N E W S L E T T E R

C o m m u N i T y E m b R a C E S

T h E m E o f C o m m u N i T yf E S T i V a L E m b R a C E S

S u m m E R 2 012

brubeckinstitute.org

“Using music as a ‘stepping stone,‘ it is possible to reach out to communities whose ethnic backgrounds and cultures may be different from ours. Just as musicians in a group must listen carefully to each other and respond to each other’s ideas in order to create something new, so we must learn to listen to other voices and together build a more harmonious society.” —

Dave Brubeck, Introduction to the 2012 Brubeck Festival

The 2012 Brubeck Festival brought four days of jazz, scholarship and community to Stockton, a reflection of namesake Dave Brubeck’s commitment to the transcendent power of music to unite people. This year’s festival featured performers from around the nation who have created and sustained a culture of jazz music in the communities where they live.

In keeping with the festival’s theme, performances took place in the heart of Stockton, including the University of the Pacific campus. World-renowned drummer Lewis Nash opened the festival at the Take 5 jazz club at the Valley Brewing Company. He showcased his remarkable range as he performed with local talent that included Joe Mazzaferro, trumpeter and jazz studies instructor at University of the Pacific, and alto saxophonist Patrick Langham, director of jazz studies at the Pacific. Nash’s ensemble also included Brubeck Fellows Alec Watson, piano, and Bill Vonderhaar, bass.

Nash also visited the campus to work with the Brubeck Institute Jazz Quintet and the University of the Pacific’s Jazz Ensemble. His mentorship resulted in collaborations with both ensembles at the festival’s second main event, held in Faye Spanos Concert Hall.

Events continued at the Take 5 jazz club, where heralded St. Louis tenor saxophone master Willie Akins presided with his quartet. Akins’ bold but subtle tone interplayed with the work of percussionist Montez Coleman, veteran bassist Willem Von Hombracht and pianist and Brubeck Institute Executive Director Simon Rowe. Akins was joined by Minneapolis Songstress Debbie Duncan. It was the first time the two regional masters were on stage together.

A forum on Dave and Iola Brubeck’s musical The Real Ambassadors was also part of the festivities. (See story on page 2.) The festival concluded with Grammy Award-winning artist and pianist Danilo Pérez, who entertained an enthusiastic crowd with bold stylings of works by American and Panamanian composers.

The Brubeck Institute brought live jazz to the Stockton community this year with the inauguration of the Take 5 jazz club at the Valley Brewing Company, giving local music aficionados the chance to enjoy some of the finest sounds since Dave Brubeck put Stockton on the jazz map.

The 17- concert Thursday night series ran from February until May. On Tuesday evenings, an open jam session featuring the Brubeck Institute Jazz Quintet welcomed students from local high schools and universities to the stage.

The inauguration of the Take 5 jazz club and music series moved the Brubeck Institute closer to several ambitious goals: creating a world-

class jazz venue in Stockton; showcasing regional and national artists; and nurturing the talents of musicians of all ages in the community.

Jazz icons such as drummer Lewis Nash, saxophonist Willie Akins and singer Debbie Duncan, along with Pacific’s award-winning Brubeck Institute Jazz Quintet, were among the featured artists of the series. The talents of the Simon Rowe Quartet and the Patrick Langham Group were also showcased.

“Judging from the comments, turnout and enthusiasm, the first season at Take 5 was an overwhelming success,” said Brubeck Institute Executive Director Simon Rowe. “We look forward to continuing to advance Dave Brubeck’s message of building

communities through music with this unique collaboration.”

In June, Take 5 began to host a series of summer performances. A full schedule will resume in the fall.

Featured Brubeck Festival artist Willie Akins, saxophone, plays a late night show at Take 5 with Simon Rowe, piano, Willem von Hombracht, bass, and Montez Coleman, drums.

TA k e 5

The Danilo Pérez Trio performs at the Brubeck Festival, Stockton, March 2012.

