What's New - The New School

Jack Vartoogian/FrontRowPhotos
Spring 2008
Arnie Lawrence
The Jazz School Goes Global
N e w S c h o o l J a z z c o - f o u N d e r a r N i e l aw r e N c e h a d to
be smiling. The iconoclastic saxophonist who died in 2005, dreamed
of using jazz to unite Arabic and Israeli musicians. In his later years,
Lawrence even created a music school with this intention in Jerusalem.
His commitment and legacy have recently been documented in the
upcoming film I Hear A Rainbow: The Arnie Lawrence Story by Tal-El
Productions.
On Friday, November 16, 2007, The New School for Jazz and
Contemporary Music honored this dream with an initiative that
brought together musicians from Palestine and Morocco with
American and Israeli student musicians from New School Jazz.
Sponsored by the U.S. State Department in partnership with the
Kennedy Center for the Performing Arts, this groundbreaking event
allowed musicians to share their talents in a day of discussion and
learning. The day culminated in an exciting performance by acclaimed
Palestinian and Moroccan musicians Joseph Duqmaq, Wissam Murad,
John Robert Handal, Tarik Hildal, and Fatima Abdeldayem. The
performance also featured Jazz faculty member Harel Shachal and
New School Jazz students. Faculty members Reggie Workman and
Rory Stuart also participated.
New School Jazz has always been engaged in the global jazz
community, starting with our students and faculty who come
from all over the world, bringing their own cultural associations
Executive Director Martin Mueller (second from right, row two) with the international ensemble
continues page 2
Scott Wynn

A Message from the Executive Director
DEAr AluMni AnD FriEnDs,
i ’ m o f t e N a S k e d a b o u t t h e m e a N i N g o f “ c o N t e m p o r a ry ”
in our school’s name and mission, with the assumption that
contemporary means popular genre or style. Indeed, our alumni and
current students do cover the full musical spectrum, from JAZZ to
Jay-Z, from Basie to Beyoncé. But “contemporaneity”—as a quality
not of linear time, but of artistic creative expression—is a far more
relative and variable term. Among the significant changes in human
experience, few have been more drastic than our increasing sense of
the contemporary. The world has become ever more connected—and
smaller—as a result, with new opportunities
and resources at our digital fingertips. At
the same time, we face an overwhelming
amount of stimuli and information.
The flood of “contemporaneity” has
become a dominant feature of life today.
This is the world we must navigate
as artists, working to resist the force
of conformity brought about by mass
Executive Director
Martin Mueller
2
Photo: Michael DiVito
continued from page 1
with them. The New School for Jazz and
Contemporary Music is also a founding
member of the International Association
of Schools of Jazz (IASJ), an organization
comprising nearly 70 schools in more than
35 countries.
In addition, New School Jazz will again
take part in a summer jazz workshop in
Basanno del Grappa in Northern Italy.
The workshop, now in its ninth year, is a
component of the internationally acclaimed
Veneto Jazz Festival. During the workshop,
New School faculty will offer two weeks
of classes, ensembles, and performances.
Attendees may also audition for New School
Jazz and scholarship consideration.
Jazz, born out of the African-American
experience, is a shared global language
among countless musicians. The New
School is an important participant in
and contributor to the cultural exchange
of this uniquely American art form. To
recognize Arnie Lawrence’s dream and
honor his vision, The New School created
an endowment in his name. Alumni and
donors interested in contributing to the
Arnie Lawrence Scholarship Fund should
contact Mary Hastings, Jazz director of
communication, and seeking to find a
contemporary identity while perpetuating
the aesthetics and traditions of jazz.
To meet these challenges, it is essential that we remain aware of
the forces shaping the world. While we can’t know what tomorrow
will bring, we can be sure tomorrow’s musicians will need more
inclusive training and diverse skills than ever before. This is the vital
work of The New School for Jazz and Contemporary Music, made
possible through your support and through collaborations across our
university.
The essence of jazz is governed and protected by tradition. At The
New School, our stellar artist faculty provide direct connections
to that history and encourage our student artists to be the “new”
New School. Tradition and innovation both require openness, the
willingness to change, and that we honor where we’ve been.
Alumni and friends, it’s an exciting time to be at The New
School! Please help us forge these new pathways by continuing
our friendships, attending our concerts, and furthering your
commitment to our mission in music.
Martin Mueller
development, at hastingm@newschool.edu or
212.229.5662 x4579.
The Michael D. Thomas saxophonist Grant
duriNg the SpriNg of 2006,
The New School for Jazz and Contemporary
Music sadly lost alumnus and saxophonist
Michael D. Thomas (1976–2006). Thomas
graduated with a BFA in Jazz Performance
and Composition in 1999. In addition to
studying under legends such as George
Garzone, Joe Lovano, and Charles Tolliver,
Michael was significantly influenced
by Philadelphia-based saxophonist Ben
Schachter. Michael enjoyed playing at
many of New York’s legendary jazz venues
such as Birdland, The Blue Note, and The
Village Vanguard. Michael also studied and
played percussion, clarinet, and flute. But
his passion for jazz ventured well beyond
performance, and he was committed to both
honing his skills and nurturing his creativity
as a composer and arranger. His true love
was, indeed, pushing the horizons of jazz, to
create original, fresh, and inspiring music.
He strove to incorporate many different
genres into his work. During the last few
years of his life, he was particularly influ-
enced by the works of Duke Ellington and
David Byrne and the blues of the South,
especially the Mississippi Delta.
As a musician, composer, and lover of
music, Michael embodied the very attributes
that all musicians aspire to possess: passion,
tenacity, humility, and creativity. In addition,
he was devoted to sharing his knowledge
and love of music with future generations
of musicians. From 2002–04, he was
director of Music & Instrumental Performance
at the Tito Puente Performing Arts
Academy in Harlem. Michael was a talented
musician and teacher as well as a sincere
gentleman. Anyone who had the privilege
of knowing him was a better person for it.
