October 2011 Percussion News - Percussive Arts Society
October 2011 Percussion News - Percussive Arts Society
October 2011 Percussion News - Percussive Arts Society
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percussion newsOCTOBER<br />
The newsletter of the PERCUSSIVE ARTS SOCIETY<br />
<strong>2011</strong><br />
IN THIS ISSUE:<br />
<strong>Society</strong> Update 3<br />
People and Places 4<br />
In Memoriam:<br />
David Searcy 5<br />
Summer Camps and<br />
Festivals 16<br />
PASIC Posters 22<br />
<strong>2011</strong> Drum Corps<br />
International World<br />
Championships 24<br />
In Memoriam:<br />
Marty Hurley 27<br />
Industry <strong>News</strong> 28<br />
Classifieds 35<br />
NON PROFIT ORG.<br />
U.S. POSTAGE PAID<br />
PONTIAC IL<br />
PERMIT NO. 19<br />
PASIC After Dark<br />
Evening concerts will keep Indy grooving<br />
In less than 60 days, the Indiana Convention Center and Westin Hotel–Indianapolis<br />
will be bustling with the sounds of percussionists and<br />
drummers from around the world—all celebrating the 50 th Anniversary<br />
of the <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong> and enjoying the special offerings of PA-<br />
SIC <strong>2011</strong>. As always, this year’s PASIC will present spectacular concerts<br />
every evening that are sure to intrigue the ears of every attendee.<br />
WEDNESDAY EVENING (Nov. 9)<br />
The star-studded concert presented by the New Music/Research Committee<br />
will feature the best performers of a generation of percussionists focused on<br />
the creation and performance of new music. This retrospective of important works<br />
of recent years will include compositions by Iannis Xenakis, Brian Ferneyhough, David Lang,<br />
Michael Gordon, and Julia Wolfe, and a tribute to Chinese composers Qu Xiao-song, Tan Dun, and Guo Wen-Jing. Performers<br />
will include Steven Schick, <strong>Percussion</strong> Group Cincinnati, Douglas Perkins, So <strong>Percussion</strong> and Mantra <strong>Percussion</strong>.<br />
THURSDAY EVENING (Nov. 10)<br />
PASIC <strong>2011</strong> will present the world premiere of “Concerto No. 2 for <strong>Percussion</strong> Section, Timpani and Orchestra” by Joseph<br />
Schwantner, in the making since 2006 and specifically written for the <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong>’s 50 th Anniversary. Schwantner,<br />
considered one of the greatest living American composers, has created a concerto that includes a large, varied collection of<br />
percussion instruments including waterphone, stainless steel mixing bowls, Tibetan singing bowls, brake drums, rainsticks, and<br />
amplified marimba. The Schwantner piece will be premiered in the beautiful Hilbert Circle Theater by the Indianapolis Symphony<br />
Orchestra, conducted by Hans Graf. General admission tickets are free to PASIC attendees; however, there are limited<br />
seats available and only one ticket is allowed per registration. Make sure you have registered for PASIC <strong>2011</strong> and then e-mail<br />
tickets@pas.org to reserve your seat for this world-premiere event. Don’t miss Joseph Schwantner’s discussion about the premiere<br />
at 4:00 p.m. on Thursday.<br />
FRIDAY EVENING (Nov. 11)<br />
On Friday night, PASIC <strong>2011</strong> presents a show for the ages as the U.S. Army Blues Band, featuring Steve Fidyk, takes the<br />
stage for a night of jazz. Celebrating its 39 th year and widely considered the best working big band in the country, the U.S.<br />
Army Blues Band will welcome to the stage guest drummers Keith Carlock, Peter Erskine, Simon Phillips, John Riley, Ed Soph,<br />
and Emil Richards (vibes) to share the spotlight with Fidyk. Expect a high-energy show with top-rated playing from the finest<br />
musicians in the nation.<br />
SATURDAY EVENING (Nov. 12)<br />
Saturday brings PASIC <strong>2011</strong> to a close with a huge birthday party for PAS. The celebration begins with the incomparable<br />
Grammy-award winning Poncho Sanchez and his Latin Jazz Band. Poncho last performed in Indianapolis for the 2009 Indy<br />
Jazz Fest and received rave reviews. His show is known to spark an “instant party,” which is exactly what will be happening<br />
Saturday night as we celebrate 50 years of the <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong>. A cash bar will be available during the concert, and the<br />
back room will be opened immediately following Poncho’s performance for an after-concert hang with more live music. Come<br />
out for the late-night hang with some of the best percussionists and drummers in the world.
OCTOBER <strong>2011</strong> 2 percussion newS<br />
www.pas.org
SOCIETY UPDATE<br />
By MICHAEL KENYON<br />
2012–13 Board of Directors Election<br />
The <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong> will hold its<br />
election for the 2012–13 Board of Directors<br />
term throughout the month of <strong>October</strong>. We<br />
are honored to present to the membership<br />
this outstanding slate of candidates who<br />
are willing to serve in this vital leadership<br />
role. Your role as a member is to cast your<br />
vote for those individuals you feel will best<br />
provide the vision and leadership to successfully<br />
lead our organization into the future.<br />
All current PAS members with active e-mail<br />
accounts will be able to vote through our<br />
online election. An e-mail invitation will arrive<br />
soon with all the information needed to<br />
complete your vote online. Information on<br />
all of the candidates and a ballot are available<br />
in the back of this issue for those who<br />
would like to cast a paper ballot. The election<br />
will conclude on <strong>October</strong> 31, and any mailed<br />
or faxed ballots must be received in the office<br />
at that time.<br />
2012 PAS Hall of Fame Nominations<br />
Nominations for the PAS Hall of Fame<br />
2012 Inductees will be accepted through<br />
September 30. To review the entire list of<br />
Hall of Fame members and how to submit<br />
a nomination visit the PAS website at www.<br />
pas.org/experience/halloffame.aspx.<br />
Rhythm! Celebrates PAS 50 th<br />
Anniversary<br />
Be sure to schedule some time to visit<br />
Rhythm! as you plan your convention schedule.<br />
In celebration of the PAS 50 th Anniversary,<br />
the central plaza will feature an exhibit<br />
on the history of PAS and Gallery I will<br />
feature a new exhibit, Instrument Origins:<br />
Wood Skin Metal, that is highly interactive<br />
and displays some beautiful instruments not<br />
previously on display.<br />
For <strong>2011</strong>, the PASIC Listening Lab will<br />
be held in the Rhythm! Reading Room all<br />
day Thursday through Saturday, and the Research<br />
Poster Presentations will also be on<br />
display just outside the Reading Room.<br />
A special display in the Reading Room<br />
this year will be two Gladstone Snare drums,<br />
serial numbers 0 and 1, as well as other<br />
unique pieces you will not want to miss.<br />
Rhythm! Discovery Center hours during<br />
PASIC will be 9:00 a.m.. – 7:00 p.m.<br />
Wednesday–Saturday, and 9:00 a.m. – 5:00<br />
p.m. on Sunday. w<br />
scholarship/<br />
assistantship news<br />
& Summer Workshops<br />
The December & February issues<br />
of <strong>Percussion</strong> <strong>News</strong> will include a<br />
listing of Scholarship/<br />
Assistantship <strong>News</strong>.<br />
The February and April issues of<br />
<strong>Percussion</strong> <strong>News</strong> will include a<br />
listing of Summer Workshops.<br />
Deadlines<br />
December: <strong>October</strong> 15<br />
February issue: December 15<br />
April issue: February 15<br />
Send information to PAS<br />
110 W. Washington Street, Suite A<br />
Indianapolis, IN 46204<br />
E-mail: publications@pas.org<br />
<strong>Percussion</strong> <strong>News</strong> Staff: Rick Mattingly, Editor • Hillary Henry, Art Director<br />
The <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong> ® (PAS ® ) is a music service organization promoting percussion education, research, performance and appreciation throughout the world. <strong>Percussion</strong> <strong>News</strong><br />
is published six times a year: February, April, June, August, <strong>October</strong> and December by the <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong>. Correspondence regarding change of address, membership,<br />
other business matters of the <strong>Society</strong>, and editorial and advertising material should be sent to: <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong>, 110 W. Washington Street, Suite A, Indianapolis, IN<br />
46204; telephone: (317) 974-4488; fax (317) 974-4499; e-mail: percarts@pas.org. • POSTMASTER: Send address changes to: <strong>Percussion</strong> <strong>News</strong>, 110 W. Washington Street,<br />
Suite A, Indianapolis, IN 46204. • COPYRIGHT © <strong>2011</strong> by the <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong>. Reproduction of any part of this publication without permission from PAS is prohibited<br />
by law. • Printed in the USA by Johnson Press of America, Pontiac, Illinois.<br />
www.pas.org<br />
percussiON nEWS 3 OCTOBER <strong>2011</strong>
people and places<br />
AUSTRALIA<br />
Optimum <strong>Percussion</strong> (Carolyn Watson,<br />
Eisteddfod Coordinator) presented the<br />
12th Annual Australian <strong>Percussion</strong> Eisteddfod<br />
on August 27–28 in Sydney. Adjudicators and<br />
clinicians included James Campbell (University<br />
of Kentucky), Gray France (Australian National<br />
University, PAS Australia Chapter President),<br />
Sergei Golovko (Melbourne <strong>Percussion</strong><br />
Ensemble School and Marimba Academy), and<br />
Allan Watson (Australian Opera and Ballet<br />
Orchestra). Each year, Optimum <strong>Percussion</strong><br />
holds the Australian <strong>Percussion</strong> Eisteddfod in<br />
Sydney, Brisbane, or Melbourne, where primary<br />
and high school students can compete in solo<br />
or ensemble events. Schools and percussionists<br />
from all over Australia have attended this event<br />
since its inception.<br />
Galactic drummer Stanton Moore recently<br />
completed a clinic/performance tour of<br />
Australia, where he delighted drummers with<br />
his New Orleans-flavored funky style. Stanton’s<br />
appearances were part of the Drumscene Live<br />
Australia Tour <strong>2011</strong>, sponsored by Drumtek,<br />
the country’s largest percussion retailer.<br />
From Aug. 14–21 Stanton and his tour mates<br />
crossed the continent, entertaining drummers<br />
in Brisbane, Sydney, Canberra, Newcastle, and<br />
Adelaide. They finished up at the <strong>2011</strong> edition<br />
of Australia’s Ultimate Drummers Weekend &<br />
Drum Expo in Melbourne, where Stanton conducted<br />
master classes on Aug. 20 and closed the<br />
show on Aug. 21.<br />
BELGIUM<br />
The fifth edition of the Ludwig Albert International<br />
Marimba Academy took place<br />
April 11–21 in the Academic Hall, which was<br />
also the host location of the Universal Marimba<br />
Competition in July. This Academy was open<br />
for intermediate, advanced, and professional<br />
marimba players and provided a great opportunity<br />
to take private lessons with marimba<br />
virtuoso Ludwig Albert and assistant Lin Chin<br />
Cheng. The Academy hosted students from<br />
Poland, Uruguay, Hong Kong, Bulgaria, South<br />
Korea, Taiwan, Mexico, Japan, Thailand, Spain,<br />
Tenerife, Serbia, and Belgium, who shared the<br />
closing concerts with the lecturers. Adams, Innovative<br />
<strong>Percussion</strong>, Concorde, and Pustjens<br />
<strong>Percussion</strong> Products co-sponsored this event.<br />
The next edition will take place in July 2012; for<br />
information visit www.ludwigalbert.com.<br />
BRAZIL<br />
Members of the West Virginia University<br />
African Music and Dance Ensemble<br />
(Zane Cupec, John Lofink, John Posey) under<br />
the direction of Dr. Michael B. Vercelli participated<br />
in a three-week cultural exchange to<br />
Recife and Rio de Janeiro May 19–June 9. Collaborating<br />
on the exchange were Dr. Christine<br />
Gustafson (flute, East Carolina University), Dr.<br />
Michael Sammons (percussion, University of<br />
South Alabama), Dr. Sergio Alvares (ethnomusicology,<br />
Universidade Federal do Rio de<br />
Janeiro), and Dr. Mauro Maibrada (guitar, Universidade<br />
Federal do Pernambuco). Workshops<br />
and master classes were presented at the UFPE<br />
and UFRJ on African percussion (Vercelli/<br />
WVU African Music and Dance Ensemble),<br />
snare drum (Sammons), flute (Gustafson), guitar<br />
(Maibrada), the Brazilian Choro (Alvares),<br />
maracatu with UFPE Professor of <strong>Percussion</strong><br />
Antonio Barreto, and a performance by Txaimus,<br />
the UFPE hand-chime ensemble under<br />
the direction of Dr. Flavio Medeiros. Students<br />
also had the opportunity to participate in a variety<br />
of community-based workshops including<br />
pandeiro lessons with Claudio Santana, maracatu<br />
workshops with Corpos Percussivos directed<br />
by Jorge Martin, and samba classes with<br />
Monobloco under the direction of Celso Alvim.<br />
The exchange was the concluding project of<br />
the five-year Music Alive! FIPSE-CAPES<br />
grant for student exchanges and collaborative<br />
projects between West Virginia University,<br />
East Carolina University, Universidade Federal<br />
do Pernambuco, and Universidade Federal do<br />
Rio de Janeiro. Supplemental funding for this<br />
exchange was generously provided by the West<br />
Virginia University College of Creative <strong>Arts</strong><br />
and East Carolina University.<br />
CANADA<br />
In celebration of the 40 th anniversary season of<br />
Nexus, two back-to-back performances were<br />
given by the Toronto-based quartet on July 31<br />
as part of the Ottawa International Chamber<br />