In the late 1950s, Dave and Iola Brubeck began to write a jazz musical that used wit and satire to point out the absurdity of segregation. They called on their recent experiences from a U.S. State Department tour abroad and tours of the American South. The Real Ambassadors was recorded in 1961, and the Brubecks hoped eventually to take it to Broadway. They presented a shortened version with music and narration at the 1962 Monterey Jazz Festival with the legendary Louis Armstrong as the lead.

The Real Ambassadors was never performed live again. However, in celebration of the 50th anniversary of the Monterey performance, the Brubeck Collection will be featured among three major projects at the 2012 Monterey Jazz Festival held September 21–23.

The Real Ambassadors exhibit will be hosted at the Coffee House Gallery throughout the festival and will offer photos, musical scores, audio and video documenting the 1962 event as well as video of a 2002 reprise of the production.

The festival will also feature the symposium “Reflections on The Real Ambassadors” with Yolande Bavan, a performer in the 1962 production;

Dave Brubeck worked with Jon Hendricks (left) of Lambert,

Hendricks, and Ross, and Louis Armstrong (right) to record

The Real Ambassadors in 1961. A year later, the Brubecks brought

the jazz musical to life at the Monterey Jazz Festival.

Historic photos courtesy of the Brubeck Collection, University of the Pacific Library

S u m m E R 2 012 • brubeckinstitute.org

T h E R E a L a m b a S S a d o R S : W h E R E W E R E y o u i N ’6 2 ?C E L E b R a T i N g T h E 5 0 T h a N N i V E R S a R y o f

N E W S m a k E R Sb R u b E C k f E L L o W a L u m N u S

fa b i a N a L m a Z a N Fabian Almazan, one of the first five Brubeck Fellows from the inaugural 2002–03 class, continues to make headlines for his musical and artistic creativity. In October 2011, Almazan released his first album, Personalities, on Biophilia/Palmetto Records. The CD — a unique combination of his own music, arrangements of works of Cuban composers, and an arrangement of String Quartet No. 10 by Shostakovich involving trio and string quartet — has garnered exceptionally positive reviews.

Almazan was born in Cuba and lived in Mexico before settling in Miami as a young boy. His musical influences reflect this early path, as well as his study at the New World School of the Arts in Miami, at the Brubeck Institute with Mark Levine and Christian McBride, and at the Manhattan School of Music with Kenny Barron and Jason Moran. He has toured internationally and recorded with Terence Blanchard, who has not only influenced his development as a performer but as a composer, especially of film music.

In September 2001, Almazan worked with Blanchard and George Lucas on the recording of the score for Lucas’ film Red Tails. In October, he attended the Sundance Composers Lab and worked with film composers Harry Gregson-Williams, Alan Silvestri and others.

The 2011–12 Brubeck Institute Jazz Quintet brought its own unique ensemble sound and the legacy of Dave Brubeck to venues both near and far this past year. In addition to performing in local high schools and regional venues in Sacramento, Davis, Modesto and San Francisco, three spring semester tours took the ensemble to Portland, Santa Barbara and Washington, D.C. The tours allowed the quintet to reach out to young aspiring musicians as well as to demonstrate their exceptional performance ability.

The Portland tour coincided with the Portland Jazz Festival, where the quintet was the featured college group at Portland State University. Institute honorary board member and award-winning jazz journalist Doug Ramsey, who blogs about the Portland Jazz Festival in his Rifftides, reported that the quintet’s playing contained “the odd mixture of wildness and self-discipline required to make unstructured music succeed,” as well as “outrageous and enthusiastic chance-taking.”

Ricky Riccardi, archivist of the Louis Armstrong House Museum in New York City; and Keith Hatschek of the Pacific Conservatory of Music. Jazz historian and author Bill Minor will moderate the panel discussion. Hatschek will also be working with Pacific history students to record oral histories from attendees at the festival who remember the 1962 performance. These recollections will be added to the special collections at the University of the Pacific Library.

To see more about the Brubeck Collection, or if you were there in ’62, visit: GO.PACIFIC.EDU/SPECIALCOLLECTIONS.

