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Teaching Jazz:
A Comprehensive Review of the Evolution of Jazz Education
Greg Johnson
Teaching Assistant at the University of Southern California
Jazz Education has always been a subject of controversy in higher education. In the world of personal sound and creative interpretation, life experience seems to have a factor in the music. Charlie Parker once stated "Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art."
Parker alludes to a music where expression is directly linked to one's experience off the stage. But what about the long hours of incessant practicing he did in his early 20's after he was laughed off the stage at a jam session? Many misconstrued Parker's quote to justify use of drugs and alcohol as a means of creativity. However, there seems to be an element that is lost in translation; a prerequisite of sorts, and a study in the basic elements of harmony, melody and rhythm.
Background, Rationale and Aims
The purpose of this article is to point out the evolution of institutionalized (college level) Jazz Education from it's early years until the present day. It points out the problems with the isolated study of notes on a page, as well as the lack of academic study. Could we be looking for a scholastic medium between the two methods? Certainly we can't advocate the use of drugs and alcohol, but rather look to the great recorded music of the idiom and draw inspiration from the tangible and intangible elements of the Jazz sound.
All of the literature and methodology reviewed in this article is based on the assumption of having a pre-college foundation to Jazz improvisation. The degree of variation in skill level and improvisational ability in higher education is vast. With that said, ALL students need to be educated from the foundation up. Regardless of technical ability or theoretical understanding, the greatest Jazz improvisation is often built on melodic simplicity, rhythmic solidarity and harmonic poetry.
The years of early Jazz Education have been beneficial, but have also been detrimental to the modern era of Jazz Improvisors. The swing "feel" has been all but lost, as well as the concept of melodic construction. Just as Charlie Parker's quote was misconstrued, the intentions of early Jazz Educators has also been misunderstood and taken in many detrimental directions. However, there is still hope in the educational system. By understanding how Jazz Education evolved, we can find, isolate and run with the original intentions of our teachers.
Challenges faced with Teaching Jazz
Teaching Jazz is faced with one major road block. From the birth of Jazz's founding styles, through its thriving hay-day, up until now, "Jazz" has never been defined. Many have have described it, but there has never been a formal definition of what "Jazz" exactly is. Here are some educated narrations on the identity of this music:
"Jazz is a language, it is people living in a sound."
Certainly, the elements of harmony, melody and rhythm interact in a linguistic manner. Though every profession has its own technical jargon that can be referred to as a language. How effectively and specifically can we communicate in the language of Jazz?
"Jazz is a kind of growing old testament of the negro race and of all the lost tribes in America too."
Though this is slightly more abstract, it points out the origins of the music, certainly referring to the trans-Atlantic slave trade and the convergence of world cultures in New Orleans.
"Jazz is the expression of protest against law and order, the Bolshevik element of license striving for expression in music."
The word expression is used twice, pointing out the fact that music can take on different political and personal views. Jazz was heavily influenced by the civil rights movement of the 1960's and largely expressed protest from the African American community, such as Max Roach's "Freedom Now Suite."
"Jazz is the only music in which the same note can be played night after night but differently each time."
Though slightly biased, and most likely from a Jazz musician, the degree to which this statement is true reflects upon the spontaneity of Jazz music and the endless variety of melodic, harmonic and rhythmic elements at play.
"Jazz is music invented by devils for the torture of imbeciles."
Though some may take offense, this quote may reflect upon the rebellious nature of Jazz music, which not too long ago would never have been an option for academic study at a prestigious music conservatory (Alperson, 1987, p.2).
Teaching Jazz, From the Foundation Up:
Philip Alperson suggests that Jazz is defined by the music that surrounds it. In the grand scheme of Jazz history, the music has been influenced by the regional popular styles as well as the popular styles of the time era. Explained simply, Jazz is influenced by African rhythms, played on European instruments and evolved in America (Aplerson, 1987, p. 8).
In this regard we can isolate the exact lineage of how this music evolved through the study of polyrhythms, and the harmony and form of European classical music. The element of spontaneity comes in the form of improvisation, a spontaneous and genre-defining element of Jazz.
Chris Azzara claims spontaneity as the central ingredient to most definitions of improvisation found in related research (Azzara, 1993, p. 3). So before the concept of Jazz improvisation is explored, one must consider lessons in spontaneous improvisation. Studying (John) Flohr's model of improvisation, musical spontaneity is divided up into a three-part hierarchy of "exploratory improvisation," "free exploration," and "guided exploration." These exercises consist of isolating melodic and rhythmic options. Exploratory improvisation consisted of a set pattern of notes played with free reign over the rhythms. Free exploration consisted of a free reign over the 12 tones, but with set rhythmic patterns. Finally, guided exploration consisted of both melodic and rhythmic call and response exercises (Azzara, 1993, p. 3).
Alperson's description of Jazz includes a quote about playing stylistically sound. "Playing this music involves not only a knowing that, but also a knowing how." This refers to a Jazz musician's awareness of the musical genre or sub-genre within the music, and also an innate sense of phrasing and tone (Alperson, 1987, p. 11).
Alperson sheds light upon common conservatory trend. In a classroom setting, it is important for students to constantly play in the Jazz style. Though a thorough investigation of harmony and rhythm on paper is superbly beneficial, there is no replacement for the experience of playing music in an improvisational setting. With this said, the common ground between intense study of the academic elements of harmony, melody and rhythm and the experience and performance of improvisation is entirely possible in a classroom setting.
As previously mentioned, there are many linguistic elements of Jazz improvisation, often referred to as the "Jazz language." The Jazz language can be effectively studied as an extension of European Classical music. Studying scores and recordings in a way that isolates melodic, harmonic, rhythmic, textural and structural patterns allow us to categorize and constitute different elements of the Jazz language (Alperson, 1987, p. 11). For example, technical terms from Classical music carry through into the Jazz genre such as: bridge, coda, key centers, etc.. (ibid). Alperson warns, however, that a great education in the terms themselves do not translate into the ability to speak the Jazz language, but rather one must physically learn to "play the changes" or improvise over the "form" of a tune (Alperson, 1987, p. 10).
To sum up Alperson's model, one needs to learn to hear Jazz music as Jazz music, and not as an extension of another style. Although the influence and defining terms may overlap with many styles, it is the Jazz musician's task to produce the music in accordance to these conventions (ibid).
Jazz Education Literature Through the Years and Related Educational Challenges:
Knowing now that Jazz has never been formally defined presents teachers with a unique situation. A teacher's goal must change from "how" to "what" to teach the students. Certain characteristics of Jazz music like "swing feel" and stylistic approaches have become an oral tradition that has been passed down through the lineage. How do we teach creative "thinking" improvisors, and what are the foundational elements that we teach them? There have been enough instructional books written about Jazz improvisation, in the last half-century. Used in Jazz-Improvisation classes in colleges across the country, these methods have created a kind of institutionalized Jazz-lineage of their own. With many programs budding in the past decade, the lineage of education is credited, more often than not, to these early scholars of Jazz Education.
Written in 1952, Bugs Bower published an early staple of Jazz Education literature called "Complete Chords and Progressions" in two volumes. This book describes common chord progressions such as the "Blues" and "Rhythm Changes" (chords to Gershwin's "I Got Rhythm"), as well as common chord substitutions in the context of each progression (Bowers, 1952). Bower's publication embraces the oral tradition of Jazz performance, but fails to embody the concept of a "thinking improvisor." One problem a student is faced with is the motivation to learn related material to what Bower presents them with. All of the exercises are written out completely and transposed into twelve keys (Witmer and Robbins, 1988, p. 8).
A year later, Bower released a new publication Ad-Lib. He uses the same common progressions (very common for the time, seeing as how the bebop era was dominated by "rhythm changes" and blues in the key of F) but notates three written-out solos for each progression. One solo uses predominantly arpeggios for each chord, one uses scales, and the final uses a mixture of arpeggios going up the chord and scale coming down (Bower, 1953).
Witmer and Robbins find fault with this publication once again, stating that using a formulaic "composition" of a solo and calling it Jazz improvisation does not embrace the oral tradition of Jazz music, but rather builds a correlation between chords, scales and patterns (Witmer and Robbins, 1998, p. 8). Noting in addition that no material from the actual Jazz lineage is being used other than the chord progressions.
A decade later, John Mehegan published "Jazz Rhythm and the Improvised Line," the second volume of a four-part "Jazz Improvisation" series. He notates and analyses bass lines and improvised solos from 29 standard Jazz recordings (Mehegan, 1962). Although this book may come across as a bump in the right direction of Jazz Education, it is to be pointed out that there is no performance-aspect associated with this publication. There is no mention of ear-training and no specific exercises for a student to work on; it is strictly an analytical academic masterclass (Witmer and Robbins, 1998, p. 10).