Music Festival Chamberfest at St. Brigid’s<br />
Centre for the <strong>Arts</strong>. The first performance was<br />
a full Nexus solo concert featuring works by<br />
Steve Reich, John Cage, and Nexus member<br />
Bill Cahn, as well as several of the group’s signature<br />
novelty ragtime xylophone arrangements<br />
featuring Bob Becker. Also joining Nexus for<br />
this event was the Canadian percussion group<br />
Torq.<br />
CHINA<br />
Dr. Michael B. Vercelli (West Virginia<br />
University) was in residency at the Central<br />
Conservatory of Music, Beijing China from<br />
June 25–29 (Prof. Zhang Boyu, host). The residency<br />
concluded a two-year project centered on<br />
Internet-based instruction of the gyil (Ghanaian<br />
xylophone). Workshops and lessons focused<br />
on gyil repertoire and hand drumming tech-<br />
Stanton Moore<br />
Ludwig Albert, Lin Ching Cheng and students at the Ludwig Albert International Marimba Academy<br />
OCTOBER <strong>2011</strong> 4 percussion newS<br />
www.pas.org
nique and performances by individual CCOM<br />
students.<br />
CUBA<br />
KoSA Cuba held its annual workshop and<br />
festival March 6–13. The week started with<br />
a conference and an introduction to Cuban<br />
music by ethnomusicologist Dr. Olavo Alen,<br />
followed by a personalized introduction tour<br />
to Old Havana and other historic sites. Conga<br />
drum classes were conducted by Tomas Ramos<br />
“El Panga” Julio Lopez from Klimax, Yaroldi<br />
Abreu from Irakere and Chucho Valdes. Timbale<br />
classes were conducted by Jean Roberto<br />
Figueroa from Klimax with his personal<br />
“timba rhythm” approach to that instrument.<br />
Special guest Roberto Smith, the inventor of<br />
the new foot maraca shaker manufactured by<br />
LP, demonstrated the ultimate independence<br />
in performance as a solo percussionist covering<br />
all the percussion parts. Legendary timbalero<br />
Amadito Valdes of Buena Vista Social Club<br />
fame spoke about his philosophy and approach<br />
to soloing while demonstrating the classic way<br />
of playing danzón. Drumset was taught by<br />
Juan Carlos Rojas “El Peje” (Chucho Valdez<br />
drummer) and session drummer Oliver Valdes,<br />
each exemplifying his own creative approach to<br />
Cuban rhythms on the drumset. Assisting with<br />
translation and “hands on” instruction were<br />
Aldo Mazza and Memo Acevedo. <br />
Highlights of the workshop were a special<br />
class with Cuban percussion group Percuba<br />
Ensemble teaching rumba and traditional concepts<br />
in performance, and seeing Amadito Valdés,<br />
Oliver Valdes, Jesus and Yuliet Abreu from<br />
Los Papines and Enrique Pla do an impromptu<br />
jam/descarga. KoSA participants were also<br />
given the opportunity to see live performances<br />
with top Cuban artists and dance troupes<br />
throughout the week. The winners of the national<br />
percussionist contest performed live and<br />
received prizes of drums, congas, timbales, bongos,<br />
and cymbals offered graciously by sponsors<br />
LP, Sabian, Evans, and Mapex.<br />
In Memoriam<br />
David Searcy<br />
By Michael Quinn<br />
David Searcy, timpanist of the La Scala Opera<br />
orchestra for more than three decades, died on<br />
August 2, <strong>2011</strong>, after a long illness.<br />
David was a singular authority among colleagues<br />
all over the world, and for many young<br />
timpanists and percussionists an inspiring teacher<br />
and fatherly friend. His playing career, both lyric<br />
and symphonic, and his innate musical curiosity<br />
made the scope of his knowledge of the repertoire<br />
probably the broadest, and his interpretation of<br />
that repertoire the deepest, of any timpanist ever.<br />
His never-flagging interest in music history fueled<br />
his conviction of the worth of tradition in an ever<br />
more unsettled world, and he looked always to<br />
pass on the cultural heritage of his instrument and its practice to those who sought his presence.<br />
Born in Richmond, California, on January 21, 1946, David first studied in his home city of<br />
Oakland, and in his teens was a student of Roland Kohloff. In 1964 he went to Tanglewood,<br />
then remained on the East Coast to study with Vic Firth, and in 1965 gave in to a long-held<br />
wish to play in Europe when a timpani opening in the Musikselskabet Harmonien in Bergen,<br />
Norway, made the move possible. Two years later he was looking for new challenges, other<br />
concepts, and a new artistic orientation. In Vienna he studied with Richard Hochrainer, and<br />
then found his true mentor and guide in Robert Hinze in Hamburg, Germany.<br />
In 1968 he became solo timpanist of the Bavarian State Opera in Munich, where he remained<br />
until 1972 when Claudio Abbado invited him to join the orchestra at La Scala. Later,<br />
when Abbado founded the European Youth Orchestra and the Gustav Mahler Youth Orchestra,<br />
David was his first choice for a percussion tutor.<br />
From 1980 until his death, David guided the percussion class at Milan’s Civic Music<br />
School. Here, he formed a whole new generation of timpanists for Italy and Europe, and a<br />
few more distant parts of the world as well. He was also visiting Professor at the Royal Academy<br />
of Music in London.<br />
David brought a wholesome fantasy into the world and no one, not even his peers, ever left<br />
his company without taking away some bit of knowledge that made music, or playing, or even<br />
life, a bit clearer and more meaningful. For that we’ll be ever grateful to him.<br />
www.pas.org<br />
percussiON nEWS 5 OCTOBER <strong>2011</strong>
ITALY<br />
On April 2–3, KoSA held its first official<br />
workshop in Turin in collaboration with<br />
the GM Drum School in Torino, directed by<br />
Gigi Morello. Aldo Mazza (Repercussion,<br />
KoSA Founder and Artistic Director) and<br />
drumset artist Sergio Bellotti (Berklee College<br />
of Music) were invited to lead and instruct a<br />
two-day intensive workshop covering the topic<br />
“it is about the groove.” Covering a broad range<br />
of topics, from drumset to hand and world percussion,<br />
the classes included both performing<br />
and interactive sessions.<br />
At the end of the first day, the 50 participants<br />
in Torino were treated to a live video<br />
connection to New York where KoSA artist<br />
alumnus and digital media expert Allan Molnar<br />
facilitated a live interactive video discussion<br />
with KoSA alumni faculty artists Mike Mainieri,<br />
Marcus Santos, Michael Wimberley and<br />
Jim Royle.<br />
The two-day intensive workshop culminated<br />
in a public jam session at a local club in the<br />
famous Piazza Immanuele. Bellotti and Mazza<br />
were joined by local musicians in an evening of<br />
jamming and hanging with many students and<br />
local musicians.<br />
KoSA Italy sponsors were LP, Sabian, Pro-<br />
Mark, Evans, Zildjian, Vic Firth, Ringo Music,<br />
and Vibe Drums.<br />
MOROCCO<br />
Wes Crawford performed twice on drumset<br />
with Between Worlds at the Gnaoua<br />
Festival in Essaouira this summer. The first<br />
show was for an estimated audience of 25,000<br />
on June 23. The June 24 show was a collaborative<br />
concert with Gnaouan superstar musician<br />
Hamid Kesri, held on top of an old Potuguese<br />
fort. Festival Creative Director and internationally<br />
known French/Algerian drummer Karim<br />
Ziad shared drumset duties on this second<br />
concert. Between Worlds included Broto Roy<br />
on tablas.<br />
SERBIA<br />
The Stankovic <strong>Percussion</strong> Ensemble has<br />
been very active this year, playing over 60<br />
concerts in Serbia and Montenegro. In February<br />
Jeff Queen presented a clinic and two concerts<br />
with the SPE Drumline in Belgrade and<br />
Novi Sad. In July the group had guests from<br />
Southern Missouri University and Illinois State<br />
University for a five-day workshop, clinic, and<br />
two performances with the ensemble. Clinicians<br />
were Matt Brusca, Josh Zimmer, Gregg<br />
Walker, Arthur Johnson, and Kevin Ranney.<br />
The clinic was supported by the U.S. Embassy<br />
in Belgrade. Two Serbian graduate students<br />
will continue their studies in the U.S. Milos<br />
Branisavljevic received a full scholarship to the<br />
Berklee College of Music, and Igor Stojanovic<br />
received a full scholarship to Benedict College.<br />
SOUTH KOREA<br />
The Taiwan International <strong>Percussion</strong><br />
Convention (formerly the Taipei International<br />
<strong>Percussion</strong> Convention) was held in<br />
May, sponsored by the Ju <strong>Percussion</strong> Group.<br />
The event featured 13 groups from 10 nations<br />
performing 26 concerts in eight cities. Guest<br />
artists included Nebojsa Zivkovic (Germany),<br />
Svet Stoyanov (Bulgaria), TaCTuS (France),<br />
PercaDu (Israel), the Amsterdam <strong>Percussion</strong><br />
Group (Holland), the Seoul <strong>Percussion</strong> Ensemble<br />
and Hannuri Yeon-Hee Dan (South<br />
Korea), Okada ( Japan), Azaguno (USA), and<br />
Strike <strong>Percussion</strong> (New Zealand).<br />
USA<br />
Alabama<br />
The 5th Annual JSU Grey Drummers<br />
Summer Gig was held June 23–25 at<br />
Jacksonville State University. The Grey Drummers<br />
are part of the band alumni organization<br />
known as the Grey Echelon. The Marching<br />
Southerners of JSU is entering its 55th year in<br />
<strong>2011</strong>. Spearheaded and organized by Daniel<br />
Hammond, the Summer Gig has grown every<br />
year since its inception. Clinics were presented<br />
by Richard McLendon (I.P. Educator Artist<br />
and JSU graduate), Hammond ( JSU graduate),<br />
Jim Dinkins (DCI percussion judge 1977–97),<br />
Clint Gillespie ( JSU Assistant Band Director<br />
and JSU graduate), special guest speakers<br />
John C. Smith (Hawthorne Caballeros Alumni<br />
Drum and Bugle Corps, Hawthorne, NJ) and<br />
Bob Peterson (Hawthorne Caballeros and the<br />
World Drum Corps Hall of Fame), Dr. David<br />
L. Walters ( JSU Band Director Emeritus), and<br />
Daisy Cordona ( JSU graduate).<br />
The three-day event included music sectionals,<br />
full ensemble music rehearsals of the drum<br />
music played by JSU drum lines over the years,<br />
clinics, and social activities. JSU percussionists<br />
from 1956 to the present were in attendance<br />
and came from Texas, Kentucky, Tennessee,<br />
Alabama, and Georgia. <strong>Percussion</strong> instruments,<br />
provided by Hammond, were rebuilt and used<br />
to provide instruments that were used during<br />
each time period of the drum line’s history.<br />
Alaska<br />
From July 17–23, nine advanced-level<br />
percussionists participated in the Alaska<br />
Midnight Sun Chamber <strong>Percussion</strong> Intensive.<br />
This program was part of the annual Fairbanks<br />
Summer <strong>Arts</strong> Festival and was held at the University<br />
of Alaska Fairbanks. Morris Palter was<br />
the program director and Bob Becker was the<br />
guest faculty member. Participants performed<br />
two dedicated concerts including a complete<br />
performance of Steve Reich’s “Drumming” and<br />
a series of smaller chamber works including<br />
“Away Without Leave,” “Unseen Child,” and<br />
“Turning Point” by Becker, as well as works by<br />
Toru Takemitsu, John Cage, and Edgard Varèse.<br />
This event was sponsored in part by Yamaha,<br />
Sabian, and Black Swamp.<br />
Jeff Queen with the Stankovic <strong>Percussion</strong> Ensemble Drumline<br />
OCTOBER <strong>2011</strong> 6 percussion newS<br />
California<br />
Jim Greiner recently conducted a drum circle<br />
at the 39th Annual Santa Cruz Wharf to<br />
Wharf Race. The 10K race attracts 15,000 runners<br />
from all 50 states and over 20 countries,<br />
including elite African runners, and has raised<br />
over $300,000 for area school athletic programs.<br />
Jim’s drum circle helps motivate the runners at<br />
the starting line and has become a Wharf to<br />
Wharf Race tradition. His drum circle was one<br />
of 50 musical groups that lined the race course<br />
along the scenic coast from the Santa Cruz<br />
Wharf to the Capitola Wharf in the Monterey<br />
Bay area.<br />
www.pas.org
www.pas.org<br />
percussiON nEWS 7 OCTOBER <strong>2011</strong>
DrumChannel.com and Los Angeles Music<br />
Academy College of Music hosted the<br />
Second Annual Drummer’s Reality Camp June<br />
29–July 2. Guest artists included Alex Acuña,<br />
Kenny Aronoff, Terry Bozzio, Jim Keltner,<br />
Cobus Potgieter, Gil Sharone, Thomas<br />
Pridgen, and L.A. Music Academy’s Ralph<br />
Humphrey, Dave Beyer, Aaron Serfaty, Tony<br />
Inzalaco, and Joe Porcaro. The four-day event<br />
took place at L.A. Music Academy in Pasadena.<br />
Campers were treated to workshops, lessons,<br />
master classes, special performances, meet &<br />
greets/autograph sessions, a DW Drums factory<br />
tour, and an in-studio, live clinic by Bozzio at<br />
DrumChannel.com studios.<br />
Colorado<br />
The Aspen Music Festival and School<br />
<strong>Percussion</strong> Department featuring faculty<br />
artists Jonathan Haas, David Herbert, Doug<br />
Howard, and Tom Stubbs were joined by 19<br />
percussion students from around the world<br />
along with guest artists Collin Currie, Keith<br />
Aleo, and Michael Udow. Currie performed<br />
the Rouse percussion concerto, “Der Gerettete<br />
Alberich,” with the Festival Orchestra and<br />
presented a master class. Aleo and Udow offered<br />
their expertise to the percussion class<br />
along with the weekly master classes given by<br />
the faculty. Elliot Beck served as the Aspen<br />
Conductors Academy fellowship principal timpanist,<br />
Simon Gomez Gallego was the winner<br />
of the Charles Owen Memorial Fellowship,<br />
and Ryan Nestor served as the percussionist for<br />
the Aspen Contemporary ensemble under the<br />
