the beat."
closer to the people. In addition, the Basic rhythmicpatterns from mento,
style of ska was shaped by many ska, and rock steady are readily ap-
Jamaicanjazz musicians during the parent in reggae. For example,early
big bandera. reggae contained someof the basic
Oneof the most influential jazz rhythmicpaeterns taken from guitar
musiciansandRastafariansin Jamaica or organ accompanimentsin mento.
during the ska period waslegendary Theseinstrumentsusually played "off
trombonist and composer Don beat" rhythms in mento like those
Drummond.He successfully fused illustrated on page 19. However,
ska with jazz. His compositions,such duringthe early ’70s, other variations
as "Addis Ababa"and -"MarcusGar- of the basic mentopattern emergedin
vey," madea strong impact on ska manyreggae instrumental accompa-
and Jamaicanpopular music. niments.
Ska was primarily instrumental. The rhythmsection (guitar, key-
music performedin 4/4 meter with boards, bass, and drums) in reggae
very fast tempos. The small amount bdnds is most important; it empha-
of ska performedtoday is usually sizes "the beat" or the strong rhyth-
played at slower tempos. mic elementin the music. Moreover,
the bass line appears to be the most
RockSteady dominantvoice in the ensemble.
Ska gave wayto rock steady in the GarthWhite,director of the Afro-
mid-’60s with slower tempos. As a American Divisionof the Institute of
vocal form, rock steady once agairt Jamaica,believesthat the "bassline or
emphasizedthe importanceof lyrics ApocalypticBassis used to highlight
in Jamaican popular music. These protest music in Jamaicanreggae."
lyrics echoedblack people’smessages The bass line is a dominantvoice,
of freedomand equality all over the althoughit is an integral part of the
world duringthe turbulent ’60s. reggae ensemble.
Rock steady was performed in The musical example in the box
quadruple meter with somerhythmic above shows the dominance of the
patterns in the accompaniment simi-- reggae bass line. Note that the bass
lar to thosefoundin ska (see page19). line is a rather independentvoice in
Rock steady was a short-lived the ensemble.Thebassvoiceis also an
musicalform,mainlyserving as a link ostinatowhichacts as a unifyingdevice
Fall1990
for the entire accompaniment.
It is interestingto notethe differ-
ence betweenthe cymbalpattern and
the bass line’s quarter-notetriplets.
The two patterns played together
producesounds often referred to as
"the beat." In addition, the guitar or
keyboardpart consists of splashes of
harmonyon the second and fourth
beats in each measure.Thebasic pul-
sation is carried by the drumswith
occasional improvised fills and
polyrhythmicpatterns to support the
bass line andaccentuatethe lyrics.
Harmony, Melody, andForm
Harmoniccontent in reggae is often
quite basic. Mostharmonicstructures
are triadic with occasional dominant
seventh chords. However,other har-
moniesmayconsist of simple struc-
tures with an addedsixth, ninth, or
eleventh. Theseharmonicstructures
"sound good" to manyof the musi-
cians whodo not necessarily under-
stand harmonyand harmonic pro-
gressionsin a traditional sense.
Manyreggae songs and melodies
Fall1990
consist of tones in major and minor
tonalities, major tonalities with a
loweredthird scale degree(as in blues
and jazz), or in the dorian mode.
Sometimes an entire reggae melodyis
performed over one or two triads.
Mostreggaeis repetitious becausethe
messagein the lyrics is the mostim-
portant part of the music. Manyreg-
gae melodiesare simpleand folk-like
with a range that rarely exceedsan
octave. Somemelodiesconsist of one
or two motifs with manyrepeated
variations.
Although melodies obviously
provide the foundation for reggae
songs, the lyrics are highly original
and amongthe most powerful found
in any other style of commercial
music.Reggaelyrics collectively make
up a historical documentof Jamaican
life. The messagesexpress sorrow,
political happenings,joy, and love
with strong nationalistic tendencies
concerningthe experiencesof the poor
in Jamaica’sghettos.
The formal structure of reggae
varies from strophic form to forms
utilizing call-and-responsepatterns
whichcan be traced to Africanmusic.
Somesongs are also structured as
binary and ternary forms. However,
manyreggae tunes are performedin
strophic: formwhereone single mel-
ody mightbe repeated several times
with different verses.
Pustanti Future
Reggae ihas a rich anddiverselineage,
evolving from Burru music, mento,
sl~a, androck steady, with influences
from the Rastafarian movementand
Afro-American rhythm and blues.
These numerousand differing influ-
erLceson reggaeclearly indicate that
the mus!ichas a highlyeclectic charac-
ter whichmaybe the reason the form
has such international appeal.
Reggaehas enjoyed muchsuccess
a~Ldpopularity for morethan a dec-
ade. Withincreasinginterest in "world
music," it appears that reggae has a
bright future, as well. In fact, this
writer believes that reggae will be
recordedin manyfuture history books
as the "classical music"of Jamaica.~
Berklee today
 The Bas~lcs
of Ambichords
A shortprimeron the structure, nature,
use of an innovative chord form

mbichordsis a nameI have

A applied to a set of harmonic
structures whichcan provide
contrast to the soundand texture of
more commonlyused voicings.
These structures maybe used in
virtually any style of music. I em-
ployed this technique exclusively
whenarranging the first eight meas-
ures of WyntonMarsalis’ recording
of"Stardust" on his Columbiaalbum,
by Robert Hot HouseFlowers. Ambichordshave
also found their wayinto the music
Freedman
for television newsshows,jazz big
bands, and symphony orchestras.

