Seattle JazzED Summer Ambassadors
2016 - Session 2: Syllabus
Program:
The Seattle JazzED Summer Ambassadors program will provide student musicians of ranging skill
levels with intensive large ensemble courses focused on Jazz and Pan-African music such as Be-Bop,
Blues, Straight Ahead, Afro-Beat, Salsa, Soul, Samba, Reggae, Funk, Calypso, Soca, Cumbia and more.
Elements of historical and current music fusion will be explored through chart reading, improvising, team
dynamic building, leadership development, mentorship and strengthening ensemble performance ethics.
www.seattlejazzed.org
Music Director:
Aaron Walker-Loud is an artist, band director, composer, producer and educator. He is a proud alum of
the CD Music Factory (Washington Middle School Jazz Ensemble, under the direction of Mr. Robert
Knatt, and Garfield High School Jazz Ensemble / Drumline, under the direction of Mr. Clarence Acox).
He is the founder and director of Big World Breaks (a production company built for performance, studio
and education), which aside from composing their own music since 2004, have provided live stage/studio
production for local and national artists of various genres since inception. Aaron began working with
youth and families in 1999, eventually becoming the Education Director for Seattle JazzED (2010-2016),
a teaching artist for Arts Corps (2008-present) as well as the drumline director for Washington Middle
School (2008-present) and O’Dea High School (2012-present). Most recently, Aaron became a member
of the Creative Advantage roster; and in partnership with his wife Jazmyn, Aaron co-founded 50 Next:
Seattle Hip-Hop Worldwide (est. 2012) and co-curated The Legacy of Seattle Hip-Hop exhibit at
MOHAI, which won the 2016 American Association of State and Local History Leadership in History
Award, “the most prestigious recognition for achievement in the preservation and interpretation of state
and local history”.
Contact:
Aaron Walker-Loud
Mobile: 206-794-9689
Email: [email protected]
Web: www.bigworldbreaks.com x www.50nextseattle.com
www.facebook.com/bigworldbreaks x www.twitter.com/bigworldbreaks
www.youtube.com/bigworldbreaks x www.soundcloud.com/bigworldbreaks
Sectional Coaches:
Levi Gillis
Chris Littlefield
(Woodwinds)
(Trumpets)
Ricardo Luna
Tony Sodano
(Trombones)
(Rhythm)
Music Selections:
Song
Artist
Key (In Concert)
“Batuka”
“Green Sleeves”
“Walk On By”
“Sweet Time Suite: Opening”
“What Will Tomorrow Bring”
“Ain’t No Way”
“Aguanile”
Santana
John Coltrane
Isaac Hayes
Kenny Wheeler
Femi Kuti
Aretha Franklin
Hector Lavoe
Gm
Dm
Bbm (GbM ending)
DbM
Ebm
EbM
Cm
DOWNLOAD AUDIO
> https://bigworldbreaks.sharefile.com/d-sd2325645baf4de3a
DOWNLOAD CHARTS
> https://bigworldbreaks.sharefile.com/d-s5a48a81ccdb47d8b
DOWNLOAD SCORES
> https://bigworldbreaks.sharefile.com/d-se620680448240a5a
___________________________________________________________________
General Schedule:
Week 1
Monday 7-18-16
10:00-11:00am
11:00am-12:00pm
12:00-12:30pm
12:30-1:30pm
1:30-3:00pm
– Leaders In Training Orientation
– Whole Ensemble Orientation Part 1
– Lunch
– Whole Ensemble Orientation Part 2
– Student Music Testimonials and Group Improv
Tuesday 7-19-16
10:00-11:00am
11:00am-12:00pm
12:00-12:30pm
12:30-3:00pm
Wednesday 7-20-16
10:00-11:00am
11:00am-12:00pm
12:00-12:30pm
12:30-3:00pm
Thursday 7-21-16
10:00-11:00am
11:00am-12:00pm
12:00-12:30pm
12:30-3:00pm
Friday 7-22-167
10:00-11:00am
11:00am-12:00pm
12:00-12:30pm
12:30-3:00pm
– Leaders In Training Receive Music and Begin Work
– Whole Ensemble Receive Music and Begin Work
– Lunch
– Whole Ensemble Work Continues…
