Is the Age of the Original Musical Over?

My latest column for The Alternative Press:


"Is the Age of the Original Musical Over?"


I know, so melodramatic. But let’s take a look at what’s playing on Broadway right now (including what’s coming soon):


click here to read the rest of the article

"Edge-perts" among Us

Andrew Taylor is such a great read.  For those of you who don't know Andrew, he is the director of Wisconsin's MBA program in Arts Administration and a true thought leader in the world of arts administration. He also blogs as "The Artful Manager" for the fantastic Arts Journal, an amalgamation of top-notch arts bloggers that I read religiously.

Andrew's latest post is called "The Rise of the 'Edge-pert'" and, though I agree with Andrew's students that name may leave something to be desired, Andrew is, as usual, really ahead of the curve on a cool new concept in the arts.  According to Andrew, edge-perts are "masters of crossing boundaries of deep expertise."  He further details an example of and edge-pert: "They're used to working across deep functional expertise (the stage technician, the acoustician, the lighting designer, the professional musician, the dramaturg, the accountant, and so on)."

Remind you of anybody?

If you read this blog, you may already be an edge-pert.  Why?  Because school musical theater directors are some of the biggest edge-perts of all.  Look at Andrew's description: stage technician, acoustician, lighting designer, professional musician, dramaturg, accountant...  That sounds like just about every school musical theater director I know.

These days, it's extremely valuable to be an edge-pert.  If you think about it, that stands in stark contrast to what we've traditionally taught in western society.  Starting with apprenticeships and guilds and going all the way to declaring college majors and specialized post-graduate degrees, we've always believed that perfecting one skill or trade was the path to a successful career.  People have been telling me my whole life that I need to focus on one thing or have a clearer career direction.  I've always thought that it was a flaw in my personality that I was unable to do that.  Maybe it was.  But, either way, I've found it generally advantageous to be an edge-pert.

So, musical theater directors, keep plugging.  You may be overworked and underpaid, but, at least according to myself and Andrew Taylor, you're building the ideal skill set for a long, successful career in the arts.

"Practice and Your Brain"

My latest column for Elefante on Entertainment: "Practice and Your Brain."

"Get Out There and Do It!"

My latest article for Elefante on Entertainment: "Get Out There and Do It!"


As teachers and students of the arts, sometimes we get so caught up in the banality of our lessons and classes that we forget the whole reason we got into the arts in the first place.  Most of us got into the arts because we enjoy making art.  Too often we are so consumed with the instruction that we neglect the creation.


click here to read the rest of the article

Seth's Wisdom

In the past four days, Seth Godin has characteristically laid out two of my favorite philosophies in a brilliant and concise way:

"Not Fade Away" - on maintaining customer relationships

"Back to (the Wrong) School" - on the flaws in the foundation of our public education system

Angel Baby Music

This is a new business my wife and I are getting into.  Please pass this information along to anyone you think might be interested.  Thanks!

Angel Baby Music, L.L.C.

101 Riverside Dr.

Florham Park, NJ 07932

(908) 347-4704 *  joeelefante@joeelefante.com

v    Musical Theatre Audition Coaching

v    Song Selection and Preparation

v    Personalized Vocal Arrangements

v    Accompaniment Tracks for Rehearsals and Auditions

v    Audio and Video Auditions

v    Demo Reels

Joe Elefante has traveled 4 continents as a pianist, saxophonist, vocalist, composer, arranger, and bandleader.  He has musically directed, conducted or played countless musical theater productions, including several at the Paper Mill Playhouse and Jersey Boys on Broadway and National Tour.  Joe founded the Joe Elefante Big Band in 2001, which was the house band at Cecil's Jazz Club for three years, and was featured on ABC's Nightline and in The Wall Street Journal.  Currently, Joe is a freelance composer/arranger/ performer, is very active as a school clinician and is Artistic Director of Elefante Music & School for the Performing Arts.

Caryn Elefante has been performing on stage, television and in recording studios since the age of 5.  She earned her B.F.A from New York University, Tisch School of the Arts with a major in Drama and a minor in Music and received her M.Ed. from The College of New Jersey.  She has sung for numerous commercial jingles such as Pepsi, Cool Whip, M&M's and Toys R Us.  She has sung back-up vocals on albums for artists such as Michael Jackson, Gloria Estefan, Liza Minelli, Maureen McGovern and Canadian Brass.  She has performed at regional theaters such as Goodspeed Opera House, Musical Theatre Works and the Paper Mill Playhouse.  Caryn was a semi-finalist on "Star Search" as a junior vocalist in 1990.  Caryn has taught in the Madison school district for 9 years and has directed and choreographed over 15 musicals there, the latest being Sweeney Todd this past Spring.  Caryn lives in Florham Park with her amazing husband, Joe and their Scottish Terrier, Gunther.

"Is Popular Music Better than Ever?"

Latest Elefante on Entertainment: "Is Popular Music Better than Ever?"

Here’s something you might not expect to read from an old man or a trained jazz musician (both of which I qualify for): popular music is getting better.

click here to read the rest of the article

"A Summer Recap"

My latest column for Elefante on Entertainment: "A Summer Recap"

Never fear – the bustle of September is never far away. But, as we head back to school, sports and our regular cadre of extra-curricular activities, I’d like to take a brief moment to look fondly back at another crazy summer of music and theater camps.

click here to read the entire article

One Size Fits All

I've been thinking a lot about the concept of programming music for student ensembles with really wide age ranges. My work in the summer really necessitates that - I could have 5th-graders playing in the same group with 12th-graders. I obviously try to avoid that when possible, but sometimes it's not possible.

