In Memoriam
Phil Kraus (1918–2012)
Percussionist Phil Kraus died January 13, 2012 in Houston, Texas. He was 93.
Born in New York City in 1918, Kraus started studyingxylophone at age 8. He won a full scholarship to the Juilliard School at 17. After graduation he worked in a radio band at WNEW and then joined the Army duringWorld War II, where he was recruited to play in the band for Irving Berlin's This is the Army, both on Broadway and in the movie version.
After the war, Kraus became an in-demand studio musician, workingin television, concerts, and recording sessions in New York. He played themarimba riff in Ben E. King's "Spanish Harlem," the guiro on "Stand by Me," and various percussion instruments for such artists as Billie Holliday, Carol King, and Ray Charles. He played with groups led by Quincy Jones, Benny Goodman, and Doc Severinson; was in the bands of such TV shows as The Ernie Kovacs Show, The Perry Como Show, The Jackie Gleason Show, The Ed Sullivan Show, and Howdy Doody; and played on the soundtracks of such movies as Midnight Cowboy, Carrie, and The Godfather.
Kraus recorded a few albums under his own name in the 1950s for the Golden Crest label, including The Percussive Phil Kraus and Conflict, both of which include original compositions by Kraus. He teamed with drummer Bobby Rosengarden for an album on the Time label called Like—Bongos. The two went on to record albums for RCA, Decca, and Project 3 during the 1960s. He worked with Dick Hyman and the Living Percussion on The Beat Goes On. He wrote five instructional books, including the three-volume Modern Mallet Method.
In 1978, Kraus moved to Houston, Texas. He worked as personnel manager for the Houston Symphony, taught percussion at Rice University's Shepherd School of Music, and played in the Houston Pops.
In Memoriam
Ralph MacDonald (1944-2011)
Percussionist, songwriter and producer Ralph MacDonald diedon December 18, 2011. He was born in Harlem, New York in 1944, the son of Trinidad-immigrant and Calypso performer "Macbeth The Great." At 17, Ralph landed a job with Harry Belafonte that lasted 10 years and introduced himto songwriter Bill Salter, with whom he began writing songs. In 1966, MacDonaldwrote all the songs for Belafonte’s Calypso Carnival album.
At 27, MacDonald, Salter and William Eaton started their ownpublishing company, Antisia Music. About two years later, Ralph was working asa percussionist with Roberta Flack. He and Salter had written a song called"Where Is the Love," which he pitched to Flack. She recorded it, andit sold 10 million copies, earning Roberta and Donnie Hathaway Grammys.
Ralph began recording as a percussionist with such legendsas James Taylor, Billy Joel, Bette Midler, Diana Ross and Paul Simon. He andhis partners wrote the Grover Washington Jr. hit "Mr. Magic," andAntisia Music placed a song called "Calypso Breakdown" on theBeeGees’ Saturday Night Fever soundtrack. That album sold 47 million copies andearned MacDonald two Grammys, as a performer and a producer. Ralph subsequentlyreleased two albums of his own, gaining commercial success and internationalrecognition.
In 1980, Ralph wrote and produced Grover Washington Jr.'salbum Winelight. Among the MacDonald compositions was "Just The Two OfUs," which has been recorded by hundreds of artists worldwide, includingWill Smith's 1999 adaptation of the song.
In recent years MacDonald toured with Jimmy Buffett’s CoralReefer Band until he suffered a stroke and developed lung cancer.
In Memoriam
Minoru Miki (1930–2011)
Japanese composer Minoru Miki died on December 8, 2011, after a ten-year battle with prostate cancer. Miki was born on March 16, 1930 in the Akui-cho district ofTokushima City, Japan. He took up choir in high school and attended the TokyoNational University of Fine Arts and Music. He studied with Tomojiro Ikenouchiand Akira Ifukube, and graduated with a composition degree in 1955.
After graduation, Miki composed music for TV, movies, andchoirs to make a living for his family. His desire to compose for larger worksled him to write and record “Kurudando” (1963), a cantata for traditionalJapanese instruments and mixed chorus. The instrumentalists from thisperformance served as the nucleus in 1964 to form a new ensemble, Pro MusicaNipponia, with Miki serving as chairman and primary composer. “Kurudando” andPro Musica Nipponia established the foundation for Miki’s productive career. Mikicomposed 33 works for Pro Musica Nipponia and organized tours and concertsaround the world including the United States, Europe, Japan, and other parts ofAsia. In addition to Pro Musica Nipponia, Miki focused much of his career tocombine Japanese culture with Asian and western influences through his worksand various ensembles he organized.
Miki founded and composed music for the Yui Ensemble in1990, a chamber group playing Asian and western instruments. In 1993, Mikiorganized Orchestra Asia, which used traditional instruments from Japan, Chinaand Korea. In 2003, Miki founded a small chamber group, the Asia Ensemble, withinstrumentalists from different parts of Asia. To further the compositionalprocess he helped to develop, he published a book, The Theory of Composing forJapanese Instruments, which also has Chinese and English translations.
Minoru Miki also combined Japanese culture and western artmusic with his proudest project, nine full-length operas tracing 1,500 years ofJapanese history. The first opera in this series, “Shunkin-Sho” (1975), won theGiraud Opera Prize. Produced four years later in 1979, “An Actor’s Revenge”premiered in the English Music Theatre in London. By the completion of hisninth full-length opera, “The Happy Pagoda” in 2010, Miki’s nine-opera seriestracing 1,600 years of Japanese history (from the 5th to the 20th century) wascomplete.
Many of Miki’s works, including his orchestral pieces, focuson different musical cultures and lesser-known instruments. Several examplesinclude “Symphony from Life,” commissioned in 1980 by the Kyoto SymphonyOrchestra, “AWA (our) Rhapsody,” commissioned in 1987 by the Japan PhilharmonicSymphony Orchestra, “Beijing Requiem” (1990), and “MAI for Orchestra” (1992).
Miki’s efforts have also brought exposure to instruments andtheir virtuoso performers. In 1996, Miki wrote his “Pipa Concerto” for YangJing, a young pipa artist from China. (A pipa is lute-like instrument with fourstrings and a pear-shaped soundbox.) Miki also had Jing play a prominent solorole in his seventh opera, “The Tale of Genji.” Jing has since won severalawards and praises for her performances of Miki’s works. The koto (a longzither-like instrument with 13, 20, or 21 strings) gained success anddevelopment through the efforts of Miki and Keiko Nosaka beginning in 1969. Originallya 13-stringed instrument, Miki and Nosaka designed a 20- and 21-stringedinstrument to further enhance the warmth of the low sounds and clarity of theupper section.
