“AUDITION | PERFORMANCE ETUDES p Based On The Chord Changes To Popular Standards y Miketls ha a eSf » Effective Etudes For Jazz 2x ., by Mike Carubia and Jeff Jarvis. tooo eh ; 4 fr - ‘TITLE CD TRACKS PAGE { 1 (with soloistirhythm section only) L! Pruning Note .. Track 1 Keep Smilin’ (based on When You're Smiling chord changes) Track 2/20 I * " Moonmien (based on Moongiow chord changes). Track 3/21 sun 9, Minor Is Finer (Minor Blues in Bb)... smssonennnen TAK A/22 Track 5/23 Baggage Claim Blues (Blues in Bb chord changes). F) Dido (based on Perdido chord changes). Track 6/24 Isle Of Melon (based on Cantaloupe Island chord changes) Track 7/25 Track 8/26. (It's From Heaven (based on Pennies From Heaven chord changes). ‘Track 9/27 ... ‘The Moon Is High (based on How High The Moon chord changes) a» Track 10/28 [at ae arenas. Softly (based on Softly As In A Moming Sunrise chord changes). Track 11/29 You're The Last One (based on There Will Never Be Another You chord changes) .vwmem Track 12/30 vn .-Track 13/31 . «Track 14/32... ‘The Sum Of Your Attributes (based on All The Things You Are chord changes) sn Track 15/33 ‘This Is Love (based on What Is This Thing Called Love chord changes). My Glowing Moment (based on My Shining Hour chord changes). sow Track 16/94 . Sweet Georgia (based on Sweet Georgia Brown chord changes). Track 17/35. f © 1Got Yer Rhythm! (based on I've Got Rhythm in Bb chord changes). ‘ It’s Nobody For Me (based on It's You Or No One chord changes) wn . Track 18/36 . Track 19/3 £, {Got Rid OF Em (based on I've Got Rhythm in F chord changes) sno About the Composers... About the Soloist. ‘COP YR¥GHT © 2008 BY KENDOR MUSIC, INC, (SESAC), DELEVAN NY 14042US.A. ‘COVER DESIGN © MADELINE STURWECOM DESIGN GROUP, INC.- USED BY PEPAISSION ‘ALL RIGHTS RESERVED INTERNATIONAL COPYRIGHT SECURED -MADEINUS.A| introduction (Our daily environment normally exposes us to a wide variety of non-jazz music, which explains wliy developing musicians render less convinc- 1g performances of swing jazz. music than when playing rock or Latin styles. Many musi- cal styles require players to perceive rhythms exactly as they appear, whereas the attack, dura- tion, and shythmic placement of the notes against the pulse vary from player to player +, when performing swing style jazz. Effective Etudes For Jazz is designed to develop and improve jazz conception, particularly in the swing idiom. Once familiar with the various interpretations, your preferences will emerge, thus defining your own unique style. Dictionaries define an etude as a musical work composed for the development of a specific point of technique, but also performed because of its artistic merit. Efective Etudes For Jaz not only bears out that definition, but it provides ‘well-written material for a broad variety of applications: + Effective Etudes For Jazz provides ideal material for jazz honors band auditions. Students can be evaluated for both concept and improvisation (chord symbols are provided) using the etudes and the corresponding accompaniment record- ings, Guitarists, pianists, and bassists can also practice or be evaluated on their comping skills using the play-along recordings. + Effective Etudes For jazz provides performance worthy music for jazz solo competitions, evaluation festivals, and recitals - most of which allow the use of recordings in liew of an accompanist. Effective Etudes For Jazz helps the aspiring jazz soloist