{"id":13350,"date":"2026-04-11T01:27:39","date_gmt":"2026-04-11T05:27:39","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?p=13350"},"modified":"2026-04-13T14:51:15","modified_gmt":"2026-04-13T18:51:15","slug":"apr11-17","status":"publish","type":"post","link":"https:\/\/www.esm.rochester.edu\/sibley\/2026\/04\/apr11-17\/","title":{"rendered":"April 11th-17th: Jack End @Festival of American Music & EJE"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1729265642508{background-color: #ffffff !important;}”]Published on Apr 11th, 2022<\/em><\/p>\n

Back to This Week at Eastman<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1649449255103{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729265664181{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”1946: Jack End and his ensemble at the Festival of American Music” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1649431054133{border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;border-left-color: #dddddd !important;border-left-style: solid !important;border-right-color: #dddddd !important;border-right-style: solid !important;border-top-color: #dddddd !important;border-top-style: solid !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;border-radius: 1px !important;}”][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner][vc_column_text css=”.vc_custom_1649449339026{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

Back in November (week of 22nd-28th) I had occasion to write about Jack End, BM \u201940, a sometime Eastman School faculty member (served 1940-50) and University of Rochester administrative professional who in 1967 was named Director of the newly founded Eastman Jazz Ensemble. This week, by happy coincidence of the calendar, I have occasion to write about Mr. End in connection with two<\/em> milestones.\u00a0 The late Frederick Fennell, BM \u201937, MM \u201939, who knew Jack End when both were undergraduates (Fennell was a senior in 1936-37 when End was a freshman and a member of Fennell\u2019s symphony band), once wrote of Mr. End, \u201cJack End was a rare man who had the patience and curiosity to follow his talents to the directions in which they led him.\u201d[1]<\/a><\/sup>\u00a0\u00a0 Even when music was no longer the focus of his day job, he was closely involved with music and with musicians in several capacities\u2014as a \u201cclub-date musician\u201d (in Fennell\u2019s words), as an arranger, and as a director.\u00a0\u00a0\u00a0 Further, Mr. End was one of Rochester\u2019s own: born here, educated here, employed here (working for one division or another of the University of Rochester for all but ten of his 35 years\u2019 professional employment), and stayed here in his retirement.\u00a0 An interesting man, this Jack End, and someone deserving of our continuing respect.<\/p>\n

Seventy-six years ago this week, on Tuesday, April 16th, 1946, a young (28yo) faculty member and his student ensemble were invited to the stage at that year\u2019s Festival of American Music.\u00a0 I can argue with conviction that their performance\u2014formally promoted in the concert program as a \u201cProgram of Concert Music in the Jazz Idiom\u201d\u2014was the first public performance of jazz at the Eastman School of Music. \u00a0My study of Eastman School concert programs has not turned up any previous event that can compete for this distinction.\u00a0 Thirteen years in advance of the first Arrangers\u2019 Institute and Arrangers\u2019 Holiday (in 1959), and twenty-one years in advance of the founding of the Eastman Jazz Ensemble (in 1967), faculty member Jack End and his students performed before a standing-room-only crowd in Kilbourn Hall, and in so doing, chalked one up for the list of Eastman School milestones.<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″ css=”.vc_custom_1648824288537{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1729265677859{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”13355,13356,13353,13357,13354″ img_size=”medium” css=”.vc_custom_1649441935418{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1729265712093{margin-right: -15px !important;margin-bottom: 0px !important;margin-left: -15px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-right: 30px !important;padding-bottom: 0px !important;padding-left: 30px !important;background-color: #ffffff !important;}”]Printed program of the jazz concert at the 1946 Festival of American Music.\u00a0 An earlier concert at the Festival had featured Jack End\u2019s suite Floor Show, a work less obviously in the jazz idiom.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1729265687092{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13358″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner][vc_column_text css=”.vc_custom_1649449359584{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