Definition andConstruction
Anambichordis a four-part harmonic
structure whichcontains two perfect
fourths and a major second, brack-
eted by an octave. Anyinversionof an
ambichofdresults in another ambi-
chord.
Thereare three basic formsof am-
bichord, whichare designatedby ro-
mannumerals (see ®). FormI in-
cludes a perfect fourth over a major
secondover a perfect fourth. FormII
is built froma perfect fourth over an-
Robert Freedmanchairs Berklee’s
CommercialArranging Department
and is a Grammy-winningarranger
and composer.
22 Berklee today
Ambichords can other perfect fourth over a major
providecontrast second. FormIII includes a major
to the soundand second over a perfect fourth over
texture of more anotherperfect fourth. FormIII-A is
commonly used a "drop two" variation of form III.
voicings. This maybe used whenthe proximity
of the two uppervoices of a formIII
is unsuitable.
An ambichord is identified by
namingits top note along with its
form(see ®). Becauseof their unique
structure, the namesof ambichords
bear no logical relationship to any
underlying or simultaneousstandard
Fall 1990
 harmonicstatements (i.e., "normal" If there is a reason whyconsecu- for manyyears. But their construc-
chords) or progressions. tive forms must occur, use contrary tion and usage werenot organizedin
motion belowthem(see ®). this wayuntil the early 1980s.
Usage As with any other technique, the
Any ambichord maybe used over a FinalWords effectivenessof the use of ambichords
number of different conventional The structures which fall into the dependson the talent, imagination,
harmonic statements provided that category of ambichordshaveexisted and intelligence of the user. ~
its componentnotes are made up
entirely of chord tones and/or ac-
ceptabletensions(see ®). Conversely,
a numberof different ambichordsmay
be used appropriately over a single
conventionalchord (see ®).
Whendetermining which form to
use (I, II, III, or III-A), considerthe
ranges of the instruments involved. EII EIII El EIII-A
All of the instruments used in the
voicing should be in comparable,
compatibleregisters. Beyondthat,
taste and experience should be your
guides.
DI
To avoid muddinessof sound when
using ambichordsover conventional 0 J J J J j j
harmonicstatements, the bottomnote
of the chordshould be no lower than
Bb maj7 C-6 D-7 Eb maj7 F7 6-7 etc.
G below middle C.
CII DI DII DIII El Eli etc.
A SmallProblem andSome Solutions
Whenthe lead note of an ambichord
is the seventh of a dominantseventh
chord, formsI and II are problematic
Cmaj7
becauseeach contains the natural 11,
whichis not acceptablein traditional FI FII Fill
circumstances(see ®). FormIII (or
III-A) maybe used providingthat the Z o
arrangement’sstyle allows for a flat
13 and raised nine in the voicing. 67 (noteflat 11in first i~voforms,last is OK)
A secondsolution to this problem
is to use a triad whichcontainsa per-
fect fourth (see ®). In contextwith
series of ambichords, these triads will
be quite acceptableto the ear.
Thethird possibility involves re- 67 67 sus4 Db 9
harmonization. The main advantage
to this choiceis that it allowsreten- CI CII CIII CIII-A
tion of the ambichordform(see ®).

OtherIdeas
Ambichordprinciplesmaybe applied
to three-part voicings by eliminating
the lower note of the octave bracket
(see ®).
Try not to use consecutive ambi-
chordsof the sameform.For instance,
don’t follow an FI with an AI, or a
Bill with a Dill. This will avoid the I

sound of parallelism. (A form III

I
ambichordmayprecede or follow a
formIII-A becausethe two are built
fromdifferent intervals.)
Fall1990 Berklee
t oda y 23
Alum n o t e s