Michael will be ineffably missed.
To honor the memory of Michael, the
Thomas family has established the Michael
D. Thomas Educational Foundation. This
private, independent nonprofit organization
is dedicated to the betterment of the arts
by providing financial support to full-time
students who exhibit artistic excellence in jazz
music. Through the funding it provides, the
Foundation strives to assist individuals to do
the following: develop musical knowledge,
hone performance skills, cultivate educational

musicianship, and nurture creativity.
This past fall, the foundation announced
the winner of its first award, Austrian-born
sophomore Lukas Gabric. The foundation
officially celebrated this exciting news at its
fall 2007 fundraising event at the Village
landmark restaurant, Minetta Tavern. The
event featured the music of The Brooks
Hartell Quartet led by New School alumnus
Brooks Hartell. Lukas Gabric was the special
guest of the evening, and he played several
sets with Hartell’s band.
sound Education with new Yamaha Drum Kits
with the acquiSitioN of 13 New
Yamaha drum sets with hardware, The New
School for Jazz and Contemporary Music
has found a new recruiting tool.
“Our students are incredibly excited to
have access to such high quality instruments,”
said Martin Mueller, executive
director of The New School for Jazz and
Contemporary Music. “When a prospective
student comes and sees a Yamaha kit on the
stage or in a practice room, it’s a great asset
in encouraging [that person] to study here.”
“The program has done it right because
these are real jazz kits,” said Barry Greenspon,
owner of Drummer’s World in New
York City, referring to the new drum sets.
The new school for Jazz and Contemporary Music is pleased to announce the addition of two new members
to the board of governors.
KurT WinKElMAnn, PhD is managing
director and co-head of global investment
strategies group at Goldman Sachs. He has
been with Goldman Sachs since 1993. His
previous responsibilities included managing
GSAM’s Institutional Client Research and
Strategy group. Prior to joining GSAM,
Mr. Winkelmann spent five years in the
Goldman Sachs Fixed Income Research
Group as head of Global Fixed Income
Portfolio Strategy, a London-based
position. Mr. Winkelmann has written (or
co-authored) several papers with portfolio
management themes. A number of these
papers have appeared in the Journal of
Portfolio Management, Financial Analysts
Journal, and the Handbook of Fixed Income
Securities. Before joining Goldman Sachs,
Mr. Winkelmann worked in the investment
technology industry (BARRA and Vestek),
and as an economist for First Bank
“New School students who come into the
shop say they enjoy playing them. And it’s
not just the drummers who benefit—everyone
sounds better with these kits.”
The school currently enrolls approximately
40 drumming majors. Drum professors
include Joe Chambers, Andrew Cyrille, Dr.
Chico Hamilton, and Charli Persip. Student
Assistants clean and maintain the new drums
and hardware. “We’ve always taken our educational
mission seriously,” said David Jewell,
marketing manager for Yamaha Drums, Pro
Audio & Combo Division. “It’s great to see
that young people are still called to jazz.”
Parents and Partnership
the New School for Jazz aNd
Contemporary Music held its first event
for parents outside of the New York area
on November 1, 2007. Board of Governors
Member Dr. Bert Lubin hosted the reception
in Berkeley, California in the historic
library of the Children’s Hospital Oakland
Research Center. Dr. Lubin, whose son
is a sophomore at Jazz, is president and
director of medical research of the center.
Executive Director Martin Mueller spoke
about New School Jazz and its students.
He highlighted the school’s efforts to
teach students necessary networking
Systems. He received a BA from Macalester
College (St. Paul, MN) in 1978 and a
PhD in Economics from the University
of Minnesota in 1987. Mr. Winklemann,
an accomplished jazz guitarist, has been
passionate about music all his life.
J. GrEGOrY MilMOE is a partner at the law
firm Skadden, Arps, Slate, Meagher &
Flom LLP, and is a co-head of its corporate
restructuring group. In his 37 years at the
firm, Mr. Milmoe’s work as counsel for
corporate restructuring cases has enabled
him to achieve professional prominence
representing public companies in their
financial restructurings and bankruptcies.
He has been characterized in a Wall Street
Journal profile as the “Mr. Rogers” of the
bankruptcy bar. Mr. Milmoe graduated
from Cornell University and Fordham Law
School. At Cornell, he perfected the art of
Spring 2008
and marketing skills to become working
musicians in today’s marketplace. Teri
Lucas, director of admissions, and Mary
Hastings, director of development, also
contributed remarks. Nearly 60 parents
attended the event, many of whom had
children who studied and performed at
Berkeley High School before attending
New School Jazz. One parent remarked
that it was the best parents event she had
ever attended. Additional parent events are
planned for New York and Los Angeles.
Music industry Fund scholarship recipients
t h e N e w S c h o o l f o r J a z z a N d
Contemporary Music awarded two
graduating students with our new Music
Industry Fund Scholarship. The award,
which is based on merit and financial
need, is for graduating seniors and is
made possible by generous donations from
industry professionals Bruce Lundvall and
Ted Kurland. The donation from Lundvall,
president of Blue Note Records, was awarded
to Leo Coodin (drums). The donation from
Mr. Kurland, president of Ted Kurland
Associates, a jazz management firm, was
given to Linas Benesevicius (saxophone).
carrying on normal conversations while
playing the piano at fraternity cocktail
parties. This led him to try, for several
years, to make a living as a musician. His
interest in music remains an important part
of his life. He plays tenor sax and piano.
Board of Governors 2007–08
Kent A. Clark, Chair
James C. Freund, Vice Chair
Charles G. Leaness
Jean Lignel
Bertram H. Lubin
J. Gregory Milmoe
Eileen Naughton
Hank O’Neal
Tim Porter
Mark A. Schulman
George Wein
Kurt Winkelmann
3

Jazz Presents...Monktober
the Jazz preSeNtS coNcert SerieS
remains the cornerstone of public
programming at New School Jazz. It
showcases distinguished New School
faculty, affiliated artists, and the
emerging stars of tomorrow—our
students and alumni. In fall 2007, Jazz
Presents featured MOnK AT 90, two evenings
honoring the 90th birthday of the
legendary Thelonious Monk.