12:30-2:30pm: Rhythm Sectional
– Leaders In Training Work Continues…
– Whole Ensemble Work Continues…
– Lunch
– Whole Ensemble Work Continues…
12:30-2:30pm: Woodwind & Rhythm Sectionals
– Leaders In Training Work Continues…
– Whole Ensemble Work Continues…
– Lunch
– Whole Ensemble Work Continues…
12:30-2:30pm: Trumpet & Trombone Sectionals
– Leaders In Training Work Continues…
– Whole Ensemble Work Continues…
– Lunch
– Whole Ensemble Work Continues…
General Schedule:
Monday 7-25-16
10:00-11:00am
11:00am-12:00pm
12:00-12:30pm
12:30-3:00pm
Tuesday 7-26-16
10:00-11:00am
11:00am-12:00pm
12:00-12:30pm
12:30-3:00pm
Week 2
– Leaders In Training Work Continues…
– Whole Ensemble Work Continues…
– Lunch
– Whole Ensemble Work Continues…
12:30-2:30pm: Woodwind Sectional
– Leaders In Training Work Continues…
– Whole Ensemble Work Continues…
– Lunch
– Whole Ensemble Work Continues…
12:30-2:30pm: Trumpet & Trombone Sectionals
Wednesday 7-27-16
10:00-10:30am
10:30-11:00am
11:00am-11:30am
11:30am-12:30pm
12:30-2:00pm
2:00-2:30pm
2:30-3:00pm
– Leaders In Training Work Continues…
– Lunch
– Whole Ensemble Move Gear to LOCATION TBD
– Whole Ensemble Set Up and Warm Up
– Whole Ensemble Interactive Workshop at LOCATION TBD
– Whole Ensemble Breakdown and Move back to Seattle JazzED
– Whole Ensemble Workshop Reflection
Thursday 7-28-16
10:00-11:00am
11:00-11:30am
11:30am-12:30pm
12:30-2:00pm
2:00-3:00pm
– Leaders In Training Spot Check Music and Speaking Details
– Lunch
– Whole Ensemble Set Up and Warm Up in Auditorium
– Whole Ensemble Interactive Workshop at MLK FAME
– Whole Ensemble Breakdown and Workshop Reflection
Friday 7-29-16
10:00-11:00am
11:00am-12:00pm
12:00-12:30pm
12:30-2:00pm
2:00-2:45pm
2:45-3:30pm
3:30-4:00pm
4:00-5:00pm
5:00-6:30pm
6:30-7:00pm
– Leaders In Training Work Continues…
– Whole Ensemble Work Continues…
– Lunch
– Whole Ensemble Work Continues…
– Whole Ensemble Group Reflection
– Whole Ensemble Load Up Gear and Move to Royal Room
– Whole Ensemble Load In and Stage Set Up
– Whole Ensemble Sound Check
– Whole Ensemble Final Show at Royal Room
– Whole Ensemble Stage Breakdown and Load Out Gear
STUDENT ROSTER:
Flynn Irvine
Naum Hoffman
Sirma Hoffman
Jasper Gray
Jack Nims
Tobias Johnson
Corinna Singer
Anders Pearson
Amayas Williams
Xavier Morada
Keishin Lam
Alto Sax
Alto Sax
Flute
Trumpet
Drums/Percussion
Trumpet
Trumpet
Clarinet
Trombone
Bari Sax
Trombone
Henry Welte
Kesha Farr
Minnie Miller
Javier Gonzalez
Jack Uraine
Quinnan Mack
Blake Schlecht
Iona Hillman
Nina Hillman
Elizabeth Huffaker
Cello
Drums/Percussion
Trumpet
Trumpet
Tenor Sax
Trombone
Tenor Sax
Tenor Sax
Trumpet
Upright Bass
LEADERS IN TRAINING
Cameron Tindall
Jackson Fry
Mary Piekarczyk
Jahnvi Madan
Aidan Fleet
Suraya Williams
Sam Gelpi
Giancarlo Fimmano
Christian Cruz
Sam Barnett
Avinash Chung
Oscar Scholten
Jake Darrow
Connolly Grady
Roman Short
Tesfa Tekle
Xander Fries
Gian Neri
Piano
Bari Sax
Tenor Sax
Clarinet
Trombone
Violin
Alto Sax
Piano
Drums/Percussion
Tenor Sax
Alto Sax
Alto Sax
Upright Bass
Drums/Percussion
Tenor Sax
Trombone
Guitar
Guitar
ADDITIONAL MUSIC INFO / LYRICS
“Batuka” - Santana
Delivered with a level of passion and soul equal to the legendary sonic charge of his guitar, the sound of
Carlos Santana is one of the world's best-known musical signatures. For more than four decades - from
Santana's earliest days as a groundbreaking Afro-Latin-blues-rock fusion outfit in San Francisco - Carlos
has been the visionary force behind artistry that transcends musical genres and generational, cultural and
geographical boundaries.