For example: if I only have six or seven kids signed up for a jazz camp (especially if there is only one player on each rhythm section instrument), I have to stick everybody in the same group. I'm sure, if you're a performing arts teacher, you've encountered this dilemma before and know exactly where I'm coming from.

I could probably write a book (or at least a long chapter) on this subject, but here are the most basic thoughts I have regarded this challenging situation. First thing you have to do, obviously, is determine what you've got. If I'm running Rock Camp and I have 2 pianists and no guitarists signed up (I know, it could never happen), I know we're going to be doing Elton, Billy and Stevie instead of Zeppelin, The Who and AC/DC. I have often fantasized about this scenario, even though there is no chance of it ever happening.

The next thing I have to think about is even more important than song selection. I have to determine how I'm going to get good arrangements of these tunes. After many years of trial and error, wasted money and debating myself and others on this point, I have come to the conclusion that I must write all the arrangements myself. There are simply no reliable arrangements available for strange instrumentations and varied age and experience levels.

Unfortunately, I must write these arrangements without knowing the ability level of the students I'm about to get. Oh, sure, we ask the parents about their children's experience level, but have you ever met a parent with realistic sense of their kid's talent? The question then becomes: Do I tailor the arrangement towards the more or the less-experienced student musicians? Well, frankly, somewhere in the middle is probably best. But, in all honesty, I always err on the more challenging side. I have found that these kids almost always rise to the occasion and far exceed your expectations of what you think they're capable of (especially when surrounded by older, more experienced students).

One little psychological tidbit - if you don't tell the kids that the music is hard, they don't think it's hard. They just figure out how to play it (within reason).

By the way - I have found this to be equally true with Music Theater Camp. When I told my faculty the first year of camp how much difficult material we would preparing in two weeks, they looked at me like, "Yeah, right, Elefante, we'll see." Well, we saw, all right. I never told the kids how much material they were learning, and they just learned it. For the record, I have never taken material away from theater camp students. I have, on occasion, added material during the two weeks because the kids were doing such a great job with it.

Of course if you work at a major university or a prestigious studio, you don't have to worry about any of these obstacles. You simply get enough enrollment to place kids into perfectly-balanced ensembles of similar age groups. But if you, like the rest of us, live in the real world of scrounging for kids, battling vacation schedules and praying for the economy to turn around, then drop me a line and let me know about some of the challenges you've faced in programming music for student ensembles.

Trumpets Last Night

Thanks to everybody who made it out to Trumpets last night. We had a great time. Not bad for a Wednesday night in the summer!

Many congrats to the student performers: Evelyne Labelle, Pearce Ropion, Kevin Urness and Matt Ward. They kicked some serious butt at a legit jazz club in front a decent number of people. It was a really great time.

Be sure and check out the Elefante Summer Rock Camp and the Joe Elefante Big Band at Crossroads on Friday, August 19th.

The Joe Elefante Big Band Returns (again)

The Joe Elefante Big Band Returns (again)

Wednesday, June 29^th, 7:30-10:30pm

Trumpets Jazz Club & Restaurant

6 Depot Square, Montclair NJ

(973) 744-2600 * www.trumpetsjazz.com

$10 cover/$5 min.

The Joe Elefante Big Band is returning to Trumpets with brand new music (including some new vocals…). The opening act will be the Elefante Music All-Star Band!!!

From 2001-2006, the Joe Elefante Big Band was featured on ABC’s Nightline and the Fine Living Network. Nat Hentoff of the Wall Street Journal wrote: “During the evening, I could barely stay in my seat at times and often shouted in sheer pleasure...The crisp, charging brass section of the Elefante band would have delighted Duke Ellington, and the surgingly cohesive reed section recalled the sound of the Benny Carter and Thad Jones big bands...If the Joe Elefante Big Band gets booked into rooms for dancing as well as listening, there might be a revival, across the age spectrum, of transcendent romance on the dance floor.”

Come celebrate the re-re-emergence of this internationally acclaimed, original jazz orchestra. Be sure to make a reservation at (973) 744-2600 – it should be a MADHOUSE!!!

Saxophones: Craig Yaremko, Eric Neveloff, Jim Saltzman, Marty Fogel, Mike Brown

Trombones: Erick Storckman, Tim Sessions, Bob Hankle, Dennis Argul

Trumpets: Nathan Eklund, Chris Persad, Ben Hankle, Rob Henke

Guitar: Matt McDonald

Bass: Bill Moring

Drums: Jon DiFiore

Hat Reprise

I'm back at the Hat Tavern this Friday, June 10th, from 6-8pm. We had a lot of fun last weekend, I hope you can make it this time. In the meantime, here is some info on a couple of auditions going on throughout the area over the next few weeks:

Auditions for RLO

September Song 2011

RLO seeks all voice parts to sing principal and ensemble roles for scenes from The Merry Widow and Kismet. Additional music from classic musical theater repertoire will be included in this production. Audition dates are:

Friday June 17th starting at 7pm

Saturday June 18th starting at 10am

at St. Mark’s Episcopal Church, 140 South Finley Ave., Basking Ridge NJ 07920. The performances will be at this address as well.