We began on October 10 (Monk’s actual
birthday) with ThE MOnK inFluEnCE, inspired
by the man whose creativity permeates
music from the 1940’s to the present.
Monk’s music was performed by a stellar
ensemble led by Jimmy Owens (New
School Jazz faculty), trumpet, flugelhorn;
Slide Hampton, trombone; Junior Mance
(New School Jazz faculty), piano; Kenny
Davis, bass; and Eric McPherson, drums.
The performance sold out.
Will Friedwald of the New York Sun
hailed, “I expected just a jam session on
Thelonious classics; instead, Mr. Owens
offered thoughtful new arrangements on
some lesser-known Monk ballads…Mance
stole the show whenever he had a chance to
play the blues… ”
In addition, trumpeter and New School
Jazz faculty member, Cecil Bridgewater
joined the stage for a memorable finale. The
birthday ovation was not only for Monk,
but for Mance and Bridgewater too!
The celebration continued on October
30 with ThE MOnK COnFluEnCE. Led by New
School Jazz faculty member and guitarist
Steve Cardenas, an innovative piano-less
quartet performed familiar and lesserknown
Monk works. Cardenas directs
the school’s Monk Ensemble and is coauthor
of the Thelonious Monk Fakebook.
The exceptional group put a unique spin
on Monk’s music and featured Cardenas,
guitar; Ben Allison (New School Jazz
alumnus), bass; Matt Wilson, drums; and
a sensational young trombonist Yonatan
Voltzak (New School Jazz student).
Jazz Presents is sponsored in part by a grant from the
New York State Council on the Arts and The Julien J.
Studley Foundation. Drums are provided by Yamaha.
4
Kenny Davis
Slide Hampton
¡CALIENTE!
oN december 2, 2006, the New
School for Jazz and Contemporary Music
hosted ¡CALIENTE!—an all-day celebration
of Afro-Cuban Jazz expression in New York
City. Activities included a screening of the
award-winning documentary, From Mambo
to Hip Hop: A South Bronx Tale, which was
directed by Henry Chalfant, produced by
Elena Martinez and Steve Zeitlin, and sponsored
by City Lore and Public Art Films.
Junior Mance, Faculty
Jimmy Owens, Faculty
The screening was followed by
a dynamic panel discussion,
Music and Survival in the
South Bronx, which featured
faculty from across the university.
The evening included a special
performance in Tishman Auditorium
by The New School Afro-Cuban Jazz
Orchestra directed by New School Jazz
faculty member Bobby Sanabria [see faculty
notes and interviews], and featuring renowned
saxophonist Sonny Fortune.
Selections from this night of mambo,
blues, and bolero from Afro-Cuban masters
Mario Bauza, Machito, are now available
on compact disc and can be heard on
www.newschool.edu/jazz.
Photos: Matthew Sussman

Photo: Matthew Sussman
Andy Milne and students
Seminars Continued:
Music and the Marketplace/Art
and Commerce
m u S i c i N t h e m a r k e t p l ac e / a r t a N d c o m m e r c e S e m i N a r S
were initiated in 2005 by Bob Hurwitz, president of Nonesuch
Records. Today, the seminars are going strong with lectures and
discussions led by leaders in the mainstream, not-for-profit, and
alternative worlds of music. These sessions provide important
opportunities for students to engage with accomplished musicians
and business leaders who provide an insider’s view of the industry
and share insights in relation to artistic growth and professional
viability.
The series has led to the development of related activities including
the Writing Workshop and classes such as The Business of Jazz,
taught by producer Jeff Levenson; Showmanship, taught by Kirk
Nurock; Marketing Yourself, taught by Andy Milne; Introduction to
Web Design, taught by Brian Camelio; and Music Business, taught
by Jimmy Owens. There is also a more extensive roster of industry
internship placements for students.
In 2007–08, two new courses were added to the business
curriculum. These courses not only emphasize the skills necessary
to promote, build, and sustain one’s career, but also how to utilize
new business models and technology. Brian Camelio, head of
ArtistShare, and entertainment lawyer Steve Gordon teach Future of
the Music Business. Experienced musician, producer, educator, and
entrepreneur Gene Perla teaches Survey of the Music Business.
It is essential for emerging artists to understand the changing
marketplace. These enhancements to professional development and
career services for our students and alumni are crucial to meeting
this need.
Bob Hurwitz
Kurk Nurock
The Executive Director’s
Student Advisory Council
Photo: Ryan Blum Kryzstal
Spring 2008
in Class and Out
the executive director’S StudeNt adviSory couNcil
(EDSAC) is a an ongoing forum for students to voice their
concerns. EDSAC members provide crucial feedback to the
executive director and administration regarding community life,
academic programs, and administrative policies and procedures.
The 12 members of EDSAC are student leaders who volunteer
their services. Executive Director Martin Mueller and Assistant
Director of Academic Affairs Brenda Barlow founded and co-chair
the council.
EDSAC has successfully advocated for student-led groups to
perform at Sweet Rhythm, funding for new instruments and
tuning/tech needs, and the extension of practice-room hours
during final exams. This term, EDSAC is discussing innovative
ways for students and faculty to collaborate with the broader
university community, such as through the New School Radio
Station and University Student Senate. They are also identifying
new strategies for recruitment and exploring the role of
“contemporary music” at New School Jazz.
5
Photo: Don Hamerman

AluMni nEWs See
6
up-to-the-minute alumni news
on the class notes page at www.
newschool.edu/alumni and send your
news to alumni@newschool.edu.