Compiled by Thomas F. Lee’62recently was invited to perform at

retired from a 24-year ca- the MusicFestU.S.A.festi-
Carrie Semanco reer with the UnitedStates val last yearin Philadelphia.
~86 MarineCorps Bandto take Alexa.nder Meastro Powe
onduties as secretary/treas- "70lives in Taylors,SC,and
urer of the D.C.Federation worksas awriter, producer,
of MusiciansLocal Union. music publisher, and per-
Thomas lives in Mason former. Alexanderreleased
Neck, VA. four recordings; this year,
Masahiko Sato’66 lives all on the Centuralabel.
in Tokyo,Japan, wherehe dohn Novel~o"73,a com-
performs with a well- poser/keyboardist, au-
knownjazz trio. The Japan thored the critically ac- JohnNovello "73
Timesreferred to Masahiko claimed manual The Con-
as "oneof the mostsignifi- temporary Keyboardist. Corea, RamseyLewis, Ric-
cant musiciansin Japan." Johnalso contributes many hie Cole’67, the Manhattan
Richard Cully"68lives in freelanceeditorials andcol- Transfer, Larry Coryell,
Membersof theClassof ’75 Boca Raton, FL, where he umnsto downbeat, Jazz & DonnaSummer,and Edgar
recallthe daysbeforeMIDI is leader and drummerfor Keyboard "Workshop, Winter.
at AlumniWeekend ’90 last the Dick Cully Big Band. Musician, Keyboard, and James"Mack" Dougherty
June.Fromleft to rightare The band was namedone of Sheet Musicmagazines.His "74, a Los Angeles-based
LarrySmith ’75, Mark Carneythe best in the nation by performance credits include guitarist, performed the
"75,andDavid Tobin ’75 down beat magazine and appearances with Chick scat-guitar themesolos for
the television shows"Heat
of the Night," "Matlock,"
and "Paradise." Mackhas
also appeared with Mitzi
Gaynor, Andy Williams,
Vicki Cart, and RogerWil-
liams.
DavidSchwartz’74 writes
for the CBStelevision se-
ries "Northern Exposure,"
whichpremiered last sum-
mer. David lives in Los
Angeles, CA.
Dennis E. Wilson
’74 lives
in West Babylon, NY, and
is music production man-
ager for the Count Basle
Orchestra.
Bill E. Murrell’77 per-
forms with Columbia re-
cording artist Kirk Wha-
lum. Bill lives in Burbank,
CA.
24 Berklee today Fall1990
 Frederick"Binney"
Stone DavidGaryHughes ’80
plays in the Baltimore-
MusicSchool at Rivers in based fusion band Cold CLASSCONNECTIONS
Weston, MA.Binney per- Fusion with fellow alumni As the days get
formedall of the guitar JonSchmidt’81 on saxes and cooler and Berkleestu-
tracks on Rick Wes’Dance PaulHildner’77 on drums. dents flock to the prac-
Everybody and on New Davidis also a registered tice rooms, taking
Generation’s Heartacheto craftsman memberof the breaks for hot coffee
Heartache. He has been Piano Technicians Guild instead of outdoor
performing with the Mas- and operates an extensive gamesof hacky-sack,
sachusetts-basedbandStep- piano rebuilding shop in it’s hardto believethat
pin’ Up for the past four Reisterstown, MD. another summer has
years. WilliamD.Spoke’80p]ays flown by and the fall
MartinD. Hayes’78 works drums with the pop/rock session is underway.
for Pianodisc in Sacra- band Richie Owensand Big Activity amongalumni
mento, CA--a company Sky and freelances in and picks up as well in the
that refits acoustic pianos around Hollywood, CA. fall withregionalevents CarrieSemanco: Thenew
to create MIDIplayer pi- Laura Dreyer"81,a saxo- and programming season bringsnewevents
anos. Manyof Martin’s ar- phonistand composer,per- across the country for for ouralumni.
rangementsappear on the forms with her ownjazz- the year beingplanned.
company’s demonstration fusion band in NewYork. Upcoming dates for alumni events include Fri-
disks. Martinalso performs Laura is involved with the day, November 9, in Philadelphia. Berkleewill host
with his group Tranzition BMI Jazz Composers a student/alumni networkingparty in conjunction
DanielSlider ’78 wona Workshop and received with the Percussiw~Arts Society conventionin the
BMItelevision award for recognitionin the 1989Bill- AdamsMarkHotel from 6:00 to 8:00 p.m. Berklee’s
composingthe themeto the boardsongwritingcontest. Deanof CurriculumGaryBurton’62 and a student
ABCtelevision hit series HansFagt’81 hasper- group will performfor the conventionon Saturday
"America’s Funniest Home formed as a drummerwith eveningat 8:00 p.m.
Videos."Helives in Studio Kim Larsen and Bellami. Berkleewill also host an educationalseminarand
City, CA. Both of Hans’ most recent alumni brunch in Los Angeles on Sunday, January
Donald J. Tomlinson ’78 albums, Yummi- Yummi 20th, in conjunction witl~ the NAMM show. Also,
lives in Pittsburgh,PA,and and Kielgasten, achieved weare workingclosely with alumniin NewYorkto
plays drumswith the oldies double-platinum sales present an AlumniBandShowcaseand educational
show "Magic Moments." status in Denmark,as well seminar on March10.
as reachinggold and silver In addition to these special events, Harris Pub-
status in Norwayand Swe- lishing will beginresearch for the first AlumniDi-
den. rectory by mailing a questionnaireto all alumniin
KevinAndrew Pituch"81 October. Please do your part to makethe Alumni
lives in Toledo,OH,where Directory an effective networkingtool by respond-
he plays bass trombone ing to Harris quickly witl~ completeinformation.
with the Toledo Jazz Or- Watchyour mailboxfor further information on
chestra. Kevin’sother per- these and other eventsin yourarea. Besure wehave
formancecredits include a your current address so you don’t miss out on local
three-year stint with the alumni happenings.
TommyDorsey Orchestra. If you have any questions about upcoming events
TedSilverstein
"81writes in yourarea, or wouldlike to be on a club committee
EricMarienthal "79re- and producesfor artists in to help organizean event, don’t hesitate to drop me
leased his secondsolo rec- his ownprofessionalstudio a note or call meat (617) 266-1400,extension479.
ord on GRP. Entitled in Brooklyn,NY.Heis also Your involvementmakesit work.
Crossroads, the release also a memberof the rock group --Carrie Semanco"86
features alumniTerri Lyne SeventhSense. Alumni Relations Coordinator
Carrington’83 andVinnieCo- NicolasVillamizar"81
laiuta"75. owns Sounds Good Pro- Upcoming AlumniEvents
Michael C. Berkowitz "80 ductions in Chelsea, MA. (watchyour mailboxfor morespecific information)
teaches bass and guitar at Heis also a featuredpianist
Charlie Daniels Music in at the Sheraton and Ritz- November 9 Philadelphia NetworkingParty
Fresno, CA.Michael per- Carlton hotels in Boston. January 20 Los Angeles Brunch/Seminar
forms in and aroundFresno GeraldGold’82, a former March 10 iNew York Alumni Band
with the band Contents faculty member,is nowa Showcase/Seminar
UnderPressure. Boston-based independent
Fall1990 Berklee today 25
 JohnTaylorKent’83 owns Jesse Stone-Evelyn McGee GustavoFarias’84 lives in
producer. Gerald has pro-
duced traditional Chinese and operates a MIDIstudio Group, and writes for The Reseda, CA, and is pro-
artists, includingLilyYuan, in Anchorage, AK, and Soundstar,a central Florida ducer/presidentof Phillips
and coproducedthe Music recently received a degree musicperiodical.. Musical Effects. Gustavo
of Bali-Semar Pegulingan in psychology from the Eric Beall’8~i has had has produced, composed,
CDon Lyrichord Discs. University of Alaska. songs recorded by Alisha, and arranged jingles for
Steven J. Piermarini
’82 FranckRiivaleau ’83lives Samantha Fox, and Regina. TacoBell, Jell-O Jigglers,
receivedhis master’sdegree in Alexandria, VA,and is He has also written and Knorr’s, Kentucky Fried
in conducting performance an associate producer for produced for Brenda K. Chicken, and Kool-Aid.
BetsyJill Jackson ’84
from the University of the SmithsonianCollection Starr and new Chrysalis
Lowellthis past June. Ste- of Recordingsin Washing- artist RayContreras. Eric writes songs for AnyLuck
ven is banddirector at the ton, D.C. Previous works lives in NewYork. Music in Nashville, TN.
Wayland High School in from the label include StevenCorn"84 of Van This year, her songs have
Massachusettsand recorded Grammy-nominated col- Nuys, CA, has scored two been recorded by Glen
with the NewKids on the lections such as ClassicJazz documentaries for U.S. Yarbrough and Randy
Block. and Jazz Piano. Newsand World Report. Travis. Betsy also helped