lear to improvise. Annotations beneath the staves identify phrases and patterns com- mon to the jazz language. Chord Reference Charts at the top of each page show the notes found in every chord of the etude. ot + Effective Etudes For Jazz is a collection of etudes based on the chord changes to popular standards. Players will learn to interpret and improvise over the chord pTogtessions of songs that jazz musicians should know. 7 «Effective Etudes For jazz accompaniment recordings allow students to perform the origi- nal melody (not intclutied) of the standard tunes on which the etudes are based. = « Effective Btuces For Jazz is perfect for group les- sons since any combination of solo instruments can perform etudes simultaneously with or Z without the accompaniment recordings. ra + Effective Etudes For Jazz allows players to per- form nearly any combination of the above uses with the accompaniment tracks. For instance, the user can play the etude for a chorus, then. improvise during the next chorus, and so on. The possibilities are endless. How To Use This Book ‘The ettides are presented sequentially, progress- {ng from accessible to challenging. For best. results... wero re -»-Use-a.metronome-when learning the etudes.- a | * Set the speed to a realistic ternpo to ininimize frustration, even if it’s slower than the suggest- ed metronome marking. * Learn the articulations and nuances concur- rently with the actual notes. Learning the notes first and attempting to apply musicality later can prove ineffective, as the memory is likely to be imprinted with a bland, lifeless interpretation. Effective Etudes For Jazz assists in the quest to assimilate the jazz. lan- guage by providing frequent articulations on the more accessible etudes. In the intermediate and advanced etudes, obvious articulations have been purposely omitted so as to minimize visual distraction for musicians able to interpret the style without assistance.[> Next. « Listen to the accompanying CD to hear how {the professional solo artist and rhythm section ) perform the etude. along with the recording, matching the soloist’s | * Compare their interpretation with yours. Play "rendering of each etude. ‘* Now practice with the tracks containing the rhythm section accompaniment without the +, soloist, applying what you've heard to your per- * formance. > Swing Articulation © As you listen to the etudes played by the profes- || (sional jazz musicians on the accompanying recording, notice the connected legato treatment of the swing eighth note figures and lines. Novice jazz players often try too hard to swing. ! ‘This is especially true at faster | tempos where the triplet subdivisions of the swing eighth note dissolve into a “straight | eighth note feel”. You may wonder - How can |, music swing if the eighth notes are interpreted ‘ina straight manner? This is accomplished ;, through strategic placement of accents. But [| which notes receive extra emphasis when play- ing in the swing style? Here are some helpful i tips: 1 * Accent the top note of each ascending line. Accent the top note when there’s an interval P- 1 *Accent anticipations into the next measure, such as an eighth note tied over the bar line. i *Accent the third note of eighth note triplets. ‘When playing a stand-alone triplet, accent the (first and third notes. * Notes that appear before accented notes of {longer value should be under-emphasized, giv- ‘ng the