direction of Sidney Hodgkinson.<br />
The percussion ensemble, under the direction<br />
of Haas, presented as a part of the Shakespeare<br />
mini festival an unprecedented performance<br />
of Harrison Birstwhistle’s “For o, for o, the<br />
hobby horse is forgot,” which included actors<br />
from the AMFS Opera program. Other works<br />
on the program included “Omphalo Centric<br />
Lecture” by Nigel Westlake, “Tak-Nara” for<br />
percussion quartet by Nebojsa Jovan Zivkovic,<br />
“20 Minutes off the Pavement” by David Friedman<br />
with Matthew Lau, vibraphone soloist,<br />
and “First Concerto for Flute and <strong>Percussion</strong>”<br />
by Lou Harrison with Nadine Asin, flute soloist.<br />
Charles Rosmarin was the winner of the<br />
Messian Exotic Birds audition, which resulted<br />
in a performance with acclaimed pianist David<br />
Friend and members of the AMFS percussion<br />
department.<br />
Connecticut<br />
Grammy Award-winning percussionist,<br />
composer, and songwriter Ralph Mac-<br />
Donald was honored with a day all to himself<br />
on the final evening of the Jazz-up July music<br />
festival in Stamford. MacDonald, a 35-year<br />
Stamford resident, was emotionally overcome<br />
by the surprise honor, which came in the form<br />
of a proclamation by Mayor Michael Pavia:<br />
“We have the greatest resources in the world,<br />
and we are about to see one of them, live and in<br />
person,” Pavia said. “Ralph MacDonald, today is<br />
your day on behalf of the citizens of Stamford.”<br />
He and fellow Stamford resident Dennis Collins<br />
performed a set of songs at the start of the<br />
concert, paving the way for the evening’s headliner,<br />
Roberta Flack.<br />
Jim Greiner in front of the world-famous Giant Dipper roller coaster at the Santa Cruz Beach Boardwalk.<br />
Aspen Music Festival and School percussion department at 12,500 feet<br />
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Kentucky<br />
Chad Floyd, Director of <strong>Percussion</strong> Studies<br />
at Campbellsville University, presented a<br />
variety of percussion clinics and master classes<br />
to several high schools and middle schools<br />
throughout Kentucky during a one-week tour<br />
in May. The schools included Old Kentucky<br />
Home Middle School, Shelby County High<br />
School, Spencer County Middle School, South<br />
Warren Schools, Bullitt Lick Middle School,<br />
and Lebanon Middle School. The clinics focused<br />
on a number of topics including snare<br />
drum, keyboard percussion, timpani, and drumset.<br />
The clinics were sponsored by Innovative<br />
<strong>Percussion</strong>.<br />
Maryland<br />
The Drumset and <strong>Percussion</strong> Camp, part<br />
of the Goucher Summer <strong>Arts</strong> Institute,<br />
was held at Goucher College in Baltimore July<br />
10–23 for percussionists ages 13–18. Teaching<br />
and performing faculty members consisted of<br />
Wes Crawford (camp director, Goucher College),<br />
Kwame Ansah-Brew (Goucher College),<br />
Phil Bronson (drummer for Jonathan Scales<br />
Fourchestra), Greg Clark (Raheem Devaughn,<br />
Greyson Chance), Orlando Cotto (Darin<br />
Atwater, Andy Gonzalez, Michael Spiro), Jerome<br />
Herskovitz (Goucher College), Jeremy<br />
Hummel (formerly with Breaking Benjamin),<br />
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percussiON nEWS 9 OCTOBER <strong>2011</strong>
Dr. Michelle Humphreys (Towson University,<br />
Shepherd University), Keith Larsen (Baltimore<br />
Drum Company), John Locke (Goucher College,<br />
Baltimore Symphony), Marshall Maley<br />
(VA/DC PAS Chapter President), Joe Mc-<br />
Carthy (AfroBop Alliance), Mike Miller (Old<br />
Mill High School), John Parsons (drummer<br />
with Navy Commodores), K. S. Resmi (S.<br />
Indian vocalist), N. Scott Robinson (Goucher<br />
College), Jonathan Scales ( Jonathan Scales<br />
Fourchestra), Scott Tiemann (Avec), and Cody<br />
Wright (bassist for Jonathan Scales Fourchestra).<br />
Offerings included jazz combos, concert<br />
percussion ensemble, Brazilian drumming<br />
ensemble, drumline, steel pan ensemble, West<br />
African ensemble, world percussion ensemble,<br />
and dance accompaniment, as well as numerous<br />
clinics, workshops, and concerts. Sponsors<br />
included Baltimore Drum Company, Chuck<br />
Levin’s Washington Music Center, Cooperman<br />
Drums, Dream Cymbals, Evans, Goucher College<br />
Music Dept., Innovative <strong>Percussion</strong>, Locke<br />
<strong>Percussion</strong>, Maley’s McLean Music, Mid-<br />
Atlantic Drum, MusicAndGames4U.com, My-<br />
DrumLesson.com, Pearl, ProLogix <strong>Percussion</strong>,<br />
Pro-Mark, Remo, Sabian, Vic Firth, Yamaha,<br />
and Zildjian. Visit www.DrumsetAnd<strong>Percussion</strong>Camp.org<br />
for further info.<br />
New Hampshire<br />
Held from July 4–16 at the Enfield Shaker<br />
Museum in Enfield, the inaugural Chosen<br />
Vale International <strong>Percussion</strong> Seminar was a<br />
resounding success. As part of the Center for<br />
Advanced Musical Studies, the percussion seminar<br />
was hosted by Pearl/Adams artist Doug<br />
Perkins and CAMS director Edward Carroll.<br />
The seminar was attended by 30 talented, young<br />
musicians, coming from across the U.S. as well<br />
as from Italy, Brazil, Canada, and Japan to study<br />
and perform at the two-week seminar. Pearl<br />
Drums and Adams Musical instruments provided<br />
a full array of keyboard percussion, drums,<br />
and hardware to be used at Chosen Vale.<br />
Chosen Vale offered a truly unique experience<br />
to all of the attendees. Not only did nationally<br />
and internationally recognized faculty<br />
teach at the event, including Matthew Duvall<br />
and Tom Freer, but prominent composers were<br />
also in attendance to discuss and work with<br />
students. As part of a collaborative process,<br />
composers Steve Reich, Steven Mackey, Larry<br />
Polansky, David Rosenboom, Christian Wolff,<br />
and Joseph Schwantner all visited Chosen Vale<br />
to give lectures or coaching sessions on their<br />
works.<br />
Students prepared four concerts of chamber<br />
music over the two-week period. Over the<br />
course of the seminar, members of the guest<br />
faculty gave lectures, lessons, and master classes<br />
for the students. With almost all events at the<br />
seminar held in a group setting, all attendees<br />
were able to benefit from the constructive criticism,<br />
encouragement, and support offered by<br />
the faculty.<br />
New York<br />
Larry S. Levine was one of the featured<br />
clinicians at the Woodstock Music Trade<br />
Show in May. Promoting his acclaimed, awardwinning<br />
instructional series, “Drumistix—from<br />
Pad to Performance,” he played to a capacity<br />
crowd. Levine’s interactive class demonstrated<br />
and covered such topics as rudimental applications,<br />
stylistic development, and drumming/<br />
musical awareness. The event was supported<br />
by Yamaha, Sabian, Regal Tip/Calato, Aquarian,<br />
LT Lug Locks, SKB Cases, HHot Hat,<br />
Drumset and <strong>Percussion</strong> Camp Faculty Concert performers (L–R): K.S. Resmi, Orlando Cotto, Jeremy Hummel,<br />
N. Scott Robinson, Wes Crawford (host), Jonathan Scales, and Jonathan Scales Fourchestra members Phil<br />
Bronson and Cody Wright.<br />
Ja Music, KMC Music, Mountain Rythym,<br />
PAS, Classic Drummer magazine, the LIDC,<br />
NARAS, and LARAS.<br />
On March 29, KoSA held its KoSA NYC<br />
one-day workshop including clinics<br />
and concerts at Lehman College. Clinicians<br />
were Arnie Lang, Aldo Mazza, Johanthan<br />
Haas, Allan Molnar, Scott Kettner, Mike<br />
Clark, and Victor Rendón joined by his group<br />
Co-Tim-Bó (Victor, Chembo Corniel, Guillermo<br />
“Memo” Acevedo, Cascadu, and Yasuyo<br />
Kimura). The event started with Lang (NY<br />
Philharmonic), Haas (NYU) and Mazza (Repercussion),<br />
who engaged in a workshop on<br />
“The <strong>Percussion</strong> Section in the Concert Band.”<br />
Participants included Penelope Jacono directing<br />
the Celia Cruz High School <strong>Percussion</strong><br />
Section performing “American Faces” by David<br />
Holsinger. The clinicians then gave valuable<br />
suggestions for improving performance such as<br />
stick selection, playing position in relation to<br />
the conductor, attack and articulation of specific<br />
note values, and dynamics.<br />
Kettner took the audience on a musical journey<br />
to Brazil covering the Northeast rhythm<br />
known as Maracatu and demonstrated and<br />
discussed some of the similarities between Brazilian<br />
and New Orleans drumming. Clark, who<br />
is known for his work with Herbie Hancock,<br />
covered the topic “From Swing to Linear Funk”<br />
and performed and demonstrated with special<br />
guest Jerry Z on organ. The final clinician of the<br />
day was Rendón joined by his group, Co-Tim-<br />
Bó. The group started with a performance featuring<br />
batá drums and segued into a traditional<br />
Cuban bembé. A discussion of the different<br />
rumba styles then followed, which included<br />
yambú, rumba columbia, guaguancó, and the<br />
relatively new style of guarapachangueo. The<br />
clinic ended with the performance of a percussion<br />
arrangement of “Manteca,” which featured<br />
the group and guests Mazza, Molnar, and<br />
Kettner. <br />
The event culminated with a performance by<br />
the 80-piece Lehman College Concert Band<br />
(led by Alan Hollander) performing “Mambo<br />
#5” arranged by Armando Rodriguez and Victor<br />
Rendón. Lang joined the group on timpani,<br />
along with Mazza, Molnar and others. <br />
Many thanks to the KoSA NYC sponsors:<br />
Sabian, Evans, LP Music, Vic Firth, Remo,<br />
Lang <strong>Percussion</strong>, Pro-Mark, Toca, Istanbul<br />
Agop, Tama, and DW.<br />
Nexus joined forces with the Canadian<br />
Brass in an Independence Day weekend<br />
performance at the historic Maverick Hall in<br />
Woodstock, hosted by Nexus member Garry<br />
Kvistad. The concert was titled “Stars and<br />
Stripes” and featured traditional American<br />
songs and marches. Much of the music was<br />
arranged by former Nexus member Robin<br />
Engelman for the recently released CD, Stars<br />
and Stripes: Canadian Brass Salute America.<br />
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The CD features members of Nexus with the<br />
Canadian Brass, and for weeks it was on the<br />
Billboard Classical Chart peaking at Number<br />
Two. Among the highlights in the Woodstock<br />
concert were Bill Cahn’s arrangement of Copland’s<br />
“Fanfare for the Common Man” followed<br />
by Peter Schickele (aka “P.D.Q. Bach”) personally<br />
introducing his own “Fanfare for the Common<br />
Cold.”<br />
Bill Cahn, a member of Nexus and Professor<br />
of <strong>Percussion</strong> at the Eastman School<br />
of Music, facilitated a Creative Music Making<br />
workshop for 14 participants as part of the<br />
week-long summer percussion institute directed<br />
by Eastman Professor Michael Burritt. The<br />
workshop focused on freeform improvisation<br />
based on Bill’s book, Creative Music Making,<br />
published by Routledge Books. Each participant<br />
had the opportunity to perform and record<br />
an improvised piece for immediate playback,<br />
listening, analysis, and discussion. Earlier in<br />
the week, Bill performed in an improvised duet<br />
titled “Ready to Hatch” on Burritt’s solo faculty<br />
recital in the Eastman School’s new Hatch Recital<br />
Hall. In addition to Burritt’s daily sessions,<br />
additional workshops were presented by Lee<br />
Vinson, Jacob Nissly, and John Beck.<br />
Pennsylvania<br />
Quey <strong>Percussion</strong> Duo (Gene Koshinski<br />
and Tim Broscious) completed a sixweek<br />
residency at the International Performing<br />
<strong>Arts</strong> Institute Summer Music Festival in<br />
Kingston from June 26 to Aug. 6. The duo filled<br />
the festival with performances, master classes,<br />
clinics, workshops, private lessons, and sideby-side<br />
experiences in large ensembles. One<br />
highlight was a performance of Koshinski’s<br />
“Concerto for Marimba and Choir,” presented<br />
on July 2 with the Performing Artist Institute<br />
Choir with Koshinski (marimba soloist),<br />
Tim Broscious, Mike Dobson, and Matt<br />
Smallcomb (percussion). On July 31, the duo<br />
presented a special program entitled “Meditation<br />
and Imagery,” which featured new and<br />
standard works for percussion including George<br />
Crumb’s “Quest” for guitar, soprano sax, harp,<br />
double bass, and two percussion, performed by<br />
Performing <strong>Arts</strong> Institute faculty members. The<br />
festival was generously sponsored by Sabian,<br />
Remo, Innovative <strong>Percussion</strong>, and Korogi Marimbas.<br />
July 10–16 marked the annual Summer Music<br />
Camp (Grant Moore, director) held at Elizabethtown<br />
College. James Armstrong, Instructor<br />
of <strong>Percussion</strong> at Elizabethtown College and<br />
Millersville University, oversaw all percussion<br />
activities and was assisted by students Katelyn<br />
Santee (Etown College) and Forrest Black<br />
(Millersville University). The week-long camp<br />
catered to over 150 young musicians grades<br />
7–12 in all disciplines of music. <strong>Percussion</strong><br />
activities included daily master classes presented<br />
by Armstrong in all areas of percussion,<br />
percussion ensemble rehearsals, as well as section<br />
rehearsals with large ensembles. Evening<br />
concerts featured faculty and student chamber<br />
ensembles, including the Music Camp <strong>Percussion</strong><br />
Ensemble, Latin Jazz <strong>Percussion</strong> Ensemble,<br />
and the Faculty <strong>Percussion</strong> Trio. The camp<br />
closed with a finale concert that highlighted<br />
students performing within the large ensemble<br />