DEVELOPMENTS
Supportingyour college after gradu- and providescholarshipsto talented and
ation is an Americantradition only re- deserving youngmusicians.
cently copiedby other countries’institu- Alumni,.business, parent, and foun-
tions. Andit seemsAmericans value their da.tion support of the AnnualFund is
educationevenmoreas the years add up vital to the college. Whenyou receive
after they leave their almamater.Berklee your letter askingfor supportthis year,
is privilegedto havealumniwhoare proud please remember that everylittle bit helps.
of their Berklee educationandare willing As the Alumni ScholarshipFundis built
to help pass that experienceon to others. from many small gifts, your participa-
I would like to offer mypersonal tion is invaluable.
thanksto all our alumniwhogaveto the Wehavelisted last year’s alumnido-
AlumniScholarship Fund and the An- nors in this issue. Parentsand corporate
nual Fundlast year. Yourcontinuedin- gifts are acknowledgedin Berklee’s
vestmentin the collegewill help us main- JohnCollins:Alumni sup- annual ConvocationRepo.rt. Weare very
tain our status as a worldleader in music portmakes thedifference. proud of our first distinguished roster
education. The AnnualFund is a vital and hope that manymore of you will
resource whichhelps Berklee attract top teachers, join those listed, herenextyear.
--John Collins
provide the most up-to-date equipmentin the class-
Director of Development
roomsfrom performancehalls to recording studios--

Encore Circle OtherContributors Michael Saul 77 MichaelE. Giblin ’88

Joe Williams (Honorary Hutson K. Howell’48 StephenCurtis ’78 David Erhardt "89
Doctor4te 1988) Ruth B. Miller ’50 KarenMulhall ’78 Steven A. Lagarto"89
Everett (Dean)Earl ’54 MarcD. Finkelstein ’79 NancyScharlau ’89
Leader’s Club Herbert M. Wyman,M.D. Mary McDonald’80 John Collins
Eddie Horst ’85 ’57 Douglas Mildram"80 LeonardFeather (Honor-
Stifling M.Pitcairn’85 Roger Schueler "60 Ken Townsend’80 ary Doctorate1984)
Barry L. Rockoff ’61 JosephP. Kurey’81
Player’sClub ThomasLee "62 GaryMiller ’85! NewScholarship Funds
Joe Viola ’53 John R. Hardin’69 DougRoerden ’84 Alumni EndowedSchol-
HarryMarvin, Jr. ’69 John Donahoe,Jr. "85 arship Fund
Richard Franke’69
Tom Snow ’69 GaryEdighoffer ’70 Peter R. Melnick’85 Chicago CommercialMu-
Michael McLane’72 Rita Burke’70 RobinD. Spinale ’85 sic ProducersAssocia-
JohnR. Thelin "71 Patrick E. Zdun"85 tion~Creativity Fund
James Martocchio’75
Gary Lutzker ’75 ELanZinori ’85 Stephen D. Holland
RayE. Rettig ’76
MarkEliasof ’78 Kevin G. Boyd ’76 StephenJ. Dale"86 Memorial Fund
SidneyJ. Steven’79 Larry Hatchett ’76 Emily Norman’86 Roland Fund
Joe Mardin’85 RandolphAustill 77 ReneeB. Simonfor W.S. Kenney Fund
Bruce G. Lundvall KerryannA. Mitchell "77 MatthewL. Simon ’87 Emanuel Zambelli Fund