impression of more energy and weight to the accented note. * Never precede a long note with a short one in the swing idiom. The contour of the line is also used to arrive at good phrasing. In addition to connecting the swing eighths and strategically placing accents on upper notes, crescendo while ascending and decrescendo during the descent. This will “shape” the phrases, thus adding musicality to your performance. improvising Learning to play etudes in the jazz style will improve your jazz conception and help you learn to improvise. These etudes have been composed using the same jazz language used during improvised solos. Maximize the benefits of this collection by performing the etudes ver- batim and improvising your own ideas over the chord progressions that appear above the staves. To get started, make slight changes to the original melody by adding grace notes, scoops, bends and other omaments. This is called melodic embellishment, a stepping stone to creating your own ad lib solos. You can also ‘incorporate some of the written figures from the etudes into your improvised solos. Another device is to make references to the melody of another song during ad lib solos. This crowd- pleasing technique is known as “quoting”, a ‘common practice of experienced improvisers. ‘Whether interpreting notated jazz music or improvising, imitation and assimilation are vital components of the learning process. Improvisation is essentially composition, except the player has less time to arrive at good ideas. Since composing and improvising are close rela- tives, similar devices are used to navigate chord ‘Progressions. These commonly-used sequences and patterns, also known as licks and clichés, appear frequently in Effective Etudes For Jazz to help you recognize, understand, and use them ‘when improvising. Leaming these devices in all keys will speed your mastery of the jazz lan- guage. | | |Annotations Of the many key ingredients that constitute a ‘good solo, some are not practical or even possi- bie to study, stich as innate talent, early expo- sure to certain musical styles, personality, mood, point of view, and instrumental ability However; compositional devices of a theoretical nature can be analyzed and studied. Unlike other jazz etude collections, Effective Etudes For «Jazz advances jazz conception by providing annotations beneath the staves that will help you build and expand your jazz vocabulary as you discover exactly how jazz phrases are con- structed and how they relate to the correspon- ding chords. Here is a guide to the abbreviations used in the annotations, along with explana- tions * Melody - references to the song’s melody. * Arp. - use of chord arpeggios and their vari tions * Scale - use of an appropriate scale or scale—~ fragment * Root, 3, 5, 7, 9, etc. - movement toward chord. tones when crossing a bar line * Cliche - use of memorized and/or commonly used phrase or lick * Motif - use and development of melodic and rhythmic motives (short ideas used repeatedly for effect) The next set of abbreviations denote the use of, non-harmonic tones, or notes of short duration that do not interfere with the corresponding _ chords: tee Pee * CAT - chromatic approach tone © UN- upper neighbor tone © LN-- lower neighbor tone «PT - passing tone © BN- blue note Annotations that do not appear in the legend are specific and not abbreviated. 