Rehearsals begin late August. Show dates will be September 22nd, 23rd and twice on the 24th. Auditions are by appointment only. For consideration please send photo and resume by email to ridgelightopera@optonline.net. No calls please.

September Song will be directed and produced by William and Lauran Corson with musical direction by Lois Buesser.

Chatham Players to Cast BUG by Tracy Letts

The Chatham Community Players will hold open auditions for Tracy Letts’ BUG as their first main stage show of their 90th Season. The production runs October 14 - 29, 2011 at the Chatham Playhouse. Bob Pridham directs.

Auditions will be held on Monday, June 20 at 7 PM and on Wednesday, June 22 at 7 PM at The Chatham Playhouse, 23 North Passaic Ave., Chatham. Director Bob Pridham asks that actors be familiar with the script. Sides will be provided at the audition.

The Chatham Players have an open call casting policy. ALL roles are open, none are precast, and everyone is encouraged to audition. Any questions, please call Kristin Furlong at (732) 208-4184 or email her at kristinbarber33@yahoo.com. For directions or additional information, please visit www.chathamplayers.org

Synopsis:

From Tracy Letts, the Pulitzer Prize-winning author of August: Osage County, comes this mind-bending tale of love, paranoia and government conspiracy – a psycho-thriller that mixes terror and laughter at fever pitch…a high speed roller coaster ride into a crawling, buzzing, stinging nightmare.

Character Breakdown:(2 Women, 3 Men)

AGNES(mid-late thirties/early forties) Tough, frightened, weary, a victim, just this side of desperate. Seen and been through a lot but doing her best to cope. Still mourning the loss of her child, working things out on her own, for herself. Edgy, skittish, nervous. What’s next?R.C.(late twenties /late thirties) Pragmatic, down-to-earth. Good time gal who calls it as she sees it. Fiercely loyal.PETER(mid to late 20s) Military vet. High-tension focus, urgent, sharp. Deceptively child-like, but all senses on alert, explosive physical potential, even when still. Uncomfortable in his own skin, uncomfortable around other people. Unpredictable: Diffident and distant one moment, then sudden and immediate. The wheels are always turning.JERRY GOSS(late thirties/early forties) Ex-con, rough edges, laid-back demeanor but mean as a snake, and just as lethal. Country music, beer and a razor-sharp temper. Smiles before he strikes.DR. SWEET(thirties to fifties) Government. Establishment. Practiced. Quick. And a liar.

NOTE: THE ROLES OF PETER AND AGNES ARE EXTENSIVE AND PHYSICALLY AND EMOTIONALLY DEMANDING. EARLY MASTERY OF THE TEXT WILL BE ESSENTIAL.

Performance This Friday

I'll be performing solo piano/vocals this Friday, June 3rd, 6:00-8:00pm at:

Hat Tavern

570 Springfield Ave.

Summit, NJ

(908) 273-7656

It's a rare chance to see me perform material by The Beatles, Elton John, Billy Joel, James Taylor, Paul Simon, Stevie Wonder, REM, U2 and much more. Plus its a great opportunity to check out the new restaurant that's generating so much buzz in Summit. I hope to see you all there.

Joe Elefante Big Band Tonight

I know it's last minute, but my big band is performing at Jazz in the Middle, a middle school jazz band festival at Chatham Middle School in Chatham, NJ tonight. We'll probably hit around 8:00 or 8:30, and the admission is only $3.00!!! Plus you can check out some really great middle school bands starting at 6:00, including bands from Chatham, Scotch Plains and Basking Ridge. Should be a great time.

Jazz in the Middle

Chatham Middle School

480 Main St.

Chatham, NJ

6:00-9:00ish pm

$3.00 admission

'What Does Music Mean to You?"

My latest column for The Alternative Press: "What Does Music Mean to You?"

Two Posts I've Commented on Today

What do you think?

Immovable object meets unstoppable force

The Swirling Questions of Relevance

"Ten Times the Education"

If I could do it all over again, I would have skipped my pricey private university education and gone right to state college. The quality of my major education at NJCU was just as good - maybe better. The quality of my liberal arts education was certainly much better at NYU, but who cares? That's not the primary reason I was at school.

Seth Godin, in today's post, poses a brilliant question: "Does a $40,000 a year education that comes with an elite degree deliver ten times the education of a cheaper but no less rigorous self-generated approach assembled from less famous institutions and free or inexpensive resources?" The answer, of course, is "no" in the vast majority of cases.

Read the whole post here. It is a brave philosophy that entrepreneurs seem to share but will probably never gain traction in mainstream society. After all, higher education is a very profitable business.

BTW - I was thinking yesterday about how many performance majors there are in the performing arts fields at colleges throughout the country. Are colleges doing a disservice by offering all of these performance degrees to students who have virtually no chance of succeeding as performers?

Thought Leaders

The world of the arts and arts education is changing so fast. Here are some of the people that have written more provocative, thoughtful pieces over the past couple of days:

Letting go of the lifestyle to which some arts groups have become accustomed - Diane Ragsdale, as usual, does a fabulous job examining the changing environment in the performing arts world with honesty, tough love and optimism.

Why the United States Is Destroying Its Education System - In the mood for less optimism? Chris Hedges's insightful, if not morbid, take on privatization of schools and vilification of teachers sums up many of the big problems with education reform.