Berklee
t oda y Fall1990
26
 organize and performedfor Eric lives in Oakland,CA.
the Alumni Songwriters MilanSvoboda "84lives
Showcaseheld in Nashville in Prague, Czechoslovakia, BARREPORT
last March. wherehe records with his Now that the
SteveJohannessen ’84 is ownquartet and big band. Berklee Alumni Rep-
director of customer sup- Recent recordings include resentative (BAR)pro-
port andartist relations for Dedication by the Milan gramis launchinginto
Kurzweil Music Systems SvobodaQuartet and Keep its eighthyear, I would
and YoungChangPianos. It Up by Milan Svoboda like to thankall of the
Steve’s MIDIduo, Backto and Contraband. Alumnus alumni whoresponded
Back, has released two MichaelGera’89 is also a to our mailingsor called
albums: This is Real and memberof the quartet. meto discuss the pro-
Man-Machine Interface. DonnR. Wyatt
’84, a key- gram. It is always a
Jay Paul Lawrence "84 boardist, songwriter, and pleasureto feel youren-
performs in the Nashville producer, lives in Los An- thusiasm for Berldee
area as guitarist for Warm geles, CA,andis currently and to learn howyour
Dark Pocket and Ivey’s touring with Anita Baker. musiccareers are pro- RichAdams: Weare tar-
Vine. Jay received his Donnperformedin George gressing. I ampleased getingoureffortsto expand
bachelor’s degree from Duke’sJapantour last year. to say that BAR is pro- the BAR network.
Middle Tennessee State RafaelJimenez"85lives gressing,as well.
University School of Re- in Mexico and works for BARmembersare again meeting with young
cording Industry Manage- Rider ProduccionesS.A., a musiciansat local high school musicand guidance
mentin 1988. live performance produc- departmentsin their areas. In addition, BAR mem-
StanPace "84,a bassist, tion company. bers assist the BerkleeAdmissions Office by repre-
vocalist, andengineer,per- MarkP. Murphy"85, senting the college at professional musicconfer-
forms throughout New knownprofessionally as encesandcollegefairs acrossthe country.Thisyear,
England with Diver Down, MarkPatrick, is busyteach- weagain invited a select group of alumnito become
a VanHalen tribute show. ing guitar, bass, andtheory part of the program.However,wearen’t going to
Eric B. Schweitzer ’84 at the MarkPatrick Studio stop there.
performs and records with in Nashville, TN;serving Weare targeting select metropolitanareas where
Bill Kutacheck and the as guitar and band coach student inquiries about Berkleeare especially abun-
Salesmenin San Francisco. for the Yamaha Rock dant. Byexpandingthe BAR programin these cities,
wehopeto give additional opportunities for inter-
ested music students to learn moreabout Berklee
from an active music professional whohas experi-
encedBerkleefirst-hand.
There are 15 specific metropolitan areas where
we hope to enhance the BARprogramthis year:

San Diego, CA San Francisco, CA

Dallas, TX ]Miami,FL
Washington, D.C. Atlanta, GA
Chicago, IL ]Baltimore, MD
Cleveland, OH Cincinnati, OH
Philadelphia, PA Pittsburgh, PA
New London, CT ]Hartford, CT
Providence, RI

If youlive in anyof these areas andare interested

in BAR,please call meat (617) 266-1400,extension
366. An orientation for newmembersis scheduled
for January 1991. Please contact meby December1
to be consideredfor this orientation.
Of course, no matter whereyou live, wewouldbe
happyto send you moreinformation and an appli-
cation for the BARprogram.Just fill out the formon
page 28 and check the BARinformation box.
TheNova
Recordsdebutof JuanCarlos
Quintero
’84 features --Rich Adams"82
Tommy
Tedescoaswellas fellowalumniAlecMilstein’83, Alumni Admissions Coordinator
BobHarsen
’82, andVinnyDemaio"84.
Fall1990 Berklee today 27
 which premiered at the
tro-percusslve lmprowsa- VeniceFilmFestival in Sep-
tional quartet True Diver- tember. The soundtrack
sity. Michaelauthored the was produced by fellow
book Contemporary Im- alumnusDanielCantor"86.
provisation for Guitar. Yuvalalso composed a bal-
EileenOrr ’87 lives in let score commissioned for
Detroit and plays piano the Bat-Sheva dance com-
with the all-female jazz panyin Tel Aviv,Israel.
group Straight Ahead, KirkeJ. Blankenship "90
namedBest Sn’lall Jazz plays drums for the Bos-
Comboin Detroit’s annual ton-based bandPieces.
music awards competition KelleyD. Bolduc’90 leads
last November. and manages one of
Bruce Sales’88 has joined Boston’s leading Carib-
HEAProductions, one of bean-American dance
the largest jingle housesin bands, Hot Like Fire!
NewYorkCity, as an assis- Kelley also plays trumpet
tant engineerandwriter. andsings with the group.
GaryTerrence Becks ’89, NickKetter"90worksas
a guitarist and songwriter, an engineer and sound de-
released I Live to Rock’n signer for CrosstownAu-
LalahHathaway ’90 climbed thechartswithherself-tit~ed Roll on his ownlabel, Real dio in Atlanta, GA.
debutonVirginRecords. TimeRecords. The record-- MaryEllen Thompson ’90
ing featureshis b and,Voices has performedas lead vo-
School at the Music-Man Thomas Beckner "86 Unknown. calist on jingles for several
music store; and working freelancesas a jazz pianist Yuval Ron’89, a composer NewEngland companies,
as a transcriberfor the song- in New York, where he also for First Take, Inc., in Bos- including NewEngland
book division of Cherry performsas keyboardistfor ton, MA, composed the Telephone,Filene’s Base-
Lane Music. Mark also comedian Bob Nelson. soundtrack for the motion ment, and Lechmere.Mary
performs with the Regula- Michael G. Brannon’88, a picture Strong City, di- Ellenalso sifigs lead for the
tors in Nashville. guitarist in San Antonio, rected by Daniel Matmor, band Nightshirt.