A native Rochesterian, local boy Jack End (1918-1986) attracted Eastman School attention while still in high school when, on the recommendation of Eastman clarinet professor Rufus Arey, Frederick Fennell invited the young Jack to fill out the clarinet section of the Eastman School Symphony Band.\u00a0 Jack End would later become principal of the section when he had matriculated as an Eastman School undergraduate.[2]<\/a>\u00a0<\/sup> He enrolled as an undergraduate at Eastman in 1936 and was a student in the class of Rufus Arey.\u00a0 During his undergraduate years Mr. End was a member of the Eastman School Symphony Orchestra (Howard Hanson and Paul White, conductors) and the Eastman School Symphony Band (Frederick Fennell, conductor). He was a member of the Phi Mu Alpha fraternity, and as a Phi Mu Alpha, he played clarinet in the Phi Mu Alpha Little Symphony (Frederick Fennell, conductor). Off-campus, he was a member of Freddie Woolston\u2019s Swing Symphony (photograph in The Score 1940, <\/em>displayed here). He graduated from the Eastman School in 1940 with the B.Mus. degree and the Performer\u2019s Certificate. In fulfillment of the requirements for the Performer\u2019s Certificate, Mr. End appeared as soloist with the Rochester Civic Orchestra under Howard Hanson\u2019s direction (printed program displayed here).\u00a0 (Hanson had established the Graduation Recitals with Orchestra (later called the Graduation Concerts with Orchestra) as the vehicle by which the Eastman School\u2019s highest-achieving performers would be promoted to the public.)\u00a0 Also displayed here is the printed program for his graduation recital. (On that occasion he shared the stage with his classmates Ezra Kotzin, oboist and Roberta Schlosser, mezzo-soprano; combining two or even three degree recipients into one graduation recital program was a standard procedure at the Eastman School in those earlier decades.)<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″ css=”.vc_custom_1648824288537{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_inner width=”1\/3″ css=”.vc_custom_1729265728891{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13359″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1729265738682{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13360″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1729265748299{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13361″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″ css=”.vc_custom_1648824288537{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1729265759851{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”13362,13363,13364″ img_size=”medium” css=”.vc_custom_1649442238917{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1729265773108{margin-right: -15px !important;margin-bottom: 0px !important;margin-left: -15px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-right: 30px !important;padding-bottom: 0px !important;padding-left: 30px !important;background-color: #ffffff !important;}”]Printed program for the Graduation Recital with Orchestra in which Jack End fulfilled one of the performance requirements for the Performer\u2019s Certificate. Director Hanson had inaugurated the Graduation Recitals with Orchestra (later Graduation Concerts with Orchestra) as a performance vehicle whereby the Eastman School would showcase its highest-achieving performers. .<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1729265783268{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13365″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner][vc_column_text css=”.vc_custom_1649443242174{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

In the fall of 1940 Mr. End took his place on the Eastman School faculty as an Instructor of clarinet, a position he would hold for the next ten years.\u00a0 He elected graduate study in composition with Burrill Phillips, Howard Hanson, and Bernard Rogers, and professionally, during this decade he would play clarinet in the Rochester Philharmonic Orchestra (1943-45) and would also play his skills as an arranger for various bands, orchestras, singers, and television performances.\u00a0 His unique contribution to the Eastman School curriculum lay in teaching two courses in popular music arranging within the department of theory and composition.\u00a0 The school\u2019s Official Bulletins (i.e. annual catalogues) promoted him as teaching this two-course sequence for five years altogether, from 1945-46 through 1949-50.\u00a0 The following description was published (and a scan of which is displayed here):<\/p>\n

\u201cElementary Arranging of Contemporary Popular Music 1-2.\u00a0 Two hours a week; credit four hours.\u00a0 A practical study of the arrangement of music in the idiom of popular music as used in radio and dance orchestras.\u00a0 Prerequisite: Theory 1-2 or its equivalent.\u201d<\/p>\n

and its continuation: <\/em><\/p>\n

\u201cAdvanced Arranging of Contemporary Popular Music 3-4.\u00a0 Two hours a week; credit four hours.\u00a0 A continuation of Elementary Arranging of Contemporary Popular Music 1-2.\u201d<\/p>\n