Out of Mehegan's lineage came a more classroom-friendly approach by Jerry Coker. This publication features a number of ground-breaking revelations in Jazz education. For one, Coker includes a loose definition of the "swing" rhythm as a sub-division of triplets. He is the first author to mention the concept of motivic-development in Jazz education, and he lays out simple, easy objectives for the Jazz performer (Cocker, 1989). Ofcourse, no publication would be complete without its naysayers. Witmer and Robbins do not criticize in-depth, but foreshadow that Coker's implications may have a bit of a contrived-nature, and lack of creativity (Witmer and Robbins, 1998, p. 11).
Witmer and Robbins hesitation to fully embrace Coker's concept is likely justified by a quote from one of Coker's more popular publications "The Jazz Idiom." Coker is quoted in the book, justifying his use of the concept of "digital patterns" in Jazz music, saying a young improvisor is...:
"Not likely to be ready for a lyrical-melodic concept of playing...(and) needs to be let off the creative hook... Another reason it is easier to begin with progressions having chords of short duration is that the player is forced (for now, anyway) to use short and easily remembered patterns, such as a 1-2-3-5 pattern played in four eighth notes to encompass the duration of a chord lasting only two beats. The pattern would have to be played twice to accommodate a chord lasting four beats..."(Coker, 1975, p. 61).
Though it is well known that John Coltrane used this digital pattern to the max in his 1958 release "Giant Steps," it is to be noted that there is a large variety of patterns as well as more organic, non-pattern, playing at work.
A New Generation of Jazz Educator:
Coker's influence of the Jazz community was not the only school of thought in the 1970's. A talented trombonist from Indianapolis with a track record of success in both performance and teaching became Jazz Education's first superstar. David Baker became the director of Jazz Studies at Indiana University, after sustaining an injury to the jaw that left him unable to play.
Baker's 1971 publication "Jazz Improvisation: A Comprehensive Method of Study for All Players" became the consummate text for Jazz Education at the college level. Within this text, Baker lays out exercises in 12 keys, all from the great pantheon of Jazz solos (Baker, 1971).
Witmer and Robbins, point out that for clarities sake, Baker may have chosen much too simplistic material. Many of the exercises start on the root of the chord, as well as the downbeat of the measure (Witmer and Robbins, 1998, p. 13). However, Baker's publications, as well as teaching have proven to be successful, with a great track record of superstar students including: Freddy Hubbard, Michael Brecker, Alan Pasqua, Peter Erskine and many more.
Included on the long list of Indiana University Jazz alumni is the most popular Jazz Educator, and most certainly the wealthiest. Jamey Aebersold created a series of "play along" books which are the most wide-selling Jazz publications of today. Aebersold play-alongs break down the theoretical material behind the "chord changes." This presents a student improvisor with a great opportunity to learn the harmony of a tune. Witmer and Robbins do not go into much depth, but provide a quote from Aebersold's first volume "Anyone Can Improvise." Aebersold states: "The basic ingredients of music are chords and scales" (Aebersold, 1979, p.1).
This type of formulaic approach to Jazz improvisation has created an educational rift in Jazz institutions across America. On one hand, how is a student to be creative if they are limited to traditional harmonic and rhythmic options? On the other, how is a student supposed to improvise honestly if they haven't learned the basic elements of harmony melody and rhythm? Jazz literature largely dodged these questions in the late 70's and early 80's. To provide context, these "forwards" were added to instructional books published during that time:
This book does not deal with the aesthetic aspects of Jazz, nor does it cover rudimental jazz theory... It merely presents a method of studying scales and chords (Ricker 1977, p. 1).
We have made no attempt in the course of this text to dictate or even discuss style or related areas like phrasing and articulation (Kynaston and Ricci, 1978, p. 215).
This is a book of tools; it should in no way replace the experience of actually performing music (Schenkel, 1983, p.6).
Jazz Education Literature in the Past Decade:
Jazz Education has made much progress in the last decade outside of academic institutions. Jamey Aebersold's "Aebersold Publications" has made a wide variety of Jazz Education literature available, from a host of different authors and educators. Other companies such as Alfred Music and publications like JazzEd and Downbeat Magazine have made Jazz Education literature easy to find.
Of note, Shelly Berg's "Chop Monster" series has included the traditional call-and-response aspect of the music, having students think about phrasing, tone and inflection (Berg, 2010, p.1). Also, Bob Mintzer's "Blues and Funk Etudes," and "Playing Jazz Piano" provide the student with an array of modernistic rhythmic and harmonic options. In "Playing Jazz Piano," Mintzer breaks down the defining notes of a chord, as well as harmonic "color" options (Mintzer, 2010).
Conclusion and Implications
Jazz is a difficult subject to teach. A student in higher education, having passed an audition, would presumably have a set of skills on their instruments as well as a certain harmonic, rhythmic and melodic foundation. Therefore, in college teaching, Jazz starts with Alperson's "knowing how" instead of "knowing that." This is a foundation that can be continually built upon. Certainly the foundational skills that achieved pre-college are extremely valuable as well, and have come a long way from Flohr's improvisational model to Shelly Berg's "Chop Monster" series. Educational literature is but an aid in the Jazz learning process. As Berg points out, there is an immense amount of work on phrasing and inflection that need to be imitated and assimilated into a student's arsenal of skills.
As the above statements imply, performing Jazz comes with an immense amount of musical language skills. Without a proper foundation in ear-training, transposition, and thousands of hours on a student's given instrument, the feeling of swing, melodic construction and harmonic clarity heard in Jazz music can never be expressed. With that said, it is not out of line to state that a college level Jazz Improvisation class is useless without the performance aspect of the music involved.
Many of the founding treatises on Jazz education were written with the best intentions, but evolved into a contrived set of devices and exercises. With each generation of educator constantly evolving and expanding upon its foundation, like Jazz, we must look to the great tradition of improvised solos rather than theoretical experiments on paper to teach our improvising youth.
Suggestions for further research:
To come across research about any kind of improvisational growth curve would be enormously beneficial. To survey successful young Jazz improvisors and question them about their educational sources would be a welcomed addition to this article. As is noted in any institutionalized area, the success rate of students is not always high in the years after graduation. Surveying professional musicians with degrees would also be a welcomed addition to this study. In general, any way to separate the subjectiveness of Jazz Education and isolate its successful application would be greatly appreciated by the Jazz Education community.
Alperson, Philip (1987). Aristotle on Jazz and Jazz Education. University of Illinois.
Azzara, D. Chris (1993) Audiation-Based Improvisation Techniques and Elementary
Instrumental Students' Music Achievement. New York: Sage Publications.
Bash, Lee. and John Kuzmich (1985). A Survey of Jazz Education Research: Recommendations for Future Researchers: University of Illinois.
Berg, Shelly (2006). Chop Montser, Book 1. Alfred Music.
Bower, Bugs (1952). Complete Chords and Progressions. New York: Charles Colin.
Coker, Jerry (1964). Improvising Jazz. Englewood Cliffs, NJ:Prentice-Hall.
Humphreys, Michael and Terry Hyland (2002). Theory, Practice and Performance in Teaching: Professionalism, intuition and Jazz. UK: Carfax Publishing
Kynaston,Trent P. and Robert J. Ricci (1978). Jazz Improvisation. Englewood Cliffs N,J: Prentice-Hall
Mehegan, John (1959). Tonal and Rhythmic Principles. Vol.1 of Jazz Improvisation. New York:Watson Guptill
Mintzer, Bob (2010). Playing Jazz Piano. Alfred Music.
Prouty, Kenneth E. (2008). The Finite Art of Improvisation: Pedagogy and Power in Jazz Education. Ny: Ithaca College
Prouty, Kenneth E. (2005). The History of Jazz Education: A Critical Reassessment. Ny: Ithaca College
Ricker, Ramon (1977). New Concepts in Linear Improvisation. Lebanon, IN:Studio224.
Schenkel, Steven M. (1983). The Tools of Jazz. Englewood Cliffs, NJ: Prentice-Hall.
Thibeault, Matthew D. (2012): From compliance to creative rights in music education: rethinking intellectual property in the age of new media, Music Education Research, 14:1, 103-117
Whyton, Tony (2006) Birth of the School: Discursive Methodologies in Jazz Education, Music Education Research
Wilf, Eitan (2012) Rituals of Creativity: Tradition, Modernity and the "Acoustic Unconscious" in a US Collegiate Jazz Music Program. American Anthropologist, Vol. 114, No. 1
Witmer, Robert and James Robbins (1988). A Historical and Critical Survey of Recent Pedogogical Materials for the Teaching and Learning of Jazz. University of Illinois
A recent article... Educators enjoy!
GJ's "Kretzch Sketch"
What Made Him Dance?
My trio recently played at the Blue Whale's Saturday concert series in LA. As seen in this video, a pretty talented break dancer starts to do his thing through the head and the solo break. Immediately after this video, the saxophone solo goes to double time swing, which in retrospect killed the vibe of the tune. Needless to say... no more dancing happened until it went back to the funky beat.
