EASTMAN SCHOOL OF MUSIC JAZZ STUDIES HISTORICAL PHOTO ARCHIVE
First year Master Student and Media TA here in the Jazz Department at the Eastman School of Music, Orlando Madrid, has gathered the photos from various sources and is now starting this page here on our website.
“I am truly privileged and honored to be a part of this Jazz Department here at Eastman. The faculty is unbelievably supportive and inspirational. There is so much history in these halls and I am doing my best to give everyone a glimpse into the history that comes with such an incredible program. Most of this archive is from the time of Rayburn Wright’s tenure here at Eastman. Ray Wright served as the Professor of Jazz Studies and Contemporary Media from 1970 to 1990 and also served as co-chair of the Conducting and Ensembles Department. With the help and guidance from my professors Jeff Campbell and Bill Dobbins I have created a Historical Archive which highlights our lush jazz musical history here at Eastman through the legacy that Ray Wright left as a pioneering jazz educator. Many of these photos are from the golden years of the event called the “Arranger’s Holiday”. This was an event led by Ray Wright in collaboration with Studio Orchestra that helped to bring many Jazz Greats to Eastman who have worked with the students throughout the years including Dave Brubeck, Duke Ellington, Mel Torme, Marian McPartland, Billy Taylor, Gerry Mulligan, Phil Woods, Thad Jones, Ron Carter, Clark Terry and Bob Brookmeyer to name a few. Like I said, it truly is an honor to walk these halls everyday, enjoy!”
“Ray, more than any other individual, is responsible for the fact that there is a contemporary jazz program at the Eastman School of Music.”
Rochester Democrat & Chronicle,
March 23, 1990
Eastman School of Music Historical Jazz Photo Archive
Some Quotes from the Past
“I can’t tell you the number of times my fondest dream has come true: that students have learned not only what I’ve taught them, but also how to learn- by analyzing the continually evolving musical models in the world and extending their craft by imaginative efforts.
The most wonderful thing is to see students going beyond what I can take credit for – to see them turn their amateur efforts into professional work in terms of technical skill, consistency, and expressiveness.”
-Rayburn Wright, 1989
“I would encourage people to take chances.”
-Bob Brookmeyer to Ray Wright, 1982
“I have always loved working with music. I find all music, especially jazz, an incredibly beautiful and wonderful outlet for human expression. “
-Ray Wright, 1986
“One point I consider important is that you never consider measuring the importance of your playing by the number of people in the audience. For musicians, an important person for future work or contacts can just be one person in the room. . . Always play as if there were definitely such a person eavesdropping on you.”
-Ray Wright, 1983
“The established ways of doing are all organized, set, and overworked because music schools train students to write this type. But there are so many creative offshoots possible that are not being explored. I have learned to exploit the unorthodox or unused possibilities in music.”
-Ray Wright, 1965
“I think my students progress so fast because they are ‘self-teachers’.”
“I’ve never known an individual that exhibited such excellence, perfection, strength, organization and artistry, with such calmness, deftness, lightness, even warmth, humor and kindness, as Ray. He shows us all that excellence and balance can coexist.”
-Maria Schneider, 2012
“Ray’s way was the ‘real world’ way, with the highest professional standards. He never dumbed it down for his students as players, writers, and teachers – an immeasurable gift to all of his proteges.”
-Fred Sturm, 2012
“I came to Eastman specifically to study with him and I can safely say that he is the best educator I have ever studied under. He is a master craftsman with an unending flow of creativity.”
“Every concert, arrangement, or meeting with Ray Wright resulted in a change in how you might think about something. He was always helping each person reach their own personal best.”
-Vinnie DiMartino, 2012
“The guiding line between daring and wrong is very thin. You should always walk that line.”
-Ray Wright, as retold by Dave Rivello, 2012
“I have learned immeasurably, not only about music, but about humanity, imagination, and creative vitality, through working with Ray, and often simply through observing him in action.”
-Bill Dobbins, 1989
Rich Perry is a jazz tenor saxophonist. He has been living and performing in New York City since 1976. His beautiful tone and sophisticated harmonic conception have given him a unique creative voice which critics have described as “eloquent,” “inventive,” “thoughtfully lyrical” and “impassioned yet cerebral.”