Long before the category now known as “world music” was named, Santana's ever-evolving sound
was always ahead of its time in its universal appeal, and today registers as ideally in sync with the 21st
century’s pan-cultural landscape. And, with a dedication to humanitarian outreach and social activism that
parallels his lifelong relationship with music, Carlos Santana is as much an exemplary world citizen as a
global music icon. Santana's star arrived in the era-defining late 1960s San Francisco Bay Area music scene
with historic shows at the Fillmore and other storied venues. The group emerged onto the global stage
with an epic set at the Woodstock festival in 1969, the same year that its self-titled debut LP Santana came
out. Introducing Santana's first Top 10 hit, “Evil Ways,” the disc stayed on Billboard’s album chart for two
years and was soon followed by two more classics - and Billboard #1 albums - Abraxas and Santana III.
Ever since, for more than forty years and almost as many albums later, Santana has sold more than 100
million records and reached more than 100 million fans at concerts worldwide. To date, Santana has won
10 GRAMMY® Awards, including a record-tying nine for a single project, 1999’s Supernatural (including
Album of the Year and Record of the Year for “Smooth”) as well as three Latin GRAMMY’s. In 1998, the
group was ushered into the Rock and Roll Hall of Fame, whose website notes, “Guitarist Carlos Santana is
one of rock’s true virtuosos and guiding lights.” Among many other honors, Carlos Santana received
Billboard Latin Music Awards’ 2009 Lifetime Achievement honor, and, he was bestowed Billboard’s
Century Award in 1996. On December 8, 2013 he was the recipient of the 2013 Kennedy Center Honors
Award. Rolling Stone has also named him #15 on the magazine’s list of the “100 Greatest Guitarists of All
Time” noting that “Santana's crystalline tone and clean arcing sustain make him the rare instrumentalist
who can be identified in just one note.” And, with the 2014 release of Corazón, Santana surpassed the
Rolling Stones and, along with Barbara Streisand, is one of only two music acts in Billboard history to
score at least one Top Ten album for six consecutive decades from the 1960s on.
“Green Sleeves” - John Coltrane Quartet
From the album “Africa / Brass”, these dense and inspired pieces were recorded May 23rd and June
4th, 1961 at Van Gelder Recording Studio Englewood Cliffs, New Jersey.
AllMusic review by Scott Yanow: “John Coltrane's debut for the Impulse! label was a bit unusual, for the
great tenor and his quartet were joined by a medium-sized backup group on Eric Dolphy arrangements of
“Africa”, “Greensleeves”, and “Blues Minor”, “Africa” in particular is quite memorable
although Coltrane would not pursue any further recordings in this direction in the future, making this a
change of pace in his discography.”
“Walk On By” - Isaac Hayes
“If you see me walking down the street
And I start to cry each time we meet
Walk on by, walk on by
Make believe
That you don't see the tears
Sure just let me grieve in private
'Cause each time I see you,
I just can't help myself I think about how tight we used to be
I break down and cry, oh baby
Walk on by”
“I just can't get over losing you
So if I seem broken in two
Please walk on by, walk on by
Foolish pride
That's all that I have left
So let me hide
The tears and the sadness you gave me
You put the hurt on me, you socked it to me mama
When you said goodbye
So please walk on by”
“Make believe you never see the tears I cry
So do me a favor and walk by
So I'm beggin' ya to walk on by, oh yeah
Make believe you never see the tears I cry
So I'm beggin' ya, I'm beggin' ya to walk on by
Make believe you never see the tears I cry
Oh there's no dust in my eye, oh no
Smoke ain't makin' me cry, no no no
It's the hurt you put on me, yeah
I don't wantcha to see this man cry
So please walk on by, ah no no walk on by, walk on by”
“The Sweet Time Suite: Opening” - Kenny Wheeler
Jazz trumpeter and flügelhornist Kenny Wheeler was one of the most advanced voices on his instrument.