This was a great gauge for me to see what was working and what wasn't. Meanwhile, drummer Andrew Boyle and keyboardist Jacob Mann proceded to tear the place apart! And.. all the music was given to them that day... There is definitely no shortage of great musicians in LA.
Speaking of great musicians, this piece is dedicated to an amazing saxophonist, friend, housemate, fellow German... Carlo Kretzchmar. He is moving back to Berlin this summer and will be sorely missed.
GJ Blog Page and Forum
Summer Update 2013
Wow the summer has gone by fast! Though it has been a whirlwind, I've managed to get a lot of things done.
School got out late. I mean LATE. The transition from Spring semester to Summer semester was really quick. I decided to enroll in summer school so that I can get the coursework for my doctorate out of the way as quickly as possible. I took three classes: Conducting, Post-Tonal analysis, and College Teaching. Between semesters, I wrote a set-and-a-half of music, and planned a west coast tour.
Summer school doctoral courses go through 16 weeks of material in 7-8 weeks. It was intense, considering the classes. The professors (most of them anyway) were gracious enough to let me miss some classes for the tour up the west coast.
The tour itself was quick, but really fun and productive for my new music. I got to play with 3 different groups between LA and Seattle, all who played my music differently. Along the way, I was inspired to expand my new music for orchestral instruments, which is nearly done and will be recorded in the Fall.
The new project is called "City People," inspired by a dream that I had about waking up in a mysterious city. The first thing about this city is that there is not a dominant race or culture, but rather a mix of ethnicities, architecture, musical instruments, etc. If a city like this were to exist, what would the ethnic music sound like? What would happen if a mixture of worldly instruments came together in a way that wasn't novelty-music? I gave careful consideration to the roles of each instrument and came out with something that I can't wait to record and show the world.
June didn't go by as quickly as May and July and summer school seemed to drag on and on. I'm grateful to be at a great school getting an advanced-degree, but sometimes I think there should be more communication between departments in regard to facilitating individual degree requirements. I'd like to keep this blog as professional as possible, but as I am committed to providing a great education to my students, I feel that certain tenured professors lose their desire to teach and deal with the tasks that come with the job. Whether this is because of the great job security they have attained or the tiredness that comes with age, I can only speculate. I do know that the demand for education is greater than ever and professors have an amazing opportunity to inspire students and help this country grow out of its intellectual slump! Enough said..
I tried to take a week off at the beginning of July. I went to visit my parents in State College, Pennsylvania. Talking about people who never stop working, my parents (well into their 60's) never miss a beat. My dad is hard at work on an extension to the house. He's already built a home-sized shed in the back yard, office-extension to the back of the house and remodeled a dreary basement into a liveable floor of the house. That's just during the day.. At night he maintains a Military news-letter-styled blog called "dispatches" that he distributes nation-wide. He is also actively researching the family lineage, putting together thousands of pages of historical information on both sides of the family. He also put together massive story book-like documentations of my siblings and my childhood. My mom, a year past two knee replacements, is an active community member. She teaches adapted physical education and health classes to kids with disabilities and mental handicaps. In her free time she runs a community "soup" kitchen which has expanded to full meals every Thursday night. She also takes care of my dad...
Luckilly I got a chance to see almost all of my music teachers and friends from my childhood. However, I got the itch to get some work done and orchestrated three peices that week.
The rest of July was a blur. My position as Teaching Assistant at USC has given me the awesome opportunity to help students organize their thoughts about music and do the work to get better at what they do. There are many things that I wish were told to me along the way that would have saved me time. However, I'm glad that my teachers never told me to "play like this" or "sound like him." The things that I benefited from the most were ambiguous concepts that were mentioned and the open forum-like teaching that allowed me to search through the concepts for my own interpretation. So, I wrote a book.
My book is based on my experience as a teacher and learner of Jazz music and is called "The Language of Jazz Harmony." Basically, it introduces concepts to the reader and gives them simple (but not too specific) exercises to help learn the concepts fluently. It emphasizes technique, clarity of thoughts, writing and learning Jazz Piano. I finished the 116 page draft on July 31st. Now it is being edited and I'll do my best to see that it is published.
While I was writing the book, I was also playing Clarinet, Saxophone, Flute and Alto Flute in the pit orchestra of a production of "The Wiz." The music is really happening and if you haven't seen the 1978 movie, do it NOW! Michael Jackson plays the scarecrow, enough said... Horn parts by Jerry Hay, music by Quincy Jones and saxophone solos through a wa-wa pedal by Michael Brecker. It is the grooviest musical ever, and very fun to play!
After the musical I recorded an album with the incredible Venezualen duo Otmaro Ruiz and Aaron Serfaty. I also played on a Polish TV-show soundtrack in an episode about schizophrenia. It features improvised saxophone craziness throughout the episode... So.. I'm glad they thought of me? The composer was amazing though and his music was a blast to play with.
Another highlight of July was visiting Catalina island. It is a beautiful place, and it provided a peaceful setting for me to finish my book. Everyone should visit at some point!
Now that it is August, I'm back in music-writing mode. I have three movements of a Flamenco Guitar concerto to finish adapting for Big Band. I will continue the orchestration of "City People", book fall performances, and work on some of my own Big Band writing. I've started applying for faculty positions at colleges around LA and some other hotspots. I will keep everyone updated!
"City People" is about a week away from being completely recorded and boy has it been an endeavor. Still in the making, this project has taken two and a half years to put together.... Yeah.. I started writing this stuff during my Masters degree haha.. One set-back about recording music that you wrote long ago is that you have moved on musically or the music sounds stale to you. Lucky for me, hearing the music with a live orchestra (as opposed to my notation program) has made the music feel fresh and exciting!
This project features so many people that are near and dear to me, to be listed in my next post!
Over the past 3 years, I've felt my musical interests really slide away from the traditional Jazz sound. Infact, this recording features orchestral instruments, world percussion, an AWESOME pop singer, and a lot of studio magic by my good friend Daniel Weidlein! The influences that I drew upon for this music are pretty vast, but if I had to narrow it down to three they would be:
1. Wayne Shorter
2. Tchaikovsky
3. Michael Jackson
I've been experiencing a sort of tunnel-vision during this whole endeavor that is hard to describe. I've never done a project this ambitious before, and I'm really anxious to hear the final product. It has definitely effected my diet, sleep schedule and commitments that I am taking on. Michaelangelo said "Genius is eternal patience," but he never sat in a recording studio listening to his work slowly assemble...
This project has been an enlightening experience that I hope will continue into many more recordings!
"City People" Album
May 23rd, 2014
City People Tour 2014
We are finally back from our tour up North, and I am excited to say that it went very well. There was a lot of work that went into the planning of tour, and a lot of factors that had to fall into place to make the tour successful. For those who are interested, I am going to list my step-by-step account of how I booked the tour:
July 2013
A year before the tour, I started to dream up the concept of City People. I won't go too far into it because I think I've talked about it in several other blogs.. Musically speaking, I wanted to write and play FUN music that wasn't JAM music. These means that although I love to rock out, I didn't want to play over the same chord for 20 minutes with a back-beat groove. I wanted to create an atmosphere that took the listener on an adventure via concise (but intricate) composition, and well-crafted improvisation, played by a group of flexible musicians who listen and respond to each other.. This is a tall order in today's Jazz scene. In some sense, Jazz has become a dishonest, uninviting, inside-joke. I will always reject the notion that the listener has to know about music in order to enjoy it.
December 2013
Two of my musical interests Jazz and Classical music have been slowly converging to create the music that eventually goes onto the album "City People." The tunes that I chose for the album are a small subset of tunes that I wrote from July 2013 to July 2014. Though we played some of the reductions (quintet versions) of the music originally written for orchestra on the tour, we ended up playing a lot of the shorter funkier ones on the road.
January 2014
I start reaching out to venues between LA and San Francisco. I had no time frame in mind, just a desire to play and an open attitude. However, I knew that I wanted to play at my favorite LA venue Blue Whale at the beginning or end of the tour. I've come to observe that the initial acceptance email from a venue can determine the time-frame of your tour, as you have to start in one place, drive a long way, then come back to where you started. So initially, I got a date in Oakland and a date in Los Angeles. Perfect!
Jan 2014-March 2014
My goal was to have everything booked before Spring Break so that I could concentrate on recording the album in the later Spring. I've also come to learn that after getting the initial date, present venues with a very specific time-frame in subsequent emails. Call whenever possible.. I got notice from a venue in Berkeley, a venue in San Francisco and a venue in Ventura (farther South towards LA). I also got an email back from a conservatory in Berkeley that was interested in having us present a masterclass. The tour was booked, now we needed to firm up the details.