Why Don't People My Age Care about the Arts?

This is an interesting article by Michael Kaiser about an attempt to cultivate an audience of my generation. I couldn't agree more with the lack of quality arts education being a major obstacle in that path.

Question: Do you think public subsidy of the arts has helped artificially drive up prices?

Fight for Common Sense!

My latest article for The Alternative Press:

Are you aware of the cuts being made to the arts in your district? Fight for common sense!

Diane Ravitch: at It Again

In today's Bridging Differences post:

"I'm a great believer in historical accuracy, a habit I find hard to shake, and the value of reading original sources. So here is one I would like to mention to Gov. Walker and his fans: The Universal Declaration of Human Rights. It was adopted by the United Nations on Dec. 10, 1948. To be sure, the document is aspirational; it represents our highest ideals for human rights and dignity, not the realities of 1948 or 2011. It was drafted by a commission headed by Eleanor Roosevelt. Article 23, Section 4 says: 'Everyone has the right to form and to join trade unions for the protection of his interests.' The United States signed it. Eight nations opposed it, some in the Communist bloc, but also South Africa, which objected to its commitment to racial equality; and Saudi Arabia, which objected to its affirmation of religious freedom."

Here Ms. Ravitch reminds us what the fights in Wisconsin and other midwest states were really about. As we've talked about here before, there is a misconception that the protestors are trying to keep their "high salaries" or job security in an important and volitale public job or the pensions that have been promised to them for years that they have been counting on for their retirement. Truthfully, all they have been fighting for was the right, which our great country has promised us, to collectively bargain.

Corn Syrup Commerical on SNL

This is too funny:

Public Education: An American Crisis

I spend a lot of time on this blog writing about relatively frivolous things: griping about awards shows, pontificating on what it means to be an artist, or lamenting the current state of the music industry. The thing to keep in perspective here is that if Justin Bieber wins 15 Grammys, half the countries arts organizations fail and the record industry all but disappears, the sun will rise the next morning. We'll figure it out.

I feel the need to take the opportunity, though certainly not qualified to do so, to explore what is shaping up to be the greatest crisis is modern American history. Other than basic safety services (military, police, fire, hospitals, etc.), there is no more important public service than the education of our nation's children. The current economic crisis, poverty in general, the lack of quality health care, the lack of financial literacy - these are all problems that can be virtually eradicated through education. As bad as our public is being educated right now, I don't think people realize how bad it's going to get if we continue down our current path.

There is a strong anti-union/pro-privatization sentiment raging in this country right now (see Wisconsin, Indiana, Michigan, Tennessee, New Jersey). Mark my words - this is the worst possible attitude towards quality public education.

Diane Ravitch recently wrote in the New York Times: "A historic strain of anti-intellectualism in American thought has merged with fiscal conservatism, producing the present campaign to dismantle the teaching profession." She is right on the money. This attitude has led to the current populist rancor against teachers' unions throughout this country (particularly in my home state of New Jersey). Are people thinking about the real consequences of crippling the teachers unions?

I have worked in a school district where there are two teachers who work closely with one another. One teacher is demanding of the students time, talents and energy. She has high expectations for them. She does not permit "coasting" and does not give easy A's. Her colleague, on the other hand, seems to be competing in a popularity contest. If it comes to a choice between keeping one teacher or the other, who do you think the students will side with? And, in this day and age, if the students wish it to be so, their tax-paying parents will make it so. A bad teacher will be rewarded while a good teacher loses her job.

Tenure exists so that teachers don't have to worry about winning popularity contests or weathering the whims of selfish, uninformed tax-payers who don't know what it means to be a great teacher. They only want to satisfy every whim of their children and will forsake the career of a hard-working, selfless, dedicated teacher in order to do so.

Without collective bargaining, how will teachers be able to negotiate decent salaries, benefits and working conditions? Without these things, how do we expect smart, talented people to to want to take these jobs? Do you want the type of people who are not worth the average salary in the United States (and are constant fear of tax payer reprisal) spending more time with our children than their parents do?

What about performance-based pay? On the surface it sounds like a great idea. But nobody is really thinking about how this relates to education. Upon what performance will pay be based? Standardized test scores?!?!? Our students are already getting short-changed in their education by No Child Left Behind and the race for better standardized test scores. They are not learning. They are being taught to perform well on one test. If pay is based on performance on these tests, the state of our public education system will get much, much worse. And how do you gauge performance-based pay for a class with no real way to implement standardize testing (like arts classes, for example)?

What about the push for privatization? I, for one, am a staunch capitalist. But look at what has happened in other highly-regulated public services that are private in this country, such as health care and energy. Prices in these industries have skyrocketed throughout history. Do we need to expose the education of our children to the wild swings of the market or profit-hungry private businesspeople? Will the education of our children be someday traded on the Chicago Mercantile Exchange like light sweet crude?

This looming crisis, if unabated, will be the most detrimental in the history of our nation. If we are so concerned with things like trade deficits, the brain drain and lack of international competitiveness, there is only one solution: quality PUBLIC education. Please don't get caught up in populism for populism's sake. In this case, the people are wrong. Media sensationalism of this economic collapse has made them overly fearful, and they want to cut public spending regardless of the importance of the recipient. They are wrong. Don't let them win.