setting. Armstrong was sponsored in part by<br />
Yamaha, Sabian, and Vic Firth.<br />
Sam Ruttenberg and his student Justin<br />
Faulkner (Branford Marsalis) shared the<br />
bill with singer Jo Thompson at the Philadelphia<br />
Jazz Clef Club. It was a tribute to the late<br />
Lena Horne whom Sam played with years ago.<br />
South Carolina<br />
The 1st annual nief-norf Summer Festival<br />
enjoyed enormous success during its<br />
ten-day run from June 1–10. The event was<br />
generously hosted by Furman University in<br />
Greenville and allowed participants from<br />
around the U.S. to participate in the performance<br />
and study of some of the most prominent<br />
pieces from the percussion repertoire.<br />
Utilizing a selection of generously borrowed<br />
instruments from Yamaha and Pearl/Adams,<br />
nief-norf ’s offering included six concerts in ten<br />
days, all free and open to the general public.<br />
The festival began with an evening concert<br />
by the faculty group the nief-norf Project,<br />
who performed Christopher Adler’s compelling<br />
work “Pines Long Slept in Sunshine,” as<br />
well as works by Mark Applebaum and Steve<br />
Reich. Days later, the participants headed<br />
downtown to Falls Park and presented Terry<br />
Riley’s “In C” and John Zorn’s “Cobra” to a<br />
vibrant and enthusiastic audience of all ages.<br />
The festival also included a first-rate evening<br />
performance by emerging solo artist Ryan<br />
Nestor, which included a rendition of Roger<br />
Reynolds’ “Watershed,” and a more informal<br />
Cabaret Concert made-up of solo performances<br />
by the participants, which was highlighted by<br />
Caleb Herron’s closing performance of Vinko<br />
Globokar’s “Corporel.” Additionally, composers<br />
Caroline Mallonee and Steven Snowden visited<br />
campus, presented master classes and coachings,<br />
and then heard their pieces presented in concert<br />
next to works by Alexandre Lunsqui, Stuart<br />
Saunders Smith, and the vintage sounds of Mario<br />
Davidovsky’s “Synchronisms No. 5.”<br />
After more than a week of discussion,<br />
rehearing, and hang-time, the participants<br />
presented a final concert on June 9 as part of<br />
Furman’s Music by the Lake concert series, attended<br />
by over 500 people. The performers gave<br />
a performance of John Luther Adams’ “Qilyaun,”<br />
which was surrounded by David Crowell’s<br />
“The Day After...,” Christopher Adler’s “Signals<br />
Intelligence,” and masterworks by Steve Reich<br />
and Iannis Xenakis.<br />
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percussiON nEWS 13 OCTOBER <strong>2011</strong>
The festival was directed by Andrew Bliss<br />
and staffed by faculty members Omar Carmenates<br />
(host), Mike Truesdell (Assistant<br />
Director), and Bill Sallak (Technical Director)<br />
as well as Christopher Adler (composer-inresidence)<br />
and Megan Arns (intern). The festival<br />
wishes to thank Black Swamp, Innovative<br />
<strong>Percussion</strong>, Vic Firth, Zildjian, and Sabian for<br />
their support.<br />
The <strong>2011</strong> South Carolina Day of <strong>Percussion</strong><br />
was hosted by Dr. Scott Herring at<br />
the University of South Carolina campus on<br />
April 16. This year’s event included the second<br />
annual High School Solo Competition and All<br />
Collegiate <strong>Percussion</strong> Ensemble. Sympatico<br />
<strong>Percussion</strong> Group headlined the day through<br />
their participation in directing the All Collegiate<br />
Ensemble, giving individual clinics, and<br />
closing the day with a performance. The group’s<br />
clinics included Kristopher Keeton’s “Beyond<br />
Boundaries,” Susan Powell and Joseph<br />
Krygier’s “Improving Ensemble Skills,” and a<br />
marimba clinic by Christopher Norton. The<br />
event also included a “Rumba Anatomy” clinic<br />
by Michael Spiro and Jesse Willis as well as<br />
a concert presented by the Blythewood High<br />
School <strong>Percussion</strong> Ensemble under the direction<br />
of Jonathan Burbank.<br />
Tennessee<br />
On Aug. 27, guest artist Julie Davila<br />
worked hands-on with six regional marching<br />
percussion sections at the University of<br />
Tennessee at Martin’s 7th Annual Drum Line<br />
Tune Up Day. Davila worked on technique,<br />
musicality, and a variety of percussive subjects<br />
within the marching percussion genre. Julie<br />
also gave a clinic for all participating students<br />
and band directors using the UTM Marching<br />
<strong>Percussion</strong> Section (Hill, Coordinator, and Nola<br />
Jones, Director of Bands) as the demonstration<br />
group. The event hosted over 300 high school<br />
students and band directors. This event was<br />
sponsored by Zildjian, Pearl/Adams, Innovative<br />
<strong>Percussion</strong>, and Evans.<br />
Texas<br />
Eighteen Texas libraries hosted percussion<br />
programs by Mark Shelton during June<br />
and July. The performances of Mark’s “Strike,<br />
Scrape, & Shake Show” were part of the libraries’<br />
summer reading series.<br />
Participants of the University of Tennessee at Martin’s 7th Annual Drum Line Tune Up Day<br />
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The University of North Texas College of<br />
Music presented the 5th Annual UNT<br />
Marimba Workshop with faculty members<br />
Professor She-e Wu from Northwestern<br />
University, Dr. Brian Zator from Texas A&M<br />
University–Commerce, Dr. Scott Herring from<br />
the University of South Carolina, and UNT<br />
<strong>Percussion</strong> Coordinator and workshop host<br />
Professor Mark Ford. Guest clinicians for the<br />
week-long workshop were composer/percussionist<br />
Michael Colgrass and UNT <strong>Percussion</strong><br />
Professor Christopher Deane. Students came<br />
from across the country to participate in master<br />
classes, technique sessions, keyboard ensembles,<br />
private lessons, and much more. In addition to<br />
instruction, there were three student recitals<br />
and a faculty recital. Sponsors for the workshop<br />
were the UNT College of Music, Dynasty, Innovative<br />
<strong>Percussion</strong>, and Zildjian.<br />
Cadeson, Cooperman, Canadian Musician,<br />
ddrum, Dream Cymbals, Evans, Factory Metal,<br />
Hudson Music, Istanbul Mehmet, KAT <strong>Percussion</strong>,<br />
LP, Ludwig/Musser, Mapex, Mike Balter,<br />
Modern Drummer, PAS, Pro-Mark, Remo,<br />
Sabian, Shure, Sticks ‘n Skins, Taye, Toca, Vibe<br />
Drum, Vic Firth, Yamaha, and Zildjian. w<br />
<strong>News</strong> items for the “People and Places,” “Industry <strong>News</strong>”<br />
and “On the Road” sections of <strong>Percussion</strong> <strong>News</strong> must<br />
be received at the PAS office within three months<br />
of the date of the event.<br />
Please send materials to PAS:<br />
110 W. Washington Street, Suite A, Indianapolis, IN 46204<br />
Fax: (317) 974-4499 . E-mail: publications@pas.org<br />
Vermont<br />
The 16th Annual KoSA International<br />
<strong>Percussion</strong> Workshop, Drum Camp and<br />
Festival wrapped its annual week of intensive,<br />
intimate living and learning with international<br />
drum and percussion masters and a very special<br />
surprise guest. Participants and faculty alike<br />
were stunned and reacted quite emotionally<br />
when Neil Peart of the legendary Canadian<br />
rock group Rush took center stage at the camp’s<br />
closing session.<br />
It was an honor for KoSA Founder Aldo<br />
Mazza to have Neil accept an invitation to<br />
come to KoSA and join Aldo for a publicly<br />
candid interview on various topics. Neil also<br />
took a few questions from KoSA participants.<br />
For a postscript, Aldo and KoSA Artist Faculty<br />
members Marcus Santos, Michael Wimberly,<br />
and Memo Acevedo joined Neil on a drumkit<br />
and djembe ensemble improvisation, with Neil<br />
moving to djembe for the finale of a once-in-alifetime,<br />
spontaneous percussion performance.<br />
Registered participants came from Mexico,<br />
the U.K., and all over the U.S and Canada<br />
to study with KoSA’s faculty, which included<br />
Acevedo (Tito Puente), Carmine Appice<br />
(Vanilla Fudge, Rod Stewart), Sergio Bellotti<br />
(Spajazzy, Berklee), Jimmy Cobb (Miles Davis),<br />
Dominick Cuccia (Company of Fifers &<br />
Drummers), Mario DeCiutiis (KAT Drums &<br />
Mallets, Radio City), Dom Famularo (drumming’s<br />
global ambassador), Aiyun Huang<br />
(McGill University), Aldo Mazza (Repercussion),<br />
Allan Molnar (Nelly Furtado), Jim Royle<br />
(steel drum master), Jeff Salisbury (Albert<br />
King, James Harvey), Marcus Santos (Paquito<br />
DíRivera), Glen Velez (Grammy-winning<br />
frame drum master), Michael Wimberly (P-<br />
Funk, African drum specialist) with dancer<br />
Alexis Johnson, Zoro (Lenny Kravitz) and the<br />
KoSA rhythm section: Bob Quaranta (piano)<br />
and Francesco Beccaro (bass). KoSA Lifetime<br />
Achievement Awards were given to Jimmy<br />
Cobb and Neil Peart.<br />
KoSA 16 was sponsored in part by Beatnik,<br />
Jolan Kovacs Mazza, Neil Peart and Aldo Mazza with the KoSA Lifetime Achievement award, given to Neil at the<br />
16th Annual KoSA International <strong>Percussion</strong> Workshop<br />
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percussiON nEWS 15 OCTOBER <strong>2011</strong>
Summer Camps and Festivals<br />
The <strong>2011</strong> LHS Summer Marimba Seminar<br />
By Jessie Linden<br />
This year at the 32nd annual Leigh Howard Stevens Summer<br />
Marimba Seminar, 25 college-aged students benefited from an immense<br />
blend of musical and personal gain while nestled in a beautiful,<br />
oceanside Victorian inn. The focused environment of the classroom<br />
as well as the unique housing experience allowed the students to mix<br />
their musical expression and social graces and develop invaluable skills.<br />
With students coming from all over the world, participants were all<br />
able to positively influence their fellow students from both a musical<br />
and social standpoint. The group, spanning the United States, Canada,<br />
South Korea, Switzerland, and Belgium, created a warm and supportive<br />
environment in which to live, learn, and grow.<br />
Each day, the students had several hours of class time with Leigh,<br />
followed by practice time at the inn where one had the opportunity<br />
to work independently or to join forces with friends in helping each<br />
other master the challenging concepts being presented. With Leigh,<br />
the students participated in lecture-based classes with assigned nightly<br />
reading pertaining to the discussions of that day. Leigh presented his<br />
technical approach to the instrument with daily demonstrations. He also<br />
taught lessons on acoustics, practicing, phrasing, dynamics, reading, tone<br />
production, and more. All participants had the opportunity to receive<br />
feedback on their playing from Leigh in class, as well as from Nora<br />
Stevens in her afternoon stroke checks.<br />
The students were surrounded by resources they could go to for<br />
help and expertise, whether it was in or out of class. Leigh’s Method of<br />
Movement and his assigned readings proved to be valuable resources that<br />
the students could use to address their daily thoughts and questions.<br />
Living with the other participants also gave students the advantage of<br />
using each other as sounding boards, creating an active learning process<br />
at home, as well as in the classroom. Each morning, Leigh opened up a<br />
discussion for any thoughts or questions pertaining to the reading and<br />
corresponding quizzes. In this way, the students were learning both in<br />
and out of the classroom every day.<br />
The variety of guest artists also greatly influenced this open-minded<br />
group. Gordon Stout and Nathaniel Bartlett both gave incredible<br />
concerts and master classes. The students also had the privilege of<br />
receiving a master class centered on the African gyil from Valerie Dee<br />
Naranjo, a demonstration of Super Marimba by Payton MacDonald,<br />
and a highly energized participation-based discussion class with Dennis<br />
DeLucia. The variety of expertise that was presented offered the students<br />
an opportunity to open their minds to different ways to play and think<br />
about percussion. Additionally, the concert series featured Nora Stevens,<br />
who played a beautiful program in the lovely Holy Spirit Church in<br />
Asbury Park, New Jersey. Leigh Stevens returned to that same venue<br />
and concluded the seminar with an incredible program of multiple Bach<br />
works, two of his compositions, and a pre-premiere of his newest workin-progress.<br />
When the students were not in class or practicing, many found time<br />
to enjoy the marvelous beach weather just outside the inn. Some spent<br />
time exploring Ocean Grove and its surrounding communities, and<br />
a few even made a trip or two to New York City. By the final student<br />
concert on the last night, a supportive group of individuals sat as a<br />
class and shared what was to many an emotional end to a life-changing<br />
experience they will treasure forever.<br />
Rosauro and Moore’s Mallet and <strong>Percussion</strong> Summer Camp<br />
The <strong>2011</strong> Ney Rosauro and Jeff Moore’s Mallet and <strong>Percussion</strong> Summer<br />
Camp took place at the University of Central Florida in Orlando<br />
July 17–23. In addition to Rosauro and Moore, other faculty included<br />
Dr. John Parks, Kirk Gay, Dr. Thad Anderson, Brian Potts, and graduate<br />
assistants Nick Guiliano (University of South Carolina) and Luis Alberto<br />
Bittencourt (Brazil). The camp is part of the highly successful Yamaha<br />
Sounds of Summer Program with additional sponsorship support from<br />
Sabian and Vic Firth.<br />
Twenty-one students from the United States plus five international<br />
