OCR Text |
Show Blue Notes 'Doc's' Concert a Success for the evening performance with the two bands during his one-day stay. His next stop was Las Vegas, where a similar simi-lar concert was planned. Out of it all came the education educa-tion of students from across the state. (One Davis County school, in fact, had loaded a bus with students and brought them to the University especially espec-ially for the Severinsen concert.) con-cert.) The trumpeter had, in one day, done more for the cause of jazz education in Utah then many of us do in a year. By Nick Snow True to promises made in glowing University press releases, re-leases, "Doc" Severinsen came to Salt Lake Friday and proceeded to knock two or three hundred people dead. The colorful trumpet star who, for so many years, was the rabble-rouser of the NBC Tonight Show band joined the University Concert and Stage Bands in a benefit concert Friday Fri-day night. Staid lovers of "serious" "ser-ious" music were suitably impressed im-pressed as he went through "The Concerto for Trumpet, Winds, and Percussion" and "The Bullfighter" with great gusto. Those who hung around for the jazz segment were a bit more raucous in their response: re-sponse: Almost to a man, audience au-dience members were making noise in every way conceivable. conceiv-able. Needless to say, the jazz buffs saw a rare treat when Severinsen, after sitting in on a second run through Horace Silver's "Opus De Funk" with the stage band, pulled trumpeter trum-peter Dave Bush, altoist Hersch Bullen, and trombonist Bruce Fowler out of the ranks to do a little jamming to the "Opus De Funk" chords. What came out was jazz at its best, boiling over with spontanaity. That night, Severinsen engaged en-gaged in high-jinks that left the audience roaring with laughter. laught-er. Four hours before, he shared with this columnist opinions on everything and anything. On the So-Called Death of Jazz "If it really is dead, then we wouldn't have to be reminded re-minded of it! You don't see anyone running up to the cemetery, pointing to the gravestone, and saying, "That guy is dead!' " On Jazz Education "The primary problem with the music today is letting the kids know about it. What we have to do is to take jazz and show it to those people who are stuck in places where the only music that can be heard is generated by fourteen amplified am-plified guitars." On Painting "It's just like any of the other arts. If the artist has nothing to say, his work won't sell. It takes more than colors." co-lors." On Musical Boundries "The days of the jazz, classical, clas-sical, and rock 'n roll forms being separate entities are over. We're reaching a stage where each form is taking properties pro-perties from the other and anyone any-one who maintains that boundries boun-dries exist should take a second sec-ond look." On Teaching Jazz "What I'm anxious to see is an agreement between the professional pro-fessional musicians and the educators on the education of our young jazz players. You add the experience of one to the theory and ideas of the other and you have an ideal combination." Well-suited to both classical and jazz, Severinsen conducted a brass clinic and rehearsed |