ALUIVI NOTESIIMFORMATION
FORM
Full Name
Address
City State ZIP Home Phone #
[] This is a newaddress
Last year you attended Berklee __ Did you receive a [] Degree [] Diploma?
ProfessiondlIdentity
Professional Address
City State ZIP. Work Phone #
Yourtitle/role
Please list anyprofessionalactivities, performances,recordings, notable musicprojects, awards,recognitions,
or other events you’dlike us to knowabout (please print or type):

[] I aminterested in learning moreabout the Berklee AlumniRepresentative program(see "BARReport,"

page27).
Pleasesendthis form,alongwith anypublicity, clippings, photos,or items of interest to:
Berklee today, BerkleeCollege of Music,1140BoylstonStreet, Boston,MA02215.Welook forwardto hearing from you!

28 Berkiee
t oday Fall1990
 Shop t a l k

AudioEngineering Society perception through ihead- tationrather than the"most

May3-6, 1990 phones. Binaural recording accurate." I discussedpar-
Washington,D. C. uses a dummyhead with ticularly howthis wasseen
dummy ears. Recent devel- in the multi-track record-
The eighth AudioEngi- opmentsinclude the notion ing process.
neering Society Interna- of eliminating the pinnas Oneof the more inter-
tional Conferencewastitled from the dummyhead, and esting displayson the exhi-
Notes from "The Soundof Audio" and programming electronic bition floor wasa spin-off
focusedspecifically on the algorithms to serve as the frommilitary aircraft com-
musicindustry perceptual nature of the functional electronic munications system re-
electro-acoustic process. equivalentsof pinnas. This search. Gehring Research
conferences, The conference featured has developedan auditory
invited paper presentations
conventions, in four areas: perceptionof
AUDIO interface for the Macintosh
computer.Withthe system,
and confabs sound, measurement of
perception of sound, per-
a computer user wearing
binaural headphonesper-
ception of the recording/ ceives an audible cursor
reproduction process, and movingin three dimensions
future developments. in a virtual auditoryfield.
Whilepapers given were Auditoryfiles, icons, and
primarily tutorial, many cues can be placedanywhere
presented research and a withinthis field.
great deal of newinforma- has the virtue of permi~tting To demonstrate the
tion. A limited numberof the development of individ- power of the system,
displayswerepresented,in- ual algorithms for each Gehringplayed noise, mu-
cluding current and future individuallistener. sic, andvoicecues simulta-
car stereo systems,binaural For manylisteners, lo- neously through the head-
sound, and surround-sound calization through head- phones. In an acoustic
systems. phones seems "inside the space, this wouldbe diffi-
Oneparticularly inter- head," confusing, and un- cult to sort out. Onnormal
esting paper, given by Fred related to sonicreality. The headphones,it wouldbe im-
Wightman,focused on the result of this newapproach possible. But in the binau-
pinna shape within a could be an extremelyreal- ral soundfield, it all was
listener’s inner ear andits istic representation of quite comprehensible.
effect on the ability to lo- sound via headphonesfor Thesystemcan be set to
calize sound. Researchhas all listeners. be stationary or to move
showna direct correllation The papers on recording with the head, or both.
between pinna shape and reproduction largely dealt While development is
localization ability. These with the issue of timbral needed, the system could
findings could effect the fidelity and related prob- prove to be a significant
future designs of binaural lems. Mypaper, giw~nat advancementin studio and
headphonesystems. the conference, suggested synthesis communications
DavidGriesinger, in his that suchfidelity is of lim- and control.
presentation on binaural ited utility, andthat whata --David Moulton,
sound,discussedat consid- listener actuallyseeksis the Chairman, Music Produc-
erable length the nature of "most musical" represen- tion & EngineeringDept.
Fall1990 Berklee today 29
 NashvilleSongwriters
NewMusicSeminar dra Palmer’88, AngelaPiva ’86, Paul AssociationInternational
July 15-18, 1990 Ruest ’89, Keith Barnhart ’85, and Mi- July 20-21, 1990
New York, NY chael Sweet’84. Nashville, Tennessee
Berklee Professor WayneWadhams
The NewMusic Seminar 11 had at- participated in a panel discussion en- TheNashville Songwrit-
tendance numberssimilar to NewMusic titled "Music Business Education." ers’ Association Interna-
Seminar10. Onenoteable changethis Other panelists included Janet Nepke tional providesa forumfor
year wasan increasedSoviet of MEIEAand Ron Bergan discussingpolitical andeco-
enrollment. Throughpanels, of NARAS. nomic issues facing the
eveningtalent showcases,a "Mock Negotiations" professionalsongwriter,as
smallexhibit area, andWorld provided a spirited, panel well as a meetingplace and
Bar and Face the Nation pitting businessaffairs offi- training groundfor aspir-