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Notwithstanding that those courses weren\u2019t listed in the published curriculum until 1945-46, there is some evidence that Mr. End was actually teaching arranging earlier than that.\u00a0 Cataloguing copy for the Eastman Audio Archive indicates that on Saturday, January 15th, 1944, a \u201cSymposium of jazz arrangements by students in the commercial arranging course\u201d took place, and the event featured performances by an ensemble billed as the Jack End Orchestra.\u00a0 (The venue is not specified, but it was likely Kilbourn Hall, since the only other venue wired into the school\u2019s recording infra-structure was the Eastman Theater.)\u00a0 This was during academic year 1943-44, when no courses in arranging were promoted in the school\u2019s Official Bulletin.\u00a0 The citation is revealing in that it indicates a jazz performance by Eastman School students on Eastman School premises.\u00a0 (It should come as no surprise that the event took place on a Saturday, when there would have been little chance of Director Hanson showing up, except to conduct a Saturday evening concert.) Further cataloguing copy for the Eastman Audio Archive indicates that a \u201cProgram of Improvisations\u201d took place in Kilbourn Hall on March 19, 1945, when an ensemble billed as the Jack End Quartet jammed for one half-hour on nine well-known standards, including \u201cSweet Georgia Brown\u201d, \u201cStompin\u2019 at the Savoy\u201d, \u201cOn the Sunny Side of the Street\u201d, and \u201cGet Happy\u201d.\u00a0 \u00a0Again, it emerges that a program of popular music had taken place in one of the Eastman School\u2019s established venues, but this citation goes further in that it confirms that Jack End was forming and directing ensembles at school. Neither of these events could yet be considered public performances, since the Eastman School made a distinction between student concerts and public events; Jack End\u2019s next move would therefore be to gain permission for one of his ensembles to perform publicly under the school\u2019s auspices.<\/p>\n

There is sufficient material to write an entry, or even an article, on Howard Hanson\u2019s positions on jazz and popular music over the years. For the purposes of this entry, I\u2019ll summarize by stating that in the course of time he evolved\u2014or appeared to evolve\u2014from outright opposition to grudging acceptance and then finally, in the era of Chuck Mangione and the Eastman Jazz Ensemble, to at least one published statement of unequivocal support. No record survives of whatever discussions may have informed Hanson\u2019s inviting Jack End to perform at the 1946 Festival of American Music, but Hanson is on record as having used the event to publicize the view that popular music belonged in the curricula of schools of music.\u00a0 Did Hanson actually believe what he was saying, or was he merely capitulating to the weight of public opinion?\u00a0 There\u2019s room to speculate.\u00a0 He also used the occasion to trot out an opinion that he would paraphrase on other occasions elsewhere: \u201cSo far as I am personally concerned, I would much prefer hearing a piece of music spontaneously creative, and joyously conceived in the popular idiom than much of our highly cerebral contemporary music which carries with it the inevitable smell of oil from the late-burning lamp.\u201d[3]<\/a>\u00a0<\/sup> On the day after the concert, Director Hanson\u2019s remarks were printed in their entirety\u2014all nine paragraphs\u2014in the Rochester Democrat & Chronicle <\/em>beneath the headline \u201cDr. Hanson defends jazz; youth swarm to festival\u201d.\u00a0 Ponder the words of the headline:\u00a0\u00a0 Dr. Hanson defends jazz. <\/em>\u00a0Whereas Jack End had been the one doing the hard work of coaching and teaching and directing, and had lain the necessary groundwork, and had risked ridicule at the hands of Rochester\u2019s decidedly conservative musical audience (which at that time it most certainly was), Director Hanson had stolen the headline with his newly-arrived-at position in defense of jazz.\u00a0 For Hanson, that was way too easy; the hard-working Jack End deserved better. (Not incidentally, the published text of Hanson\u2019s comments contains one omission.\u00a0 At the conclusion of the second paragraph, Hanson alludes to a rumor that the students \u201chave jazzed my own Symphonies,\u201d and as can be heard in the recording, Hanson then added the line, \u201cBut this I steadfastly refuse to believe!\u201d evoking laughter from the audience.)<\/p>\n