students from Hong Kong, Spain, Portugal, Holland and Equador attended<br />
the camp. This was the first time the camp was held in the new<br />
percussion facilities at the University of Central Florida, and it exceeded<br />
all expectations. The camp provided a well-rounded experience, with<br />
students having the opportunity to work in all areas of percussion. Although<br />
many camps focus solely on marimba or marching percussion,<br />
the Rosauro/Moore camp included vibraphone, marimba, snare drum,<br />
multi-percussion, timpani, steel drums, and Latin/Brazilian percussion.<br />
This year the students were introduced to digital notation and playback<br />
utilizing Sibelius software in the new state-of-the-art UCF Music<br />
Computer Lab. In addition to the presentations and lessons, campers<br />
participated in percussion ensemble, culminating in a final closing<br />
concert that featured many of Ney’s compositions including both of his<br />
marimba concerti as well as his vibraphone concerto.<br />
The camp had a friendly atmosphere and a perfect harmony between<br />
students and faculty. It was a rewarding experience for all participants.<br />
Next year’s camp is scheduled to take place at UCF from July 15–21,<br />
2012.<br />
Participants of the <strong>2011</strong> Ney Rosuaro and Jeff Moore’s Mallet and Percussiom<br />
Camp<br />
Participants of the <strong>2011</strong> LHS Summer Marimba Seminar<br />
Summer Institute for Contemporary Performance Practice<br />
The Summer Institute for Contemporary Performance Practice<br />
(SICPP)—affectionately known to its participants as “Sick Puppy”—was<br />
held at New England Conservatory in Boston June 18–25. SICPP is<br />
an eight-day immersion into new and experimental music for advanced<br />
and professional musicians. It began in the 1990s when Artistic Director<br />
Stephen Drury, a concert pianist who specializes in new music, decided<br />
to create a contemporary music performance seminar for his advanced<br />
students. In the 2000s, Drury began to add composers, percussionists,<br />
vocalists, and instrumentalists. It has now grown to include an ensemble<br />
program, an electronic music workshop, and the new works program,<br />
OCTOBER <strong>2011</strong> 16 percussion newS<br />
www.pas.org
where composers can study with the Composer-in-Residence (this year,<br />
French composer Tristan Murial).<br />
This year, 50 fellows (including seven percussionists) were selected to<br />
participate from around the world. The experience was eight full days<br />
of master classes, lessons, colloquia, rehearsals, and concerts, which presented<br />
the fellows with an opportunity to experience a large selection of<br />
new music from all over the world.<br />
Each year the Institute invites guest composers and performance<br />
faculty that work directly with the fellows throughout the week. Fellows<br />
rehearse and prepare works alongside faculty as well as with members of<br />
the Calithumpian Consort, a chamber ensemble in residence at SICPP.<br />
This year’s percussion faculty was comprised of Stuart Gerber and Scott<br />
Deal together with Consort percussionists John Andress, Jeffrey Means,<br />
and Nick Tolle. The Calithumpian Consort is a mixed ensemble comprised<br />
of professional musicians in the Boston area, directed by Stephen<br />
Drury. Their repertoire encompasses a large musical spectrum from<br />
classic works of the last 50 years to works of the avant-garde, as well as<br />
experimental jazz and rock music.<br />
One of the highlights of the week was an afternoon recital of percussion<br />
works performed by the fellows. The program included “Ferneyhough<br />
Mix” by Mark Applebaum, performed by Christian Smith and<br />
Ryan Packard; “Rebonds A and B” by Iannis Xenakis (“A” performed by<br />
Cory Bracken, “B” performed by Dave Tarantino); “Omar I,” by Franco<br />
Donatoni, performed by Ryan Packard, and “POWER I: CIN(shift)”<br />
by Marek Poliks, performed by Christian Smith. Other percussion solos<br />
performed either in master classes or concerts included “Phénix” by<br />
F.B. Mache, performed by Yu Hsin Chang, “Dreams,” by John Cage,<br />
performed on marimba and vibes by Gary Donald, “Raison D’etre” by<br />
Arthur Jarvinen, performed by Jeffrey Kolega, “Zyklus” by Karlheinz<br />
Stockhausen, performed by faculty member Stuart Gerber, and the<br />
marimba solo “Dark N’ Stormy” by SICPP composition fellow Masaki<br />
Hasebe, performed by David Tarantino.<br />
Each evening contained a concert presented by the either the<br />
Calithumpian Consort or visiting guest artists. The Consort performed<br />
numerous works of interest to percussionists, including Giancinto Scelsi’s<br />
“Okanagon,” Tristan Murail’s “Le Lac,” and Tamar Diesendruck’s<br />
“Still Telling,” which was commissioned for the Consort. One of the<br />
evening concerts comprised two works for percussion, piano, and electronics<br />
that matched pianist Stephen Drury with percussionists Stuart<br />
Gerber and Scott Deal. The first work, “Kontakte” (piano, percussion and<br />
electronics) by Karlheinz Stockhausen, is an early and important piece<br />
in the repertoire for piano/percussion. The performance was noteworthy<br />
in that Gerber is regarded as a Stockhausen expert, having recorded and<br />
presented numerous premieres of Stockhausen’s works, and served as<br />
faculty for the Stockhausen-Courses since 2005. The second half of the<br />
Summer Institute for Contemporary Performance Practice (L–R): John Andress,<br />
Gary Donald, Stephen Drury, Scott Deal, Nick Tolle, Stuart Gerber, Cory Bracken,<br />
Dave Tarantino, Jeff Kolega, Sayun Chang, Ryan Packard, Christian Smith<br />
www.pas.org<br />
percussiON nEWS 17 OCTOBER <strong>2011</strong>
concert featured the world premiere of “4000 Holes” by John Luther<br />
Adams. The 33-minute work, commissioned by Stephen Drury through<br />
Meet the Composer, is for piano, vibraphone/glockenspiel, and electronic<br />
“aura.”<br />
The main event for Sick Puppy occurs on the final Saturday with the<br />
presentation of a ten-hour series of concerts known as “The Iditarod,”<br />
named after the 1,000-mile Alaskan Sled Dog race of the same name.<br />
This year’s Iditarod consisted of eight concerts containing almost 40<br />
pieces of chamber music, including the crowd-drawing “Music for 18<br />
Musicians” by Steve Reich. Other works highlighting percussion included<br />
“Ryonji” by John Cage, “Trasparenze d’ Accenti” by Davide Ianni,<br />
“Tombeau in Memoriam Gérard Grisey” by Phillipe Hurel, “Hymn I”<br />
by Alfred Schnittke, “Trá” by Luciano Berio, “For Morty” by Christian<br />
Wolff, “Refrain” and “Kreuspiel,” both by Karlheinz Stockhausen, “Currents”<br />
by Shawn Allison, “Paradigm: by Lukas Foss, “New England<br />
Drift: by Lee Weisert, “<strong>Percussion</strong> Responses: Ergodos II” by James Tenney,<br />
and “Madrigals, Book III” by George Crumb.<br />
Next year’s Institute will occur in mid-June at New England Conservatory.<br />
For information visit www.sicpp.org.<br />
First Annual World Vibes Congress clinicians (l to r:) Ed Smith, Stefon Harris,<br />
Anders Åstrand, Joe Locke and Leigh Howard Stevens<br />
OCTOBER <strong>2011</strong> 18 percussion newS<br />
First Annual World Vibes Congress<br />
By Britton Matthews<br />
In the 90-year history of the vibraphone, there has never been a seminar<br />
dedicated solely to the instrument. After all, it’s just like playing<br />
marimba with a pedal, right? Leave it to Malletech, Inc. and the Leigh<br />
Stevens Marimba Foundation to see the need and fill the void.<br />
The World Vibes Congress, held in Ocean Grove, New Jersey, was the<br />
very first of its kind. Participants of all ages, ability levels, and musical<br />
backgrounds assembled from around the world for an inspiring week of<br />
improvisation and music-making from June 24–29.<br />
After waking up to the soothing sound of the ocean each morning,<br />
participants gathered for sessions with Anders Åstrand and Ed Smith.<br />
The group split into self-appointed segments for experienced improvisers<br />
and novices to work with the appropriate level of literature and better<br />
serve the wide ranges of skill sets. Smaller groups also allowed for greater<br />
individual attention and numerous playing opportunities.<br />
Åstrand led the group in free improvisation, where you could spontaneously<br />
create a musical conversation with a person you’d never met.<br />
“A trip to the dentist,” or “riding a bicycle” inspired uninhibited performances<br />
and created an outlet for the participants to open up and express<br />
themselves. You might not even speak the same language, but the music<br />
easily transcended those barriers. Anders went beyond the music to<br />
discuss physical concerns with body position, posture, and breathing, as<br />
well.<br />
Classes with Ed Smith focused on the more structured side of improvisation,<br />
using jazz standards to show how to play melodic lines over<br />
changes, find rich chord voicings, and comp for soloists. Participants<br />
studied modes, blues scales, chord extensions, and phrasing, and had the<br />
opportunity to fill the roles of soloist, accompanist, and bass player. The<br />
music selections were targeted to the level of each group, but everyone<br />
had the opportunity to work with blues, rhythm changes, Latin styles,<br />
and modal works.<br />
The morning sessions created a relaxed, respectful, supportive environment<br />
in which participants became increasingly comfortable exploring<br />
new techniques and musical ideas. They provided significant hands-on<br />
time for all individuals, and encouraged peers to work together and learn<br />
from one another.<br />
The conference included daily master classes with one of six all-star<br />
clinicians: Dick Sisto, Dave Samuels, Christos Rafalides, Dave Hagedorn,<br />
Joe Locke, and Stefon Harris. These sessions covered topics including<br />
listening, advanced ear training, technical independence, phrasing,<br />
melodic expression, pedagogy, and a broad range of creative tips for developing<br />
relevant practice regimens. Each clinician had a unique sound,<br />
style, and approach, but they each delivered one mind-blowing performance<br />
after another.<br />
The week concluded with a final performance and all-heck-breakloose<br />
jam session. WVC participants, led by Åstrand, performed pieces<br />
that they developed throughout the week, and Smith gave a stunning<br />
performance of “Neptune,” written for the capabilities of Malletech’s<br />
Love Vibe. The evening culminated with an energetic duo performance<br />
by Locke and Harris that brought the entire audience to its feet.<br />
While theory and technique were emphasized heavily throughout the<br />
week, the greater purpose of the World Vibes Congress had little to do<br />
with technique, notes, or rhythms. Rather, it was about finding the music<br />
inside the player and learning to express that passion through the instrument<br />
and communicate with musical colleagues. The overall result was<br />
an experience just as important for a beginner as a seasoned pro.<br />
Zeltsman Marimba Festival <strong>2011</strong><br />
By Bailey A. Stewart<br />
The 10th anniversary of the Zeltsman Marimba Festival (ZMF) took<br />
place June 26 to July 9 when 20 renowned artists, 38 participants, and 24<br />
marimbas converged on the campus of Lawrence University in Appleton,<br />
Wisconsin. This year’s “Focus on Great Repertoire” unfolded over<br />
nine faculty concerts, three participant concerts, and multiple master<br />
classes, lectures, and private and group lessons.<br />
The ZMF <strong>2011</strong> faculty included Nancy Zeltsman (artistic director),<br />
Nanae Mimura, Fumito Nunoya, Christos Rafalides, Jack Van Geem,<br />
and Dane Richeson (host). For the 10th anniversary, ten past “ZMFers”<br />
were featured: Brian Calhoon, Casey Cangelosi, Anne-Julie Caron,<br />
Hiroya Honda, Setsuko Kutsuno, and Mike Truesdell as associate faculty;<br />
and Jeremy Barnett, Laurel Black, Matt Sharrock, and Xi (Rachel)<br />
Zhang as showcase artists. Guest performers/lecturers were Fernando<br />
Meza (organizing an international event), bassist Steve Rodby (music<br />
technology), pianist Sergio Salvatore (improvisation), and violinist Yuka<br />
Sato (Bach’s string music on marimba).<br />
Multiple artists presented solo and chamber works on each concert<br />
centered on a common theme. Concert titles included “Marimba<br />
Around the World” (showcasing music from different countries), “American<br />
Marimba Music,” “Japanese Marimba Music,” “Transcriptions,” and<br />
“Explorations” (intriguing mixed-media pieces). This unique juxtaposition<br />
of selections enabled audience members to connect and compare<br />
repertoire in new ways.<br />
Mike Truesdell guided informational pre-concert talks with several<br />
artists featured on most evenings’ concerts. Particularly moving was the<br />
talk preceding the Japanese Marimba Music concert (a benefit for the<br />
Japan Earthquake Relief Fund). Hiroya Honda recounted his personal<br />
experiences with the Japanese earthquake and tsunami that struck near<br />
his home last March; Mimura, Nunoya, and Kutsuno relayed the powerful<br />
effects felt in other parts of Japan.<br />
www.pas.org
www.pas.org<br />
percussiON nEWS 19 OCTOBER <strong>2011</strong>
Performers of Michael Tilson Thomas’s “Island Music” at ZMF <strong>2011</strong> (L–R): Dane<br />
Richeson, Rachel Zhang, Jack Van Geem, Nancy Zeltsman, Mike Truesdell, Brian<br />
Calhoon<br />
Performances that received standing ovations included “An Evening<br />
of Jazz”—showcasing the virtuosity of vibist Christos Rafalides in both<br />
duo and quartet settings. With Michael Tilson Thomas’s “Island Music,”<br />
the astounding musicality of Van Geem, Zeltsman, Zhang, Truesdell,<br />