April-June 2014
We busted our butts to get everything recorded in the studio. Thanks to Kickstarter, about 30% of the album was funded, taking the financial strain off of me (which paid for other aspects of the tour). Although we finished by the end of June, it was just past the time frame to get the physical albums to sell on the tour. Nothing ever goes exactly according to plan, but nothing is ever disastrous if you plan ahead. We still had my last two albums, and really cool "City People" t shirts to sell on the road.
July 2014
All of the music is written for the tour, set-lists are made, merchandise is ready to sell.. Everything is in line. Or is it? There are many issues remaining that need to be addressed. For example, how do we get there? How do we cover the oil, gas, food and lodging costs? How do we fit all of the instruments, (3) amps and (5) bags (6 if you count the bag with all of Colin's beauty supplies) into our cars? These things can create a strain on friendships, not to mention a financial strain on everyone involved. This can also be a factor that determines if you will get to do another tour in the future. I never take my band for granted. I know that all of them play gigs in Los Angeles on a regular basis, and I never want them to lose a financial opportunity because they were on the road with me. So the solution dates back to August 2013: start saving for the tour long in advance. If you are the leader, pay for all of the gas, oil changes and absorb most of the travel costs yourself. This allows the money made at the gigs to go to your band's well-being.
Let's talk about lodging for a second. Hotels can be the most expensive investment on your tour. Depending on how big your band is, staying in hotels can cost up to thousands of dollars. My recommendation is to stay with friends, family, or couch surf if need be. I am so lucky to have one of my closest friends (first friend ever) living in the Bay area. Thanks to the legendary hospitality of Brandon Curtis, http://www.andhigherstill.com/ we had no lodging costs. I don't take this for granted. My friends are all just as busy as me, and have lives of their own. Housing a band of five people is a strain for anyone. Somehow, Brandon always turns it into an adventure and an epic hang.
Another factor in the success of the tour is the band dynamic outside of the gig. I made a decision (about a year ago) not to play music with negative people. The members of City People are some of the most positive people I know, and a blast to hang out with! Through the monotony of driving nearly 1000 miles and eating at Dennys for every meal, people can start to annoy each other. Personal chemistry should be a factor when putting a band together. It can save a whole lot of drama and pain. Good energy and Karma are CRUCIAL for the success of the tour and the music itself. I feel very lucky to have this particular band, many of whom came to see me perform TWO GIGS on our day off. Talk about support..
Although I can't be certain, the overwhelmingly positive responses that we got from our audiences throughout the tour came from the honesty within the music. Each night building on the last, the music really shaped itself into something interesting. We played the same sets every night; each set featuring a lot of "in between" intros and outros featuring different members of the band by themselves, sometimes for four songs straight. By the second gig, the music became a really good show to watch, which we gauged by the amount of time people stayed. Though they had never seen us before, and probably didn't intend to stay for long, most of our audiences stayed for the entire 3 hour show. We met a lot of great people throughout the tour. Venue owners, regular listeners and people who just decided to take a chance and come check us out; we are thankful for your support. We played for a lot of musicians, and people who had never heard Jazz music before.
As I mentioned, I don't think that listeners should have to understand anything about music in order to have a great time listening to it. People like to talk about music that they love, (which is great for me because I get the scoop on new music to check out) but also great because it reenforces my belief that music is something that people live with. Music shapes our lives in a way that we don't see right away but undeniably feel. It is my goal to put positive energy into the world, with music as my main tool. With another fun tour under my belt, I look forward to spreading that energy some more in the near future!
Favorite Quotes from the tour:
"Dr. Klotzman says _______" -Jacob Mann's made up doctor, usually used as an excuse not to do something, or for comedic purposes on the BART..
"You can't rush beauty" -Colin Cook, after spending half-an-hour blowdrying his hair.
"I painted all of those paintings" -John Snow's (successful) attempt to get into the VIP section of a club in Oakland.
"I'm going to Chipotle." -Colin Cook, on Fisherman's Wharf in San Francisco.
"That's just two triads a tritone apart." -Pete Johnson, drummer, describing a lick that I played that none of the other guys could figure out.
Why I don't go to Jam Sessions
summer 2014
I'm a working professional musician who maintains a busy schedule of teaching, performing, recording, composing and arranging. On the occasional night that I have nothing going on, sometimes I just want to play music. In the past I've had some really positive experiences calling up some friends to read some new music that I've written or just playing standards together.
There is a certain gratification in playing music with open-minded people. For one, you can take risks that may lead to lasting musical insight; compositional or improvisation happenstances that only occur when everything feels good and everyone's ears are open. There is a bonding that occurs when people listen to each other on a basic level, and deeper bonding still when people can connect on a more abstract level. Often times I will bring things in that are composed a certain way that end up not sounding like I intended. This gives me the opportunity to revise my compositions further, or just roll with it and see where it goes. I've had great experiences with both! For the most part, I have always approached playing with other people in a positive, open-minded way.
This past week, I had a rare night where I was completely done writing by 7pm. This almost never happens. The military brat in me told me to stay home and start another big band chart (I'd written three that week), but the rest of my body told me to go out and find somewhere to play. I went to a venue that I knew had a weekly jam session on that night. I'd been there once before and not had a great experience, but was determined to try and musically connect with people that I didn't know (and maybe have a good time).
As I walked in, the current band was playing a tune that I'd heard before but couldn't recall the name of. I asked the pianist after they finished. "That Old Feeling" he said, angrily. I'm trying not to pre-judge anyone here.. But, it would be really stupid for me to come across as an angry and negative person, in a venue full of people that are in the same line of work as me... Let's just play. I went up after two tunes were played.
The pianist calls "Autumn Serenade," a tune that I (later) found out is on the John Coltrane and Johnny Hartman album. I'll admit, I don't know every tune in the vast history of Jazz music, but I do know a lot of tunes. I told the guys, "sorry, I don't know it" (instantly seeing relief on the faces of the bass player and trombonist standing next to me).
"Where or When" he calls, with a smirk. I've never even heard this tune's title before.. and I told him as much. "Then what tune DO you know?" he asks me, incredulously. At that point, I didn't really want to play anymore. I've never heard of these tunes that he is calling, and for that matter, I've never heard of him. In the past I have answered the challenge of these type people by calling obscure tunes that they probably wouldn't know; but this is not good for the art-form or the people who play it. I thought about putting my sax away and leaving, but I stuck it out for one tune.
If we HAVE to go here, things have gotten desperate. There is a sort of historical fanaticism that is destroying Jazz's audience (which I've noticed since I became interested in the Jazz music). Like someone's status in Jazz is directly related to 1. The amount of tunes that they know. 2. The amount of JAZZ recordings they own and 3. all the trivial information about record labels, release year, personnel and what they had for breakfast the morning of the session. Is any of this musical?
I've seen musicians around the world play incredible things, with very limited resources. Rather than collecting the entire Capital/Riverside Jazz collection from 1945-1955, they own two Jazz albums that they learned inside and out.
Let's get back to the Jam session. I suggested a tune that many people would more commonly play, like "I Hear A Rhapsody." The pianist gives me my least favorite human reaction, he scoffs. However, everyone knows the tune!
Determined to accomplish my mission of being able to make music with complete strangers, I take the first solo. I've had some great experiences in recording studios and live performances where I've gotten to play with face-melting soloists. Rather than trying to match virtuostic fire-power blow-for-blow, I've discovered that I can set the tone of a performance or session by taking the first solo and PLAYING LESS! This instills a musical focal point, a collective conscious, or as I see it, a foundation for people to connect and listen to each other. Needless to say this technique did NOT work, even remotely on this Jam session. I took two choruses, left a lot of space, and got played-over entire time.
The solos that I heard that night were alright. The vibey pianist played the same comping pattern chorus after chorus for every soloist, and played variations on three licks by Wynton Kelly and McCoy Tyner when it came time to solo. When I packed up and shook his hand after the song ended, he decided to give me some advice..you know.. to help my career.. "Gotta learn more tunes and quit playing that modern shit."
I'm really trying not to get too dark about this..
I've worked very hard to develop a sound that I think is unique. I practiced 6-8 hours per day every day from my sophomore year of high school till my last day of undergrad. I've studied saxophonists from every era, written days of original music for big band and orchestra, released 3 albums as a leader. Most importantly I support (and celebrate) all of my friends who play and write original music and now a guy who has nothing original to say on his instrument labels me as "Modern."
My advice to younger, and older Jazz musicians, is to find music that you love, and keep an open mind about everything else. Just because someone's top ten collection doesn't resemble yours is not a reason for scorn and contempt. I think the founding fathers of Jazz would laugh at what they saw today. Putting so much musical influence together, Jazz is the combination of nearly every musical style that was present in New Orleans at the time of its creation. It evolves by nature. Is this such a hard concept to understand? The presence of so many styles of music these days gives Jazz musicians a lot of influence to draw from.
My first and only Jazz quote: Don Cherry once said, "When people believe in boundaries, they become part of them."