DAviD r. ADlEr ’90 (guitar) writes about jazz
for the Philadelphia Inquirer, Philadelphia
Weekly, Jazz Times, Downbeat, and other
publications. His cover story on Keith
Jarrett appeared in the January/February
2008 issue of Jazz Times.
JOhn islEY ’91 (saxophone) is touring with
Moving Out, a musical based on the songs
of Billy Joel and told through the choreography
of Twyla Tharp.
AnDY “ACTiOn” MArKhAM ’93 (drums) has
spent his varied career touring, producing,
and managing every aspect of the music
industry.
AnDY WinTEr ’93 (drums) traveled to Europe
with Cirque de Soleil. The tour brought him
to Germany, where he started recording for
his first album, Delicate Move. Recently, the
Austrian drummer formed his own band,
Madrix, which combines funk, jazz, and
Latin and African elements.
Ori KAPlAn ’95 (saxophone) founded the
Balkan Beat Box (BBB), which is touring
worldwide. The group is nominated for
three BBC World Music awards: cultural
crossing, club global, and new-comer. Five
of their songs will be featured in Madonna’s
upcoming film, Filth and Wisdom.
sTEFAn sChATz ’95 (drums) toured in the
Balkans and the Middle East with the Chris
Byars Quartet earlier this spring as part of
The Rhythm Road: American Music Abroad
program, presented by the U.S. State
Department and Jazz at Lincoln Center.
This is the second time the group has represented
the United States as cultural ambassadors.
The quartet also played at the Village
Vanguard in March and will release their
debut album, Jazz Pictures at an Exhibition
of Himalayan Art, in mid-April at the Rubin
Museum of Art in New York.
sAM YAhEl ’95 (organ) released a new album,
Truth and Beauty (Origin Records), and
played in Miles and Miles, the spring 2008
Jazz Presents concert series.
Arun luThrA ’97 (saxophone) Please see
Faculty News.
DrEW AnThOnY CArrAnO ’98 (voice) lives in
Las Vegas and is performing at the Riviera
Hotel and Casino. He is also in the hit show
The Rat Pack is Back as “the king of cool,”
Dean Martin.
ChrisTOPhEr PisTOrinO ’98 (bass) is a
member of two successful Brooklyn-based
bands, Lapis Luna and The Blue Vipers of
Brooklyn. Along with his wife, Pistorino
is the co-leader of Lapis Luna, which plays
jazz, swing, and bossa nova regularly in the
New York City area and venues nationwide.
The group also includes guitarist JOhn
MErrill ’97 (guitar) and drummer BriAn
FlOODY ’93. The Blue Vipers of Brooklyn, an
acoustic Dixieland band, features TOM ABBOTT,
’08 (saxophone). The band recently won the
nationally televised contest, “Subway Idol,”
and were featured on FOX’s The Morning
Show with Mike and Juliet for a month. The
band also recorded and released their second
album, Forty Days and Forty Nights. The
Blue Vipers will perform at the Rochester
International Jazz Festival in June.
JOhn Ellis ’99 (saxophone) released One Foot
In The Swamp on HYENA Records. He
performs regularly around New York.
KEvin FrEY ’99 (drums) was recently
appointed director of Student Development
and Campus Life for the Middlesex Campus
of Berkeley College in Woodridge, New
Jersey.
DAn BlAnKinshiP ’01 (trumpet), sTEPhAn
MOuTOT ’03 (saxophone), BriAn MArsEllA
’00 (piano), rEiD TAYlOr ’01 (bass), and MATT
zEBrOsKi ’01 (drums) formed The Flail and
recorded their third album, Live at Smalls in
November. It is due to release in the spring
of 2008. Their last album, Never Fear, was
chosen by ejazz as #14 of best jazz albums
for 2007. The group appears regularly in
New York City and will be touring extensively
in the United States and Europe to
promote their new album.
MiChAEl sCOTT KETTnEr ’01 (percussion) Please
see Faculty News.
MiChAEl rODriGuEz ’01 (trumpet) was the
third place winner in the 2007 Thelonious
Monk International Jazz Trumpet competition
last October. As a result, Rodriguez
performed before a packed house at the
Kodak Theatre for a legendary panel of
judges including Quincy Jones, Herb
Alpert, Terence Blanchard, Hugh Masekela,
Clark Terry, and Roy Hargrove. The Thelonious
Monk International Jazz Competition
is regarded as the most prestigious jazz
competition in the world. Each year the
institute attracts the brightest young jazz
talent to compete for a series of scholarships.
Rodriquez was featured in a recent
Downbeat.com article about his musical
achievements.
CrAiG YArEMKO ’01 (saxophone) recently
released his third album, Sync, with Jazz
Excursion Records.
Ari zuCKEr ’01 (guitar) has been recording
with Stone Gossard of Pearl Jam on his solo
album, and for a tribute album to Hank
Williams.
DAriO BOEnTE ’02 (piano) along with his
band, Huge in Japan, toured Spain last
summer. During his stay in Spain, Boente
taught at the IX Jazz seminar at the Palau
de la Música in Valencia. He plays with
percussionist Luis Quintero and his band
Percussion Madness, which toured 18 cities
in Europe in the spring of 2007.
MAnuEl EnGEl ’02 (piano) received numerous
awards last year. His album ME 3 was noted
in the Tuscan Citizen as one of ten favorite
jazz albums of 2007 and was an album
finalist at the Seventh Annual Independent
Music Awards. He was a winner in the
14th Annual Billboard World Songwriting
Contest for his song, “Rename.” He also
received an OurStage Award for Best Artist
of the Month in the experimental category.
Engel received two LA Music Awards nominations
for his song, “Alithea.”

viCKiE nATAlE ’02 (voice) recently toured
China, Japan, and the United States to
support the release of her album Never
Gonna Stop.
EriC Mullins ’03 (saxophone) and his wife
Marina recently founded Mullins Music,
a nonprofit community music school in
the Tampa Bay area. He is releasing his
first album, Me/We, featuring all original
music with him on saxophone, bass, and
keyboards.