A third virtuoso performer Miki worked with was marimbist KeikoAbe. Abe and Miki worked together to build the repertoire and capabilities ofmarimba performance. Since first working with Abe in 1968, percussion was alarge part of his compositional output. In addition to “Time for Marimba,” “Concertofor Marimba and Orchestra,” and “Marimba Spiritual,” all pieces that werecommissioned and premiered by Abe, Miki composed percussion ensembles andchamber works that utilize percussion and marimba. His most recent percussionensemble work, “Z Conversion,” was given its United States premiere at PASIC2006 and later recorded by the Texas A&M University-Commerce Percussion Ensemble.Other works include “Z Concerto” (a percussion duet concerto) and smallpercussion ensembles “Dotoh,” “Kincho Daiko,” and “Yoshitsune Daiko.” Otherchamber works with marimba include “Sohmon III” for marimba, soprano, andpiano, “East Arc” for marimba, violin, cello and pipa, and “Marim Dan-Dan” formarimba and two percussionists.
Miki composed over 200 works in many different genres andinstrument combinations and worked diligently to bring Japanese culture topeople all across the world through his music. While his love of life,dedication to music and pursuit of musical connection will be missed, his compositionallegacy will continue to thrive.
In Memoriam
Paul Motian
Renowned jazz drummer Paul Motian died Nov. 22, 2011 at age 80 from complications of myelodisplastic syndrome, a bone-marrow disorder.
Born on March 25, 1931 in Philadelphia, he grew up in Providence, Rhode Island and started playing drums at age 12. While in the Navy he studied at the Navy School of Music in Washington, D.C. and was then stationed in Brooklyn, New York. After his discharge, he stayed in New York and studied at the Manhattan School of Music. He worked with a variety of artists in the 1950s including Gil Evans, Thelonius Monk, Stan Getz, Oscar Pettiford, Coleman Hawkins, Roy Eldridge and others.
In 1956 he played on pianist Bill Evans’ first album, and played in Evans’ trio from 1959–64, during which time he developed an influential style of interactive playing and appeard on such classic albums as Waltz for Debby and Sunday at the Village Vanguard. He further developed that style in the 1969s with Paul Bley and Keith Jarrett. In addition, he played extensively with Charlie Haden’s Liberation Music Orchestra.
In the 1970s Motian began leading his own groups and composing. One of his best-known groups was the Electric Bebop Band, and he also played for many years in a trio with guitarist Bill Frisell and saxophonist Joe Lovano.
In Memoriam
Thomas L. Davis
Percussionist, composer, and educator Thomas L. Davis died on November 12, 2011, at age 80. He was Professor Emeritus of Music at the University of Iowa, where he founded Iowa Percussion. He was also a former member of the Percussive Arts Society Board of Directors.
In 1958, Davis was a founding member of Dick Schory’s Percussion Pops Orchestra and a recording artist for RCA. In demand as a musician in Chicago, he had just been offered a position with one of the city’s top radio orchestras when influential musician and educator Himie Voxman asked him to become the University of Iowa’s first Professor of Percussion. At that time there were no more than a half-dozen university-level percussion jobs in the country. Davis and his wife, Pat, moved to Iowa City “for a couple of years.” That couple of years turned into a 38-year tenure at the University of Iowa.
By 1959, Davis had enough percussion students to form the Concert Percussion Ensemble – then one of only a handful of university percussion groups. He formed the Iowa Percussion Octette in 1967, one of the first university percussion ensembles to release an LP record. In the early 1970s, Davis established the Iowa jazz area, which he headed until 1990. He also led the Hawkeye Marching Band.
Davis wrote many compositions and arrangements for an array of instruments, but most important are his works for percussion. In the mid-1960s, little repertoire existed for percussion ensemble. Davis penned dozens of original compositions and arrangements for percussion that became standard in the repertoire, influencing generations of young percussionists. A number of these works exhibit Davis’s well-known sense of humor. He was also the author of Voicing and Comping for Jazz Vibraphone, published by Hal Leonard in 1999.
That sense of humor became legendary during a memorable Iowa football halftime show. Knowing that the Purdue University Marching Band would be flaunting their infamous “world’s largest drum,” Davis worked with a local manufacturer so that the Hawkeye Marching Band could parade onto the field with the “world’s largest triangle,” a 4-foot steel behemoth. The triangle is still part of Iowa Percussion’s collection, kept in an undisclosed secure location.
Davis was born in Casper, Wyoming. He received bachelor's and master's degrees in percussion performance from Northwestern University. Students from his 38-year tenure at the University of Iowa include performers, educators, school of music deans and directors, and professionals in a variety of other fields. Notable among his many outstanding students are percussionist Steven Schick and jazz musician David Sanborn.
Professor Davis retired from teaching at the University of Iowa in 1996. To honor him, alumni, former students, and friends established an endowment through the UI Foundation that funds the Thomas L. Davis Percussion Award.
In Memoriam
Anders Loguin
January 20, 1954 – November 3, 2011
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| Anders Loguin and conductor Gustavo Dudamel in May 2011 (photo by Anders Elfström) |
Anders Loguin, founding member of the Swedish percussion ensemble Kroumata, died November 3, 2011 at Ersta Hospice in Stockholm after a short period of illness.
Loguin began to play snare drum at the age of six, followed by drumset, but it was not until age 14 that he began to study the marimba. He attended the Royal College of Music in Stockholm (Kungliga Musikhögskolan) and graduated in 1977. Loguin was invited to join the faculty there shortly after graduation and continued to teach there for the next 34 years, becoming head of the percussion department in 1984. “I couldn’t be without teaching,” he told Percussive Notes in a 1999 interview. “It’s such an important part of the whole identity of music making.”
In 1975, at the age of 21, Loguin obtained a position at the Stockholm Philharmonic as a regular player, and continued to freelance as a percussionist with the Swedish Radio Symphony Orchestra, Opera, and Stockholm Percussion Ensemble. In 1979, he joined the Oslo Philharmonic, commuting back and forth from Norway to Sweden. He also served as the Artistic Director of the Nordic Percussion Festival in 1991.