Blessed with a full, lovely tone and an astounding range, Wheeler sounded equally at home in fiery free
jazz explorations or softer, more lyrical post-bop meditations. Wheeler was born in 1930 in Toronto,
Ontario, and began playing trumpet at age 12. After studying at Toronto's Royal Conservatory, he moved to
London in 1952, where he gigged with swing and dance bands. He appeared with John Dankworth's
orchestra at the 1959 Newport Festival and remained with that group until 1965. In
1966, Wheeler discovered free jazz, and, fascinated, joined John Stevens' Spontaneous Music Ensemble for
the next four years. In addition, he played jazz-rock fusion with the Mike Gibbs Orchestra from 1969-1975,
and joined Tony Oxley's sextet (along with free jazz giants like Derek Bailey and Evan Parker) from 19691972. Through the latter, Wheeler was invited to join German pianist Alexander von Schlippenbach's
groundbreaking free jazz big band the Globe Unity Orchestra in 1970, an association Wheeler maintained
for years to come.
During the first half of the '70s, Wheeler played with Anthony Braxton, which became his primary focus.
In 1975, he signed with the ECM label and recorded the well-received Gnu High, which established him as
a solo artist of note; the following year, he left Braxton and joined the trio Azimuth. Wheeler turned out a
series of excellent ECM albums, including 1977's Deer Wan and 1983's Double, Double You (that year,
Wheeler also began a four-year run with the Dave Holland Quintet). Several more generally fine outings
followed in the '90s, including the ECM dates Music for Large and Small Ensembles and The Widow in the
Window (both recorded in 1990), plus other recordings for Justin Time and Soul Note later in the decade.
During the 2000s and 2010s, he recorded several dates for CAM Jazz, including 2008's Other
People with the Hugo Wolf String Quartet and 2011's One of Many with Steve Swallow. Wheeler died on
September 18, 2014 after a brief illness. His final studio session, the Manfred Eicher-produced Songs for
Quintet, was released in 2015 on what would have been Wheeler's 85th birthday.
“Aguanile” - Hector Lavoe
Pronounced “A wa ni ye” or “A wa nile”, this song has many roots. The way that it is sung by Hector
Lavoe is a diasporic adapted version of a Yoruba religious praise song for the Orisa (O-ri- sha) Ogun, who
is the Spirit of Iron. The spirit that lives in the forest and is the god of War. According to the Yoruba,
Ogun is the spirit of courage, strength, opening roads of success, and the inspiration for the advancement
of human technology. Ogun reminds us, “Anger does not do anything for anyone; patience is the root of
good character and those who develop patience will enjoy long life.” The translation of this praise song
gets lost in the mixture of different languages. Yoruba is a tonal language, and the way that the
language has developed in the Diaspora, the meaning may take on different significance to the people of
Yorubaland.
The original words of the hook are thought to be “A wa ni ye” which means “We come to honor you” or
“A wa nile” which means “We come to occupy the house”. Through the mixture of this with languages of
other cultures it has transformed into “Aguanile”. Yet the intention is still the same; to praise Ogun.
With the exception of the hook, the rest of the song is in Spanish. The form of the vocals is call and
response between the lead singing soneos (improvised lyrics and melody) and the coro (hook). The
basic gist of what Lavoe is saying in Spanish is that he is praising the Santeria religion; which is a diasporic
synchretized religion with roots in Yoruba Orisa worship and Catholicism. Hector became involved in
Santeria at a very trying time in his life and it brought him much comfort.