And so Jack End and his ensemble gave their performance on April 16th, 1946 before a capacity house in Kilbourn Hall, and to loud audience acclaim.\u00a0 The review published in the Rochester Democrat & Chronicle <\/em>the following day was, on balance, sympathetic to the performers and to the music.\u00a0 The opening paragraph of that review by Mr. Norman Nairn, music critic for the RD&C, <\/em>is worth quoting in full:\u00a0 \u201cBreaking precedent, a concert of music in jazz idiom intrigued a large audience in Kilbourn Hall last night, the first such in the history of the Eastman School\u2019s Festivals of American Music. Jack End\u2019s orchestra held forth to an audience which overflowed to the second floor corridor, where they could hear but not see.\u201d[4]<\/a><\/sup>\u00a0 Mr. Nairn proceeded to discuss the merits of each of the programmed works, at times resorting to language that is not only dated to our ears but must surely have sounded quaint even back in 1946 (e.g. \u201cNero\u2019s piece is a slick article\u201d).\u00a0 Reading the review, I think it apparent that Mr. Nairn lacked the musical experience and lexicon that would have enabled him to listen to the performance, and to describe it afterwards, with real understanding.<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″ css=”.vc_custom_1729266215048{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1729266221702{padding-top: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13370″ img_size=”medium” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1729265822507{padding-top: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13371″ img_size=”medium” add_caption=”yes” css=”.vc_custom_1649442945270{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][\/vc_column_inner][\/vc_row_inner][vc_column_text css=”.vc_custom_1729266337209{margin-top: -10px !important;margin-right: -25px !important;margin-left: -25px !important;border-top-width: 0px !important;padding-top: 0px !important;padding-right: 10px !important;padding-left: 10px !important;background-color: #ffffff !important;}”]Press item published the day after the jazz concert in Kilbourn Hall.\u00a0 Dr. Hanson\u2019s remarks were published in their entirety with one exception.\u00a0 As the recording captured him, he added the sentence \u201cBut this I steadfastly refuse to believe\u201d at the end of the second paragraph. \u00a0Rochester Scrapbook 1946-47, pages 3 and 4.\u00a0 Sibley Music Library.<\/span>[\/vc_column_text][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner][vc_column_text css=”.vc_custom_1649443452260{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

The program invites some comment.\u00a0 I believe the opening work, Jack End\u2019s own Concert Suite, <\/em>to have been newly composed for this event; I have found no evidence of any previous performance at Eastman.\u00a0 Paul Nero\u2019s Prelude and Allegro for Hot Fiddle <\/em>had already had one hearing in an Eastman School degree recital when M.Mus. degree candidate Rima Rudina, a student of Jacques Gordon, had performed it in 1944.\u00a0 (The printed program\u2019s indication of \u201cfirst performance\u201d confirms what had traditionally been the Eastman School\u2019s position with respect to public vs. private performances; degree recitals fell into the latter category.)\u00a0 Two American Stereotypes <\/em>by Rayburn Wright, BM \u201943, drew a tart comment from reviewer Norman Nairn, but don\u2019t take it from me; the review is displayed here.\u00a0 \u00a0The Dance Tunes <\/em>that closed out the concert\u2019s second half included an instance of what Hanson had alluded to earlier, namely, the jazzing of his Symphonies; \u201cThe Whispering Wind\u201d borrowed a theme from his \u201cRomantic\u201d Symphony, and indeed, the program notes openly informed the audience of such.<\/p>\n

At the very same Festival, in a concert on April 11th, the Eastman School Symphony Band had performed Mr. End\u2019s twelve-minute work Floor Show <\/em>under Frederick Fennell\u2019s direction, a work that the same ensemble had introduced at a concert in May, 1943. Arguably, that work was more in line with the \u201cconcert music\u201d rubric than the works performed on April 16th.\u00a0 In any event, there would be no more explicit mention of jazz at an Eastman School Festival of American Music until 1962.[5]<\/a><\/sup>\u00a0 Two years after that, Hanson retired and the Eastman School was passed to a new administration under which the wheels would inexorably turn, with the eventual founding of the department of Jazz Studies and Contemporary Media in 1970.\u00a0 Nevertheless, the 1946 performance had taken place; the master tapes and the various printed documents are extant to substantiate it.\u00a0 A first public performance of jazz at the Eastman School of Music was on record.<\/p>\n

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[1]<\/a> Frederick Fennell, Notes to published score, Blues for a Killed Kat. <\/em>Tokyo\/1986.\u00a0 Cleveland: Ludwig Music, 1987.<\/span><\/p>\n