CAnDACE DEBArTOlO ’04 (saxophone) plays
in a New York City-based rock group,
Spottiewoode & His Enemies. This past
November the band celebrated its tenth
anniversary. The group plays a mix of
original compositions and jazz standards.
In addition, she is working on her own jazz
project called seeker. Candace participates in
the BMI Jazz Composers Workshop.
TATuM GrEEnBlATT ’04 (trumpet) is currently
finishing his master’s degree at The Juilliard
School. He is also currently co-producing
an album with his band, The Here and
New Quintet, for Origin Records, slated for
release in the summer of 2008. He performs
frequently around New York City.
KEYOn hArrOlD ’04 (trumpet) is currently
touring with music mogul Jay-Z and is
featured on his new video, “The Roc Boys.”
Keyon is the CEO of Keykat Productions
Inc., which has produced hit records for
prominent hip-hop artists like 50 Cent,
Young Buck, Mobb Deep, and LL Cool J.
He is a member of Mo Horns, is featured
on Marcus Strickland’s latest CD, Open
Reel Deck, and leads his own horn section
around the country.
lAKECiA BEnJAMin ’05 (saxophone) has played,
toured, and recorded with Alvin Atkinson
and The Sound Merchants. In addition, she
is the founder and leader of Soulsquad and
Spirit. Both bands perform regularly in New
York City.
shArEl CAssiTY ’05 (saxophone) won the
2008 ASCAP Foundation Young Jazz
Composer Award. She will be recognized
at the annual ASCAP Jazz Wall of Fame
ceremony in June at Lincoln Center.
PAul hEMMinGs ’05 (guitar) recently released
a new album, Letter From America (Leading
Tone Records), with saxophonist John
Tchicai. The release party took place at the
Knitting Factory.
KATTY rODriquEz ’05 (saxophone) recently
joined Beyoncé’s all-female band and will be
on tour with her for the next year.
JAY EPsTEin ’06 (piano) is launching Papa
B Studios, a synthesis of five unique artist
spaces that will cater to the needs of the
budding Brooklyn art scene 24 hours a day.
The spaces will be designed for musicians,
visual artists, and dancers and will include
an event space to showcase all aspects of the
cultural arts.
FrAnK lOCrAsTO’s ’06 (piano) debut album
When You’re There is available on the
MAXJAZZ label.
JAsOn MArshAll ’06 (saxophone) plays and
tours with Roy Hargrove’s RH Factor and
the Roy Hargrove Big Band. Jason’s band,
Overt Negritude, is preparing to record its
debut album.
Giving Back to the Doc
Former Jazz students GrEGOrY CurTis
(keyboard), Chris WAlKEr (bass), and rOBErT
GlAsPEr (piano) were among the many who
performed at an event earlier this spring
to honor their high school maestro, Dr.
Robert Morgan. Dr. Morgan is Director
Emeritus of Jazz Studies at the High School
for Performing and Visual Arts (HSPVA)
in Houston, Texas. It was a memorable and
emotional evening for Dr. Morgan, who has
taught at HSPVA for more than 30 years.
Many of his students have attended New
School Jazz where Dr. Morgan established a
scholarship fund.
What’s New
AluMni OFFiCE
Be Green and stay in touch!
In an effort to be as “green” as possible, the Office
of Alumni Relations will send many invitations and
notices of various opportunities for alumni via email
ONLY. If we don’t have a current email address on
file for you, you could miss out. Login to ALVIN at
https://alvin.newschool.edu/ and make sure we have
your current email address. While there, you can also
choose to show your email in the online directory
listing, enabling fellow alumni to contact you. As
always, you can visit us on the Web at
www.newschool.edu/alumni.
Looking Forward: A New Academic Building and a New Curriculum
the New School iS moviNg forward with plaNS
for the construction of a new signature building and new
interdisciplinary programs, both of which will expand our
resources and enhance the student experience.
The new programs will combine the best of our existing
disciplines—design, liberal arts, social sciences, and performing
arts. Building on the university’s unique tradition of civic
engagement and progressive education, this transformation will
prepare our students to face the challenges of the increasingly
complex global society in which we live.
Located at 65 Fifth Avenue, on the corner of Fifth Avenue
and 14th Street, the building will reflect advancements in
environmentally sustainable architecture. Students and professors
will use the space to study and build on those advancements.
These additions will be invaluable, not only to the New School
community but to Greenwich Village and New York City as a
whole.
7

FACulTY nEWs
8
hiGh hOnOrs FOr
DisTinGuishED FACulTY
l o N g - S ta N d i N g f a c u lt y m e m b e r
and renowned drummer Dr. FOrEsTsTOrn
ChiCO hAMilTOn was recognized at the
Kennedy Center as a Living Legend in Jazz.
He also received an Honorary Doctorate
from The New School. Dr. Hamilton
also re-released four CDs on Joyous Shout
Records: Juniflip, Believe, 6th Avenue Romp,
and Heritage. These albums were originally
released in 2006 for Internet sale only to
celebrate Dr. Hamilton’s 85th birthday. He
also won the NARM Distributor of The
Year award for the sixth consecutive year.
New School Jazz full-time faculty
member, soprano saxophonist,
and composer JAnE irA BlOOM was
a recipient of a Guggenheim
Fellowship. Awarded by the John
Simon Guggenheim Memorial
Foundation, winners are appointed
on the basis of distinguished
achievement in the past and
exceptional promise for future
accomplishment. Bloom was one
of 189 winners, including artists,
scholars, and scientists, selected
from almost 2,800 applicants for
awards totaling $7,600,000. Bloom
is working on a composition based
on Freud’s Interpretation of Dreams.
AhMED ABDullAh (trumpet) was
featured in an article, “Opening
Chorus, Overdue Ovation,” in the
October 2007 issue of JazzTimes.