Bravo, Diane Ravitch!

"A historic strain of anti-intellectualism in American thought has merged with fiscal conservatism, producing the present campaign to dismantle the teaching profession."

Diane Ravitch's brilliant commentary in Sunday's Room for Debate at NYTimes.com is the perfect verbalization for a thought that has been coalescing in my brain for a long time now. Fiscal conservatism is easy: "Keep your hands off my money!" Anti-intellectualism is even easier: "I'm afraid of your intelligence and ashamed of my ignorance." It almost seems instinctual.

The far right use words like "elite" to denigrate academics when, in fact, I always thought it was good to be elite. I don't remember when it became a sin to be smart but, somewhere along the way, it did.

That is the sin.

By the way: Here she is on "The Daily Show." Brilliant as usual! Just click past the second commerical marker.

Steve Stoute on the Grammys

I've written a lot about the Grammys recently, but this guy has got to be kidding me.

According to his article in HuffPo, music industry exec. Steve Stoute...

"purchased a full-page ad as an open letter to Neil Portnow, NARAS and the Grammy Awards. Here's why.

Over the course of my 20-year history as an executive in the music business and as the owner of a firm that specializes in in-culture advertising, I have come to the conclusion that the Grammy Awards have clearly lost touch with contemporary popular culture." That's not their mission.

"My being a music fan has left me with an even greater and deeper sense of dismay -- so much so that I feel compelled to write this letter. Where I think that the Grammys fail stems from two key sources: (1) over-zealousness to produce a popular show that is at odds with its own system of voting and (2) fundamental disrespect of cultural shifts as being viable and artistic." Agreed, to a point.

"As an institution that celebrates artistic works of musicians, singers, songwriters, producers and technical specialists, we have come to expect that the Grammys upholds all of the values that reflect the very best in music that is born from our culture. Unfortunately, the awards show has become a series of hypocrisies and contradictions, leaving me to question why any contemporary popular artist would even participate." ARE YOU KIDDING ME?!?!? I understand completely why a popular artist would want to participate: prime-time network exposure on music's biggest stage.

"How is it possible that in 2001 The Marshall Mathers LP -- an album by Eminem that ushered in the Bob Dylan of our time -- was beaten out by Steely Dan (no disrespect) for Album Of The Year? While we cannot solely utilize album sales as the barometer, this was certainly not the case. Not only is Eminem the best-selling artist of the last decade, but The Marshall Mathers LP was a critical and commercial success that sold over 10 million albums in the United States (19 million worldwide), while Steely Dan sold less than 10% of that amount and came and went as quietly as a church mouse." Quote directly from Grammy website: "The GRAMMYs are the only peer-presented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position." So, Mr. Stoute, that is why Eminem doesn't win Grammys. Because the Academy voters do not feel (and I agree) that Eminem is on the same artistic level as Donald Fagen. To feel that he is shows an utter lack of artistic sensibility - but, then, what should I expect from a record company executive?

"Or consider even that in 2008 at the 50th Annual Grammy Awards, after going into the night as the most-nominated artist, Kanye West's Graduation was beaten out for Album Of The Year by Herbie Hancock's River: The Joni Letters. (This was the first time in 43 years that a jazz album won this category.) While there is no doubt in my mind of the artistic talents of Steely Dan or Herbie Hancock, we must acknowledge the massive cultural impact of Eminem and Kanye West and how their music is shaping, influencing and defining the voice of a generation. It is this same cultural impact that acknowledged the commercial and critical success of Michael Jackson's Thriller in 1984." The Grammys do not reward cultural impact or commercial or critical success. Again, "The GRAMMYs are the only peer-presented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position."

"Just so that I'm not showing partiality to hip-hop artists (although it would be an entirely different letter as to how hip-hop music has been totally diminished as an art form by this organization), how is it that Justin Bieber, an artist that defines what it means to be a modern artist, did not win Best New Artist? Again, his cultural impact and success are even more quantifiable if you factor in his YouTube and Vevo viewership -- the fact that he was a talent born entirely of the digital age whose story was crafted in the most humble method of being 'discovered' purely for his singing ability (and it should be noted that Justin Bieber plays piano and guitar, as evidenced on his early viral videos)." So, Mr. Stoute, any musician who plays multiple instruments deserves a Grammy?!?!? Are you seriously making that case?!?!?

"So while these very artists that the public acknowledges as being worthy of their money and fandom are snubbed year after year at the Grammys, the awards show has absolutely no qualms in inviting these same artists to perform. At first I thought that you were not paying attention to the fact that the mental complexion of the world is becoming tanned, that multiculturalism and poly-ethnicity are driving new meaning as to what is culturally relevant. Interesting that the Grammys understands cultural relevance when it comes to using Eminem's, Kanye West's or Justin Bieber's name in the billing to ensure viewership and to deliver the all-too-important ratings for its advertisers." Again, I agree. Scrap your mission, and just call it a show. Then Mr. Stoute's dreams will come true, and true music lovers like myself will stop getting so pissed off when terrible music wins.

"What truly inspired the writing of this letter was that this most recent show fed my suspicions. As the show was coming to a close and just prior to presenting the award for Album Of The Year, the band Arcade Fire performed 'Month of May' -- only to... surprise... win the category and, in a moment of sheer coincidence, happened to be prepared to perform 'Ready to Start.'" Big surprise: the producers of the "show" wanted to make sure the transition at the end of the night was seamless.