2501 £ Chord Referenc Chart Motivated students will want to learn more about the chord symbols above the staves. A chord reference chart above each title identifies the chord tones of every chord symbol in the etude. For this reasori each chord has been voiced tertially (in thirds), starting at the root. These configurations are provided for chord tone analysis, not to demonstrate the mast sonically pleasing voicings and/or ranges. Chord reference charts do not appear in the piano book since left hand voicings for all chords appeat in the bass clef staff. c= ox = oF Conclusion Effective Etudes For Jazz covers many theoretical, visual, and aural aspects of learning to interpret and improvise jazz. music. But don’t stop here! ‘There is arvcean of great jazz recordings that will inspire you to even greater heights of ‘proficiency and understanding. Take advantage of every opportunity to listen to performances by accomplished jazz. artists - known or unknown, recorded or live. This never-ending educational process will contribute to your suc- cess as a musician and your enjoyment of jazz. ‘We wish you every success in both endeavors. i PS oP oe =CHORD REFERENCE CHART a ome 6? 6%) cm? 60 Coit) €7 foi? 8h? oitill cre 07 ae apt) “em Keep Smilin’ by ine Carubia SWING J = 120 "7 Sm? i ci | ors une su rt 5CHORD REFERENCE CHART ee et A cn? ahah at i Traeks 3/21 SWING J = 104 . oo h Blue notes Blues scale =~ = == =!CHORD REFERENCE CHART Fe) bhai? of ef oT Ene aye (3 yp ig te gy agg [Speman Minor Is Finer by Mike Carubia fa SWING J = 108 7 7 (of a (nord end scale nous === = A 2 54 & + Bb? A ‘Sequence of moasures 1 and 2= = === === af 1 Bhat? peat > MAIS -;, = 4, CHORD REFERENCE CHART ” 7 et Gat g Q” ee a? oat gt) eer gar gyal 67 spe yf oks 5/23 — Baggage Ciaim Blues Sune, J bt 7 i 7 f 5 he Or sh A by Jeff Jarvis i Scale tones (mot) 7 ‘Chord tones Scale BNCHORD REFERENCE CHART ki Cn? ¢? Bh? on? 6? — eb? ih pial rll 97 07 ety hur 67 gy eet) [8 pee Hine be = cb tacks 6/24 Di do fi SWING J = I80 by Jeff Jervis! 7 67 cm? 7 6 bri? On? 67 Con ohh Co? ‘ ad Crit ‘7 8h" 67° Omi? oi) A Pere Ropoat of bar t Extended s0aie= = ~~ = =~ =e een n eat (Chord tones (11) Cn? 7 mi? a On? 67 AA > eee Scalon--neeeneenenent es Root PPS ree Per el ie eee eee tena i k C7 ¢7 Flug #7 : us 2 be 27y 2 dw k 4 hs Sequence of17 and 18 Prog Sabres WN Wane k Cnt ¢7 Cm? ¢7 Ebru? On? 67 \ peop = 3 ee Variation of measures 1-4 == = = =~ =~ == a= anne anne enn n ene, 7 47 cn? 6? Bh 7 om? oi) aad 7 i RD A Chord tones-- = Gar Chord=~ == =~ qeeeeeeee 11 Chord tongs = = = = 4 bo 7 a 7 4 7 c Cm? eh 5 a F 5 i eo Bbw? ora | ya? ‘7 cn? =e? Bh? eb ai? a | “3 > > ! Development of 3 nole moll == === = == an nen ne en nn nnn n nnn e eee ene eee nee nent Jog ieee 6? on? ¢7 Gh cb) hay?a ———————— CHORD REFERENCE CHART - t fn? py) On? Ge ce fal i "30 aE aS och 7128 Isle Of Melon by Jeff Jarvis ROCK J = 120 2 Fai? é PF CHORUS fy, 4 Motif (chord tones) = = = = = == = PT anna ove Veg z Apr ee oe et ae Te Po ‘Soale ionesApes Scala tones. - 57 6 Oni? > 2 oy 32> —~ cy = hee @ 7 > eas > 7 fares: hed = thea stt-s>—~ _f bs 4 ‘ Seale ones #TH CHORUS 7 7 7. — A 7 bea > > 2 2s sche, dp | Chromatic C47 2.2NN aS CHORD REFERENCE CHART at BH On? Dei? Oba? F7 Fra” B57 eins EH Gri? C8 Coit 4 Borat OH! AM? hac 674) eurbl 47 iMG f page ttle 168 et spate 9 1B Bh put i's tpt eo) CD Tracks 8/26 It's From Heaven E SWING J = 132 by Mike Carubic: Bem? Da? — Dba? Cmi7 fe” f oops Lip caoeus —“P 6A» Sy oI, ‘Sonle- = = = Chord