Currently, us Jazz musicians have put up a lot of boundaries; which exclude a lot of people. In-fact our boundaries exclude most people, including people who play Jazz! How can this be? How are we supposed to support Jazz if we can't support the people who play it? How are we supposed to cultivate an interested audience when we can't be interested in each other's musical ideas?
My perspective in all of this is that an audience is created through musical honesty and originality. Rather than people taking an obligatory, yearly visit to the "Jazz Museum," I'd like my audience to wonder "what will he do next?" What are we going to experience? What are we going to feel?
I'm not criticizing people who play 1940's and 50's influenced music in any way, that is, if that is what they truly love and there is a message behind the music. I'll support it! It is when people hide behind history to exclude original ideas and innovative thought, that I get upset.
Also, uh, stop being so hard to work with and unprofessional at Jam sessions. No one will hire you or want to work with you! For these reasons, you will not see me there.
Autocorrect used to change the word "Jazz" into "Lazy" on my phone. The more I thought about it, the more I agreed with autocorrect. However, in addition to "lazy," I would add "vain" as another synonymous four-letter word. In the age of entitlement, it is easy for us to ignore these things and blame the tanking Jazz market on Spotify, Youtube and unsophisticated Jazz muggle-dom.
In the arguments that will surely ensue, understand that this is a matter of perspective and there are a broad range of factors that contribute to Jazz not being popular anymore. I will simply point out my opinion, for what it is worth. Sometimes I will remind you that this is my opinion with this symbol. *
Jazz and Classical music share a lot in common. Both types of music take a LONG time to "master". People who grow up practicing Jazz and Classical music are training themselves to hear very specific aspects of the performance and composition of a piece. When something is out of tune, we are trained to contort our faces and act like it hurts. When we hear a blues riff, we are trained to shout and pretend we are hip. Our world is focused around what musicologists refer to as "performance-practice," or a specified understanding of how music should and should not be performed.
I'm always blown away by Jazz or Classical musicians who hear Pop, Rock or some other kind of music outside of their training, and they can't relate at all. I don't think that this phenomenon happens because of the actual music that they play and practice, but because of the culture surrounding the music that they play and practice. As conservatory-trained musicians, we have to ask ourselves some potentially uncomfortable questions. Is the pursuit of musical excellence causing us to lose sight of the face-value of music? Also, who would want to pay for our vanity?
Let's take a step back. Let me put to rest the argument that Spotify and Youtube are running Jazz into the ground. Yes, people can access music and video-recordings of anyone they want for free! However, this is not the reason why people don't buy the albums and tickets to live shows. Let's use Michael Buble as an example. He sings songs from the Great American Songbook, clearly knows the Jazz tradition and has a staff of some of the most prominent Jazz arrangers in the business. People can watch all of the Michael Buble videos they want and listen to his music for free, yet somehow he's a millionaire and his shows are sold out. He's been so successful that he is basically considered a Pop singer. So why will people pay $75 to go see him and not pay $5 to come see us? What is the difference between us? More than we realize!
Michael Buble has a fun show, a great personality and a culture that surrounds him. People live with his music. He should be a shining example of what Jazz can be. Yet something about his success has led purist Jazz musicians to criticize his musical ability or call him a sell-out. This is the same problem that I described earlier. As trained musicians, we have come to understand and judge music as the excellence of technique and complexity of the performance, at the expense of musical face-value. To put it simply, we hear and feel music with our heads and not our bodies.
I am in no way saying that we should sacrifice musical depth for an audience. However, I think that melody is universal. I've walked out of many shows, not being able to sing or re-enact anything that I heard. I have two (almost three) degrees of from multiple top-five Jazz programs in the country. I have perfect pitch, play comfortably, generally, in any time signature/style, and I felt alienated by the music I heard. How does someone with no degrees and a day job feel about the music? I would be seriously surprised if anyone walked away singing melodies from some of the Jazz shows I've been to recently. Lorde has more memorable melodies than some of us. I might actually choose Lorde over some of the Jazz I've been hearing! (Lorde is a new pop artist who is not my favorite*). I have to ask again, who would want to pay for our vanity?
Jazz has finally plummeted to the bottom 1% of music sales. Another reason (related to our training) that Jazz is not doing so well is that we are so elitist about what we do! We represent not only 1% of music sales, but a divided 1%. Jazz musicians HATE each other's music for the wrong reasons. Like my jam session experience (please keep reading and you'll get to it eventually), Jazz musicians LOVE to judge each other and tell each other that they are not enough like Jazz musicians that lived 80 years ago. There are so many things that are inherently wrong with this. For one, shouldn't we be trying to support each other if we're trying to get people to identify with Jazz? The more interest the better, right? Also, this is not the 1930's. It's not even the 1990's! If we want to accurately re-enact the 1960's, maybe we should go all the way, change our wardrobe, drink Ovaltine, and deny peoples' credit card applications..
Also, what happened to having fun? When did Jazz become so serious? We want to be like Louis Armstrong but we don't want to smile? Other styles of music have fun on stage, and their audiences have fun. Go to a Metal show and watch the guitarists jumping, head-banging and really getting into it. That kind of energy is infectious, and audiences respond to it! It is so much more fun to watch than someone improvising for 3 minutes, then looking really depressed with their head down for 5 minutes. Even our artist bios are messed up. If we want to book a show, why do we send venues our academic qualifications? Who thought that was a good idea? For tonight's entertainment, we will feature Dr. Wheatgrass, performing a set of standardized tests; We really don't want you to have fun, but we want you to understand how qualified our entertainment is to be here.
I was lucky enough to get to play with an older Jazz master, Curtis Fuller, who brought creative energy to the music every night. His dedication to MUSIC was infectious. He would always adamantly insist that all of the "characters" in Jazz music were gone. Look up photos of Miles Davis and Thelonious Monk online and you instantly know what "character" means. They received a certain amount of popularity and attention in their lifetimes because of their "character". Lady Gaga and Miley Cyrus are "characters" who are enjoying attention for the same reasons in this generation of music. Obviously, we have to consider the pros and cons of our approach to this one..
I feel like I could go on for a while. Let me say, I think Jazz has a lot of potential in the marketplace. I think people love the spontaneity of improvisation, the story-like quality of a well thought-out solo, the intricateness of harmony, the feeling of Swing, Funk, and rhythms from around the world... We have the opportunity to connect with people outside of our music, we just need to reconsider our approach. At the end of the day, we want our music to be something that people to live with.
We can start with the following:
Consider the past, present and future in our music: unidirectionality narrows our expressive potential and our audience.
Consider melody. If there is nothing definitive about our music, there is no way to remember it.
Consider different musical styles: Jazz gained popularity in New Orleans for this exact reason. When musical styles are organically combined, excitement ensues! More people take interest!
Stop judging. We are all trying to get better at what we do. Just because someone hears something differently (or grew up listening to different music) doesn't make them better or worse than you. The more unified we are as an art form, the more overflow in audience we experience from artist to artist. Also, the more variety in the music, the more people stay interested in what we do. You wouldn't want to eat the same thing for every meal, why would you want to listen to the same thing for every listening experience?
Be yourself! Don't try to imitate someone else. Let your taste in music guide and inform your musical direction.
** Jacob Mann's "One Minute Jazz Lesson" videos also might help provide some insight into how to do this stuff the right way.
Jazz Vanity
November 2014
New Generation (Part 1): Saxophonists!
Remy Le Boeuf
In my time as an active listener and performer, I've noticed waves of influence come and go over the crowds of young Jazz performers. When I was just starting to play gigs, late 90's early 2000's, I noticed that many young alto saxophonists sounded like shades of Kenny Garrett and tenor players imitated Michael Brecker. I did it too! Later on, I noticed many guitarists using delay to sound like Kurt Rosenwinkel and drummers break out into superimposed time signatures to try and imitate Ari Hoenig. This has always been a part of the Jazz tradition; every once in a while an original voice appears, and is widely imitated.
I have been teaching at USC for five years, occassionally working as a music teacher at high schools and educational programs when work comes my way. I get to hear first-hand who influences the younger generation of musicians. So why did it surprise me when I taught at arts high schools, freshman classes at my university, played jam sessions at large and found a lot of younger players imitating Remy Le Beouf? I shouldn't have been surprised at all! Remy just may be the leading voice in this new generation of saxophonists.
Remy caught my attention in 2007 at my first North American Saxophone competition. From the start, I knew that he was one of those original voices; a large influential planet with a wide array of orbiting, influenced moons. This guy has complete control over every compositional idea that comes out of his horn, which combines with a uniquely colorful tone and a quirky personality to create a very modern, personal sound. If you don't know him yet, check out his albums (Le Boeuf Brothers) on itunes here:
Danny Janklow
Danny won the next North American Saxophone competition that I was a part of (2009 I think). This guy has some crazy technique, a term which I usually hesitate to compliment saxophone players with.. However, Danny uses his facility on the horn to showcase his love and passion for the music. A graduate of Temple University, Danny studied with Dick Oatts (a noticeable influence) and has managed to put a new spin on the bebop language.