"Does the Grammys intentionally use artists for their celebrity, popularity and cultural appeal when they already know the winners and then program a show against this expectation? Meanwhile the National Academy of Recording Arts and Sciences hides behind the 'peer' voting system to escape culpability for not even rethinking its approach." That's not "hiding," Mr. Stoute. That is the very point of the Grammys. Otherwise, you have a couple people in some ivory tower picking winners. They can pick whichever winners they want for whatever reasons they have. Do you prefer an Oligarchy to a Republic?

"And I imagine that next year there will be another televised super-close-up of an astonished front-runner as they come to the realization before a national audience... that he or she was used.

You are being called to task at this very moment, NARAS.

And to all of the artists that attend the Grammys: Stop accepting the invitation to be the upset of the year and demand that this body upholds its mission for advocacy and support of artistry as culture evolves.

Demand that they change this system and truly reflect and truly acknowledge your art." I agree with Mr. Stoute that the very mission of the Grammys should be called into question, but for the completely opposite reason. What do you think?

No Place for Trophies in Music

A great debate has been developing today on the Twitter feed of Nate Chinen, jazz critic for The New York Times. The debate has sprung out of a post on his personal blog, THE GIG, about the Essentially Ellington High School Jazz Band Competition. EE is a nationwide high school jazz band competition hosted by Jazz at Lincoln Center, one of our greatest jazz institutions.

The debate has had less to do with EE itself, and more to do with the increasing emphasis on competitions in music education. @bensyversen, for example, writes, "Re @natechinen post about Ellington comp: symptom of problem with music ed. Kids are being taught to 'win' rather than be creative," and then, "Band directors want to bring home trophies for their schools and they have lost track of the pure experience of music making." @chipboaz writes "As a high school band teacher, I can tell you that the whole festival idea is a (one of the many) BIG problem w/music ed."

Maybe @chipboaz should have chosen the word "competition," as opposed to "festival." I have performed in, attended and adjudicated a relatively small number of school band festivals that were not competitively judged. These festivals can be extremely rewarding experiences for music students. They are a great venue for young musicians to meet like-minded students from other schools, to perform for broader audiences, prepare for a specific goal other than a school concert, and receive coaching from great clinicians.

It's the competitive aspect that bothers a lot of music education purists. This is an issue that I have remained silent on for a long time because so many friends and music teachers that I respect greatly obviously feel very different than me. But it is an important issue that needs to be addressed.

This problem is prevalent in all types of ensembles, but I have found it to be most egregious among marching and jazz bands. With regards to the EE competition, we are obviously referring to jazz bands. Jazz, and music that is directly descended from it (like rock), is America's greatest musical contribution to world history. It is vitally important that students be exposed to the music in an enriching and encouraging way. To create an aura of competition around jazz music denigrates the very essence of the music - freedom, self-expression, rebellion and artistic excellence. It sends the wrong message about the music and what its purpose is: not to impress, but to enlighten and entertain.

The real culprit in this equation, however, is marching band. Marching band is a great extra-curricular activity. It exposes a large portion of the community to the instrumental music program, it helps nurture school spirit and provides a level of physical activity to students who may not necessarily be involved in sports.

Somehow, marching band has become the focal point of most public school music programs. Marching band should not be a curricular activity. It is not consistent with the mission of music education. To be clear, no great music is performed. Very few musical skills are developed. Instead of exploring the great pantheon of concert band music, three or four pieces are played ad nauseum, memorized, and played as loudly as humanly possible. Instruments like the clarinet and flute are not even heard clearly from the stands, as brass and percussion literally blow them away.

In short, there is no respect for the music. And that is the very point of arts education. We are not developing professional artists. We are teaching a generation of students to have respect for the arts, culture and the creative process. This is what makes a culture great - not playing loud music while making formations between halves at a football game.

Again, marching band has an important place as an extra-curricular activity. Too many times I have walked into 2nd period band and heard ensembles practicing marching band music during the school day. For their part, the teachers can hardly be blamed. We, as a community, need to be less concerned with trophies and more concerned with the musical education of our students.

Handing out trophies for music implies that there are some students that are better than others. This is counter-intuitive to the creative process. Save the trophies for sports, where winning is an important part of the equation. There is no place for trophies in music.

A Performance I'm Proud to Be Involved with

Save The Date!!

Tony Award-nominee

ROBERT CUCCIOLI in

THE BEST

OF TIMES

A Star-Studded Salute to the Tony Awards!

Bickford Theatre Guild

2011 Fundraiser

SAT. APRIL 9

8:00 P.M.

CALL 973.971.3706

for more info

Also Starring Broadway Favorites...

SUZZANNE DOUGLAS

(Lady Day at Emerson's Bar & Grill)

GARTH KRAVITS

(The Drowsy Chaperone)

DAVID SABELLA MILLS

(Chicago)

JOEL ROBERTSON

(Les Miserables)

ROB RICHARDSON

(A Tale of Two Cities)

MATTHEW SHEPARD

(The Scarlet Pimpernel)

JULIE WALDMAN STIEL

(The Music of Andrew Lloyd Webber)

CHRISTINE MARIE HEATH

(I Love You, You're Perfect...)

and a Special Appearance by

SUSAN SPEIDEL

(Saturday's Highlife)

JOE ELEFANTE,

Musical Director

(Broadway's Jersey Boys)

Seth Godin's Brilliant Take on Pricing

Artists - take note:

"Cheaper is the last refuge of the marketer unable to invent a better product and tell a better story.