tones = 6 Omi? On? Oba? Cm? ¢7 777.7 Repeated motif Gn7 336 2 eh Fat t : | hi 1% sequonce otters 40-41 ==: Soalen «===! Arpe == += . CAT Apnea sca | 80 i 1 Bhi? Omi? rn ¢ | zy ACHORD REFERENCE CHART 7 chu? AY heat Gut 0) Fb tou? hn? Aba? Ges? 07" Feet fa GANS) i obi? Bb bi b b 3 " ae The Moon Is High sy secansiaf SWING J = 136 : i ar sa Soe geet > fat ‘a : : u eae of a Soquence of bars | -da-=== = 00-22 neennnnenne nee nn ens Gries) 7h) : Fone A 2 — be bmw? Gaiths! om) ada fbn? aye ~ cheat & Chchs Arp wh sLN= = =LNa== N= =n neo fb I Sy LE ars “EN (blues foot) -Repoated «= === === ' Sequind’ of bars 49-60 -=s--nennaaweceeees Z [a Como a BN 3S 73%, By | ‘Sequence of bars 49 - 52 down a step to match chords = =~ = = = === == 2 =n = == nee ee eee ene eee 2 Obna? Gnths) — ott) Fra? >‘ [cee | & CHORD REFERENCE CHART 4 a at be she gis bee bs st = =) oat Bue Gus As? ct Gah ' ee ee : CD Tracks 10/28 Bom BD ' 4 swat i.m blue Noie Biues by dative ¢7 ay” ‘7 cn?_ #7 + A 7 3 3 A es £ ip BN Scale tones 7 Repeat of bars | and 2 varied 6b” ¢7 Qious 047 2 rE or Seale tonas Chord tones - = -- -- === --==---=------------- . iH -8 HH 9 Bofnent; chord 67 > ‘7 0+7 2 > eee eee ef a gmt!) 3 > uw Scale ued ° 67) Byeus a, ze a 4g 90 CHORUS 67‘yt idea continued Bbsus [ Hare Lead ito 8 ‘Blesy line (blues eoalo)= === === --=- we a=nn ee snee ene te eee enen eee * gre cHorus ay emt!) Brus 6” ‘7 On? : > esR CHORD REFERENCE CHART ff tn? pad G7 aby chur con? «at Bem) gl ln be bg yg ght st te _ sf | t Sofft! SWING J = 144 y by Jeff rai on? oni ot ait Duis) Get Chord based moti - Motif repoated and vatled= = =~ === === 4 : f Cm” puis) G47 Cn? ons) 647, wn 3 Mot repeated and extended «i= = 2-4-2 eo n= =~ feu RUS CSUs eee eure ee ere eeet ates fi cai? path] a7 Ga? out) gr t : ‘Scale tones === =====-=~=1 CAT 9 Clehs b Ebns? : gor : Eomits) G47 ni? pwr) Im, A 3 wn 5 ons) Gat Omi? > > ‘Now motit oa gH : Cn? ‘B= === 3 BN Root “sw Deity G47 Cmi7 i; : gains) 8 BMA?) «Chord tones = =~ = == BN ee ag teeter leet are < bn? paths) G47 cn? Burl) _ > > 24> as > Scala tones «=== =-~-== + Chord tone 5 Note mot car 21 (47) G47 Cai ACHORD REFERENCE CHART cin etl! 67 — Ci? Bs? bai? «7A g? Fei? BBY aT H 1g spe. itp eg eB pp geo SF id tatts) —7 ait)? ov gill) gh? gah? ce y b gue 18 be the _y the bo tf ui E = = =H K co Tacks 12/90 Pony al ‘ You're The Last One eee SWING J = Idd i ut ont _ 67 2p 5 ‘Double CAT Rapoated 3 Sequence ofmi7-18 —— Scalo~===—— a BS tn? 847 Bbni7 ay AY 1 9 3 cal Foot OAT Abe ovr) =~ 6 Chord tones PT tT 9 2691 “Ahtog Flogcnet aot) Ga? oa) : fn? — ah) hha? > 40AT 3 49 CAT ¢7 2 . be? oye : Eb? Cn, po MR Gthe wee ee PT 6 9 Mpewnnwneneneneet 5 45 CAT Sb Ab Se fnttslo? in 0-7 OFF a er > xn, 2 | | Appin === 9 13 WW 18 07 Fm? pth) 7 > > Clohéa woo ee ‘CAT Crordtonas= + Scale-15~~* Eb? Be ' ptt > nN : 5 1 Scale 189A Annem ene—— au shai a wicsicians: "|, l CHORD REFERENCE CHART nr 84 Gn? cn? 6? BH Be cael al et ot ot of cat et etl go cto Gall ayy ft bt Z J 4 gil ot en oilh ct ath co Bhutle oie. An? 7H oni? ont eh/0 sii/e 647 opal b b b fH bt so X ot Yer Rhythm! : swing = ko by Mike Carubiaf a ae emi? Cn? . 