In 1978, Loguin founded Kroumata with Ingvar Hallgren, Anders Holdar, Leif Karlsson, and Martin Steisner. “We had talked about making chamber music around percussion, with percussion the core of everything,” Loguin remembered. The ensemble became a fulltime business in 1981, and the members were employees of the state-funded Swedish National Concert Institute. Kroumata was Sweden’s only permanent contemporary music ensemble. They performed all across Europe, Asia (including Japan, Taiwan, Hong Kong and India) and the United States. The ensemble, with different members over the years, performed in concert at PASIC ’84 in Ann Arbor, Michigan; with Keiko Abe at PASIC ’88 in San Antonio, Texas; at PASIC ’95 in Phoenix, Arizona; and at PASIC 2003 in Louisville, Kentucky.
Kroumata celebrated its 20th anniversary by hosting and performing at the Stockholm International Percussion Event (SIPE) in 1998. Loguin served as Artistic Director for SIPE. The King and Queen of Sweden were great fans of Kroumata and attended many concerts by the ensemble, including their 20-year Jubilee in February 1998. Their 25th anniversary included a performance with the Los Angeles Philharmonic as well as the PASIC concert.
After three decades with Kroumata, Anders Loguin left the ensemble. During his time with Kroumata, they had performed in more than 40 countries and premiered more than 200 works.
In 2008, Loguin founded a new percussion group named after the first piece written for them, Glorious Percussion. This quintet featured members from four countries: Loguin and Anders Haag from Sweden, Mika Takehara from Japan, Eirik Raude from Norway, and Robyn Schulkowsky from the U.S. The piece they premiered—with the Gothenburg Symphony, under the direction of Gustavo Dudamel—was a new concerto by Sofia Gubaidulina for percussion quintet and orchestra. They also performed this concerto, “Glorious Percussion,” with the Berlin Philharmonic in September 2009 and with the Los Angeles Philharmonic, again under Dudamel, this past May in addition to several other orchestras. During a 2009 interview with the composer in Berlin (now posted on YouTube), Gubaidulina—who dedicated the concerto to Loguin—said, “His approach to music is very precious to me.”
Loguin was also a member of the trio RoMA, comprised of Roland Pöntinen (piano) and Mats Zetterqvist (violin) and named for Roland, Mats, and Anders. With such an unusual instrumentation, they commissioned several new pieces from Swedish composers.
In addition to being a performing percussionist and longtime educator, Anders Loguin also conducted orchestras and ensembles both in Sweden and abroad. One of his principal conducting teachers was Finnish composer and conductor Jornma Panula. Loguin taught master classes all over the world and served as a juror on many international competitions for percussion, marimba and chamber music, including the 5th World Marimba Competition in Stuttgart, Germany in 2008.
In October 2011, Naxos released a new CD by Sofia Gubaidulina called Fachwerk, featuring Geir Draugsvoll on bayan (Russian accordion) and Loguin on percussion. “Anders was very pleased with this work,” said Brita Carlens, Loguin’s companion. “It was like a ‘sister concerto’ to ‘Glorious Percussion,’ which Gubaidulina wrote during the same period.”
In 2002, Anders Loguin was elected as a member of the Royal Swedish Academy of Music. In 2008, his majesty the King of Sweden awarded Loguin the royal medal “Litteris et Artibus” for his outstanding contribution in the field of music and art in Sweden and abroad.
Robin Engelman, a longtime member of Nexus, remembers his Swedish friend. “Anders was a strong personality, self assured and assertive. In one sense, Kroumata was Anders… He was obviously a dreamer, though he was reluctant to admit or show this Romantic trait.”culture.
In Memoriam
Paulo Mattioli
Dec. 31, 1969 – Oct. 22, 2011
Multi-percussionist,educator and instrument designer Paulo Mattioli died on Oct. 22, 2011.He played with Mickey Hart, Kenny Loggins, Lenny Kravitz, and Sting aswell as performing, recording or co-teaching with African masterdrummers Babatunde Olatunge, Mamady Keita, Kemoko Sano, Dibo Camara andthe top artists of Les Ballets Africains. He was an active drum teacherand facilitator who led Rhythm Journey drumming and dance workshopsacross the United States, Europe, Asia, Australia and Mexico. He was thecreator of FitRhythms, an exercise program that combined the mind/bodybenefits of group drumming with aerobic movement. His djembe instructionbooks and DVDs are published by Mel Bay, and he was the designer of thePaulo Mattioli Signature Series Djembe and Dun Dun drums for Remo.Paulo graduated with honors and held a bachelor's degree in music,communications and visual arts from the University of San Diego. Hereceived a U.S. scholarship for his research in the use of drumming forcommunication within West African culture.
In Memoriam
Freddie Gruber
Jazz drummer and teacher Freddie Gruber died Oct. 11 in Los Angeles after a lengthy illness. He was 84.
Born in the Bronx, New York on May 27, 1927, he studied with Henry Adler and Morris Goldenberg before touring with singer Rudy Valee. During the 1940s he worked as a bebop drummer in New York and played with Charlie Parker, Dizzy Gillespie, Zoot Sims, and Al Cohn, among others. For many years he was the roommate of Buddy Rich, and in the mid-’50s he played in Las Vegas before settling in Los Angeles where he worked with such players as Charlie Haden and Ornette Coleman. In the mid-’60s he began teaching at a music store owned by vibraphonist Terry Gibbs, and over the years Gruber taught such students as Don Lombardi, John Guerin, Ian Wallace, Dave Weckl, Steve Smith, Vinnie Colaiuta, Jim Keltner, and Neil Peart.
“As an educator, Freddie’s unique gift combined an individual insight into each drummer’s gifts and weaknesses with something even greater—he had an unparalleled understanding of the physical ‘dance’ involved in playing the instrument, the ergonomic relationship of the drummer to the drums,” Peart said in a Los Angeles Times article.
In January 2011, the Zildjian cymbal company presented Gruber with a Lifetime Achievement for Education award. “You only had to meet Freddie once to know that he was a ‘no BS’ kind of guy. He told it straight,” said Zildjian’s John DeChristopher.
In Memoriam
Martin E. Hurley
June 6, 1946 – September 12, 2011
By Lauren Vogel Weiss
Rudimental percussionist Martin E. (Marty) Hurley died on Sept. 12, 2011 at his home in New Orleans, Louisiana. He had suffered a stroke on Aug. 14 and spent several weeks at Tulane Medical Center.