[2]<\/a>\u00a0 Ibid.<\/span><\/p>\n

[3]<\/a> \u201cDr. Hanson defends jazz; youth swarm to Festival\u201d by Norman Nairn.\u00a0 Rochester Democrat & Chronicle, <\/em>April 17, 1946.\u00a0 Rochester Scrapbook 1946-47, page 3.\u00a0 Sibley Music Library.<\/span><\/p>\n

[4]<\/a> \u201cJazz in concert sets precedent for Festival\u201d by Norman Nairn.\u00a0 Rochester Democrat & Chronicle, <\/em>April 17, 1946.\u00a0 Rochester Scrapbook 1946-47, page 4.<\/span><\/p>\n

[5]<\/a>\u00a0 A concert at the 1964 Festival, given on May 4, 1962, was promoted under the rubric \u201cTHE JAZZ IDIOM\u201d and featured guest performers The Modern Jazz Quartet performing an \u201cIllustrated History of Jazz\u201d after which Frederick Fennell conducted the Eastman Wind Ensemble in four works, including two by Jack End.<\/span><\/p>\n

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In 1971, the Administration of the Eastman School of Music selected 23 composers from whom the ESM would commission new works for the school\u2019s fiftieth anniversary; Jack End, BM \u201940 was among them.\u00a0 Further, Mr. End\u2019s composition would be one of two jazz commissions for the 50th anniversary, the other being a new work by Oliver Nelson, which would be premiered by the Eastman Jazz Ensemble in March, 1972.\u00a0 In Mr. End\u2019s case, the 50th anniversary commission represented an appropriate professional recognition of the man who had earned the right to be known as the Eastman School\u2019s pioneer in jazz.\u00a0 In that decade (1940-50) when Mr. End had been a young faculty member coaching, teaching, and directing Eastman students, the Eastman School\u2019s administrative recognition of jazz in the school\u2019s curriculum was still some time away in the future.<\/p>\n

And so fifty years ago this week, on April 14th, 1972, the Eastman Jazz Ensemble gave the premiere performance of Piece for Soloist and Jazz Ensemble <\/em>by Jack End, specially commissioned for the Eastman School\u2019s fiftieth anniversary.\u00a0 Mr. End was guest conductor of his own work, and Eastman School Professor John Beck (who was also principal percussionist of the Rochester Philharmonic Orchestra) was the featured soloist. The concert, in which both the Eastman Jazz Ensemble and the Eastman Jazz Lab Band performed in turn under Chuck Mangione\u2019s direction, was repeated the following evening.\u00a0 One local commentator drew attention to the new work\u2019s big band heritage with what seemed like a thinly veiled swipe, but I\u2019ll counter that that commentator was doing the work an injustice.[1]<\/a>\u00a0<\/sup> Jack End had grown and matured in the era of big bands and swing, and he had always practiced masterfully what he knew.\u00a0 Music is always evolving, and there must always be room for acceptance of earlier traditions.\u00a0 Photos by Louis Ouzer capture Mr. End with the members of the Eastman Jazz Ensemble on-stage in the Eastman Theater during both rehearsal and performance.\u00a0 Did Mr. End take any special pride in the commission?\u00a0 Given the work that he had done at school in the 1940s, one very much hopes that he did.<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″ css=”.vc_custom_1648840551355{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;background-color: #f4f4f4 !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1729266357887{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”13379,13380,13381,13382,13383″ img_size=”400×400″ css=”.vc_custom_1649446003906{margin-top: 10px !important;}”][vc_column_text css=”.vc_custom_1729266558482{margin-right: -15px !important;margin-left: -15px !important;border-top-width: 0px !important;padding-top: 0px !important;padding-right: 30px !important;padding-bottom: 5px !important;padding-left: 30px !important;}”]Printed program for the Eastman Jazz Ensemble\/Eastman Jazz Lab Band concert of April 14th, 1972, one of the specially designated Fiftieth Anniversary Festival concerts of the 1971-72 season. <\/span>[\/vc_column_text][vc_single_image image=”13389″ img_size=”medium” add_caption=”yes” onclick=”link_image” css=”.vc_custom_1649446270286{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_single_image image=”13395″ img_size=”medium” add_caption=”yes” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1729266350270{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13390″ img_size=”medium” onclick=”link_image”][vc_single_image image=”13391″ img_size=”medium” add_caption=”yes” onclick=”link_image” css=”.vc_custom_1729266179353{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 10px !important;}”][vc_images_carousel images=”13392,13393,13394″ img_size=”medium” css=”.vc_custom_1649446075531{margin-top: 20px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1729266550969{margin-right: -15px !important;margin-bottom: 0px !important;margin-left: -15px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-right: 30px !important;padding-bottom: 0px !important;padding-left: 30px !important;}”]Following their premiere performance of the Piece for Soloist and Jazz Ensemble, percussion soloist John Beck and EJE Director Jack End acknowledge one another and the applause of the audience; Mr. Beck invites the EJE members to stand. Photos by Louis Ouzer. <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner][vc_column_text css=”.vc_custom_1649446733395{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