7 By Gai? Cm? ‘7 * 3 3! _S s—# sgh rate 4 * Sequence of m.17- 18= === «==: Bh , Be Co? _a __# a+=4 Gliohé (lear this one).Bh Obe OAT ween nn nnn nent Ap. Cmi7 be Bh be ey be A che A eapeated ond varied 8 Dro Cm? 7 Be 3 NT 2— > abt) Ct ea) 2 ees pete site 674) oat eth >—- an > 4 ct oe ps ecerreasnae Cm? BH 9b Gm? Ob =A A 3 4A An? obi) bad aw ce, eeesc i ae aR CHORD REFERENCE CHART fai? Bhai? 65” tlm? Obes? Ons? 67 Con? On? Ba? €7 eh TA OTH] Gur hn? bl 2m 77 Pht! 67 Ens? O47 ‘Eni? AT 65? Be Guth or) oA) yt) go gs? a p \e rr om ov The Sum Of Your aaa SWING J = 132 vi ed , 7f Jeff Jarvis y =-m- 7 3g WN Chad WN 8 Apne se nao : er et tn? <2 eat Bn? => 7 = — od Gta oailgdlgngs Serene 3 — Petcare eet RE Rt Se Aew. ao are Appx = CAT Aip-==4 \Chordtones 19 49 5 ‘Chromatic chs gee PP PO PAT Chromatic 2-1 A. (lend. 8? 1? 4 —~ 3 Fai? > Bbmi? Ent a’ Apna? Deecccees! Ufpecwceceee S0llgnn-nnn anne> Bb? ar hoy els) gat) i) > > A Line fron scale tones mot ~~ == == ======-==-2 5-4 Bhai? ey” fine Tyson) Ap Oath, sn caccannnccens 10 19 oat a is fa? Bh” Zeta yh” fb? 07 Oh? i" ‘Broken scale. = = = Root car Ap. tt 9 Nt 8SHebasnahiit aie cen ch oni at keel as (CHORD REFERENCE CHART E ct) ent = gt oth tt Rs a a i 2 Ee = 0 Tracks 18/88 . SWING J = 96 This Is Love by Mike Corubia : ot fn6 3L 7h)”Qf a aI CHORD REFERENCE CHART wert ent ae fe? tate eS ut Baha A Aton oc eat, erbehiaeny ett Hebe ee hle ES apbesielt 4 lel te f jell t CD Tracks 16/04 My Glowing Moment by Jett Jor! WING J = 7 ! wat 4 Repeated scale steps $0810 = eee ane nnn nen net 15 CAT Root 5 Cmi?, ‘7 Brus ofa Omit 67 oy Fa? Fr? 8p > (ace ee —— mt Cutt Fal Duitls) g7b4) G47 2 nO so Reo ¢7 G47 > Apna - === =! OAT 55 Apert 19 UN 18 15 fn? Bsus Ctus cant)HRD REFERENCE cHAET CAA és Guts) gh Gl ghs gist) call gyal aint ge 4 2 2 et ait et crt!) ae Bn? 60 pps poh: == 2D Tracks 17/35 cx Sweet Georgia SWING J = 1% ft by Mike Carubia * e:4 Chord tones __ Double CAT Chord iss =a ae ee aneenenno Double CAT 3 Root CAT 7--=-~-- 2m- or * Bi A FY ra A 2 > y a 5 Mott repeated 3 limes «.-—--=-=------n01 Seale uw Gliché === == =="iS P 7 CHORUS a EEE lh | aio arqurces Ht D apsttl ie 2 : : } ooo molt ——=0 Vispased ee roe ose eees tythmi mot repeatod Seelam wa non nem car(CHORD REFERENCE CHART Gal C9 eer abet ant of Gut ch teat aha? Ter ott cur a ont f p 4 U es i ol ot p47 cat fe Bats! Ani? eat oT) ent aie iG en? ca? ‘ed =3 $e bh ag Is Nobody For Me symecansial beg: oP rE 2 Tracks 18/36 xm SWING J = 164 =: Gel om) fu Bh)? 8 3 ’ 2 = Melodic moti chord tones. Gn? Cr 4 Ena?an? Abt Gat wel ed ps Ir, > In, A ft Gpedtones wn ennenennene sggeeencreeercneneen as 19 ovonus 4) ltl) 99 ¢ Fou? ey Am? 0 : Gul ee be oy che BS (tend tw 30109 oho Bb? i 3 3 Dinscale. == == gees #5 8 eee oto a 7 f 4 7s) Cw? ts Omni G4 Col yo 0 bay Sequence ofm. 50. ==.Ne ee CHORD REFERENCE CHART ont on? 07 97 #7 Bhar Bhu? an? & A? G7 OM ga eA pr a? gpl 130 Hacks 19/87 | Got Rid Of 'Em by Jeff Jarvis 97 Ga? ce? SWING J = 106 6% om? Ga? 07 a bss al lel ale PS ee ew. a at ee. a.Show, Bay An? = Oni? om? 07 F A fT,About the Composers Mike Carubia ‘Mike received his Bachelor of Arts from C.W. Post College and his Masters degree in Theory and Composition from the University of Miami, Coral Gables, Florida, in addition to post graduate work at the Eastman Arrangers Workshop in 1970. He studied arrang- ing privately with Manny Albam and Ray Starling. Mike has been a professional musician since age 15 and has ‘been involved in all aspects of the music business. He taught at East Meadow High School (NY) for 8 years, then spent 3 years as Director of Jazz Studies at the University of Bridgeport in Connecticut. For the past 15 years, Mike has been the jazz ensemble director and theory instructor at Ward Melville High Schoo} (NY). As