Add in a fancy white v-neck t-shirt and some saxy facial hair, and we have the album cover of "Recurring Dreams" which you can buy here:
I met Sharel in 2010 at the Ravinia Music Festival near Chicago. Immediately I was impressed with her musicality. We played some of her tunes, and she had a way of honing to my sound and blending in a way that I'd never experienced before. This makes her the ultimate section player, but wait! She is also an amazing soloist, arranger and composer!
Sharel embodies a musical philosophy that I have lived by since I started playing professionaly and putting out albums: make music that can be a part of people's lives! In a world of chop-busting, technical saxophonists, it is so refreshing to hear an artist like Sharel, that you can listen to over and over.
Check out her albums here:
Sharel Cassity
Joshua Johnson
I met Joshua the same year that I met Sharel, and I have to say, although he was a beast when I met him, he is even more beastly now. A recent grad of the Monk Institute, Joshua is now a staple of the young, creative, Los Angeles Jazz scene. He is receiving a lot of well-deserved recognition for his work and I can see him becoming a very influential saxophonist!
Like me, he has the unfortunate circumstance of having a million artists with the same name...
Check out his album with Holophonor here:
Another North American Saxophone Competition winner, Clancy is what Jazz textbooks usually call a "Neo-(insert Jazz history adjective here)"-ist. Part of being a Jazz musician is the push and pull between past and present. In Clancy's case, there is A LOT of history and tradition in his playing. This guy is an old soul with pristine phrasing, note choice and amazing sense of SWING!
Check out his album here:
Brian Clancy
Jonathan Ragonese
I met Jon about 10 years ago in the Pennsylvania All State Jazz Band! (I was playing bari sax). He told me back then that he was transcribing multiple solos per week and judging by his playing, he was! This guy had an insatiable thirst for musical information that was second to none! Over the years, I wondered what his musical trajectory would be.
Jon added another dimension to his music by checking out Classical music thouroughly. He has written some amazing symphonic music (a man after my own heart!) and continues to write and play Jazz at the highest, most innovative, level.
Check out Jon's music here:


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Everyone wants to get in better shape without buying expensive fitness subscriptions or sports equipment. Running helps you to get in shape. Running is a activity every person execute work then whole it desires a comfortable footwear or a drive according to run. With Running, thine health yet awareness pleasure improve yet you'd lie targeted longer – which may show positively fine regarding you season so better concentration potential greater productivity. Also, you would start aberration a bit pounds then you pilot and/or mix someone vile game with a good, consistent diet. And almost important, going for walks advanced doesn't count.
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subset: commoncrawl


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Accounting affects the financial stability of a company or an individual and improves the flow of cash. Hence, businesses and accounting individuals should always be aware of the rapidly evolving accounting world and adapt according to the cloud accounting and AI revolution.
Businesses, be it small, large, or individual accountants, can benefit by merely understanding the ongoing trends of the accounting world. It not only helps them cut cost but also improves time management and helps them be prepared for the changes that will happen in accounting in the future.
Let us look at some of the accounting statistics compiled for you to understand better the impact of accounting for your business.
1. Accounting Statistics for Small Businesses
99.7% of all the businesses are small businesses. Understanding the utilization of these small business statistics related to accounting and managing the firm accordingly can prove to be of great importance:
- According to the Small Business Report Accounting, 60% of the small business owners feel that they might not have enough knowledge about finance and accounting.
- According to Statistia, the percentage of small business owners using accounting software is 64.4%.
- According to ICAS, the percentage of small businesses placing accountants at the peak of their list for trusted advisors is only 30%.
- According to PayPie, 70% of the small business accountants view their advisory roles into becoming more strategic.
- According to Arbitrue, the percentage of small businesses who do not expect a meet with their respective accountants face-to-face is 58%.
2. Accounting Statistics Related to the Cloud
Cloud accounting is rapidly shifting the accounting process from local desktops to the cloud. It saves the companies a lot of efforts and money by allowing its users to access their accounting software from anywhere and at any time with the help of the Internet, instead of installing it on each and every computer.
The statistics below illustrate the trends and benefits of accounting in the cloud:
- According to Sage (Sage Practice of Now 2018 Report), the percentage of accountants who prefer cloud accounting is 67%.
- According to Accounting Today, 58% of large companies are already using cloud accounting.
- According to Xero, the companies that use cloud accounting exclusively saw a 15% growth in the year-over-year revenue pattern and were also able to get five times the total number of customers than the companies that don't use cloud accounting exclusively.
- According to Forbes, the cost of labor is reduced by 50% with the help of cloud accounting.
- According to Accountancy Age, the percentage of small businesses that will solely rely on cloud accounting by 2020 is 78%.
- According to Flexi, the global market size for cloud accounting was $2.62 billion, and by the end of 2023, it is estimated to be $4.25 billion.
3. Statistics for Accounts Payable (AP)
Accounts payable may seem to be a huge pitfall for most of the businesses as it involves keeping track of numerous bills and payments.
Here are some of the relevant statistics related to accounts payable:
- According to iPayables, over the years, 39% of the AP professionals have reported that the total invoices that they work on have seen an increase of about 10%.
- According to Vanguard Systems, depending upon the size of the company, $16/invoice or more can be saved via AP automation, and it starts paying for itself within an average of 6 to 18 months.
- According to MineralTree, one hour can be saved per day by AP professionals who automate their payments and invoice capture.
4. Accounting Statistics Related to Artificial Intelligence
The integration of artificial intelligence with the accounting software offers features like the automated categorization of data and data entry.
Here is how Artificial Intelligence helps accountants increase efficiency and identify redundancy.
- According to the Journal of Accountancy, the percentage of accounting executives who believe that AI leads to competitive advantage is 80%, and 79% of them believe that it can increase the productivity of their company.
- According to Forbes, the RPA (Robotic Process Automation) has reduced the processing time for contracts and audits from a handful of months to just a few weeks.
- According to Accenture, the percentage of clients who preferred getting advice from both a human and a Robo adviser is 68%.
- According to Sage (Sage Practice of Now 2018 Report), the percentage of accountants who are ready to invest in AI is 66%, out of which 55% plan on using it in the next 3 years.
5. Statistics for Accounting Automation
With more and more accounting tasks being automated, there will be better utilization of technology and faster application of business decisions.
Here are some of the accounting automation statistics that will help all the accounts to keep up with the demands of the business and customers.
- According to ACCA, over 50% of the accounting executives expect that the development of automated and intelligent accounting systems will have a significant impact on accounting businesses over the next 30 years.
Bonus Stats
- According to a study by AICPA, the percentage of CPAs who believe that they are not entirely future-ready is 92%.
- According to Sage (Sage Practice of Now 2018 Report), the percentage of accountants who believe that the demand of clients has increased over the past five years is 83%, and out of them, 67% feel that the accounting profession has become more competitive than ever before.
- According to Arbitrue, by the year of 2020, the auditors will grow in population from 1.2 million to a vast number of 1.44 million.
- According to Accounting Today, the value of the accounting software global market will be $11.8 billion in the next 8 years.
Knowing about what is happening in the world of accounting through these statistics can have a significant impact on the growth of your accounting firm and help you prepare for the future.
Chat With A Solutions Consultant


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In the world of family law, the acronym QDRO stands for Qualified Domestic Relations Order. QDROs often play a very important role in a divorce and family law firm or legal separation, as even couples of relatively modest means often will have thousands or tens of thousands of dollars invested in a 401(k) or other employer-sponsored retirement plan.
What is a QDRO?
Putting a value on investment real estate
Many couples in the Denver, Colorado, area may make some extra income, or even support themselves, through rental property or investment real estate. Owning extra property can be helpful to a family in two respects. It can be a source of income, and it can also yield a return on the investment as housing prices increase.


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Panasonic Launches Its First Full-Frame Mirrorless Camera In India – S1 And S1R
The Lumix S series system comes with a new L mount system and the Lumix S1 is priced at INR 199,990 while the Lumix S1R is priced at INR 299,000 for the body only
Photo Credit :
With Canon and Nikon introducing their Full Frame mirrorless product lineup, Panasonic was the only camera manufacturer left without a Full frame product in its otherwise very successful mirrorless product lineup.
With the introduction of the Lumix S series of cameras – the S1 and S1R, Panasonic has entered the full frame mirrorless market with a bang. The new cameras come with two different sensors. The Lumix S1R has a 47-megapixel sensor, while the Lumix S has a 24-megapixel sensor. The higher-resolution S1R is designed to appeal to professional stills photographers. The S1 and S1R offer 4K video capture, just like their full-frame rivals, but they will offer frame rates of up to 60/50p, which Panasonic claims is a world first for full frame cameras. The S1R and S1 will offer a combination of in-body image stabilization (IBIS) and lens-based optical stabilization. Panasonic has done this "Dual IS" system before with its Micro Four Thirds cameras, offering more shake compensation than either system on its own.