Mr. End\u2019s career had taken some interesting turns. After serving for ten years on the Eastman School faculty, he had resigned in 1950 to accept a position as a producer-director with WROC-TV in Rochester.\u00a0 Ten years later, in 1960 Mr. End had resigned his WROC-TV position to return to the University of Rochester as Associate Director of Radio and Television.\u00a0 In 1967 he had been appointed Deputy Director of University Relations.\u00a0 In that same year, he had returned to the Eastman School faculty when he was named Director of the newly founded Eastman Jazz Ensemble.\u00a0 He would direct the EJE for one year (1967-68), which included the EJE\u2019s first touring experience when it accompanied the Eastman Wind Ensemble on a tour to MENC in Seattle in March, 1968.\u00a0 Among the local groups with which Mr. End was active was the RG&E Big Band, which he directed from 1972 until his death in 1986. \u00a0Comprised of RG&E employees and retirees complemented by other local musicians; the RG&E Big Band provides a public service throughout the Rochester community at such venues as senior homes, parks, and schools. \u00a0Mr. End wrote prolifically for the RG&E Big Band, altogether no fewer than 195 arrangements and\/or original works; since 2018, those arrangements and original works have resided in the Sibley Music Library at the Ruth T. Watanabe Special Collections, now known as the RG&E Big Band\/Jack End Collection.[2]<\/a> <\/sup>One band member told me back in 2008 that Mr. End\u2019s arrangements were always guaranteed audience pleasers.<\/p>\n

In the years since Mr. End had resigned from the Eastman School faculty, and thus was no longer a daily presence at the school, his name had remained before Eastman School audiences thanks to concert programming by both faculty and student performers. Howard Hanson had programmed Mr. End\u2019s orchestral work Song for Sleepy Children <\/em>in the 1944 Annual Symposium of American Orchestral Music.[3]<\/a>.<\/sup> Several solo works by Mr. End had been performed in degree recitals, including his Quintet no. 1 <\/em>for brass and his Song and Dance <\/em>for saxophone and piano.\u00a0 Between 1964 and 1973 there were several performances of Mr. End\u2019s Three Salutations, <\/em>including three by the Eastman Brass Quintet.\u00a0 In 1971, four Eastman students premiered his Theme and Variations for String Quartet, <\/em>which he had composed in response to the perceived dearth of works in variation form for string quartet.\u00a0 In 1973 the Eastman Wind Ensemble performed, under Donald Hunsberger\u2019s direction, Mr. End\u2019s The Rocks and the Sea (Maine), <\/em>which was accompanied by a presentation of Louis Ouzer photographs. \u00a0Dr. Hunsberger should be acknowledged as a particular supporter of Mr. End, particularly in view of the invitation for the Eastman Jazz Ensemble to accompany the Eastman Wind Ensemble on tour in 1968.\u00a0 In addition, another special supporter was Frederick Fennell, whose involvement with Jack End\u2019s music had begun in 1943 when he had conducted Mr. End\u2019s Floor Show <\/em>in an Eastman School Symphony Band concert.\u00a0 (The work was later performed at the 1946 Festival of American Music where Mr. End and his student ensemble played their jazz program.) Mr. Fennell later conducted Mr. End\u2019s Portrait by a Wind Ensemble <\/em>at an Eastman Wind Ensemble concert in 1958.\u00a0 At an Eastman School class reunion in 1960, Mr. Fennell asked Mr. End for a wind ensemble arrangement of his \u201cBlues for a Killed Cat\u201d which had become a Jack End standard. The number expressed Mr. End\u2019s sadness at finding a dead cat on Swan Street late one winter night. Mr. End obliged Mr. Fennell, and the Eastman Wind Ensemble performed the arrangement under Mr. Fennell\u2019s direction at the 1962 Festival of American Music, together with another End original work, Variations in the Style of Sauter. \u00a0<\/em>One quarter-century later, Mr. Fennell published his own edition of Blues for a Killed Kat <\/em>\u00a0(Cleveland Music, c1987; the difference in spelling of the title\u2019s last keyword was not accounted for); shortly before that, soon after Mr. End\u2019s passing in 1986, the Tokyo Kosei Windorchestra recorded the work under Mr. Fennell\u2019s direction. In addition, the RG&E Big Band\/Jack End Collection cited previously holds an arrangement of this number that Mr. End made for the RG&E Big Band in 1976.<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″ css=”.vc_custom_1648840551355{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;background-color: #f4f4f4 !important;}”][vc_column_inner width=”1\/3″ css=”.vc_custom_1729266143254{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13407″ img_size=”medium” add_caption=”yes” onclick=”link_image” css=”.vc_custom_1649446561736{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1729266151766{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13408″ img_size=”medium” add_caption=”yes” onclick=”link_image” css=”.vc_custom_1649446628965{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1729266366471{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13409″ img_size=”medium” add_caption=”yes” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner][vc_column_text css=”.vc_custom_1649449635941{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