a performer, Mike has played on six national telethons, recorded over 50 CD's of industrial and sports library music, numerous commercials, 4 jazz albums and several pop and contemporary recordings. He has performed with Tony Bennett, Vic Damone, Englebert ‘Humperdinck, Sammy Davis Jr, Jerry Vale, Lena Home, Maxine Sulivan, and Frank Sinatra Jr. Carubia played five years with the Gerry Muligan Concert Jazz. Band, completing a five week World Tour and a two week jazz cruise in the 1980's. His credits as a substitute trumpet player on Broadway numbers 25 different shows including: Sugar Babies, Les Miserables, 42nd Street, Starlight Express, Sweet Charity, The Wiz, Fosse, Chicago and Saturday Night Fever. Mike has been a regular substitute for the Village Vanguard Orchestra for the past 22 years. Asa composer and arranger Mike has written and recorded over 130 original pieces of music for Omni ‘Music, a music source for television and radio, He has also published over 75 jazz ensemble arrange- ments or compositions plus 3 books on improvisation. Mike played professional baseball for the Baltimore Orioles and the Los Angeles Angels after high school. He made the major league roster as a pitcher for the Angels, but an arm injury forced retire- ment from the sport. 38 er S- ncor ocr wee 2. 2 a- 2 ~ e EFQ Asa studio trumpeter in Philadelphia, Nashville, Los Angeles, Jeff Jarvis | ‘Amherst Records artist, Joff Jarvis has distinguished himself as a multi-faceted music industry profes- sional. His solo recordings as a jazz. trumpeter and composer have placed high on national aizplay charts and have won him critical acclaim, ‘Asa younger player, Jeff won a scholarship to Valley Forge Military Academy, where he performed for US. President Richard Nixon, U.S. Army General William Westmoreland, Mamie Eisenhower, Princess ‘Anne of Great Britain, and many other prominent figures. At the age of sixteen, Jeff performed on a (CBS recording of Tschaikowsky’s “1812 Overture” with the Valley Forge Military Academy Band, the ‘Mormon Tabernacle Choir, and the Philadelphia Orchestra under the direction of Eugene Ormandy, ‘and Denver, Jeff has recorded for Lou Rawls, MFSB, The O'lays, Teddy Pendergrass, Spanky & Our Gang, Archie Bell & The Drells, Melba Moor, Michael Jackson, Spirit, Melissa Manchester, Crystal Gayle, Ronnie Milsap, Harold Melvin & The Bluenotes, and Jeait Caine. His live performance credits include Dizzy Gillespie, Louie Bellson, Joe Williams, Henry Mancini, James Moody, Slide Hampton, Jimmie Heath, Joe Lovano, Kevin Mahogany, Grady Tate, Doc Severinsen, Mel Lewis, Bruce Johnstone, Bob Mintzer, Dave Koz, Jerry Vale, Benny Golson, Al Martino, Rob McConnell, Frank Sinatra Jr,,and Bob Hope. . Jeffhas over 150 published jazz works to his credit, ranging from educational to professional level, and is frequently com- missioned to compose for school, military and professional musical groups. He is a contributing editor for The Instrumentalist, and writes for other music trade journals such as Flute Tae, Band & Orchestra Produit News, and Jazz Educators Journal. addition to Effective Etudes For Jazz, Jeff co-authored the Jazz Educator’s Handbook with Doug Beach, and a jazz piano book ~ with Matt Harris entitled The Chord Voicing Handbook. z Asa Yamaha trumpet artist-clinician, Jeff has performed, conducted, and lectured throughout the United States, Canada, Europe, Australia and Indonesia. He