Richeson and Calhoon made the half-hour work seem only minutes<br />
long. Also of note was Laurel Black’s stunning performance of “stars,<br />
cars, bars” by Adam B. Silverman (for speaking marimbist; text from<br />
Nabokov).<br />
The examination of individual sound, personal expression, and musical<br />
identity pervaded ZMF <strong>2011</strong>. Each participant left with a wealth of new<br />
information to add to his or her personal gestalt. Zeltsman placed great<br />
emphasis on the importance of musical expression, regardless of the<br />
method or grip used. To illustrate the point, she offered a quote: “When<br />
we can’t measure what’s important, we make important what we can<br />
measure” (Kenji Yoshino). Coupled with Van Geem’s discussion, “What<br />
to Teach and Why?,” festival participants gained inspiration to delve<br />
deeper into their own musical performing and teaching experiences.<br />
Non-marimba events were scattered through ZMF as well. The first<br />
day included an energetic African dancing and drumming session led by<br />
Richeson and Truesdell, and a mallet-wrapping clinic by Honda. During<br />
the second week, participants were awestruck at the capabilities of<br />
the MalletKAT as explained by Barnett. Van Geem led a session on orchestral<br />
excerpts, and Cangelosi gave a fantastic presentation on his own<br />
compositional process.<br />
Open and friendly communication between faculty and participants<br />
and a caring, family atmosphere were matched with absolutely outstanding<br />
music making. This 10th anniversary event truly will be cherished by<br />
all, and stood as a testament to the great quality and diversity of musicians<br />
that exist in our percussive world.<br />
The Zeltsman Marimba Festival will be taking a one-year hiatus, to be<br />
followed with ZMF 2013 co-sponsored by Humboldt State University<br />
in Arcata, California. More information can be found at www.ZMF.us. w<br />
OCTOBER <strong>2011</strong> 20 percussion newS<br />
www.pas.org
www.pas.org<br />
percussiON nEWS 21 OCTOBER <strong>2011</strong>
PASIC Posters<br />
By James A. Strain, PAS Historian<br />
Since 1976, the <strong>Percussive</strong> <strong>Arts</strong> <strong>Society</strong><br />
International Convention (PASIC) has<br />
been the premier event for percussionists<br />
from around the world. For many years,<br />
one of the major marketing tools to promote<br />
this event, as well as the society in general, was<br />
via posters. At first, posters were sent to the<br />
general membership in separate mailings to<br />
encourage new membership, advertise events<br />
(such as clinics and performances), and to promote<br />
subscriptions to the journals.<br />
In 1977, a poster featured pictures of the<br />
first PASIC in Rochester showing the main<br />
hall of the Eastman School with exhibits as<br />
well as other clinics. By 1979, a general poster<br />
for PASIC was established, giving all essential<br />
information one might need to be encouraged<br />
to attend and register for the event, including<br />
dates, location, hotel accommodations,<br />
and types of sessions. Posters from this time<br />
through the late 1980s were generally a standard<br />
poster size of 17 x 22 inches, but a few<br />
varied for artistic purposes. By the 1990s, the<br />
posters were folded and inserted in the <strong>Percussive</strong><br />
Notes PASIC Preview issue (<strong>October</strong>), and<br />
reduced to a 16 x 20 inch size for this purpose.<br />
PASIC posters often focused on the city<br />
where the convention was held and provided<br />
the name of the host, the daily schedule, and<br />
major artists. In the late 1990s, pictures of the<br />
host city were abandoned in favor of one major<br />
artist, with detailed listings of all of the other<br />
artists broken into broad categories, such as<br />
marching, education, drumset, concert, health<br />
and wellness, or keyboard. At times, the designer<br />
of a poster is named and credit to the<br />
photographer(s) appear on a poster, but some<br />
posters were commissioned by the local PASIC<br />
host and no information about the designers<br />
was available. Starting in 1998, PASIC posters<br />
were created by PAS in-house graphic designer<br />
Hillary Henry.<br />
PASIC posters ceased to be printed after<br />
2002, but many PAS members fondly remember<br />
previous conventions by the posters,<br />
location, and integration of the artwork from<br />
the poster with each <strong>Percussive</strong> Notes PASIC<br />
Preview issue or the actual PASIC Program.<br />
Those who identify with the posters often have<br />
a favorite, such as the “Piquant Gumbo of<br />
Events” from PASIC ’92 in New Orleans, or<br />
the drawing of Disneyland by Ted Engelbart<br />
for PASIC ’91 in Anaheim.<br />
OCTOBER <strong>2011</strong> 22 percussion newS<br />
www.pas.org
Photos of posters courtesy<br />
Lauren Vogel Weiss and<br />
James A. Strain<br />
www.pas.org<br />
percussiON nEWS 23 OCTOBER <strong>2011</strong>
<strong>2011</strong> DRUM CORPS INTERNATIONAL WORLD CHAMPIONSHIPS<br />
Cadets capture tenth title<br />
Cavaliers win fifth drum award<br />
Story and photos by Lauren Vogel Weiss<br />
The <strong>2011</strong> Drum Corps International World Championships were held<br />
August 13 at Lucas Oil Stadium in Indianapolis, Indiana. Thanks to<br />
the covered stadium, neither the corps nor the fans were affected by the<br />
sudden thunderstorms that popped up around 9:00 that evening and<br />
caused such terrible damage at the nearby Indiana State Fair, killing six<br />
and injuring dozens.<br />
The Cadets (Allentown, Pennsylvania) won its tenth World Championship—their<br />
first since 2005—with a score of 98.35. The corps placed<br />
first during the preliminary, semifinal, and final competitions and also<br />
won the Don Angelica Best Overall General Effect and Best Visual Performance<br />
awards.<br />
“I’ve been involved with drum corps as a player or a teacher since 1988<br />
but this is the first time my corps has won,” exclaimed Colin McNutt,<br />
<strong>Percussion</strong> Director and Arranger for The Cadets. “It feels great! I’m so<br />
glad we got recognition, and I’m real excited for the kids!”<br />
The Cadets’ program, “Between Angels and Demons,” featuring music<br />
The Cadets’ “Angel” and “Demon” drum lines battled it out as the corps won<br />
its tenth World Championship<br />
of Frank Ticheli and Hans Zimmer, saw half the corps dressed in allcream<br />
uniforms (angels) while the other half was in all-maroon (demons).<br />
The pit wore the traditional maroon jackets and cream pants. “One of<br />
my favorite parts of the show,” McNutt said, “is when we had the angel<br />
drum line on one side of the field and the demon drum line on the other<br />
side and they played the same part, 35 [yard line] to 35. That was a lot of<br />
fun! We did many separate rehearsals because of the staging, but then we<br />
would put it together to work on large phrases.”<br />
Champions for the past two years, the Blue Devils (Concord, California)<br />
received the silver medal with a Burt Bacharach-themed show, “The<br />
Beat My Heart Skipped.” Placing second all three nights, the Blue Devils<br />
also won the George Zingali Best Color Guard award.<br />
The Cavaliers (Rosemont, Illinois) placed third overall to capture the<br />
bronze medal for the program “XtraordinarY,” which included “Footprints”<br />
by Wayne Shorter and “Nature Boy” by Eden Ahbez. The Cavaliers<br />
also received the Fred Sanford Best <strong>Percussion</strong> Performance Award<br />
for the fifth time, and first time since 2000.<br />
“Our show allowed us to really explore the electronic palette like no<br />
one else has done,” explained Michael McIntosh, one of two percussion<br />
designers for the corps. “When you do a show that’s about nothing and<br />
everything, it allows you to really take some chances. It’s all about pushing<br />
the activity in a way that hopefully will inspire other people to push<br />
things in a way that hasn’t happened before.”<br />
One of the audience’s favorite moments of The Cavaliers’ show was the<br />
“upside down” tenors. “I remember how that came about,” laughed Brian<br />
Tinkel, in his second year as the <strong>Percussion</strong> Caption Head. “The members<br />
were messing around on a water break and the tech took a video of one<br />
of the drummers playing some music upside down. They sent the video<br />
to Mr. McIntosh as a joke, and he said, ‘We’re putting it in!’ That was part<br />
of what was special about the show—that we drew on skills the members<br />
had and were able to incorporate them into the show.”<br />
CORPS SCORE DRUM SCORE*<br />
(out of 100 pts.) (out of 20 pts.)<br />
1. The Cadets 98.35 19.2 (3rd)<br />
2. Blue Devils 97.80 19.4 (2nd)<br />
3. Cavaliers 96.85 19.6 (1st)<br />
4. Carolina Crown 95.30 18.6 (6th)<br />
5. Phantom Regiment 95.05 18.5 (7th)<br />
6. Santa Clara Vanguard 92.20 19.0 (4th)<br />
7. Bluecoats 92.05 18.7 (5th)<br />
8. Boston Crusaders 90.65 18.4 (8th)<br />
9. Blue Knights 89.20 18.2 (9th)<br />
10. Madison Scouts 87.55 16.8 (12th)<br />
11. Blue Stars 86.20 17.8 (10th)<br />
12. Spirit of Atlanta 85.35 17.0 (11th)<br />
Drum judges: Allan Kristensen (Prelims), JJ Pipitone (Semifinals),<br />
Jeff Prosperie (Finals)<br />
* The drum score listed above is from Saturday night and is based on a 20<br />
point total. That number is then divided by two and only a maximum of 10<br />
points are added into the total possible overall score of 100 points. The “High<br />
Drum” award is actually an average of the three nights of competition.<br />
OCTOBER <strong>2011</strong> 24 percussion newS<br />
The Cavaliers won the Fred Sanford Best <strong>Percussion</strong> Performance Award<br />
with “alternating keyboards” in the front and “upside-down tenors” in the<br />
back<br />
www.pas.org
While the tenors were playing upside down, the keyboards were “splitting”<br />
a part—one person playing the right hand and the other person<br />
playing the left hand. “They also did a kind of ‘do-si-do’,” Tinkel said,<br />
“inspired by Mark Ford’s ‘Stubernic.’ Overall, this was one of the most<br />
enjoyable groups of young men I’ve ever worked with. They worked very<br />
hard every day, with open ears and open hearts. I’m really proud of them.”<br />
The final caption award, the Jim Ott Award for Best Brass Performance,<br />
went to Carolina Crown (Ft. Mill, South Carolina), who placed<br />
fourth with its crowd-pleasing program “Rach Star” mixing classical pieces<br />
by Sergei Rachmaninoff with rock classics like “We Will Rock You” by<br />
Brian May. And the Spirit of Atlanta (Atlanta, Georgia) returned to the<br />
elite “Top 12” after a three-year absence with a tribute to film noir.<br />
The Glassmen (Toledo, Ohio), who placed 12th last year, finished<br />
in the “unlucky” 13th position. Rounding out the “Top 17” from Friday<br />
night’s Semifinals were the Troopers (Casper, Wyoming) who finished<br />
15th last year, the Academy from Tempe, Arizona (14th last year), the<br />
Colts from Dubuque, Iowa (13th last year) and the Crossmen from San<br />
Antonio, Texas (also 17th last year).<br />
On August 9, 18 Open Class corps competed in their Divisional Finals.<br />
(The Prelims scheduled for Monday were cancelled due to severe<br />
weather.) For the third year in a row, the Blue Devils B corps captured<br />
the title, scoring a 95.00 to win the gold medal. They also won the percussion<br />
and general effect captions. For the second year in a row, the Oregon<br />
Crusaders (Portland, Oregon) won the silver medal (and brass and visual<br />
captions) with a score of 94.70. And 2008 Open Class Champions Santa<br />
Clara Vanguard Cadets (Santa Clara, California) scored a 94.20 to win a<br />
bronze medal.<br />
This was also the first year for the Celebrate Indy <strong>Arts</strong>! Parade through<br />
downtown Indianapolis on August 13. Twenty-nine drum corps marched<br />
through the streets, along with floats representing 13 local Indianapolis<br />
arts organizations, including PAS. The Grand Champion unit was the<br />
Pacific Crest Drum & Bugle Corps (Diamond Bar, Calif.).<br />
The Blue Devils’ Keelan<br />
Tobia was named Best Individual<br />
Snare<br />
Aaron Spevak from the<br />
Blue Devils received the<br />
Best Individual Timpani<br />
award<br />
Matthew Penland from the<br />
Santa Clara Vanguard won<br />
Best Individual Multi-Tenor<br />
Vanguards’ Stephen Hall<br />
played Sammut’s arrangement<br />
of “Indifference”<br />
to win Best Individual<br />
Keyboard<br />
Amir Oosman, the drumset<br />
player for the Blue Devils,<br />
won the Best Individual<br />
Multi-<strong>Percussion</strong> title<br />
Individuals and Ensemble<br />
For the second year in a row, the World Class Individuals & Ensemble<br />
Competition was not held during finals week. (The Open Class division<br />
was held at the Indianapolis Convention Center on August 10 and<br />
those results may be found on www.dci.org.) Members of World Class<br />
corps competed at Sunset Station in downtown San Antonio, Texas on<br />
July 24 (the day following the DCI Southwestern Championship at the<br />
Alamodome). For the 21st year in a row, the I&E events were supported<br />
by S.O.M.E. (Sponsors of Musical Enrichment), based in San Joaquin<br />
County, Calif.<br />
Three members of the Blue Devils’ drum line captured World Class Individual<br />
percussion awards: Keelan Tobia won the Best Individual Snare<br />
award with a score of 97.0. He played an original solo entitled “Dangerous<br />
Games.” Keelan, a junior at Modesto Junior College, is majoring in<br />
graphic design.<br />
Aaron Spevak, a member of the Blue Devils’ front ensemble, was<br />
named Best Individual Timpani. He scored a 98.5 (the highest percussion<br />