morningmeetings, the semi- cers fromPolyGram,Island, ing songwriters. Because
nar offered a wealth of and Warner Bros. against this summer’sseminar fo-
knowledge,contacts, andex- three music busine.ss law- cusedon the latter aim, the
posure to current trends in yers. This informativepanel greater part of the weekend
the musicindustry.
This year’s seminaralso
SEMINAR was based on the point-by-
point arguments between
wasmadeup of educational
sessions.
hostedmanyBerkleealumnivisitors in- the record companies and the music T.he conference opened
cluding Cathy Carlesimo’87, Michael lawyers on the terms of a prewritten with a concert featuring a
Castaldo ’86, Haiti Conner’88, Dante mockcontract. number of well-known
Gioia ’90, AndrewGrassi ’89, Yumi ---Don Puluse, Chairma.n, NSAI-member writers in-
Iwama’88, MinoruKaneko’88, Saun- Music TechnologyDivision cluding DonSchlitz (who
wrote "The Gambler"),
Roger Murrah ("We’re in
National Associationof slumping and the economy nique first pioneered by this LoveTogether"), and
MusicMerchants is in decline.Anotheris the Sequential Circuits in the Norro Wilson ("The Most
June 16-18, 1990 generalfeelingthat a single Prophet VS. Beautiful G’irl in the
Chicago, IL national showis all that is Vector synthesis in- World").
required, allowing manu- volves the creation of new Master class sessions
Every summer NAMM facturers to spend their waveforms (timbres) took up the entire morning
showsince 1987has seen a money and efforts on re- mixing and fading between and first part. of the after-
decline in both the number gional, local, and special- existing complex sound noon of the secondday. At-
of attendeesandexhibitors. ized events. A third reason sources. The mixing and tendees had a choiceof two
This year’s event wascer- is the increasingimportance fading process can be ma- sessions: a class on lyrics
tainly no exception, com- of the Frankfurt Music nipulated in real time and taught by PamelaPhillips
ing in at approximately half Messe. As the Western recorded into a vector se- Oland,or a class on melody
Europeanmarket is matur- quence which, can then be taught by Archie Jordan.
ing and newEastern Euro- processed further through Masterclasses werefol-
pean markets are opening, subtractive techniques or lowedby a critique session
manycompaniesare focus- effect devices. in whicheach attendee was
ing their efforts overseas. Other interesting prod- invited to submit one song
However, while the ucts displayed at the show for’criticism by the master
the size of last year’sshow. showwas slower than past included the VideoHarp, a class instructor.
This year wasalso the last years--or, perhapsbecause light-beam-based MIDI The conference closed
time for the forseeable fu- it was slower--it offered controller. Two companies with an open mikesession
ture for summer NAMMoutstanding opportunities displayed rhythm-section for attendees.
to be held in Chicago.Next for industry contacts. generators for ":music mi- Whilethe focus and dis-
summer’sevent will be held There were a few new nus one" applications. The cussions of the NSAIses-
in NewYork’s Javi~s Con- developments presented at Kawai GB-1 is a hardware- sions were quite general,the
ventionCenterin July, with the show including two new based system for rhythm seminar provided good
a vastly altered format,in- Yamahasynthesizers. The section accompaniment. opportunities for network-
cluding a consumerday. TG77is a rack-mountver- P.G. Music’s "Band in a ing, in terms of possible
Onepossible reason for sion of the SY77without Box"provides a software- songwriting collaborators
this declineis the increased disk drive or sequencer.The based product for similar as well as publishing and
competition among all SY22, announced but not applications. recordingcontacts.
manufacturersto race for- shown at the winter --David Masi’~, Assistant --Robert Weingart,
ward with newproducts at NAMM show, employs Dean of Curriculum for AssistantProfessor,
a time whenthe sales are vector synthesis, a tech- Academic Technology Songwriting Dept.

30 Berklee today Fall1990

 MusIu MAKES THE
A DECLARATION OF CONCERN ABOUT MUSIC EDUCATION

Duringthe 1980s,educationalreformmadeit onto the front pagesof Americannewspapersfor the first

time in decades.Politicians, policy makers,andbusinessfigures havebeenquickto trace muchof the nation’s
"competitivenessgap"to the schoolhousedoor. Theyhavevoicedringing alarmsover the slippage in math
andscience scores. Butwhenthe discussionhas turned to makingsure our children learn to understandand
participate in musicandthe other arts, there has beensilence. Webelievesuchnear-sightedconcernshort-
changesour children becauseit leaves themonly half-educated.Sincethe beginningsof civilization, music
has beenuniversallyrecognizedas crucial to quality education,for tworeasons.