The BIJQ performs in Lincoln Hall at Portland State University as part of the

Portland Jazz Festival.

To u R S P RoV i d E o P P o R T u N i T i E S T o E x C E L a N d i N S P i R E

In 2003, the University of the Pacific, led by President Donald V. DeRosa (right of the Brubecks) and the city of Stockton, worked together to rename Stadium Drive to Dave

Brubeck Way as a tribute for one of Pacific’s most famous alumnus. Dave graduated in

1942 and his wife Iola in 1945. Historic photos courtesy of the Brubeck Collection,

University of the Pacific Library

Greetings!As outstanding high school jazz musicians from around the country prepare for a week of Brubeck-inspired learning at our 2012 Summer Jazz Colony, I am once again immersed in our unique mission, building programs that reflect

the remarkable careers of Dave and Iola Brubeck. Still in my first year, I am proud of new initiatives such as the Take 5 jazz club — a ground-breaking public private partnership — and the growing alliance with the City of Stockton with our annual Brubeck Festival. Held March 20–24, 2013, this year’s festival will feature special guest Wynton Marsalis with the Jazz at Lincoln Center Orchestra. I am also proud to announce a new degree program we will be offering Brubeck Fellowship students, a reflection of our steadfast commitment to excellence. During the last decade, the Brubeck Fellows Jazz Program has established itself as a national leader by attracting the country’s best high school graduate jazz musicians and mentoring them for distinction in performance and musicianship. Beginning this fall, they will enroll in an accelerated three-year degree program leading to Bachelor of Arts in Jazz Studies-Brubeck Track from University of the Pacific. Until now, fellows earned a certificate for one or two years of residency at the Institute. To conceive and build these initiatives and future programs, it is essential to create strong partnerships around our Institute communities. So I invite you to join us, with your participation and support, as we further our work in jazz, music, the arts, education, entrepreneurship and culture — the life’s work of Dave and Iola Brubeck.

m E S S a g E f R o m T h E E x E C u T i V E d i R E C T o R

The Brubeck Institute is known for offering students hands-on, experiential learning that prepares them for future high-level artistic success. This, among other best practices, is what makes the institute one of the most important jazz training centers in the country for college-aged students.

In late March, the five members of Pacific’s award-winning Brubeck Institute Jazz Quintet (BIJQ) received an up-close-and-personal lesson in the power of experiential training. As BIJQ members practiced for that night’s Brubeck Festival performance, famed jazz drummer Lewis Nash entered the room to mentor the young musicians.

Nash, named in 2009 as jazz’s most valuable player by Modern Drummer magazine, has played with Diana Krall, Betty Carter and Wynton Marsalis, among other musical legends. After hearing the BIJQ run through a few songs from its powerful new album, Origins, Nash jumped right in and suggested that they consider varying song introductions, experimenting with tempos and solos.

“You always want to find ways to mix things up to keep it fresh,” he said. “Don’t be afraid to take chances.”

Nash then asked the quintet if he could sit in, and BIJQ drummer Malachi Whitson turned his kit over to the master. “Malachi,” Nash gently admonished as he gripped his student’s drumsticks, “you need better sticks. I know they’re expensive, but you need the right equipment if you’re going to be a musician.”

As Nash began drumming, his precision timing, passion and light touch elevated everyone’s playing.

That night, the Brubeck Institute Jazz Quintet, with Nash presiding on a few numbers, took it to the next level during its well-received performance in Faye Spanos Concert Hall.

Whitson said he felt mixed emotions. “Man, I should quit now. He’s incredible,” he said of Nash. “But he’s also inspired me to play harder and get better. I learned a lot just by watching and listening to him.”