The goal, no matter what you sell, is to be seen as irreplaceable, essential and priceless. If you are all three, then you have pricing power. When the price charged is up to you, when you have the power to set the price, there is a line out the door and you can use pricing as a signaling mechanism, not merely a way to make a living."

This quote is from Seth Godin's latest blog post, "On Pricing Power." It reminds me (although I'm quite sure this wasn't Seth's point) that, as long as I continue to create something unique and wonderful, "I HAVE THE POWER TO SET THE PRICE." It's like my wife, Caryn, always tells me: "You're worth what you charge."

Artists - you're worth what you charge. Assuming you really are, of course.

"Jazz and Innovation"

My latest column for Examiner.com: "Jazz and Innovation."

Oscar Poll?!?

How is THIS consistent with the mission of Discover Jersey Arts??? It's okay for them to celebrate and promote these films, every one of which was made by a for-profit movie studio?

This organization is wasting our money. The New Jersey State Council on the Arts should cease any and all funding and support of this organization.

"What Is Wrong with the Arts?"

Michael Kaiser has a very interesting take on the current state of the arts in HuffPo:

"the institutional nature of our arts ecology, a relatively recent phenomenon, means that groups of people are now more responsible for arts making than the individual. Boards, managers and producing consortia are overly-involved.

And these groups are misbehaving. They are overly-conservative, subject to 'group think' and so worried about budgets that they forget that bad art hurts budgets far more than risk-taking does."

Genius. His article is a little too broad and his argument is only thinly supported (plus I'm pretty sure you're not supposed to capitalize prepositions, even in a title), but I agree with a lot he has to say.

Check out the rest of the article here.

Irrelevant

I recently sent an e-mail to Governor Christie's office on behalf of my company, Elefante Music & School for the Performing Arts:

"Mr. Governor -

In general, I admire the mission and motivation of Discover Jersey Arts. The problem, however, lies in the execution of that mission.

You may be aware that Discover Jersey Arts (jerseyarts.com) is sponsored by the New Jersey State Council on the Arts, a division of the New Jersey Department of State. They are, according to the State council, "a multifaceted statewide arts marketing campaign to increase awareness of and participation in the arts in New Jersey." Nowhere in their mission statement does it specify that its mission is to increase awareness of non-profit arts organizations.

Nor, frankly, should it. Under what circumstances could it be considered fair, ethical, or even in the state's best interest to only support non-profit arts organizations? Non-profits, though an essential part of the artistic fabric of our state, are a drain on the public coffers. Private arts companies (like the one I represent) not only help the train the young artists of our state but also contribute to the state in the form of tax dollars.

And, yet, it seems that Discover Jersey Arts will only support non-profit arts organizations. Whether it be through their events listings, feature articles, or their prestigious and well-publicized People's Choice Awards, there are no private arts companies supported through this service. I find this fact to be egregious and disheartening.

Is it in the the opinion of your office that, in order to succeed as a New Jersey arts organization, we should file as a 501(c)(3) and demand money from the taxpayers? Does your office find it appropriate and in the public interest that a potential student or patron of the arts, seeking guidance from the State of New Jersey as to the best opportunities in arts education, only be exposed to non-profit organizations?

My request is that the New Jersey State Council and Discover Jersey Arts reconsider their mission. If not, I hope your office will not hesitate to remind them of their mission and what is truly in the best interest of the state's finances, private arts companies, and students and patrons of the arts.

Thank you so much for your time and consideration."

Several weeks later, I received this form response:

"Dear Friend:

As we continue our push for fiscal sanity, meaningful education reform and a lasting fix to our broken pension and benefits system, we've launched a website to detail the reforms and track our progress. You can find it here:

http://www.state.nj.us/governor/reformagenda

As we continue to hold open town hall forums up and down the state, I'll do my best to share them with you.

Here's a clip from our latest town hall in Union City last week:

http://www.youtube.com/watch?v=Qg19I46IDuM

Best wishes.

Sincerely,

Governor Chris Christie"

What on Earth does that have to do with what I wrote him? Do you think my concerns are unwarranted? What is your opinion of Governor Christie's single-mindedness and lack of concerns for NJ small businesses?

The GRAMMYS - Mission Failed

Esperanza Spalding was one of the few bright spots in last night's GRAMMY telecast.

The GRAMMY mission statement, according to the Recording Academy:

"The GRAMMYs are the only peer-presented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position."

Those of who you read my column in The Alternative Press, "Why You Shouldn't Watch the GRAMMYs," you know how I feel about the Academy's inability to live up to that mission. And, if you haven't read it, you can probably guess by the title that I don't feel they've done a very good job. Last night's telecast was no exception.

Let's start with the positives. First of all, good for Esperanza Spalding! It was great to see a jazz bassist and vocalist win Best New Artist. And, with the selection of Arcade Fire's "The Suburbs" as Album of the Year, the Academy certainly did not regard album sales or chart position.

The rest of the show was a joke. Here's why:

If it's just a show, call it a show. Don't recite missions about artistic achievement and technical proficiency and excellence and throw Katy Perry, Drake, Justin Bieber, Jaden Smith, Cee-Lo w/ special guest Gwyneth Paltrow, two (count 'em, two!) Rhiannas and even the annoying Arcade Fire up on that stage.