Panasonic has also announced three new lenses for the Lumix S range. They are a 24-105mm f/4 standard zoom lens, a 50mm f/1.4 fast prime, and a 70-200mm f/4 constant aperture telephoto zoom.
The Panasonic Lumix S1 is priced at INR 199,990 the body only, with the 24-105 F4 kit lens it costs INR 267,990. The S1R body only is priced at INR


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Class of 1965
What a GREAT REUNION WE HAD!!!!
The Reunion of a Lifetime are the words from Genny Lee when describing our get-together last weekend! What a great time we had! "Oh, What A Night!"…two that is! Thanks so much to everyone who made the trip, some VERY long ones from California, Maine, Oregon, and Florida!
If you missed it, we missed you! We have extra directories for those of you who were not able to attend. Please email email@example.com to let her know to reserve a directory for you and please send $10 to Janice Raggio, 3841 Normandy, Dallas, TX 75205. We want to extend the website for five more years. If we can sell the 20 directories we have left, that will give us the additional $200 we need to keep our website up and running.
THANK YOU Larry Flournoy for spearheading the effort to get contributions to help get us out of the red. We had some very generous donations, and we really appreciate it! Thanks also to everyone who bought a poster! With your purchases, we were able to get our money back on those!
Janice and I really appreciate everyone's enthusiasm! This was a 1 ½ year venture. Trying to locate people was an endless effort. Two months ago, Janice and I agreed to just give up because it was too exasperating and we really needed to focus all of our attention and energy in getting the reunion organized. WE NEED YOUR HELP! Please take another look at the "Really Missing" on the website. Also, please look at your directories for any inaccuracies. If you know the whereabouts and the correct information about anyone in our class, PLEASE let us know! We just added Ronnie Calloway and Kay Mascari to the list of our deceased coyotes. Please keep us informed when you become aware of any more changes!
We have so MANY people to thank and it is impossible to mention everyone. On Saturday night, Janice thanked our WF contingencies – Cathy Castledine, Donna Wood, and Joe Huff. For helping with registration, we want to give a big shout-out to Don Hughes, who worked tirelessly both nights and to Virginia Humphries, Cathy Castledine, and Marnee Corbin for helping on Friday night! For helping with setup on Saturday, thanks to Lana Moore, Cathy Castledine, Joe Huff, Donna Wood, Don Hughes, Marnee Corbin & her wonderful husband (you lucky girl!)!
THANK YOU PAUL SCHOONOVER, BILL STEWART, DICKIE WINEINGER, and RICK CHAVIERS ('66) for your talent and tireless energy in entertaining us with such great music!!!! You really helped create our Reunion of a Lifetime!
Speaking of tireless energy… Robert Flatt!!!! Words cannot express how valuable your contributions of art mean to our reunion! Robert created the blood moon logo with the coyote which was used on the Rapper Robert t-shirts! He very generously donated several plaques which we distributed as prizes Saturday night! His very clever rap song was a HUGE hit in spite of the poor performance of his back-up singers! Sorry Janice, Robert Edwards, Lana Moore, Jimmy Rhodes, and Joe Huff…I share in your failure for sure, (hehe), but we tried! We can only go "Onward and Upward" from that moment!
Thank you Jimmy Rhodes for making the Rapper Robert t-shirts and GIVING them to us!!! There are two left (M, XL) if anyone is interested in purchasing for $20. We will give the money to Jimmy! The colors are perfect for Halloween! I wore mine to the grocery store yesterday and the handsome, young guy in front of me asked if it was a band t-shirt! He said "Cool" when I replied "Yes"!
Heaven-sent thanks to Chester Hodges for the artwork of his we used in the directory and the photo booth logo! He was such a great artist and is missed!
Thank you Lana, Robert, and Murphy for sharing your cheerleading paraphernalia with us! You are still great examples! Thank you Robert for the gorgeous yellow roses!!! Mine are still alive and well!!!
We could not have found many of our classmates without the diligent work of Gloria Rush Jenkins '62, who worked as a skip tracer for Ford Motor Company. Thank you Gloria!!! Unfortunately, she and her family are dealing with health issues and she was not able to attend our reunion.
Most importantly, I want to thank Janice Savage Raggio for her endless hard work on this Reunion of a Lifetime. She made this the best reunion EVER!!!! I really could not have done this without her! Janice did all of the location and food planning, as well as the work on our memory area at the party. Janice is also the Treasurer AND the underwriter! She was a great partner! Tom Raggio is a very lucky man!! Thanks to him for very generously sharing her with us for this past year!
It took a village to put on this reunion and if you were not thanked here, please know that your help is most appreciated!!! Several people throughout the year have helped locate people…thank you!
Lastly, so many want to do this again in 5 years for our 55th! Since the hard work of finding most of the people has been done and our website is a great communication tool, it will be much easier to plan our next reunion. Please reply to this email if you want to be on the committee to help with the next one. Also, please respond if you have any suggestions for our next reunion. In particular, we would like to know what you thought about the location for the parties, the food, and the photo booth. The photo booth was a big chunk of change and added about $5 per person to your ticket. Was it worth it? We checked out several venues in WF for the Saturday night party – WF Country Club, Woman's Forum, the old library, and several more. Did you like our choice of the Elk's Club or do you have another idea? All ideas are appreciated, and in a future email, I will share the results.
If you want to order the DVD + 8x12 Class picture, please let me know asap. For those of you who have not seen the pics, please go to our website at www.wfhs65coyotes.com and click on 50th Reunion Pics on the left. You can also upload your pictures from the reunion there. To order pics, go to www.hensleyphotography.com and click "Online Ordering".
FYI: Our Coyotes lost to Rider this weekend 24-21. Coyotes were ahead until the last quarter when Rider scored 18 points!
REMEMBER, please order a directory if you don't have one!!!
Pictures from the reunion are up. Click on the "50th Reunion Pics" tab on the left. There are three galleries. If you double click on the first image in each gallery, it will enlarge. You can either view the slideshow (7 seconds each) or click on the arrow on the right to view faster. Images to purchase are also up at www.hensleyphotography.com (Click Online Ordering).
Now and Then!
Doug Armstrong & Cheri Armstrong
Kaye Barnett
Linda Bates (Barrett) & Jim Barrett
Jim Bavouset & Melanie Bavouset
Nancy Bernhardt (Flatt)
Peggy Black (Peck) & Jack Peck
Bobby Boyles & Nan Boyles
Robert Brannon & Susan Brannon
Bill Bridges
Linda Bridges (Owen)
Sandy Brooks (Searcy)
Jerry Brown
Carol Burbank (Hensley)
Bob Burke & Jo Burke
Judy Buss (Gehring) & Don Gehring
Tom Campbell
Cathy Castledine (Holland)
Rick Chaviers & Lynn Chaviers
Newell Cheatheam & Sharon Cheatheam
Donna Chick (Morris) & Johnny Morris
Ester Contreras (Ball)
Marnee Corbin (Camp) & Buddy Camp
Pat Darling (Mirrer) & Keith Mirrer
Bob Eastlake
Robert Edwards & Marion Edwards
Jerry Ferguson & Colleen Ferguson
Robert Flatt
Larry Flournoy
Kathy Foley (Odom) & David Odom
Andrea Frazee (Frentress) & Jerry Frentress
Kay Germany (Wicklander) & Gene Wicklander
Joyce Grabeel (Ambrose) & John Ambrose
Jean Greeling (Sanders)
Robin Hallford
Heather Hamilton (Tedford)
Ed Haven & Shelley Haven
Pat Hawkins & Cindy Hawkins
Paula Hays (Lively)
Becky Hickman (Richardson) & Alan Richardson
Joe Huff
Don Hughes
Vicki Hull (Fisher) & Robin Fisher
Virginia Humphrey (Joiner)
Sally Humphrey (Walsh)
Kay Isaacs (Hardin) & Jim Tom Hardin
Cheryl Johnson
Randy Johnson & Connie Johnson
Larry Karr & Vicki Karr
Dean Kirkpatrick & Mary Kirkpatrick
Sally Knight (Wetsel) & Malcolm Wetsel
Gene La Coste & Mary La Coste
Genny Lee (Harris) & Ron Harris
Harold Lerew & Karin Lerew
Elaine Leslie (Bunch) & Ron Bunch
Jerry Lindsay & Kris Lindsay
Fred Lively
David Loggie & Kathy Loggie
Nancy Lyles (Payne)
Brad Mackey & Shelly Mackey
Gary Massey & Sunny Squire Greenburg
Richard Mathews & Margaret Mathews
Joan McCarty (Souther) & Charlie Souther
Louis McKown & Karen McKown
Pat McNair (Deal) & Steve Deal
Tom Merritt
Elton Milford & Patti Milford
Lana Moore (Valenta) & Tommy Valenta
Richard Moran
Steve Neeld & Elaine Neeld
Jean Ann Niles (Karm)
Mike O'Brien
David Oliver & Claudia Oliver
Hallie Sue (Susie) Palmer (Thornhill)
Mickey Pennington
Ronnie Perdue
Carol Peterson & Steve Lewkowitz
Mary Ann Powers, Kathleen Powers, & Voda Jones
Ken Reed & Lori Trotter
Ronald Jon Reed & Paulette Reed
Jimmy Rhodes & Peggy Rhodes
Nancy Riddle (O'Brien)
Don Roberts & Joy Roberts
David Robinson & Carol Robinson
Dick Rundell & Colleen Rundell