A few hours later, Nash gifted a pair of his own drumsticks and brushes to Whitson. “These are for you,” he said. “I know you’ll put them to good use.”

a C o N V E R S a T i o N W i T hb R u b E C k f E L L o W T R E E Pa L m E d o

f R o m T h E C L a S S R o o m

brubeckinstitute.org • S u m m E R 2 012

Trumpet player Tree Palmedo just completed the 2011–12 year as a Brubeck Fellow. A graduate of Oregon Episcopal School in Portland, Tree will head east this fall to begin a five-year program leading to a bachelor degree at Harvard College and a Masters of Music at the New England Conservatory.

about his year with the brubeck institute: T R E E : “I think I’ve definitely grown in a way in which I’ve better defined who I want to be, musically and compositionally. My playing has gotten stronger, but especially my compositions. This program offers an opportunity to really discover yourself, because you have a lot of personal time to practice and work on things, and a lot of opportunities to write your own music.”

about performing with the brubeck institute Jazz Quintet:T R E E : “It’s been awesome. I couldn’t ask for a better group to play with. The challenge has been in trying to find my place, what role I fill, that nobody else in the band can fill. I just try to figure out how to

incorporate my voice into the general voice of the ensemble. We definitely have a group sound, but we also have five very individual sounds.”

about leading jam sessions at Take 5:TREE: “Definitely it’s been a learning experience, especially when the younger kids come up, and they don’t know any jazz songs. It’s been tough to figure out what we’re going to play in order to make them feel comfortable. And I feel that’s definitely our role, to make everyone that comes up to play feel comfortable and to have a good time.“

on how he invested his time during the past year:T R E E : “There is so much ‘weight lifting’ to do every day, so I spend at least an hour a day just practicing technical stuff on trumpet. Then I have composing time… it usually happens when I have some sort of inspiration. Then also I listen to a lot of music and absorb it. I also have what I consider productive personal time where I’m reading books, walking, exposing myself to movies, and building myself personally.

about building on dave brubeck’s legacy:TREE: “Dave played a lot of schools and colleges. A big part of his mission is impacting the next generation and exposing as many young people to this music as possible. So I feel that when we do that, we’re definitely playing a big part in carrying out [the Institute’s] mission. I, as well as many others, tried out for the Fellow-ship because of the high level of musicianship we knew was here, but we weren’t really thinking about Dave Brubeck. Learning about him has been a really good experience. There’s so much to his life, there’s so much to his music.”

T o T h E S T a g E

h o N o R a R y b o a R d

The Brubeck Institute would like to thank its Honorary Board members for their generosity and service to the Institute:

herb alpertdavid N. baker, Jr.James R. bancroftdavid benoitdave brubeck ’42ken burnsdonald V. deRosaClint EastwoodClive gillinsonRalph guild ’50Tom hallTim Jacksonal JarreauQuincy d. Jones Jr.Cleo LaineNorman m. LearLarry Leasure ’63dennis a. LeVett ’61Ramsey E. Lewis, Jr.george Lucasyo-yo maWynton marsalisChristian mcbridemarian mcPartlanddoug RamseyLarry Rosenhedrick Smitha. Earle Weatherwaxgeorge T. Weingordon Zuckerman

ambaSSadoRS The Brubeck Institute thanks its volunteer group of Ambassadors for their ongoing support:

Shirley dozierPatty fensterwald ‘48Carole gilbertsonmarlene hnathStuart JacobsLouise kassRon kassgail kautz ‘58Larry Leasure ‘63Scott Liggett ‘71Tommie PardueJean Purnell ‘02marion SachsPaul SachsCarol SimsTasha Stadtner ‘42Stephanie Stevensondenny Stilwell ‘88

Lewis Nash, performing at the Brubeck Festival, March 2012.To u R S P RoV i d E o P P o R T u N i T i E S

T o E x C E L a N d i N S P i R E

• Partially tax-free, lifetime payments• A charitable income tax deduction• Capital gains tax savings on gift

of securities

1-Life Annuity Rates*

Age 65........4.7%

Age 70........5.1%

Age 80........6.8%

Age 90........9.0%

*Two-life rates are lower

Estate and Gift Planning3601 Pacific Avenue, Stockton, CA 95211Pacificpg.org | 209.946.2501 | thurley1@pacific.edu