” …With a career at the forefront of New York’s jazz scene for nearly four decades, Perry is considered by many musicians, composers, and jazz critics alike to be one of the music’s most lyrical and intriguing improvisers. Focusing on beautiful melodicism rather than flashy displays of “chops” – which the saxophonist can turn on when the situation demands, as can be heard weekly at Village Vanguard where Perry has been the house big band’s lead tenor player for nearly two decades…” (Alex Chilowicz, Musician, Composer, and Jazz Historian )
Rich Perry Visits Eastman School of Music
Concert February 29, 2016 | 8:00 PM
Tickets: General Public: $10
Harold Danko’s Tenth Quadrennial Leap Year Event
All compositions by Harold Danko.
with Rich Perry, tenor saxophone
Clay Jenkins, trumpet
Charles Pillow, reeds
Jeff Campbell, bass
Rich Thompson, drums
Professor Harold Danko has been on the faculty at Eastman since 1998 and served as Jazz Studies Chair from 2002 to 2011. In his current position at Eastman, Harold teaches jazz piano, directs the Jazz Performance Workshops, and heads the Eastman Jazz Trio and Quartet.
He is well known from long-term associations with jazz legends such as Chet Baker, Gerry Mulligan, Lee Konitz, and Woody Herman, in performances at major jazz venues throughout the world as well as on recordings, television and video. Performances by Harold on Youtube have garnered thousands of views and those with Chet Baker from his 1987 Tokyo concert have far exceeded a million. He served on the faculties of the Manhattan School of Music, the New School/Mannes, Hartt College, and at other institutions prior to his appointment at Eastman.
As a bandleader, he has been featured at the Xerox Rochester International Jazz Festival, Lincoln Center’s “Meet the Artist” series, Washington (DC) Performing Arts Society series at JFK Center, and many jazz festivals around the world. In 1995, he received an NEA Fellowship to perform his own works in a series of concerts in New York City. Throughout the 90s, he performed with and composed for his quartet with Rich Perry, Scott Colley, and Jeff Hirshfield.
More recently, he has led a trio with Michael Formanek or Jay Anderson and Jeff Hirshfield. Harold is well documented on more than thirty CDs with these groups and others on the SteepleChase label, and has won ASCAP awards yearly since the early 80s for his catalog of original compositions.
Rich Perry with Eastman Jazz Lab Band
Under the direction of Rich Thompson and Graduate TA Joel Boettger the Lab Band will share the stage with Special Guest, Rich Perry.
Eastman School, Kilbourn Hall
Date: Tuesday, March 1, 2016Time:
8:00 PM to 10:00 PM
Rich Perry At Eastman School of Music Schedule
February 29th (the extra day once every four years) provides jazz pianist and composer Harold Danko with the occasion of presenting a concert featuring his music. Danko has persisted in appropriating February 29’s for his own musical self-interests over the last 36 years (more than half of his life) and in past concerts has relied on willing musicians, friends, and even students to celebrate with him. The idea is to serve up an evening of his own compositions, particularly after some reflection during the intervening four years, and he has described these events as instantly nostalgic (at least for himself) and boasts that it remains “the slowest-growing cult event of modern times”.
The “Quadrennial Event” tradition was inaugurated in 1980 at the Jazz Gallery in NYC, sponsored by Cobi Narita’s Universal Jazz Coalition with a grant from Meet the Composer, and continued at legendary NYC jazz clubs such as Birdland and the Five Spot before nesting at the Little Theatre Café in Rochester in 2000 and 2004, and more recently at Venu-Resto Lounge in 2008 and in solo piano format at Eastman’s Kilbourn Hall in 2012.
“I like to think of myself as a composing improviser (or improvising composer, depending on my mood) and am honored to present my tenth leap year event as part of the Eastman Faculty Artist Series in Kilbourn Hall, performing works from nearly five decades with close friends.”
Rich Perry – tenor saxophone
Clay Jenkins – trumpet
Charles Pillow – woodwinds
Jeff Campbell – bass
Rich Thompson – drums
Duet selections with Harold Danko – piano, and Rich Perry – tenor saxophone, to be selected from the following:
To Start Again, Next Age/Rhythm’s Child, Other Things in the Space, Hopelessness Regained, Candlelight Shadows, For Bud, Insomnique, Gregarious Solitude, Notzenytes, Waiting Time
Sextet selections adding Clay Jenkins – trumpet, Charles Pillow – woodwinds, Jeff Campbell – bass, and Rich Thompson – drums, to be selected from the following:
Blue Swedish Wildflower, Chest Frenzy, Wayne Shorter, McCoy’s Passion, Tidal Breeze, Chet’s Maze, New Autumn
All compositions by Harold Danko (b. 1947) and published by Aaychdee Music ASCAP.