Born on June 6, 1946 in Neptune, New Jersey, Marty Hurley followed in the footsteps of his father, who served as an Army drummer during World War II. Throughout his long career in both drum corps and as an award-winning music educator in Louisiana, Marty shared his talent and love of drumming with literally thousands of young drummers across the country.
At the age of seven, Hurley joined the O’Brien Major Police Cadets where most of the neighborhood kids marched at one time or another. Other corps he was involved with were the Neptune Shoreliners, Asbury Park Hurricanes, St. Joseph Modernaires, Jersey Cyclones, the Blessed Sacrament Golden Knights (he aged out in 1967) and Hawthorne Caballeros (1968).
“Bobby Thompson taught Blessed Sacrament’s drum line,” Hurley told Modern Percussionist in a December 1984 interview, “He was one of the first people to come out and really teach the drum corps—he and Les Parks, who did the senior corps. My father always said that when I got old enough I should march in Blessed Sacrament, because that’s where I would really learn the correct rudimental grip—that left-hand traditional grip.” That Thompson grip, with the curled pinky and straight middle finger, became a signature of Hurley and all his students.
After graduating from Neptune High School, he attended Wilkes College (now Wilkes University) in Wilkes-Barre, Pennsylvania, earning a music education degree. During that time he also played in community orchestras in Wilkes-Barre and nearby Scranton. Following graduation, he joined the Air Force Band and was stationed in Biloxi, Mississippi for four years.
Hurley began his teaching career in 1971 when he assisted Dick Filkens, a former member of the Air Force Drum Quartet, with the Stardusters Drum Corps from Arabi, Louisiana. “I taught them all the stuff that Bobby had taught me, and it worked!” he told MP. In 1972, many of the members of the Stardusters joined the new Metairie, Louisiana-based Bleu Raeders drum corps, where Hurley served as the drum instructor for two years. In 1973, he joined the staff of the Black Knights from Belleville, Illinois, while continuing to teach the Bleu Raeders. He remained with the Black Knights until 1975.
In 1976, Hurley joined the staff of the corps for which he was best known: the Phantom Regiment Drum and Bugle Corps from Rockford, Illinois. “I just loved the Phantom Regiment’s horn line,” he recalled in the 1984 interview, “and I said, ‘Gee, I sure would like to write some drum parts to all that.’ It was fun because it was a real challenge to write to orchestral music.” Some of his classic solos for the Regiment include “Flight of the Bumblebee” and Grieg’s “March of the Dwarfs,” two of his favorites.
During his affiliation with the corps, the Phantom Regiment placed second in 1977, 1978, and 1979. He was also an integral part of the creative staff for the first two productions of the Khachaturian ballet “Spartacus” in 1981 and 1982. Hurley continued teaching the Regiment until 1983 before taking a few years off. He returned to the Rockford-based corps in 1987 and remained on their staff until 1992. In 2004, Hurley was inducted into the World Drum Corps Hall of Fame.
Hurley was also involved in the design of Ludwig’s High Volume (HV) snare drum, which the Regiment drum line used beginning in 1981. Similar to a regular marching snare drum, it had two inches cut from the middle of the shell, leaving the top half and bottom half joined by the tension casings. He told MP, “The HV drum came from trying to get a drum that would have a little more projection power—a little more clarity for a snare drum.”
In 1974, Hurley took a job that he would have for the rest of his life: band director at Brother Martin High School in New Orleans. He started as the assistant to longtime director Arthur Hardy, working with the marching band, stage band, and second concert band before he took over as the head director when Hardy resigned in 1989. Hurley’s final assistant director was Dominick Caronna, one of his former students at Brother Martin.
During his time at Brother Martin, Hurley’s ensembles consistently received superior ratings at local and regional contests and festivals. His bands performed for the Pope, two U.S. Presidents, two Louisiana governors, countless Mardi Gras parades and even the first-ever playoff game for his beloved New Orleans Saints football team.
Hurley was inducted into the Louisiana Music Educators Association (LMEA) Hall of Fame in 2010. “I never expected it,” he stated in a New Orleans Times-Picayune interview on November 18, 2010. “It’s a great honor. It brings everything to a peak.” During his time at Brother Martin High School, he had about 80 percussion students earn spots in one of the Louisiana All State ensembles.
Hurley also served as the percussion instructor at Nicholls State University in Thibodaux, Louisiana for several years in the 1980s. He judged the finals of the Marching Bands of America National Championship twice and also adjudicated the Percussive Arts Society’s Marching Forum (now the Marching Percussion Festival) four times, in 1982, 1988, 1994, and 1996.
As a percussion clinician, Hurley gave seminars at regional and national meetings of the Music Educators National Conference (MENC), the National Catholic Band Association (NCBA) Conference, the LMEA Conference, the Texas Music Educators Association (TMEA) Convention, and the Percussive Arts Society International Convention (PASIC).
Hurley gave two clinics at PASIC with the Phantom Regiment drum line, in 1981 (Indianapolis, Indiana) and in 1988 (San Antonio, Texas). At PASIC ’92 in his adopted hometown of New Orleans, he served as the Coordinator for the Marching Forum held at the Superdome. At PASIC 2001 in Nashville, Tennessee, he taught a marching master class with John Pratt and Mitch Markovich. And at the Drummer’s Heritage Concert held at PASIC 2002 in Columbus, Ohio, Hurley was one of the featured snare drum soloists.
In addition to the drum corps and marching band music that he wrote, Hurley composed numerous snare drum solos and drum cadences that were published first by his own company—Rudimental Percussion Publications—and currently by Row-Loff Productions. He also taught marching percussion camps all across the country, including one sponsored by the Phantom Regiment in Rockford and another popular one at the University of Southern Mississippi in Hattiesburg.
John Wooton, Professor of Percussion and Director of Percussion Studies at USM, first met Hurley when John joined the Phantom Regiment. They have continued to work together over the years, including the founding of Rudimental Percussion Publications. “He always taught us to do what’s right. He never took shortcuts,” Wooton said in an August 28, 2011 article in the Times-Picayune. “He taught us that education was No. 1. It was more important than winning a trophy. You don’t see that too often these days.”
Dozens of Hurley’s former students, from both Brother Martin High School and the Phantom Regiment, as well as the other corps he taught over the years, have gone on to pursue careers in music. These men and women serve as college percussion instructors, high school and middle school band directors, private lesson teachers, and drum corps instructors. Shane Gwaltney, current caption head and arranger for the Phantom Regiment, posted the following message on Facebook: “I personally want to thank [Marty] for creating such an iconic program at PR that has allowed countless people to grow into better human beings. I am one of few that have the honor of holding the torch [he] lit, but there will only be one Marty Hurley.”