He serves as director of music at
Sistas’ Place “where jazz—a music of the
spirit—lives, and culture is a weapon.” The
establishment is now in its 13th season.
Abdullah is also a teaching fellow with the
Department of Education, teaching music
in Bedford Stuyvesant at P.S. 3.
Alvin ATKinsOn, Jr. (drums) released his
album, Alvin Atkinson and the Sound
Merchants, in 2007 and is touring with
his band to 56 countries as part of Jazz at
Lincoln Center’s Rhythm Road American
Music Abroad program.
In his latest CD, Furious Rubato (Origin
Records, 2007), hAl GAlPEr (piano) teams
up with bassist Jeff Johnson and drummer
John Bishop.
Photo: Don Hamerman
ArMEn DOnEliAn (piano) was once again
selected as a Fulbright Senior Specialist to
present a short series of lectures, seminars,
and workshops overseas; this year, he
was in residence at the Rhythmic Music
Conservatory in Denmark.
MiChAEl sCOTT KETTnEr ’01 (percussion)
combines the legendary Maracatu Nação
Estrela Brilhante from Recife, Brazil
with his Brooklyn-based group, Nation
Beat, for a cross-cultural collaboration.
The result is an explosive debut CD,
Jane Ira Blum with student Jeremy Viner
Maracatuniversal (Scott Kettner, Producer;
Co-Produced by Jorge Martins & The
Nation Beat). The album features Mestre
Walter, Rhythmmaster Jorge Martins,
Frank London, Maracatu New York
(the percussion class/performance group
founded by Kettner), and many others.
Nation Beat was selected to perform at the
January 2008 Global Fest in NYC.
AMY lOnDOn’s (vocals) new CD, When I Look
In Your Eyes (Motema Music, 2007), was
hailed by vocal jazz legend Annie Ross as “a
total delight.” A number of musicians are
featured on the album, including faculty
member DAn GrEEnBlATT and the late JOhn
hiCKs, a former faculty member. London
showcased her recordings at Dizzy’s Club
Coca-Cola in December 2007. In addition,
she was the closing performer of the first
annual ImprovMagazine Live! Convention
in New York City in October 2007.
Arun luThrA ’97 (saxophone) has appeared
on several albums including Russ Spiegel
Sextet’s Chimera (Steeplechase Records,
2007), ENJOY! by Travis Sullivan’s
Bjorkestra (Koch Jazz, 2007), and Billy Fox’s
The Uncle Wiggly Suite (Clean Feed Records,
2007). He also led the Arun Luthra Quartet
in performances in New York and California.
In addition, he has recorded and
performed with numerous groups
nationwide and recently worked
with the Phil Sparks Trio in Seattle.
His latest project, a duo album
with Arizona-based pianist Rachel
Eckroth, will be released in 2008. He
also appeared on Carols for a Cure,
Volume 9, which was recorded by
the Broadway theater community to
promote awareness and raise money
for the prevention, treatment, and
cure of HIV/AIDS.
JuniOr MAnCE (piano) released his
album, Junior Mance live at Café
Loup (JUNGLO Music, Inc,
2007), featuring Junior Mance,
piano; Jackie Williams, drums;
Hide Tanaka, bass; and Jose James,
vocals.
AnDY MilnE (piano) has been
teaching, touring, and collaborating
extensively this year, including in
London and Australia. His album, Scenarios
(ObliqSound Records, 2007) includes
a series of duets with New School Jazz
alumnus GrEGOirE MArET, ’98. Maret and
Milne have been playing together since the
late 90s in Milne’s band, Dapp Theory.
A second recent album, Dreams & False
Alarms (SongLines Recordings, 2007) was
also released.
JiMMY OWEns (trumpet) was recognized in
November 2007 by the 35th Annual Brass
Conference in NYC with a tribute and
a scholarship in his honor. Owens also
released his album Peaceful Walking (Jay-oh
Productions, Inc.).
ChArlOTTE sMAll (vocals) played to a
standing-room-only audience at the The

Village Underground in a December 2007
promotion for her new CD, More. The
Amsterdam News hailed Small as “a gifted
singer whose aptly titled More will have
you hungering for more!” She also played at
The Cutting Room in February 2008.
JiM sniDErO (saxophone) released a new
album, Tippin (Savant Records, 2007),
his first recording with High Note/Savant
records. Tippin brings Snidero back to his
first years in New York in the early 1980’s
as the saxophonist for organist Brother Jack
Mcduff’s. The recording features Mike
LeDonne on B3 and was recorded at the
famed Rudy Van Gelder Studios.
JOAn sTilEs (piano) appeared at Smalls
and Sweet Rhythm in January 2008,
performing selections from her latest
album, Hurly-Burly (Oo-Bla-Dee Records,
2007). The album has received a four-star
review in Downbeat and other publications.
It features Stiles leading an all-star sextet
featuring Jeremy Pelt, Steve Wilson, Joel
Frahm, Peter Washington, and Lewis Nash.
rOrY sTuArT released a new album, So Rise
Up (SmartCatMusic, 2007), including
original compositions played by his current
quartet, including tenor saxophonist Mark
Shim, bassist Matt Penman, and drummer
Ari Hoenig. Rory performs frequently at
Cornelia Street Café.
Trio 3, featuring AnDrEW CYrillE (drums),
OlivEr lAKE (saxophone), and full-time
faculty member rEGGiE WOrKMAn, completed
a second European tour and a run at Jazz
Standard in February 2008.
rAChEl z (piano and vocals) released her new
album, Department of Good and Evil (Savoy
Jazz Records), to rave reviews. She and her
band, which includes New School alum
Maeve Royce, promoted the CD at top
venues around the world and were featured
in key publications including Jazz Times,
Downbeat, and Keyboard Magazine.
PETEr zAK’s (piano) latest album, My
Conception (SteepleChase Records, 2007),
features solo piano recorded at SteepleChase
Studios in Denmark and includes five new
compositions. This is Zak’s third album on
SteepleChase.