“What Will Tomorrow Bring” - Femi Kuti
The eldest son of Afro-beat legend Fela Anikulapo-Kuti, Femi Kuti (born Olufela Olufemi Anikulapo Kuti)
spent years playing in his father's band before eventually rising to superstardom following his father's death
in the late '90s. Since few artists can match the elder Kuti's musical legacy, Femi's association with his
father has been both a blessing and a curse. On the one hand, it's never been difficult for Femi to garner
press or attention, and MCA went out of its way to push his career with considerable amounts of publicity.
Yet on the other hand, no matter his individual accomplishments, Femi will forever be known as Fela's son.
Practicing a similar style of Afro-beat as his father, Femi helped introduce the percussive blend of jazz and
funk music to the international masses beginning in the mid-'90s, along with his father's same sense of
political activism. After his father's death in 1997, Femi suddenly found himself the subject of immense
attention. He responded by signing with MCA and embarking on his solo career beginning with Shoki
Shoki. He won critical celebration around the world and began mounting efforts to break into the U.S.
mainstream in successive years. Born in London and raised in Lagos, Nigeria, Femi began his musical
career playing in his father's band, Egypt 80. In 1986, Femi started his own group, Positive Force, and
began establishing himself as an artist independent of his father's legacy. In the mid-'90s, Motown offered
him a record deal with its boutique label Tabu; Femi's eponymous debut album resulted. Released in 1995,
the record won praise throughout Europe and Africa for offering a more streamlined and accessible version
of his father's music. Femi embarked on an extended promotional tour, crossing first Africa, then Europe in
1996 and 1997. His solo career was off to a successful start, despite the dissolution of the Tabu label
(and Femi's record deal with it).
However, this problem became the least of Femi's concerns when his father died of AIDS-related
complications in 1997. Shortly afterwards, his sister, Sola, also suffered an untimely death, making 1997 a
truly dark year for Femi. He would later write "'97," a song that candidly reflects on this particularly tragic
time. Yet with tragedy comes opportunity in the world of music, and Femi ultimately signed a major-label
record deal with Polygram in December 1997, only months after his father's death. MCA made the most out
of the situation, repackaging and re-releasing much of Fela's catalog and setting the stage for Femi's MCA
debut album in the process. Following months of press and hype, MCA released Shoki Shoki in early 1999
to widespread acclaim from such esteemed publications as The New Yorker, Rolling Stone, and Vibe, not
to mention other smaller publications.
A year later, Femi returned with his second album, Fight to Win, and toured the States with Jane's
Addiction in an effort to cross over to a more mainstream audience. Part of this crossover effort meant
aligning himself closer to hip-hop and its sizable audience. Fight to Win featured a number of respected rap
artists like Mos Def and Common. As expected, critics celebrated the album, though Western masses
seemed rather indifferent to both the record and Femi's concert trek with Jane's Addiction. Over the next
decade, several recordings of live shows and compilations were released, but for the most part -- with the
exception of making a vocal cameo as a radio station DJ in Grand Theft Auto IV -- he avoided the
recording studio, opting to tour instead. In 2008, he re-emerged with his first album in seven years, Day by
Day, a definitive album that helped to establish Femi as a true original with his own unique style. His 2011
effort Africa for Africa was a mix of new and re-recorded older material. In 2013, a collection of all new
work entitled No Place for My Dream was issued by Knitting Factory.
“Ain’t No Way” - Aretha Franklin
“Ain't no way for me to love you
If you won't let me
It ain't no way
For me to give you all you need
If you won't let me give all of me
I know that a woman's duty
Is to help and love a man
And that's the way it was for them
Oh but how can I, how can I, how can I
Give you all the things I can
If you're tying both of my hands”
“Oh it ain't no way (ain't no way)
It ain't no way (ain't no way)
It just ain't no way baby (ain't no way)
Ain't no way baby
It ain't no way for me to love you
If you won't let me”
“Stop trying to be
Someone you're not
How come it's true there's a man
Who payed too much for what he got
And if you need me like you say, say you do
Oh then, then, then don't you know that I need you”
“Oh, it ain't no way
I tell you that it ain't no way
It ain't no way, it ain't no way baby, no
It just ain't no way
It sho' ain't no way
It ain't no way for me to love you
If you won't let me
No way, if you won't let me
Ain't no way”