There have been hundreds of comments posted on Facebook regarding the impact that Marty Hurley had on his students during the past four decades. One Regiment alumni wrote, “As a brass player, I was always a bit envious of the rapport that he had with his drum line. I did get to know him through the years though and know why he is so loved.” And another former student said, “Your legacy to percussionists worldwide will never be forgotten.”
Marty Hurley is survived by his wife Paulette Purser and his brother and sister-in-law, Jimmy and Barbara Hurley.
Arthur Hardy contributed to this tribute.
Photo: Marty Hurley playing at the Drummer's Heritage Concert at PASIC 2002. Photo by Bryan Stone for PAS.
In Memoriam
David Searcy
By Michael Quinn
David Searcy, timpanist of the La Scala Opera orchestra for more than three decades, died on August 2, 2011, after a long illness.
David was a singular authority among colleagues all over the world, and for many young timpanists and percussionists an inspiring teacher and fatherly friend. His playing career, both lyric and symphonic, and his innate musical curiosity made the scope of his knowledge of the repertoire probably the broadest, and his interpretation of that repertoire the deepest, of any timpanist ever. His never-flagging interest in music history fueled his conviction of the worth of tradition in an ever more unsettled world, and he looked always to pass on the cultural heritage of his instrument and its practice to those who sought his presence.
Born in Richmond, California, on January 21, 1946, David first studied in his home city of Oakland, and in his teens was a student of Roland Kohloff. In 1964 he went to Tanglewood, then remained on the East Coast to study with Vic Firth, and in 1965 gave in to a long-held wish to play in Europe when a timpani opening in the Musikselskabet Harmonien in Bergen, Norway, made the move possible. Two years later he was looking for new challenges, other concepts, and a new artistic orientation. In Vienna he studied with Richard Hochrainer, and then found his true mentor and guide in Robert Hinze in Hamburg, Germany.
In 1968 he became solo timpanist of the Bavarian State Opera in Munich, where he remained until 1972 when Claudio Abbado invited him to join the orchestra at La Scala. Later, when Abbado founded the European Youth Orchestra and the Gustav Mahler Youth Orchestra, David was his first choice for a percussion tutor.
From 1980 until his death, David guided the percussion class at Milan's Civic Music School. Here, he formed a whole new generation of timpanists for Italy and Europe, and a few more distant parts of the world as well. He was also visiting Professor at the Royal Academy of Music in London.
David brought a wholesome fantasy into the world and no one, not even his peers, ever left his company without taking away some bit of knowledge that made music, or playing, or even life, a bit clearer and more meaningful. For that we'll be ever grateful to him.In Memoriam
Richard Holmes
Richard “Rick” Holmes, principal timpanist of the St. Louis Symphony since 1969, died on June 5, 2011.
Holmes entered the Eastman School of Music in 1960, with a vocal scholarship, and subsequently pursued the study of piano and percussion at the San Francisco Conservatory of Music. He went on to the Juilliard School of Music where he studied percussion and conducting. While at Juilliard, he played with the New York Philharmonic and the Metropolitan Opera Orchestra as a regular extra. His teachers included Jean Morel, Jorge Mester, Walter Susskind, Alfred Wallenstein, William Kraft, Saul Goodman, Morris Goldenberg, Elden Bailey, and Charles William Johnson.
In 1962, Mr. Holmes made his professional debut as a member of the percussion section of the Los Angeles Philharmonic. He performed at Radio City Music Hall and with the Aspen Festival Orchestra in Colorado, where he also served on the percussion and conducting faculty. Holmes was Music Director and Conductor of the New York Youth Symphony from 1968–69. He taught timpani at the former Saint Louis Conservatory of Music, and has conducted St. Louis Symphony educational concerts. Since 1999, Holmes served as the conductor of the Young People’s Symphonic Orchestra at the Webster University Community Music School. (Bio courtesy of St. Louis Symphony)
In Memoriam
Joe Morello
Legendary jazz drummer Joe Morello died on March 12, 2011, at age 82.
Morello was best known for his 12-year membership in the Dave Brubeck Quartet, during which time the group recorded “Take Five,” on which Morello played one of the most famous drum solos in jazz history.
Born July 17, 1929 in Springfield, Massachusetts, Morello began studying violin at age six, and three years later was featured with the Boston Symphony Orchestra as soloist in the Mendelssohn Violin Concerto. By age 15 he had switched to drums, first studying with a show drummer named Joe Sefcik and then studying with two drumming legends: George Lawrence Stone and Billy Gladstone.
After moving to New York City, Morello worked with such jazz musicians as Johnny Smith, Tal Farlow, Phil Woods, Stan Kenton and Marian McPartland before joining Brubeck’s group in 1956.
After leaving Brubeck in 1968 Morello became an in-demand clinician, teacher and bandleader. He appeared on over 120 albums, including several he made as a leader. He wrote several drum books, including Master Studies, Master Studies II and Rudimental Jazz, made two instructional videos, The Natural Approach to Technique and Around the Kit and appeared on a series of videos titled Natural Drumming with his long-time student Danny Gottlieb.
Morello won countless music polls over the years, and was elected to the Modern Drummer magazine Hall of Fame in 1988 and the PAS Hall of Fame in 1993.
Read Joe Morello’s PAS Hall of Fame profile.
Photo by Rick Mattingly
In Memoriam
Allen Kaylor
Allen Kaylor died on March 4, 2011 after a long illness. Atalented manager and musician, Allen led the Avedis Zildjian Company’s salesoperations for the southeast and central-southwest territories of the UnitedStates and Mexico for over 11 years, increasing sales by building strong,long-term relationships with dealers throughout the region. Allen joined theZildjian Company after a successful 17-year career with Kaman Music where heheld a similar position and worked as a sales manager for Ovation Instruments.
“We are deeply saddened by the loss of Allen,” said DebbieZildjian. “Our industry and the Zildjian Company have greatly benefited fromAllen’s dedication and creative leadership. All of us at Zildjian will miss hishumanity, passion, and humor.”
In Memoriam
Jan Pustjens
Jan Pustjens, percussionist at the RoyalConcertgebouw Orchestra of Amsterdam, co-founder of Amsterdam PercussionGroup, and owner of Pustjens Percussion Products, died on January 7,2011.