OPtIMIStIc PERSIStENcE:
JOsé JAMEs
t h e r e ’ S a r e a l b u z z a r o u N d t h e
Jazz building about former student José
James. His latest project has caught the
attention of high-profile members of the
jazz industry. With drive and perseverance,
James has followed his musical aspirations
and is making an impact in the jazz world.
James, who has a background in
performance, entered The New School
José James
for Jazz and Contemporary Music as a
vocal major in the fall of 2005. Billie
Holiday, Marvin Gaye, and John Coltrane
are just a few of his inspirations. At New
School Jazz he learned music theory and
began collaborating with fellow student
and bassist Alexi David. Eventually,
this collaboration grew to include New
School Jazz students from around the
world, including from Israel and Japan.
Photo: Lars Beaulieu
James developed a close relationship with
legendary pianist and New School Jazz
faculty member Junior Mance. Mance
appeared as the guest pianist on James’
album, The Dreamer. The project also
included current students Nori Ochiai
(piano), Alexi David (bass), Steve Lyman
(drums), Luke Damrosch (drums), Omar
Abdulkarim (trumpet), Ryan Blum
(keyboard), and Gal Ben Haim (guitar).
Spring 2008
Committed to his dream of
making a name for himself,
James traveled to London in the
spring of 2006 for a jazz vocal
competition. Though he did not
advance into the final round, he
took the opportunity to hand out
his recordings. His music landed
in the hands of Gilles Peterson,
one of the world’s most respected
DJ’s. Within two years, The
Dreamer was released on Peterson’s
record label Brownswood Records
(January 28, 2008). James has been
in demand ever since. Radio spots
on WNYC and high visibility in
record stores in Japan and Europe,
plus reviews in All About Jazz and
The Guardian, all point to James’
distinct style and the strength of
the musicians who work with him.
Determination, confidence, and courage are
all components of James’ DNA. By taking
advantage of opportunities, collaborating
with strong musicians, utilizing university
practice facilities, and persistently
promoting his sound, James has become an
artist to watch in 2008. James’ upcoming
tour will take him to Japan, Scotland,
Spain, The Netherlands, and Russia.
To learn more about José James, visit
www.josejamesmusic.com
9

charles tolliver
t h e g r a m m y awa r d S a r e a m o N g
the most recognized honors in American
music, and securing a nomination is no
small feat. New School Jazz captured a few
moments with these legendary Grammynominated
faculty members.
When Downbeat asked Dizzy Gillespie to
identify contemporary trumpet players he
liked, he said, “Charles Tolliver—I like him.”
ChArlEs TOllivEr makes his Blue Note
Records debut as a leader on With Love,
a superb recording of his fiery big band,
which presents his extraordinary charts
and distinctive trumpet-playing skills.
Tolliver recruited a cross-generational
lineup of stellar soloists, including pianists
sTAnlEY COWEll and rOBErT GlAsPEr (Jazz
alumnus); saxophonists BillY hArPEr (New
School faculty member), Craig Handy, and
Howard Johnson; trumpeter KEYOn hArrOlD
(Jazz alumnus); a cohort of A-list section
men; bassist Cecil McBee; and drummer
Victor Lewis. All of the musicians articulate
Tolliver’s vision with bravura performances.
The album was nominated for a Grammy for
the Best Large Ensemble Record.
How did you come to The New School?
CT: I came to The New School back in
1991 because of Reggie Workman. He was
looking at their curriculum, and he had an
epiphany. He was one of the major members
of what we consider the greatest band that
Art Blakey and The Jazz Messengers ever
had, and his idea was to have an Art Blakey
10
2007 GrAMMY
Bobby Sanabria
and The Jazz Messengers course. Reggie
asked me if I could teach this course. I said
yes, and the rest is history.
In your opinion, why does The New School
for Jazz and Contemporary Music stand so
far above other jazz programs?
CT: Well I think that the strong emphasis on
learning permeates our school’s curriculum.
We’re creative, yet with an eye towards
liberal arts requirements that a university
should have. That is really appealing to the
students who opt to come here.
What is your expectation of our students?
CT: My expectation is that the lesson plans
that I give them are not taken as dogmatic
but … as a guide for their development
to become very good in the jazz field as
performers or teachers. The only problem
I see for them is learning how to be team
players—so many of them are about solo
performance or improv. Learning how to
be a team player is as important as being a
great soloist. By the end of the 15th week of
the term, humility does set in. The thing
that I enjoy about teaching as a performer
at a university jazz set-up is that every once
in awhile there is that twinkle in the eye of
a student, which lets you know that they
really did get it. Otherwise, it is like mass
production and they feel it too. I have to
give them some incentive that they too can
achieve what we as faculty have achieved.
What is in your CD player right now?
CT: Actually, what I am listening to are the
discs with the music that I will be teaching
my students, which happens to be today’s
lesson on Roy Ayers.
What is your greatest vulnerability as a
musician/artist?
CT: When I’m not able to find the right
available drummer. Unless you have a
great agent getting you work, all the great
drummers are busy. Everyone needs to have
the right drummer—and that can be an
charles tolliver
Achilles’ heel for anyone. And that goes for
finding the right trumpeter too.
Where were you when you heard about
your Grammy nomination?
CT: I was waking up, and I got a phone call
from Bruce Lundvall, president of Blue Note
Records saying, “Congratulations you have
a Grammy nomination.” I thought that was
really neat. I called my son, Ched Tolliver,
because I purposely made sure he had a spot
on that record as a guitar player.