score of the day) for his original timpani solo “Six,” which he dedicated to<br />
his parents for their support during his six years in drum corps.<br />
Amir Oosman, the drumset player in the Blue Devils’ front ensemble,<br />
won the the title of Best Individual Multi-<strong>Percussion</strong>. He played an<br />
original drumset solo called “All of these Sawces,” which scored a 97.5.<br />
The other two solo categories were won by members of the Santa Clara<br />
Vanguard drum line. Best Individual Multi-Tenor went to 21-year-old<br />
Matthew Penland, a senior music major in percussion performance at the<br />
University of North Texas in Denton. He played an original composition<br />
“Deviation,” and scored a 95.0 to win. This was Matt’s sixth year marching<br />
with a DCI corps.<br />
Stephen Hall, a member of the Vanguard’s front ensemble and a<br />
four-year veteran of drum corps, won Best Individual Keyboard. He is<br />
a 20-year-old junior at Northwestern University in Evanston, Illinois<br />
where he is a percussion performance major. He scored a 95.5 for his<br />
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percussiON nEWS 25 OCTOBER <strong>2011</strong>
performance of “Indifference” by Joseph Colombo, arranged by Eric<br />
Sammut.<br />
The Blue Devils also won the Best <strong>Percussion</strong> Ensemble award with a<br />
duet: Matt Keown played snare and Nick Arce, who won Best Individual<br />
Tenor in 2009, played tenors. Their original piece “Rebellion Against<br />
Closed Gates” scored a 93.0.<br />
Best Bass Drum Ensemble went to the Colts bass line: Nick Brakeman,<br />
Wade Gibson, Nik Kennett, Derek Reid, and Russell Wood. All<br />
The duet of Matt Keown (snare) and Nick Arce (tenor) from the Blue Devils<br />
was named the Best <strong>Percussion</strong> Ensemble<br />
Members of the Colts Bass Drum Ensemble were (L–R) Nick Brakeman,<br />
Wade Gibson, Nik Kennett, Derek Reid, and Russell Wood<br />
The Santa Clara Vanguard cymbal section (L–R) Jeff Ramos, Dan Russie,<br />
Armeen Ghafourpour, and Drew Kleinbach -- won Best Cymbal Ensemble<br />
were rookies except Wade, who was marching his second year in drum<br />
corps. They scored a 95.5 for their original composition “Alpha 5.”<br />
For the fourth time in six years, the Best Cymbal Ensemble went to<br />
the Santa Clara Vanguard. (They also won in 2006, 2007, and 2008.)<br />
Armeen Ghafourpour (18 years old), Drew Kleinbach (20), Jeff Ramos<br />
(21), and Dan Russie (21) performed “Third Time’s the Charm,” an<br />
original work that received a score of 95.5.<br />
The 2012 World Championships (August 9–11, 2012) will return to<br />
Lucas Oil Stadium in Indianapolis. For more information on joining or<br />
viewing drum and bugle corps, please contact DCI at www.dci.org. w<br />
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In Memoriam<br />
Marty Hurley<br />
June 6, 1946 – September 12, <strong>2011</strong><br />
By Lauren Vogel Weiss<br />
Rudimental percussionist Martin E.<br />
(Marty) Hurley died on Sept. 12, <strong>2011</strong><br />
at his home in New Orleans, Louisiana. He<br />
had suffered a stroke on Aug. 14 and spent<br />
several weeks at Tulane Medical Center.<br />
Born on June 6, 1946 in Neptune, New<br />
Jersey, Marty Hurley followed in the footsteps<br />
of his father, an Army drummer<br />
during World War II. At the age of seven,<br />
Hurley joined the O’Brien Major Police<br />
Cadets. Other corps he was involved with<br />
were the Neptune Shoreliners, Asbury Park<br />
Hurricanes, St. Joseph Modernaires, Jersey<br />
Cyclones, the Blessed Sacrament Golden<br />
Knights (he aged out in 1967) and Hawthorne<br />
Caballeros (1968).<br />
After graduating from Neptune High<br />
School, he attended Wilkes College (now<br />
Wilkes University) in Wilkes-Barre, Pennsylvania,<br />
earning a music education degree.<br />
He also played in community orchestras in<br />
Wilkes-Barre and nearby Scranton. Following<br />
graduation, he joined the Air Force Band<br />
and was stationed in Biloxi, Mississippi for<br />
four years.<br />
Hurley began his teaching career in<br />
1971 when he assisted Dick Filkens with<br />
the Stardusters Drum Corps from Arabi,<br />
Louisiana. In 1972, many of the members<br />
of the Stardusters joined the new Metairie,<br />
Louisiana-based Bleu Raeders drum corps,<br />
where Hurley served as the drum instructor<br />
for two years. In 1973, he joined the staff of<br />
the Black Knights from Belleville, Illinois,<br />
while continuing to teach the Bleu Raeders.<br />
He remained with the Black Knights until<br />
1975.<br />
In 1976, Hurley joined the staff of the<br />
Phantom Regiment Drum and Bugle Corps<br />
from Rockford, Illinois. Some of his classic<br />
solos for the Regiment include “Flight of<br />
the Bumblebee” and Grieg’s “March of the<br />
Dwarfs.”<br />
During his affiliation with the corps, the<br />
Phantom Regiment placed second in 1977,<br />
1978, and 1979. He was also an integral part<br />
of the creative staff for the first two productions<br />
of the Khachaturian ballet “Spartacus”<br />
in 1981 and 1982. Hurley continued teaching<br />
the Regiment until 1983 before taking a<br />
few years off. He returned to the Rockfordbased<br />
corps in 1987 and remained on their<br />
staff until 1992. In 2004, Hurley was inducted<br />
into the World Drum Corps Hall of<br />
Fame.<br />
Hurley was also involved in the design of<br />
Ludwig’s High Volume (HV) snare drum,<br />
which the Regiment drum line used beginning<br />
in 1981. Similar to a regular marching snare<br />
drum, it had two inches cut from the middle<br />
of the shell, leaving the top half and bottom<br />
half joined by the tension casings. “The HV<br />
drum came from trying to get a drum that<br />
would have a little more projection power—a<br />
little more clarity for a snare drum,” he said in<br />
a Modern <strong>Percussion</strong>ist interview.<br />
In 1974, Hurley took a job that he would<br />
have for the rest of his life: band director at<br />
Brother Martin High School in New Orleans.<br />
He started as the assistant to longtime director<br />
Arthur Hardy, working with the marching<br />
band, stage band, and second concert band,<br />
before he took over as head director in 1989.<br />
During his time at Brother Martin, Hurley’s<br />
ensembles consistently received superior ratings<br />
at local and regional contests and festivals.<br />
His bands performed for the Pope, two U.S.<br />
Presidents, two Louisiana governors, countless<br />
Mardi Gras parades and even the first-ever<br />
playoff game for his beloved New Orleans<br />
Saints football team.<br />
Hurley was inducted into the Louisiana<br />
Music Educators Association (LMEA) Hall<br />
of Fame in 2010. During his time at Brother<br />
Martin High School, he had about 80 percussion<br />
students earn spots in one of the Louisiana<br />
All State ensembles.<br />
Hurley also served as the percussion<br />
instructor at Nicholls State University in<br />
Thibodaux, Louisiana for several years in the<br />
1980s. He judged the finals of the Marching<br />
Bands of America National Championship<br />
twice and also adjudicated the PAS Marching<br />
Forum (now the Marching <strong>Percussion</strong> Festival)<br />
four times, in 1982, 1988, 1994, and 1996.<br />
As a percussion clinician, Hurley gave<br />
seminars at regional and national meetings<br />
of the Music Educators National Conference<br />
(MENC), the National Catholic Band Association<br />
(NCBA) Conference, the LMEA<br />
Conference, the Texas Music Educators Association<br />
(TMEA) Convention, and PASIC.<br />
Hurley gave two clinics at PASIC with<br />
the Phantom Regiment drum line, in 1981<br />
(Indianapolis) and in 1988 (San Antonio). At<br />
PASIC ’92 in New Orleans, he served as Coordinator<br />
for the Marching Forum. At PASIC<br />
2001 in Nashville, he taught a marching master<br />
class with John Pratt and Mitch Markovich.<br />
And at the Drummer’s Heritage Concert<br />
Marty Hurley playing at the Drummer’s Heritage<br />
Concert at PASIC 2002. Photo by Bryan Stone.<br />
held at PASIC 2002 in Columbus, Hurley<br />
was one of the featured snare drum soloists.<br />
In addition to the drum corps and marching<br />
band music that he wrote, Hurley composed<br />
numerous snare drum solos and drum<br />
cadences that were originally published by<br />
Rudimental <strong>Percussion</strong> Publications—the<br />
company he founded with John Wooton—<br />
and currently by Row-Loff Productions. He<br />
also taught marching percussion camps all<br />
across the country, including one sponsored<br />
by the Phantom Regiment in Rockford and<br />
one at the University of Southern Mississippi<br />
in Hattiesburg.<br />
Dozens of Hurley’s former students, from<br />
both Brother Martin High School and the<br />
Phantom Regiment, as well as the other<br />
corps he taught over the years, have gone on<br />
to pursue careers in music. These men and<br />
women serve as college percussion instructors,<br />
high school and middle school band<br />
directors, private lesson teachers, and drum<br />
corps instructors.<br />
Arthur Hardy contributed to this tribute. A<br />
longer version of this article is posted on the PAS<br />
website at http://www.pas.org/news/InMemoriam.aspx<br />
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percussiON nEWS 27 OCTOBER <strong>2011</strong>
industry news<br />
HaMaR<br />
Revised website<br />
With over 150 compositions to choose from and an enlarged group<br />
of complimentary tutorial samples, the new HaMaR website has something<br />
for players and teachers. The site has nearly 200 items to view,<br />
including HaMaR Music Direct. View, play, purchase, and print on<br />
demand many of the digital compositions. The catalog has music for<br />
all levels of proficiency and includes a snare drum series, method series,<br />
and music for percussion ensemble, bass drum, timpani, mallets, wind<br />
ensemble, and orchestra. Visit the site at www.hamarpercussion.com.<br />
KICKPORT<br />
New distributors in Europe and Central and South America<br />
To support the growing popularity of the KickPort and CajonPort<br />
with drummers and percussionists around the world, KickPort International,<br />
LLC has announced the expansion of its distribution in the<br />
European music market. Joining KickPort’s international distribution<br />
network are Box Of Trix (Germany, Austria); PB Music (Belgium,<br />
Netherlands, Luxemburg); Soitin Laine (Finland); Tonastodin (Iceland);<br />
Bode S.r.l. (Italy); GE Musikk (Norway); Music Distribucion<br />
(Spain, Portugal); Korg UK, Ltd. (UK); and Music World, Ltd.<br />
(Ukraine).<br />
KickPort International, LLC has also announced the expansion of its<br />
distribution in the Central and South American music markets. Joining<br />
KickPort’s international distribution network are Distribudora Gohner<br />
(Mexico); Prado Unique Repercusions (Honduras); Dream Argentia<br />
(Argentina); Sonotec Electronica LTDA (Brazil); Cobalto (Chile); and<br />
Music City (Venezuela).<br />
For updates and contact information visit kickport.com/contact.<br />
LATIN PERCUSSION<br />
LP donates Egg Shakers to Kenyan orphanage<br />
Latin <strong>Percussion</strong> recently donated over 100 of its popular Egg<br />
Shakers to the St. Theresa House of Hope Children’s Home in Lake<br />
Elemintita, Kenya. The donation was made to support the charitable effort<br />
spearheaded by Sunniva Sorby with assistance from her sister Bettina<br />
Breckenfeld through the American Foundation for Children with<br />
AIDS.<br />
American Foundation for Children with AIDS Representative Sunniva Sorby<br />
with child from House of Hope.<br />
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percussiON nEWS 29 OCTOBER <strong>2011</strong>
The St. Theresa House of Hope Children’s Home was opened in<br />
2007 to care for children orphaned by HIV/AIDS. It is estimated that<br />
Kenya is home to 2.4 million orphans, 60% of whom have been orphaned<br />
by the disease. The orphanage is part of a nationwide effort to<br />
combine the resources of government, international agencies, charitable<br />
organizations, and community groups to help care for these children.<br />
On their most recent trip to Kenya, Sunniva and Bettina handed out<br />
the LP Egg Shakers to all the children in the orphanage. “The young<br />
ladies…were renewed with hope when we paid them a visit and shared<br />
the Egg Shakers that LP graciously donated,” said Bettina. “The place<br />
erupted into song and movement when we distributed these shakers.<br />
We made a lot of kids very happy!”<br />
If you would like to make a 100% tax-deductible donation to the<br />
American Foundation for Children with AIDS, you can do so online at<br />
http://bit.ly/kidswithaids.<br />
MARIMBA ONE<br />
New customer-friendly website<br />
Marimba One, maker of concert marimbas, has launched a brandnew<br />
customer-friendly website. The new site is designed to give users<br />
an easy-to-navigate environment in which to explore marimbas, mallets,<br />
and accessories.<br />
The website is the direct result of research conducted over the last<br />
year into what customers want. “We’ve conducted several researches<br />
both informally and in connection with California State University<br />
(Humboldt) School of Business Marketing Dept., and have integrated<br />
the results into the way our new site works for customers,” says Ron<br />
Samuels, founder of Marimba One. “Our website visitors want to<br />
understand about sound. They want to know: How does one level of<br />
keyboard differ from another on a marimba? What is the difference<br />
between resonators? What do existing customers say about these various<br />
combinations?”<br />
The website rebuild was done by Accelerant Design of Arcata, California.<br />
PEARL<br />
Art department expands<br />