Born October 31, 1946, Pustjens graduated cum laude from the Conservatory of Maastricht. While still at school he became Principal Percussionist and Timpanist of the Orchestra of Opera Forum in Enschede. After graduation in 1968, he became Principal Percussionist in the Netherlands Philharmonic Orchestra in Amsterdam. In 1974 he became Principal Percussionist of the Royal Concertgebouw Orchestra of Amsterdam.
Pustjens also taught and headed the percussion faculty at the Conservatory of Amsterdam and was active in the European clinic circuit. In December 2010 the Dutch PAS chapter honored Pustjens with an award for "his exceptional work for Dutch percussion and its promotion at a global level, both as player and teacher."
In Memoriam
Dick Richardson
Richard (Dick) James Richardson died on Dec. 31, 2010. He was born on Sept. 18, 1928, in Brookfield, Ill and attended DePaul University in the Chicago, Ill., area. He was the longtime owner of Musser Instruments in La Grange, Ill. When Musser merged with Ludwig Industries, he remained with Ludwig as vice president. Later, he took a position as president of Slingerland Drum Company. He was a member of the PAS Board of Directors when the group was first formed.
In Memoriam
Thomas Ray Becker
Thomas Ray Becker died Dec. 8, 2010. He was a general manager for Steve Weiss Music for seven years and was director of the drumline at Villanova University for over 10 years. Tom was a graduate of the University of Miami with a degree in Music Business.
In Memoriam
Jack McKenzie
By Tom Siwe
Jack Harris McKenzie, a founding member of the Percussive Arts Society, passed away on November 11, 2010, which was his 80th birthday. He died peacefully in his home in Bonita Springs, Florida, surrounded by his loving family and wife of 60 years, Patricia.
McKenzie was the first percussionist to be awarded a Bachelor of Music degree at the University of Illinois, where he was a student of Paul Price. Following graduation in 1954, he joined the faculty at Arizona State University, earning a Master of Arts in Education degree, and he played with the Phoenix Symphony and Civic Opera Company. In the fall of 1956, he returned to the University of Illinois to direct its percussion program for the next 13 years. In 1971, he became Dean of the University’s College of Fine and Applied Arts, a position he held for 19 years.
McKenzie taught percussion at Illinois and at the National Music Camp in Interlochen, Michigan. Working with young drummers, he was an advocate for matched grip on snare drum. He wrote in Percussionist (V.1, No. 3, 1963), “A great many of the problems in teaching beginners stem from the unnatural left hand position. Our teaching time is filled with corrections of the left hand. With the matched grip, special left hand problems are almost eliminated.” McKenzie also composed a number of solo and ensemble works and a method book for the beginning snare drummer.
A gifted conductor, McKenzie led the groundbreaking UI Percussion Ensemble that began with Paul Price. He was the first conductor of the University’s Contemporary Chamber Players that performed widely in both the U.S. and Europe. In the 1960s, he coordinated John Cage’s “Music Circus” and “HPSCHD” and also worked with PAS Hall of Fame composer Harry Partch, conducting and filming Partch’s most famous work, “US Highball.”
McKenzie was a natural leader and a great educator. From his days as president of the UI Concert Band and his chairmanship of the International Council of Fine Arts Deans to his directorship of the National Arts Education Research Center, he served with distinction and with a humility that endeared him to all. He understood the many benefits of international partnerships and established programs in Versailles, France and Shanghai, China. Recognized for these and other global initiatives in 1981, McKenzie was awarded an Honorary Doctor of Philosophy degree from the China Academy, Taiwan.
A scholarship is being established to honor Jack McKenzie. Online donations can be made here by selecting "24. Jack H. McKenzie PASIC Scholarship" from the drop-down menu.
Or, contributions can be sent to:
Percussive Arts Society
Attn: McKenzie PASIC Scholarship
110 W. Washington St., Suite A
Indianapolis, IN 46204
In Memoriam
Howard Van Hyning
Howard Van Hyning, a former percussionist with the New York City Opera and the owner of the rental business Van Percussion, died on October 30, 2010 at his home in Hastings-on-Hudson, New York at age 74. He was born in Umatilla, Florida in 1936 and played in the Florida Symphony Orchestra while in high school. He attended the Juilliard School on scholarship where he studied with Morris Goldenberg and Saul Goodman and received bachelors and masters degrees. He then played in the Baltimore Symphony Orchestra for two years before joining the New York City Opera in 1966. He eventually became principal percussionist and stayed until his retirement in 2006. He was also Professor of Music at Mannes College and a freelancer with a special interest in new music. His collection of vintage instruments led to the formation of his rental company, Van Percussion.
Howard Van Hyning, a former percussionist with the New York City Opera and the owner of the rental business Van Percussion, died on October 30, 2010 at his home in Hastings-on-Hudson, New York at age 74. He was born in Umatilla, Florida in 1936 and played in the Florida Symphony Orchestra while in high school. He attended the Juilliard School on scholarship where he studied with Morris Goldenberg and Saul Goodman and received bachelors and masters degrees. He then played in the Baltimore Symphony Orchestra for two years before joining the New York City Opera in 1966. He eventually became principal percussionist and stayed until his retirement in 2006. He was also Professor of Music at Mannes College and a freelancer with a special interest in new music. His collection of vintage instruments led to the formation of his rental company, Van Percussion. Howard Van Hyning, a former percussionist with the New York City Opera and the owner of the rental business Van Percussion, died on October 30, 2010 at his home in Hastings-on-Hudson, New York at age 74. He was born in Umatilla, Florida in 1936 and played in the Florida Symphony Orchestra while in high school. He attended the Juilliard School on scholarship where he studied with Morris Goldenberg and Saul Goodman and received bachelors and masters degrees. He then played in the Baltimore Symphony Orchestra for two years before joining the New York City Opera in 1966. He eventually became principal percussionist and stayed until his retirement in 2006. He was also Professor of Music at Mannes College and a freelancer with a special interest in new music. His collection of vintage instruments led to the formation of his rental company, Van Percussion.
In Memoriam
T.V. Vasan
Renowned ghatam artist T.V. Vasan passed away in New Delhi on Sept. 29 following a heart attack. He was 61. He was the younger brother of singer and mridangam master T. V. Gopalakrishnan, and his older brother was the noted violinist T.V. Ramani. Vasan was trained in mridangam, pakhawaj, maddalam, thavil, kanjira, and ghatam, and was an All India Radio artist for three decades. As a ghatam artist he was part of the legendary group Sruthi Laya. He also played with American jazz artist John Handy, accompanied many of the great Carnatic artists from Southern India, and sang and taught vocalists.