F~rs ~ every civilization recognizesthat both formaland informalmusiceducationprepareschildren for what

life ultimatelyrequires. Musiceducationfosters creativity, teacheseffective communication,
providesbasic tools for
a critical assessmentof the worldaroundus, andencouragesthe abidingvaluesof self-discipline andcommitment.

Sec0,1 d, musicand the other arts havebeenrecognizedas uniqueto humancapabilities and creativity, as
a meansto self-discoveryandself-expression,andas a fundamental
part of civilization itself.

We,whoselives are markedindelibly by a love for music,and, whounderstandthe essential role musiceducat
can play in developingthe wholehuman
being, call on the parents of our schoolchildren, on teachers an~
officials, on local andstate boardsof education,andon the American
peopleto join us in establishin
placeof musicin the schools.

OUR CREDO IS SIMPLE

Just as there can be no musicwithoutlearning, no educationis complete
withoutmusic.Musicmakesthe difference.

TO THAT END
Wecall on all whocare abouteducationto destroy, onceandfor all, the myththat
educationin musicandthe other arts is mere"curricularicing";

Wecall on all whocherishthe arts to insist that instructionin musicandthe other arts
be reestablishedas basic to education,not only by virtue of their intrinsic worth,but also
becausethey are fundamentalto whatit meansto be an educatedperson;

Wecall on parents, educators,and citizens whoknowandunderstandthe." valueof musicin

our common
life to bring the messageaboutthe valueof musiceducationto decisionmakersat all levels andto
encouragethemto establish musicas a priority, so our children can continueto learn andmakemusicand;

Wecall on those whoselivelihoods dependon music-asmanufacturers,technicians, retailers, educators

and performers,composersand others-to lend their supportto the cause of musiceducationin our schools.

In witness to our commitment

to these goals, wehavesigned our namesto the accompanying
petition.

TheNationalCommission
onMusicEducation,1902Association
Drive,Reston,Virginia22091-1597 1990-1991
 |

P E T I T I 0 N S H E E T

MusIu MAKVrS THV~

THE NATIONAL COMMISSION ON MUSIC EDUCATION
Just as there can be no music without learning, no education is complete
without music. Music makesthe difference.

Y~S,/Iwantto makemusiceducationa drivingforce in America’sschools. If our children are to succeedin the workforceand
worldof the future, they mustbe providedwitha well-rounded
educationalcurriculumincorporatingmusicand the other arts.

NAME ADDRESS

IMPORTANT:
Wecan accept signatures fromadults of legal voting age only. Please be sure to sign your nameto verify the
authenticityof the signatures.

Thispetition sheet voucherauthenticity verified by NAME:

ADDRESS:

CITY: STATE: ZIP: DATE:

Please return to: The NationalCommission

on MusicEducation
1902AssociationDrive Youare encouragedto photocopy
Reston,Virginia22091-1597 this formfor additionalsignatures.
Thebestplaceto keeptrackof yourvaluables.

Yourmost valued possessions had been

trusted to cocktail napkins. Biologynotebooks.
Worseyet, to memory.
But youdidn’t realize just howimportant
theyweretill the dayyoufinally got the chanceto
put all the piecesin place.
It’s whyYamaha designedthe/ViT100II
Niultitrack Recorde.r.Amachinethat records on
four tracks simultaneous!y,separatelyor in any
combination.With a dual channel &bandgraphic
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to 18 kHz.Andmic/line level inputs on all four
channels.All at a price that puts homerecording
withinreach of everyaspiring musician.
Visit yournearest ~tmahadealer to find out
moreabout the newMT100II.So the next time
youhavesomethingas valuableas a great idea,
you’llhavethe perfectplaceto keepit.
Personal
Stuc)ioSeri~
~
YAM,AHA
Professional AudioDivision

YamahaCorporation of America, Professional AudioDivision, EO. Box 6600, Buena Park, CA90622-6600.
 LionelHampton is legendary for
playinganinstrument no onein jazz
hadplayedbefore.Thevibes.So,
naturallya,ffer performing for over
fifty yearshethoughthe’dfoundevery
waypossibleto playthem.Thatis,
until hediscovered the Technics
SX-KN800 Keyboard.
A keyboard so advanced it creates
vibessounds impressive enough to get
evenLionel Hampton to put downhis
instrumentandpick up ours. Which
isn’t surprisingconsidering the
KN8OO’s digitally-stored computer
chipscreatesounds so lifelike you’d
probablythink youhadthe actual accompaniments to choosefrom as
instrument right in front of you. well. Manyof whichhavebeen
What’smore,the SX-KN800 recordedby respected musicalartists.
featuresover32othertrueto life instru- So,youcanplaywith the bestevenif
mentalsounds,an 8-track sequencer you’rejust a beginner.
withflexibleeditfunctions, anda 16-bit Now,if all this sounds
too goodto
computer memory with optional disk betrue, wesuggest youhearit for
storage.Which allowsan accomplishedyourself.
musicianto accomplish evenmore. Comein to theparticipating
But the true geniusbehindthe Technicsdealernearestyouandtry the
KN800 is the fact youdon’thaveto be SX-KN800. Andyou’ll seewhyoneof
a genius to playit. Because at thetouch theworld’sgreatvibesplayersis now
of a buttonyou’ll notonlyhavea world backingus up.
of instruments at yourfingertips,you’ll
alsohavea widevarietyof rhythm Technics
Thescience of sound