Mr. End would retire from his University of Rochester position in 1975. His post-retirement activities would include continuing to direct the RG&E Big Band until his death in 1986.<\/p>\n

Finally, it should be acknowledged that the two concerts on April 14th and 15th, 1972 were Chuck Mangione\u2019s valedictory appearances as Director of the Eastman Jazz Ensemble. Mr. Mangione had not renewed his faculty contract past the 1971-72 academic year; he has gone on record regarding the circumstances of that time.\u00a0 His four years at the helm of the Eastman Jazz Ensemble had been years of tremendous achievement for the EJE, which will be acknowledged in later \u201cThis Week at Eastman\u201d entries.<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”5″ css=”.vc_custom_1729266517657{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;background-color: #f4f4f4 !important;}”][vc_column_inner width=”1\/2″ css=”.vc_custom_1729266390407{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_images_carousel images=”13412,13413,13414,13415″ img_size=”medium” css=”.vc_custom_1649447898813{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_single_image image=”13411″ img_size=”medium” onclick=”link_image” css=”.vc_custom_1649450923207{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css=”.vc_custom_1729266537449{margin-right: -15px !important;margin-bottom: 0px !important;margin-left: -15px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-right: 30px !important;padding-bottom: 0px !important;padding-left: 30px !important;}”]Chuck Mangione on the podium in the Eastman Theater, captured by Louis Ouzer during a rehearsal. This striking sequence is emblematic of Mr. Ouzer\u2019s penchant of capturing conductors on the podium with the visually imposing chandelier in the background. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1729266380567{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}”][vc_single_image image=”13416″ img_size=”medium” onclick=”link_image”][vc_single_image image=”13417″ img_size=”medium” add_caption=”yes” onclick=”link_image” css=”.vc_custom_1729266121241{padding-top: 10px !important;}”][vc_column_text css=”.vc_custom_1729266528649{margin-right: -15px !important;margin-bottom: 0px !important;margin-left: -15px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-right: 30px !important;padding-bottom: 0px !important;padding-left: 30px !important;}”]Photographed in April, 1972, two Eastman Jazz Ensemble soloists, trumpeter Jeff Tkayzik (now Tyzik), BM \u201973, MM \u201977; and saxophonist Ramon Ricker, DMA \u201973. Photos by Louis Ouzer. <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” gap=”10″][vc_column_inner][vc_column_text css=”.vc_custom_1649447325939{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n

[1]<\/a>\u00a0 \u201cMangione program pleases big Eastman jazz crowd\u201d by Theodore Price.\u00a0 Rochester Democrat & Chronicle, <\/em>April 16, 1972.\u00a0 Rochester Scrapbook March-May 1972, page 89.\u00a0 Mr. Price characterized Mr. End\u2019s piece as \u201ccast in the mold of the Glenn Miller era\u201d and \u201cevocative of a bygone era of jazz expression\u201d and ended with his commentary with the sentence \u201cHis new Piece <\/em>is often thin on orchestration, concentrating most of the time on backup for the soloist, sounding like re-warmed swing the rest of the way.\u201d\u00a0 Re-warmed. <\/em>\u00a0\u00a0Diss alert!<\/span><\/p>\n