In Memoriam
Bob Beals
Bob Beals, the former president of Evans Products, died on August 7, 2010. Beals purchased Evans from its founder, Chick Evans, in 1959, just three years after Chick Evans pioneered the use of polyester film in the making of "All-Weather" drumheads. Under Beals’ leadership in Dodge City, Kansas, Evans developed the clear drumhead in 1968, followed shortly by the Hydraulic drumhead, which had a thin layer of oil between its two plies. In the 1980s, working with the latest computer technology, Beals developed heads with CAD/CAM hoops. That was soon followed by the Genera line and the EQ system. In 1995, Beals sold Evans to J. D’Addario & Company.
Drummer Peter Erskine, a longtime user of Evans heads, was a close friend of Beals and offered the following tribute: “Bob Beals was many things: an innovator as well as a historian, a dreamer who stayed pragmatic, a proud but humble man, impatient with things when they weren't right, yet he always had all of the time in the world for a friend. He generously dispensed advice that was always on the mark. Bob was in the music business long enough to have seen it all, and I have many fond memories of his regaling me with story after story about this company or that person.
“Bob's company, Evans Drumheads, which he owned and operated for many years before entrusting it to the dynamic and expert hands of the D'Addario family, pioneered many advancements in drumhead design—improvements that raised the bar for the entire percussion industry. I was fortunate to have met Bob when I was 18 years old, shortly after my joining the Stan Kenton Orchestra. Since Evans was the drumhead of choice for Stan, it was natural that I would play Evans back then, and our association lasted ever since 1972. I posed for my first music industry ad with Bob behind the camera, holding a drumhead while seated poolside at a Kansas hotel. Before Slingerland or Zildjian, Bob Beals put me on the map.
“Bob Beals also put me on the path towards a truly successful music career, a career that necessitates our being able to wear a number of different hats in order to succeed and thrive. Bob came to a college gig where I was working as a guest clinician in order to show me a new thing he was working on (his CAD/CAM system for designing and manufacturing drumheads with computer precision and control). His enthusiasm for things technological as well as musical reminded me very strongly of my father, and I suspect that I invested some surrogate son-to-father affection towards Bob; he was like my father in the drum business, and, like a good father, he provided some excellent advice.
“Seeing how hard I was working by my having to fly all over the place to work—rehearsing, giving clinics and playing in concert—he said, "Peter, you have to learn to make money while you sleep." He said this with his usual twinkle and bemused smile. And, with total thanks to Bob, I returned home with a determination to focus my future plans on creating a musical legacy where my work would not only remain for others to hear, but to create a library of writings, compositions, even musical products in cooperation with various manufacturers, in order to make money while I slept and ensure a gift to bestow to my children and their children. It had not occurred to me to do that before Bob looked me in the eye in that university parking lot in Wichita and told me. I mention the story only because I think of that moment and of Bob often, always with gratitude and a smile.
“A bittersweet smile now that he is gone. I'd long hoped that someone would sit down with Bob and record his stories before it was too late; I don't know if that ever happened. I hope so. Bob Beals—watchmaker and repairman, drumhead company owner, inventor, tinkerer, technology explorer, entrepreneur, a man with so many gifts who always stayed humble and liked to keep things that way. Bob was and remains my music industry hero.”
Charles Dowd
April 8, 1948 – March 24, 2010Charles Dowd, a stalwart of percussion in Oregon and the Pacific Northwest, succumbed to his struggle with pancreatic cancer on March 24, 2010. He recently retired as Philip H. Knight Professor of Music at the University of Oregon in Eugene where he had served on the faculty since 1975. Many of his former students have pursued careers in music and their respect, affection, and anecdotes can be found on the Facebook page "Thanks Charles Dowd." He is survived by his wife, keyboardist Christine Mirabella, and sons Geoffrey and Jason (of San Francisco).
Dowd served as the Principal Timpanist in the Eugene Symphony for the past 35 seasons. Their March 18 concert, which he attended. was dedicated to him and opened with a special performance of Anthony Cirone’s “4/4 for Four” played by Tim Cogswell, Randal Larson, Brian Scott and Sean Wagoner. Dowd was also the Principal Timpanist with the Oregon Festival of American Music Symphonia, Cascade Festival of Music, Oregon Coast Music Festival, and Oregon Bach Festival, where he performed on the 2001 Grammy-winning recording of Credo by Krzysztof Penderecki. Dowd considered this performance his defining moment as a percussionist and recently told Eugene’s newspaper The Register-Guard, “We won the Grammy not for Bach but for Penderecki. Audiences are ready to hear modern music.”
Dowd also served as the Principal Solo Timpanist with the orchestra of the Cabrillo Festival of Contemporary Music in Santa Cruz, which won 18 consecutive ASCAP Awards for adventuresome programming under the batons of Dennis Russell Davies and Marin Alsop. As a performer/conductor, Dowd was nominated for the Laurel Leaf Award of the American Composers Alliance in New York for performing works of American composers. During his 35 years conducting The Oregon Percussion Ensemble, they performed two premieres at PASICs in San Jose (1980) and Los Angeles (1985).
Dowd authored six books on percussion performance and pedagogy:
The Well-Tempered Timpanist; Velocity Warmups for Jazz Vibraphone and Marimba; Master Technique Builders for Snare Drum (co-authored with Anthony Cirone);
The Jazz, Rock & Latin Source-book: 100 Grooves for Drums and Bass (book with CD);
A Thesaurus for the Jazz-Rock Drummer; and
A Funky Primer for the Rock Drummer.
Born in New York to a jazz trumpeter father and church pianist mother, Dowd grew up in the Midwest before winding up in the San Francisco Bay area where he often played as a rock ’n’ roll drummer. He received his Bachelor of Arts degree in 1970 from San Jose State University where he studied with his mentor, Anthony J. Cirone. Dowd received his master's degree the following year from Stanford University and did post graduate work at the Juilliard School of Music where he studied with the legendary New York Philharmonic timpanist Saul Goodman.