With a Gift that PAYS YOU!The University of the Pacific Charitable Gift Annuity

Support the Brubeck Institute

university of the Pacific3601 Pacific avenue Stockton, Ca 95211

S T a f fSimon Rowe, Executive director

Nick fryer, associate director

Joe gilman, artist in Residence

melissa Riley, administrative assistant

Nathan davis, Executive director for development

The brubeck institute university of the Pacific 3601 Pacific avenue Stockton, Ca 95211

209.946.3196

facebook.com/ brubeckinstitute

brubeckinstitute.org

Non-ProfitOrganizationUS Postage

PaidStockton, CA

Permit No. 363

N E W S L E T T E R

S C h o L a R S h i P E S T a b L i S h E d T o h o N o Rm i C h a E L b R u b E C k

The Brubeck Institute has established a scholarship to honor Michael Brubeck, Iola and Dave Brubeck’s son who died unexpectedly of a heart attack in 2009 at age 60. Because of Michael Brubeck’s close relationship with saxophone great Paul Desmond and his love for the instrument, the endowed scholarship will be awarded to a saxophonist studying at the institute. The scholarship was funded by University of the Pacific President Emeritus and Brubeck Institute Advisory Board member Donald V. DeRosa, his wife Karen, and the Brubeck Ambassadors. The Brubeck Institute came into being during DeRosa’s presidency.

“The Ambassadors are honored and proud to have done this, especially considering how much this particular scholarship means to the Brubeck family,” said Brubeck Ambassador Chair Stephanie Stevenson, who, along with her partner Stu Jacobs, is a longtime institute supporter. “All the Ambassadors have a deep commitment to the success of the Institute. Our goal is to fully endow all of the Brubeck Fellowships.”

bi SummER JaZZ CoLoNy SC hoL aRSh iP

The Brubeck Institute is pleased to announce a scholarship program for students participating in the Annual Summer Jazz Colony held each August. Help underwrite a scholarship to support this program and fulfill the dreams of gifted young musicians.

Your gift of $75,000 establishes a named endowment for a full scholarship, awarded to a different student each summer, in perpetuity. Your gift of $25,000 will support a named partial scholarship for a talented student. Your gift of $3,000 or more will fund a scholarship for a Colonist for one summer.

To establish a Summer Jazz Colony scholarship, contact Nathan Davis, Executive Director of Development for the Brubeck Institute, at 209.946.2502 or ndavis@pacific.edu.

ColonyJazzThe nationally renowned Brubeck Institute Summer Jazz Colony, which draws the strongest high school jazz musicians from across the country to University of the Pacific, will take place August 4–11.

Noted for its mentoring approach to developing musical talent, the 11-year-old program offers hands-on training to 18 colonists who perform in small ensembles under the tutelage of visiting master artists. This year’s colony will feature composer and vibraphonist Stefon Harris, the Willie Akins Quartet with renowned percussionist Montez Coleman and regional jazz leaders such as trombonist Wayne Wallace, saxophonist Patrick Langham, percussionist Brian Kendrick and trumpeter Joe Mazzaferro. Pianist Joe Gilman will preside as artistic director.

Find out more about the Summer Jazz Colony and this year’s free concerts: GO.PACIFIC.EDU/SUMMERJAzz

ummert o f e a t u r e t o p a r t i s t – M e n t o r s

“WE hopE This WiLL inspiRE oThER gif Ts. ThE BRuBEck insTiTuTE has addEd To ThE disTinc TivEnEss of pacific and aLso gRE aTLy To ThE com muniT y and ciT y of sTock Ton.”

— pREsidEnT EmERiTus donaLd v. deRosa

b i W E L C o m E S NEW aSSoCiaTE

d i R E C T o R

Nicholas Fryer joins the Institute from Minnesota State University Moorhead where he coordinated the guitar program, directed jazz combos and the jazz guitar ensemble and

taught jazz history and improvisation. Fryer will assist with programming and teach at the University and the Institute. “We are thrilled to welcome Nick to our Brubeck team as an artist, educator and music industry professional,” said Institute Executive Director Simon Rowe.