Pearl Corporation has hired two new Art Department employees,<br />
Garrett DeLozier and Bill Tyler. DeLozier, a native of Sevierville,<br />
Tenn., is a recent graduate of the Art Institute of Tennessee – Nashville,<br />
receiving his BFA in Digital Filmmaking and Video Production.<br />
DeLozier comes from a background of freelance editing of short narratives,<br />
commercials, documentaries, and animated shorts. Originally from<br />
Mississippi, Tyler has over 20 years of professional graphic arts experience,<br />
specifically in art direction and graphic design for over 200 album<br />
covers. A graduate of Millsaps College, with two years of architecture<br />
training, Tyler has worked with MCA Records, Billboard magazine, and<br />
numerous independent labels and publishers.<br />
AFA Summer Music Conservatory support<br />
This summer, Pearl/Adams supported the American Festival for the<br />
<strong>Arts</strong> as part of an ongoing effort to advance the quality of percussion<br />
performance by supporting music education programs and artists that<br />
inspire and inform students. The American Festival for the <strong>Arts</strong> presented<br />
the AFA Summer Music Conservatory for its 16th year, held<br />
at Houston ISD’s Pershing High School, June 20–July 22. Founded in<br />
1993 by Houston composer and arts advocate J. Todd Frazier, American<br />
Festival for the <strong>Arts</strong> (AFA) provides high quality, community-based<br />
music education programs and performance opportunities designed<br />
primarily for youth and, through its concert series and outreach, seeks to<br />
broaden the audience for both American works and the classical music<br />
repertory. This year’s summer curriculum featured programs in orchestra,<br />
chamber music, choir, vocal studies, jazz, piano and composition. Student<br />
musicians, ranging from 4th to 12th grade, came from throughout<br />
Southeast Texas to audition and enroll in the summer conservatory.<br />
While attending the festival, students have the opportunity to perform<br />
in the AFA Summer Concert Series, which presents many free concerts<br />
throughout Houston.<br />
Sponsorship of the AFA Summer Music Conservatory is part of<br />
Pearl’s continuing efforts to improve the quality and accessibility of music<br />
education to students of all ages and backgrounds. For more information<br />
on Pearl’s education and artist programs, visit www.pearldrum.<br />
com.<br />
PERCUSSION MARKETING COUNCIL<br />
Jespersen and Jewell named new executive officers<br />
The <strong>Percussion</strong> Marketing Council (PMC) has announced the appointment<br />
of Bob Jespersen and David Jewell as Executive Officers.<br />
PMC officers serve as equal Co-Executive Directors, each responsible<br />
for specific areas of guidance, direction, and benefit to all PMC Members<br />
and the percussion industry.<br />
Jespersen is the National Call Center Director/Regional Sales Manager<br />
for KMC Music, Inc., headquartered in Bloomfield, Conn. Bob’s<br />
30-year career with KMC Music includes diverse sales and customer<br />
service management positions throughout the U.S.<br />
Jewell is the Marketing Manager of Yamaha Drums, headquartered<br />
in Buena Park, Calif. Dave brings years of percussion industry experience<br />
as a full-time player, over 14 years with Milano Music in Arizona,<br />
and the past 13 years with Yamaha. He will assume direction over the<br />
PMC’s marketing strategies.<br />
The PMC Board consists of the following individuals volunteering<br />
and serving the PMC—Executive Officers: Brad Smith (Industry Relations),<br />
David Jewell (Marketing-Promotions), Bob Jespersen (Retailer<br />
Program Application & Development), and Karl Dustman (Headquarter<br />
Operations/ Financial-Legal-Membership). Advisory Board: Billy<br />
Cuthrell (Event Marketing, Website, Promotions), Phil Hood (New<br />
Membership Development), Dr. Craig Woodson (Roots of Rhythm,<br />
Program Director), and Brian LaRue (New Membership Development).<br />
NAMM Foundation Grant<br />
The <strong>Percussion</strong> Marketing Council (PMC) recently announced<br />
that the organization was one of 35 recipients nationwide to receive a<br />
NAMM Foundation <strong>2011</strong>–2012 program grant. The PMC’s “PER-<br />
CUSSION! The Rhythm of Life Through Making Music” funding will<br />
help the further development and growth of the organization’s <strong>Percussion</strong><br />
in the Schools and Roots of Rhythm Programs. <strong>Percussion</strong> in the<br />
Schools is an educational in-school performance program targeted<br />
to introduce and provide professional percussion playing experiences<br />
to elementary through high school levels. Roots of Rhythm produces<br />
multiple teacher/trainer workshops throughout the U.S. while working<br />
with a variety of educational venues including MENC, House of Blues<br />
Foundation, and others.<br />
<strong>Percussion</strong> in the Schools dealer promotion with Keith Carlock<br />
The <strong>Percussion</strong> Marketing Council (PMC), in conjunction with<br />
internationally recognized drummer Keith Carlock, announced its <strong>Percussion</strong><br />
in the Schools (PITS) dealer program for <strong>2011</strong>.<br />
Building on the success of the 2010 “Win Chad Smith” campaign,<br />
PMC followed up this year by inviting NAMM retail music dealers to<br />
nominate a school district for hosting a Keith Carlock all-school percussion<br />
concert assembly. The all-school general assembly concert program<br />
is targeted to junior high and high school audiences in the dealer’s<br />
local market and will be held at the school in <strong>October</strong>.<br />
Through a generous grant from the NAMM Foundation, the PMC<br />
has been able to grow this program consistently since its launch in 2007.<br />
The PMC’s utilization of Chad Smith, a multi-Grammy Award-winning<br />
artist and drumming industry ambassador, brought international<br />
attention to this PMC educational program in 2010. The organization’s<br />
mission of connecting music retailers, schools, and students in an educa-<br />
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percussiON nEWS 31 OCTOBER <strong>2011</strong>
tional first-time drumming experience benefits every student in attendance,<br />
the entire school’s music department, and the local retail music<br />
dealer. This market development initiative will bring national awareness<br />
to all percussion-product categories and the entire music products industry.<br />
Carlock is an internationally acclaimed drummer who has recorded<br />
and/or toured with a variety of musical luminaries, such as Sting, Steely<br />
Dan, James Taylor, Diana Ross, Faith Hill, and many more. In Modern<br />
Drummer’s 2009 Readers Poll, Carlock was voted number one in three<br />
categories: pop drummer, fusion drummer, and all-around drummer. In<br />
addition to studio work and live performance, he has also released an<br />
instructional DVD, The Big Picture.<br />
The <strong>Percussion</strong> Marketing Council (PMC) is the percussion industry’s<br />
official trade association comprised of members representing the<br />
manufacturing, distribution, and publishing facets of the percussion<br />
world. Founded in 1995, the non-profit all volunteer organization is<br />
dedicated to increasing public awareness of drums and drumming<br />
while creating educational and market development programs and<br />
campaigns that reach all audiences and benefit music retail merchants<br />
in all regions. For further information about the <strong>Percussion</strong> Marketing<br />
Council and programs visit www.playdrums.com and www.rootsofrhythm.net.<br />
RHYTHM BAND INSTRUMENTS<br />
New management appointments<br />
Rhythm Band Instruments LLC has announced three new management<br />
staffing appointments, Alicia Ballew has been named Inside<br />
Sales and Support Manager. She holds a Master of Music degree from<br />
the University of North Texas and a Bachelor of Music Education degree<br />
from Southeast Missouri State. As a General Elementary Music<br />
Teacher for 2nd–5th grade students and a Middle and High School<br />
Music Teacher for grades 6–12, she has developed curriculum and<br />
implemented cross-disciplinary music programs and lesson plans for<br />
school band, choir, and general music theory.<br />
Stirling Hewitt has been named Web Design and Brand Support<br />
Specialist. Hewitt joins Rhythm Band as primary design and brand<br />
support manager to oversee the long-term growth and development<br />
of the company’s multi-faceted web-based marketing initiative. An<br />
accomplished drummer and specialty percussionist, Hewitt will also<br />
be developing and coordinating new video training and educational<br />
content for our employees, dealers, international distributors and their<br />
affiliates.<br />
Chris Pittman has been named Inside Sales and Support Manager.<br />
A highly successful music retail sales manager, merchandiser, trainer,<br />
and buyer with extensive purchasing experience in large chain-store<br />
environments, Pittman brings depth and insight from his roots in the<br />
early ’90s with South Texas Music Center in Houston, New Store<br />
Coordinator and Sales Manager with Mars Music, a buyer with Brook<br />
Mays Music Group and Music and <strong>Arts</strong> Centers, and a multi-unit<br />
store manager with Mr. E’s Music, a full-line chain of stores in the Fort<br />
Worth area.<br />
VATER<br />
Kim Thompson visit<br />
Vater artist Kim Thompson (Mike Stern/Beyonce) recently visited<br />
Vater’s Factory in Massachusetts for the first time. Kim got to see every<br />
step of Vater’s production process first hand, including seeing the Vater<br />
7A Wood (her stick of choice) being turned on a lathe.<br />
During her stay in Boston, Kim also appeared for a clinic with Di-<br />
Censo’s Drum Shop, in Weymouth, Mass. Kim opened the clinic sharing<br />
details about her musical journey from the time she was a kid up<br />
until present projects. The clinic was then directed towards the spiritual<br />
and emotional side of performing music and drumming.<br />
ZILDJIAN<br />
<strong>2011</strong> Kerope Zildjian Scholarship Winner<br />
Zildjian has announced that Chad Crummel is the winner of the<br />
<strong>2011</strong> Kerope Zildjian Scholarship. A senior at the University of Texas-<br />
Austin, Crummel is a student of Tom Burritt and Tony Edwards.<br />
The first round of the competition was judged by Neil Grover and<br />
Richard Flanagan of the Boston Symphony and Pops. Three finalists<br />
were chosen and their unmarked CDs were sent to Cynthia Yeh,<br />
Principal <strong>Percussion</strong>ist of the Chicago Symphony Orchestra. Yeh chose<br />
Crummel as the <strong>2011</strong> Kerope Scholarship recipient. The finalists were<br />
Tristan Boyd from the University of Texas-Austin, also a student of<br />
Tom Burritt and Tony Edwards, and Tyler Tolles from the University<br />
of North Texas, a student of Mark Ford.<br />
Established to pay tribute to Kerope Zildjian, who presided over one<br />
of the most storied periods in Zildjian history (1895–1909), the scholarship<br />
is intended to encourage and reward percussionists in their pursuit<br />
of performing excellence. As the <strong>2011</strong> Kerope Zildjian Scholarship<br />
winner, Crummel receives a $5,000 scholarship, a selection of cymbals<br />
of his choice, and an all-expenses-paid trip to the Zildjian Factory,<br />
where he will meet the Zildjian family, tour the factory, and personally<br />
choose his cymbals.<br />
For more information on the Kerope Zildjian Scholarship, visit<br />
Zildjian.com.<br />
Grand opening of new Zildjian West Coast office<br />
The Avedis Zildjian Company held an open house on June 21 to celebrate<br />
the grand opening of its new West Coast artist relations office in<br />
the CenterStaging complex in Burbank, Calif. Zildjian first opened a<br />
West Coast artist relations office in 1982 in West Hollywood. In 1989,<br />
the office relocated to Studio City.<br />
More than 200 Zildjian artists and industry friends stopped by to<br />
check out the new West Coast artist relations office, as well as Zildjian’s<br />
new Gen16 office. The event featured a selection of Sound Lab<br />
prototypes for artists to play and provide feedback. Artists included<br />
Vinnie Colaiuta, Gary Novak, Sheila E, Airto Moreira, Russ Miller,<br />
Gil Sharone, Marvin “Smitty” Smith, Teddy Campbell, Aaron Spears,<br />
Nisan Stewart, Gorden Campbell, Kenny Aronoff, Luis Conte, Ronald<br />
Bruner Jr., Danny Seraphine, Mike Malinin, Michael White, Vince<br />
Wilburn and others.<br />
The event was hosted by John DeChristopher, Vice President, Artist<br />
Relations & Event Marketing Worldwide; Kirsten Matt, Artist<br />
Relations Manager–West Coast & Latin America (who manages the<br />
West Coast office); and Sarah Malaney, Artist Relations Manager–East<br />
Coast. Other Zildjian personnel in attendance included Debbie Zildjian,<br />
Vice President of Human Resources; Paul Francis, Director of Research<br />
& Design; Matt Read, R&D/Quality Engineer; Steve Tirpak,<br />
Regional Sales Manager; Mike Brucher, Zildjian Sales Rep for Southern<br />
California; and Derek Zimmerman, Gen16 Business Manager.<br />
According to DeChristopher, “Having a presence in Los Angeles<br />
is important to Zildjian for a variety of reasons, not the least of which<br />
is being accessible to our artists. Zildjian has enjoyed a long relationship<br />
with CenterStaging, so it was only natural for us to be here. We’re<br />
excited about our new home and its location, which is arguably at the<br />
center of the L.A. music scene.” w<br />
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Editor–Harry Marvin, Jr. [1/5-6]<br />
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