“As we mourn the passing of Charles Dowd, I can share my memories of him as one of those rare students who never had an unprepared lesson,” remember Cirone. “His work ethic was amazing. Always looking for greater challenges, Charles mastered the classical, jazz and solo repertoire with equal enthusiasm. He became an outstanding professor as well as performer with tireless dedication to his students and the percussion program at the University of Oregon.
“Charles also was a great personal friend,” Cirone continues. When told his composition was performed by the Eugene Symphony during last week’s special concert, Cirone was honored to have been a part of the symphony’s celebration of Charles. “But I am saddened by his early passing. May he rest in peace.”On May 22, 2010, at 3:00 p.m., the Oregon Percussion Ensemble will perform a tribute concert for Professor Charles Dowd. Students, colleagues, friends and family are invited to attend the performance in Beall Hall in Eugene. A tribute article, which turned out to be his obituary, can be found online at
http://www.registerguard.com/csp/cms/sites/web/news/sevendays/24571252-35/dowd-music-symphony-percussion-eugene.csp
David Thomas CookPercussionist and music educator Dave Cook died on March 1, 2010, at age 60 following a massive stroke.
Cook was born in Fort Worth, Texas on August 4, 1949. He received a Bachelor of Music Education degree in 1971 from East Texas State University (now Texas A&M University-Commerce). In 1978 he received his master’s degree in Percussion Performance from the Manhattan School of Music in New York City.
Cook’s professional career included performances with the Fort Worth Symphony Orchestra, Dallas Opera Orchestra, Richardson Symphony Orchestra, San Fernando Valley Symphony, Columbia University Orchestra, Manhattan Conservatory Orchestra, Dallas Symphony Orchestra and Dallas Wind Symphony. He was a founding member of the Allen Philharmonic where he served as Timpanist.
As a public school music teacher in Texas, Dave Cook taught in the Garland, Allen, and Richardson Independent School Districts, as well as the Santa Monica Unified School District in California. He helped start the Allen ISD orchestra program and most recently served as Director of the Liberty Junior High School Orchestra in Dallas (Richardson ISD). -Lauren Vogel Weiss
Jake Hanna
Drummer Jake Hanna, best known for his playing with Woody Herman, died Feb. 12, 2010 in Los Angeles at age 78 of complications from a blood disease. Born in Dorchester, Mass. on April 4, 1931, Hanna began playing professionally at age 13, and also played drums while he was in the Marines from 1950–53. After studying at the Berklee College of Music from 1956–58, he worked with Buddy Morrow, Toshiko Akiyoshi, briefly with Woody Herman, and Maynard Ferguson. He was the house drummer at the club Storyville in Boston and then worked with Marian McPartland from 1959–61. He worked with Bobby Hackett, Duke Ellington, Harry James, and Herb Pomeroy before working with Herman again from 1962–64. Hanna was the drummer for Merv Griffin's TV show, and moved to Los Angeles with the show. He was a founding member of Supersax and also played with Herb Ellis, Oscar Peterson, Bing Crosby, and Rosemary Clooney. In 1976 he participated in Herman's 40th Anniversary Concert, and he did occasional performances with Herman in small-group settings from 1984–86. Hanna recorded extensively as house drummer for Concord Records, working with such artists as Al Cohn, Harry Edison Tal Farlow, Barney Kessel, Red Norvo, Joe Pass, and many others. He also co-led a band with Carl Fontana. Besides being known for his ability to swing a band, Hanna was also known for his sharp sense of humor.
Ed Thigpen Jazz drummer and PAS Hall of Fame member Ed Thigpen, best known for his playing with the Oscar Peterson Trio, died on January 13 in Copenhagen, Denmark at age 79.
Edmund Leonard Thigpen was born Dec. 28, 1930 in Chicago, the son of jazz drummer Ben Thigpen. His first professional gig was with Buddy Collette when Ed was 18, and he soon joined the Jackson Brothers show band. He then worked with Cootie Williams at the Savoy Ballroom in New York for several months before becoming a drummer in the Army band for two years. After his discharge from the service, Thigpen returned to New York and worked with such artists as Dinah Washington, Johnny Hodges, Bud Powell, Lennie Tristano and Billy Taylor. During the 1950s he also recorded with Toshiko Akiyoshi, Ira Sullivan, Mal Waldron, Mundell Lowe, Eddie “Cleanhead” Vinson, Teddy Charles and Blossom Dearie. During that time, Thigpen became highly regarded for his brush playing and his strong sense of swing.
In 1959 Thigpen joined the Oscar Peterson Trio, which included bassist Ray Brown. Of the many recordings Thigpen made with the Peterson Trio, he cited
West Side Story as being one of the best, and he was especially proud of his drum fill on the tune “Judy” from the album
The Oscar Peterson Trio and Nelson Riddle.
After leaving Peterson in 1965, Thigpen worked with singer Ella Fitzgerald for a year. He then moved to Los Angeles and worked freelance for a year before working with Fitzgerald again from 1968 to 1972, at which point he moved to Copenhagen. Ed became very active in the European jazz scene, and he recorded with a wide variety of artists including Toots Thielemans, Johnny Griffin, Horace Parlan, Helen Humes, Clark Terry, Kai Winding, Thad Jones, Benny Carter, Art Farmer and Monty Alexander. In addition, Thigpen led his own groups and released a number of fine albums, including
Mr. Taste, It’s Entertainment, and
Element of Swing.
Thigpen was also active as an educator. His book
The Sound of Brushes is considered a definitive resource on the art of brush playing, and his
Rhythm Analysis and Basic Coordination for Drums found favor with many teachers and students. He taught extensively in Copenhagen and gave countless clinics and master classes around the world, including several PASIC appearances.
Thigpen was inducted into the PAS Hall of Fame in 2002.
Jack RumbleyPercussionist Jack Rumbley died Wednesday, Dec. 30, 2009, at the age of 79 after a struggle against cancer. He held BA and MA degrees from the University of North Texas Music School and served in the 4th Army Band, San Antonio. After service in the Army, Jack played timpani in the Corpus Christi Symphony. Returning to Dallas, Jack taught in the Dallas ISD, spent 40 summers in the pit orchestra at Casa Manana, Fort Worth, and played timpani with the Fort Worth Symphony for 40 seasons. When he retired from the Fort Worth Symphony, he joined the East Texas Symphony in Tyler as timpanist.
Memorial gifts can be made to the Jack Rumbley Percussion Scholarship at UNT College of Music, 1155 Union Circle #311367, Denton, Texas 76203-5017, attention Elida Tamez.