Photos: Matthew Sussman

nOMinEEs
Bobby Sanabria
BOBBY sAnABriA—drummer/percussionist/
composer/arranger/recording artist/
producer, educator/and multiple Grammy
nominee—has performed with a veritable
Who’s Who in jazz and Latin music, as
well as with his own critically acclaimed
ensembles. His diverse recording and
performing experience includes work with
such legendary figures as Dizzy Gillespie,
Tito Puente, Paquito D’Rivera, Mongo
Santamaría, Ray Barretto, Arturo Sandoval,
Chico O’Farrill, Candido, Francisco
Aguabella, and the godfather of Afro-Cuban
jazz, Mario Bauza. His album Big Band
Urban Folktales (Jazzheads) was nominated
for a 2007 Grammy Award for Best Latin
Jazz Album.
How did you come to The New School?
BS: A very beautiful story. I was teaching
at a place called Drummer’s Collective,
which is right down the block. I’ve sort of
become known for not only teaching music
and percussion instruments, but I also give a
program.
historical prospective on where
the music comes from—its
rhythmic roots in Africa, the
diaspora, into the Caribbean, its
evolution in Cuba, and finally
how it fits with jazz in New
York City. [Someone] came in
one day to the group class that
I was teaching—a very well
known Brazilian drummer by
the name of Vandellez Perdia …
he’s blind, but he is a fabulous
drummer, and he just happen
to sit in on the class because
someone said, “Hey Bobby’s
over there teaching.” He sat in
and he didn’t leave the class.
He was completely fascinated
by the way I was teaching. At
the time, he was a student at
Mannes, and he recommended
me to their administration.
They wanted me to teach a small
ensemble—Afro-Cuban jazz.
The first week that I was there,
there were only ten people. The
second week, there were about
20 people, all wanting to take
the class. I asked if I could start
a big band, and when Mannes
got grandfathered by The
New School, I came into the
In your opinion, why does The New School
for Jazz and Contemporary Music stand so
far above other jazz programs?
BS: I think what sets this school apart is the
way the teachers mentor the students. There
is a free spirit, open-mindedness that lends
itself to the jazz tradition. That’s not to say
that there aren’t certain aspects of the school
that need [improvement]. The requirements
should be tougher, especially for drummers.
Also, the saxophone players need to double
on flute and soprano saxophone and clarinet
so they can be competitive upon graduation.
My philosophy is to give the students not
what they want but what they need. I say
if you can get through me you can make a
living in music.
What is your expectation of our students?
BS: The highest level of excellence that I
can possibly inspire in them. I’ve had some
Spring 2008
really talented students over the years, and
those students are making an impact on
the scene and making a contribution to the
art form, which is good. The saddest thing
for me to see is a former student working
in a restaurant or doing something that is
not related to music. Occasionally they are
victims of circumstance that jazz is not on
the radar screen of people. I’ve had students
playing with Ludacris, which is great, and
when this happens, feel like I am looking at
my children succeeding.
What is in your CD player right now?
BS: I was listening to a compilation of music
from the ’60’s and ’70’s of various Latin
bands. I was just taking a little trip down
memory lane. I was also listening to Santana,
who affected me a lot as a kid. Now, as an
adult, it affects me in a different way.
What is your greatest vulnerability as a
musician/artist?
BS: I’ve faced every adversity there is to face in
the music business. There really isn’t anything
that fazes me. The thing that would light my
fire, so to speak, would be not getting paid at
a gig, whether as the leader or the side-man.
Other than that I have faced everything in
this business that you could imagine. I have
stories that could make the hairs stand up
on the back of your [neck], and I have some
great experiences and memories.
Where were you when you heard about
your Grammy nomination?
BS: I was driving in Manhattan and a fellow
musician called me and said, “Hey man,
congratulations!” It was actually one of the
musicians on the recording, so that was a nice
feeling. I’m proud of the record because six of
my former students are on the album—two
from New School Jazz. Yiessonn Villamar is
on the piano and Justin Davis, the trumpeter,
plays third trumpet on the album. Yeisson
and Justin did a beautiful job. Whenever I
can, I like to open the door for my students.
The nicest thing about being nominated was
that my son was with me at the ceremony,
and he came up just before the winners were
going to be announced and he said, “Dad,
it doesn’t matter to me if you win, I just
want you to know that I’m very proud of
you.” That was one of the most sentimental
moments I’ve ever shared with my son.
11

55 West 13th Street, New York, NY 10011
nEWs | spring 2008
Jessica Arnold, Director of Alumni Relations
The New School
212.229.5662 x3557
alumni@newschool.edu
www.newschool.edu/alumni
Mary Hastings, Director of Development
The New School for Jazz and Contemporary Music
212.229.5662 x4579
hastingm@newschool.edu
10%
Upcoming Events
beNefit coNcert
monday, June 2, 2008 at 7:30 p.m.
Tishman Auditorium
66 West 12th Street
The evening features performances by
two of our best-known alumni pianists:
rOBErT GlAsPEr and GrEG KursTin. These
Blue Note recording artists cross musical
genres. Glasper is a star of the new jazz
generation and Kurstin is a leading figure
in contemporary music. The Robert
Glasper Trio will open the program,
followed by Kurstin’s group, the bird and
the bee, whose hit song “Again and Again”
was featured recently on the television
show Grey’s Anatomy.
To learn how to become a sponsor or
to purchase VIP tickets for this event,
visit www.jazz.newschool.edu or call
212.229.5662 x3829
More information can be found at
www.newschool.edu/jazz/index2.html
Nonprofit Org
U.S. Postage
Paid
The New School
J a z z f a c u lt y m e m b e r t e a c h e S
at parSoNS Summer iNStitute
This summer, New School Jazz will
participate in the Parsons Pre-College
Academy, a summer program for students
in grades four through twelve. Faculty
member and alumnus Scott Kettner ’01
will teach Big Beat: Brazilian Percussion.
The session runs August 4–15.
Spring Programming
The New School for Jazz and
Contemporary Music is finishing up
another great year at Sweet Rhythm!
The spring 2008 semester marks our
fourth year of student and faculty
performances at this historic venue.
Come by on Monday nights to hear
some great New School jazz!
For more information, visit
www.newschool.edu/jazz