has been featured with the USAF Airmen ‘of Note, Syracuse Symphony Orchestra, Dallas Jazz Orchestra, Jazz Knights of the U.S. Military Academy Band at West Point, Riverside Jazz Orchestra, Oslo Big Band (Norway), U.S. Army Blues, Buffalo Philharmonic Orchestra, Frank Mantooth Jazz Orchestra, Denver Symphony Orchestra, and the USAF Shades f Blue. Jeff arvis is the musical director of the Central New. York Jazz Orchestra, and has served as Vice- President of the International Association of Jazz Educators. During his tenure on the IAJE Executive Board, Jeff coordinated and developed the curricula for the first LAJE Teacher Training Institute. He serves on the adjunct faculty at the University of the Arts in Philadelphia. He is listed in the reference volumes, Who's Who In Entertainment, Who's Who Among Rising Young Americans, Who's Who In American Business, and the International Book Of Honor: Jeff Jarvis is CEO of Kendor Music, the first educational publisher to provide jazz charts written espe- ‘cially for studentsAbout the Soloist Rich Chiaraluce attended the United States Navy School of Music in Norfolk, Virginia then spent his tour of military duty as a saxophone/woodwind player in the NORAD Band in Colorado Springs, Colorado. After graduating from the University of Northern Colorado, Rich has performed with jazz greats Herb Ellis, Red Rodney, Nancy Wilson, Tony Bennett, anc! the Woody Herman Orchestra. Rich toured extensively with the Tommy Dorsey Orchestra under the direction of Buddy Morrow. At home, Rich performs regularly with the Colorado Symphony Orchestra, and for numerous touring musicals. Chiaraluce has recorded twice as a leader on releases entitled "Because I Love You" and “Live At u Sherman's Coffee House", cz: ce fe a r * About the Rhythm Section # Dave Hanson is an accomplished pianist, composer, arranger, and jazz educator. He teaches in the Jazz fi and Commercial Music Department at the Lamont School of Music, and has created orchestral arrange- ments for Paul Winter, Marvin Stamm, Nelson Rangell, that have been performed by the Boston Pops, National Repertory Orchestra, as well as the Pittsburg, St. Louis, Houston, New Jersey, San Antonio, Fort Worth, Indianapolis, Utah, Colorado, Atlanta, Minnesota, Ukrainian and Colorado Springs Symphony Orchestras. Much of his big band music is published by Kendor Music. 2x Ron Bland has been a:professional bassist for thirty years, playing virtually all styles of music in every setting from concert hall to theatre to the recording studio. At home on both the electric and double basses, he has performed with Dizzy Gillespie, George Benson, Eddie Daniels, Billy Taylor, Diane ‘Schuur, Bill Watrous, Doc Severinson, Luciano Pavarotti, Rita Moreno, Marvin Hamlisch, Linda Ronstadt, Yes, Maureen McGovern, Rosemary Clooney and Billy Crystal. Sr Mike Marlier is the Director of Drum Set Studies at the Lamont School of Music at the University of Denver. He is also the music coordinator for the Cleo Parker Robinson Dance Ensemble, the staff drummer at the Heritage Christian Center, and plays and records with Dotsero, Nelson Rangel, and a host of other national artists, Rhythm section and solo tracks (except trumpet) recorded at Rocky Mountain Recorders, Denver CO. Engineers: Paul Vastola, and Michael Pfeifer ‘Trumpet tracks, mixing, and mastering done at DMS Productions, Ransomwville NY. Engineer: Dave St. ‘Onge PLP LEE ors rs 20801