Call it a show. Where is the excellence? Where is the artistic achievement? Where is the technical proficiency? Does the Recording Academy really expect us to believe that these performers are "excellent?" It is insulting.

They are pop stars - products of a music industry still very much controlled by the major labels who have chosen to market personalities in lieu of great music.

Don't blame the labels. They are just trying to make a profit. That is their mission. Blame the Academy. They have stated a mission and are either too stupid to carry that mission out or could care less about said mission and have decided to just put on a show.

There is a place for pop stars. There are lots of places for pop stars. But can't musicians have their day?

The GRAMMYs are supposed to be that day. They are not. They are a show. Just call it a show and abandon your mission. It is less insulting.

BTW - I, of course, realize the irony of writing an article called "Why You Shouldn't Watch the GRAMMYs," and then watching the GRAMMYs. I suppose my premise wasn't even strong enough to convince myself.

"The Gateway Game"

In my latest column for The Alternative Press, "The Gateway Game," I bid a fond farewell to Guitar Hero, and explore its role in getting kids involved with music.

OMG

Spider-Man Turns off the Critics

Mark Cuban on 3D TV

I've been saying this about 3D television for a while, but Mark Cuban put it so much better than me. I guess that's just one of many reasons he's a billionaire and I'm not.

Super Bowl Music - Not Very Super

As dismal and boring as the Black-Eyed Peas halftime show was at the Super Bowl this past Sunday, most of the clamor has been over Christina Aguilera's performance of the National Anthem. I have some strong opinions about the performance, myself. My opinions, however, have less to do with Ms. Aguilera, and more to do with the FOX network.

First of all: With regards to the halftime show... I am really fed up with people complaining about the sound. How would you expect the technical masterminds behind the production to do a much better job considering they had a couple of minutes to set up a live, televised performance from a 100,000-seat football stadium? Shut up and stick what you know. That being said, I thought the performance was exceedingly boring.

Second of all: With regards to the Anthem... It isn't fair to accuse Ms. Aguilera of having a lack of respect for our national song. The melisma, glottal trills, and pentatonic ramblings are endemic of her vocal style. Anyone that's heard her sing for more than four seconds should be aware of this. The blame for what is considered by many to be an inappropriate rendition of the National Anthem belongs with the FOX network for hiring her, not with Christina Aguilera. She was just doing what she has always done.

Third of all: With regards to Lyricgate... Let's please not use the lyric malfunction as yet another reason to impugn Ms. Aguilera for disrespect of our National Anthem. There was a lot of people in that stadium. There were hundreds of millions more watching on television. She was visibly nervous and made a mistake. It could have happened to anybody.

Fourth of all: With regards to those of you who keep referencing the Whitney rendition as the standard by which all other renditions should be judged... Whitney's Anthem was a once-in-a-lifetime, Jimi-esque masterpiece and a perfect marriage of individual expression and reverence for our country. We cannot realistically expect all singers who attempt the anthem to possess Ms. Houston's exceptional talent, the likes of which is seen maybe once in a generation (if we're lucky).

Fifth of all: There is a debate circulating in some circles now that the "Star-Spangled Banner" ought to be an audience sing-along. I truly admire the sentiment behind these comments. I do believe, however, that this will obviously result in a lack of great performances of the piece, some of which have become fully ingrained in our national fabric. The Hendrix and, to a lesser extent, the Houston renditions are more than just ritual demonstrations of national allegiance. Instead, these performances have surpassed even the level of Pop Culture and entered into the Folklore stratus of our national culture. Relegating the Anthem to group sing-alongs undermines the possibility of other legendary performances. I, for one, will tolerate a Aguilera here and there if it allows for the possibility of a Houston in the future.

Sixth of all: With more regards to Lyricgate... What nobody seems to be talking about is why Ms. Aguilera stumbled on the second stanza of the Anthem. A few have suggested a lack of preparation, but somehow I find that hard to believe.

I believe that there is a relatively small percentage of the American population who have ANY CONNECTION TO THE LYRICS OF THE NATIONAL ANTHEM WHATSOEVER. Christina Aguilera is a product of an American society that rarely considers the lyrics of the Anthem, the words of the Pledge of Allegiance or even what it means to "Pledge Allegiance" to something in the first place. How can she expect to remember the lyrics of a piece of music she likely has no emotional connection to?

Seventh, and Finally: I'm also tired of those who equate every act of alleged "unpatriotism" to a slap in the face to our troops who are fighting overseas. I have a lot of family in the military, and nobody has more respect for what they do than I. But to intimate that they are the only citizens who might be offended by an affront to our national integrity is just plain ignorant. It is taking the low road - there's no way to argue against someone who has invoked the military. To do so would be anti-American.

Everyone who gets up and works hard every day, strives to make the best lives for himself and his family, shows respect to his neighbors and contributes to the common good is a true American. Everyone should be offended by an affront to our national integrity - teachers, doctors, police officers, businesspeople. Most people in this country are out there every day trying to move this country in the right direction, whether they make the ultimate sacrifice or not.

Next time you find yourself saying that an anti-American act is disrespectful to our armed forces, think about how that statement is disrespectful to all the good Americans you know.