Gloria Rush (Jenkins) - '62 & Guest
Saundra Sampson (Tucker) & Dee Tucker
L.P. Sanders & Lou Sanders
Janice Savage (Raggio) & Tom Raggio
Paul Schoonover & Kay Schoonover
Ann Searcy O'Shaunessey & Guest
James Shedeck
Pat Spencer (Seyb) & Don Seyb
Gary Sissel
Susan Smith (Holt) & Bill Holt
Shirley Steele
Gary Stephens & Toni Stref
Vickie Stonecipher (Metcalf)
Bill Stewart & Sheri Stewart
Sheryl Swaydan (Jackson) & Gary Jackson
Jerry Vaughn & Paula Vaughn ('66)
Steve Walker
Norma Watkins (Priester) & Steve Priester
Bobby Williamson
Lynn Wilson (Cockrell) & John Cockrell
Suzanne Wilson (Huffer)
Dickie Wineinger & Elaine Wineinger
Donna Wood (Landis)
Mamie Woodward (Hurt)
Murphy Yates
44 CLINT BLACK TICKETS as of 9-20-15
Kaye Barnett -1
Linda Bates (Barrett) - 2
Peggy Black (Peck) - 2
Bobby Boyles – 2
Linda Bridges (Owen) - 1
Ester Contreras (Ball) - 1
Carol Burbank (Hensley) – 1
Tom Campbell - 2
Donna Chick (Morris) -2
Jerry Ferguson - 2
Becky Hickman (Richardson) - 2
Joe Huff - 1
Kay Issacs (Hardin) -2
Sally Knight (Wetsel) -2
Gary Massey - 2
Lana Moore (Valenta)-2
Richard Moran -1
Ronnie Perdue - 1
Don Roberts - 2
Janice Savage (Raggio) - 1
Paul Schoonover - 2
James Shedeck - 4
Gary Stephens - 2
Bill Stewart -2
Lynn Wilson (Cockrell) - 2
Donna Wood (Landis) - 1
Mamie Woodward (Hurt) - 2
We've bought our tickets! How 'bout you???
This background image will be one of several used by Snaparazzi for our Photo Booth pics!!!!
Janice Savage Raggio and Carol Burbank Hensley are heading up the 50th Reunion Committee for our class. Cathy Castledine Holland has been a great help to us as well! We hope you take the time to fill out your profile (see navigation bar at the top). If you need a copy of your yearbook photo, let us know ("Contact Us" button on the left) and we will upload it for you into your profile. Check out the fun activities we have planned for our 50th (top navigation bar). We hope to see everyone at our reunion on the weekend of September 25/26. Hotel information is also available on the top navigation bar. We have a section called "Missing Classmates" which includes everyone who has NOT filled out a profile. Once you fill out your profile, your name will no longer be listed as missing. We have 494 classmates in our senior annual. Sadly we have found that almost 70 are deceased (see In Memory on left). We have contact information for the remaining, but we are not totally confident that the information we have is correct. Gloria Jenkins in the WFHS Class of '62 has been most helpful in locating many of our classmates. Thanks to Classmates and Facebook, many more have been located. We have a Wichita Falls High School Class of '65 Facebook page if you are on Facebook and would like to join it. We have absolutely no clues on how to find about 40 of our classmates (See "Really Missing Classmates" on the left bar). If you know anything about any of these people, please let us know. We have search dogs out for them now.
To avoid getting a lot of emails from the site, be sure to go to "Notify Me" on the left and check the boxes according to how you would like to be notified. Otherwise, you will be getting a lot of notifications as new people go online and fill out their profiles.
Notice the "Pictures from Past Reunions" and the "1965 Yearbook Pictures" tabs on the left. Please upload any pictures you have from past reunions. I attended both the 1964 50th Reunion as well as the Baby Boomer Reunion last fall. Check out the pictures in those categories.
TO DO FIRST: Be sure to click on the buttons at the top of the page. Once you go into your profile and enter the basic information, you will be removed from the missing. Tickets for the reunion may be purchased at the 50th Reunion button at the top. If you do not live in WF and need a hotel, it would be smart to go ahead and book it (Hotel Information at top). If you have a great story, a favorite memory, or just want to post a message for everyone to see, go to "Manage Classmates" on the left.
Some of our classmates at the Baby Boomer Reunion last October!
We have had 37,045 visitors to our site!


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GCSE results are out today. If you are considering continuing in education, make sure you ask your social worker/PA for a copy of Pathways to Further and Higher Education for Looked After and Care Experienced Young People. Good luck everybody!
VOYPIC were involved in contributing to this guide which has been written for professionals, carers and those supporting young people making choices about their future education and are considering further and higher education. The guide explains the roles and contributions of the various agencies engaged in supporting young people. It provides details of colleges and HE institutions and their particular support arrangements as well as pathways into continued education, application routes and financial provision.


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By John Rendon
Drought in Africa is also affecting producing countries, not just consumption as Namibia reports a possible 80% reduction in cereal production.
Four African nations decide to assist militarily in the DRC. Rwanda, Tanzania, Uganda, and the DRC itself. Perhaps this can lead stopping the spread of Ebola.
Copyright 2018 The Rendon Group. Powered By Impressive Business WordPress Theme


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'To write a book giving the facts of a person's life is important. But to write a book that brings out the depth of a person's character is a true achievement."–Bishop Thomas Gumbleton,
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"A book worth reading, even meditating on…A Disarming Spirit is about what one person can mean due to the issues he articulated, the courage of his actions, and the depth of his motivations. In the end, Archbishop Hunthausen would not want this book to be much about him, but rather the justice and peace he believed in and worked for."— Kirby Brown,
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"Frank Fromherz has told the Hunthausen story well. From his years of careful research, reflection, and writing, we can see the transforming gift of this life of deep faith and the humility to listen…May we absorb the Hunthausen story with the depth of grace in which it has been lived."–James W. Douglass, author, JFK and the Unspeakable:
Why He Died and Why It Matters
"This is a story that the people of Montana and the entire northwest region of this country need to hear. Someone in this corner of the world has left his mark."–Con Kelly, close friend of
Hunthausen and bioethicist
"History will likely reveal Raymond Hunthausen as one of the most courageous voices in late 20th century U.S. Catholicism, and no one better describes the Seattle archbishop's prophetic role than Frank Fromherz…This is more than a biography. It is a study of moral character, a carefully researched portrait of one man's journey toward faithfulness and integrity."–Fr. John Heagle and Sr. Fran Ferder,
founders of Therapy and Renewal Associates
"Impressive in scope, the book provides an excellent representation of the larger societal context that frames the highlighted events…the book left me inspired and hopeful."–Peter Callero, author,
The Myth of Individualism: How
Social Forces Shape Our Lives


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Dr. EAA - 2.
word from you to Dr. Chandler, expressing your appreciation of his statesmanlike position in this matter, and asking his interest with reference to Mr. Bryan, would be both helpful and timely. Dr. Chandler is a new factor in the field and carries much weight with Mr. Bryan and the News Leader as one of the progressive and potent factors in public education in Virginia.
Two other things occur to me, namely, getting Dr. McGuire interested, and through him his uncle, Mr. Robert-son, and also using Mr. Maphis to increase Superintendent Hart's enthusiasm. Superintendent Hart would certainly carry much weight with Mr. Bryan.
I believe this completes the list of things you suggested my doing. If there is any further service in which you feel I can be useful, I shall be most happy to render the same.
I note in Professor Thornton's letter to Mr. Meredith that the question of the terms of admission for women have been under discussion. I trust sincerely that this matter the terms of Senator Strode's bill will be followed, namely, admitting the women to Graduate and Professional work on the same basis as the young men, only requiring that they be eighteen years of age. There will certainly be no objection to these terms of admission, I believe, on the part of the Legislature, since this bill of Senator Strode passed by a majority of 3 to 1 in the Senate, and I am quite sure would have passed in the House could it have been brought to a vote. On the vote to take it up out of order it had, as I recall it, some 10 majority.
With cordial good wishes and very sincere hopes that under your leadership and that of the Board of Visitors this long discussed measure may be brought at least to a successful beginning, I am, with regards,
Sincerely yours,


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