[2]<\/a> The collection\u2019s finding aid<\/a> is accessible at the Sibley Music Library website<\/span><\/p>\n

[3]<\/a>\u00a0 In 1935, Hanson had launched two Symposia series that would serve as vehicles for the performance and promotion of new orchestral works: a fall Symposium of American Orchestral Music, featuring works by American composers from across the nation, and a springtime Symposium of Student Works for Orchestra, featuring works composed by Eastman School students.\u00a0 The two Symposia reflected Hanson\u2019s innate affinity with the orchestra as a medium of musical performance.<\/span><\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1648830389848{margin-top: 40px !important;margin-bottom: 40px !important;padding-bottom: 20px !important;background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729266040327{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”The Weekly Dozen” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1635537718385{border-bottom-width: 1px !important;border-bottom-color: #dddddd !important;border-bottom-style: solid !important;}”][vc_column_text css=”.vc_custom_1649448080533{margin-top: -10px !important;margin-left: 5px !important;border-top-width: 0px !important;padding-top: 0px !important;}”]<\/p>\n

In this week\u2019s \u201cWeekly Dozen\u201d we recognize two illustrious choral showcases,\u00a0 performance by members of that never-dull Rochester American Opera Company, a photo-musical Siegfried <\/em>event that shines the spotlight on the 1920s film activity around the Eastman School, and as always, some superlative student performances such as grace the Eastman concert calendar each week of the semester.<\/p>\n

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\u25baApril 13, 1925<\/strong><\/p>\n

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\u25baApril 12, 1927<\/strong><\/p>\n

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\u25baApril 10, 1933<\/strong><\/p>\n

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\u25baApril 10, 1945 <\/strong><\/p>\n

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\u25baApril 13, 1946<\/strong><\/p>\n

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\u25baApril 13, 1949 <\/strong><\/p>\n

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\u25baApril 12, 1954 <\/strong><\/p>\n

[\/vc_column_text][vc_images_carousel images=”13437,13438,13439″ img_size=”350×500″ css=”.vc_custom_1729266704685{border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1632157210494{background-color: #dddddd !important;}”][vc_column_text]<\/p>\n

\u25baApril 12, 1957<\/strong><\/p>\n

[\/vc_column_text][vc_single_image image=”13440″ img_size=”350×520″ style=”vc_box_border” onclick=”link_image” css=”.vc_custom_1729266745734{border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/3″ css=”.vc_custom_1647366969934{background-color: #dddddd !important;}”][vc_column_text]<\/p>\n

\u25baApril 12, 2004 (Theresa Remick)<\/strong><\/p>\n

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\u25baApril 12, 2004 (Kevin Chance) <\/strong><\/p>\n

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\u25baApril 12, 2011 <\/strong><\/p>\n

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\u25baApril 11, 2016 <\/strong><\/p>\n

[\/vc_column_text][vc_single_image image=”13447″ img_size=”350×520″ style=”vc_box_border” onclick=”link_image” css=”.vc_custom_1729266728693{border-top-width: 0px !important;padding-top: 0px !important;}”][\/vc_column_inner][\/vc_row_inner]\n\n\n<\/svg>[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1631195300893{margin-top: 40px !important;}”][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”3″ css=”” grid_id=”vc_gid:1729266636612-22ab731b-d34e-4″ taxonomies=”18″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

On Tuesday, April 16th, 1946, a young faculty member and his student ensemble were invited to the stage at that year\u2019s Festival of American Music<\/p>\n","protected":false},"author":276,"featured_media":13451,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[18],"tags":[26],"coauthors":[3],"class_list":["post-13350","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-this-week-at-eastman","tag-april"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/13350","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=13350"}],"version-history":[{"count":2,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/13350\/revisions"}],"predecessor-version":[{"id":22956,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/13350\/revisions\/22956"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media\/13451"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=13350"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=13350"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/tags?post=13350"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=13350"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}