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Univ. of Maryland Jazz Program Adds to Local Scene

Univ. of MD Jazz Ensemble
Chris Vadala performing with the University of Maryland Jazz Ensemble

Over the past ten years, the local jazz community has seen an influx of young and promising talent, largely due to the strong music programs at local universities. Because the area's academic institutions are so vital to the local music scene, this is the first in a series profiling local jazz education programs.

A chief contributor to the recent resurgence is the jazz program at the University of Maryland. Names such as Matt Rippetoe, Brad Linde, Charles Ostle, Lyle Link, Lena Seikaly, Kenny Rittenhouse, and Leigh Pilzer should be familiar to those who follow DCist's jazz columns, and all of them have received degrees in College Park.

"A lot of the guys in town are all products of our music program, and they're out there playing the clubs and playing gigs," said Chris Vadala, Director of Jazz Studies at the university.

There are several factors to the Maryland jazz program's growth and success, with the first being the work of its director. Appointed to the position in 1993, Vadala not only heads the department, but also directs the big bands and teaches saxophone. Prior to entering academia, he made his name as a sideman, most notably appearing on numerous recordings with flugelhorn player Chuck Mangione, including the 1977 crossover hit, Feels So Good. In addition to his duties at Maryland, he continues to be an in-demand clinician, performing, coaching, and judging competitions across the country.

Since taking over, Vadala has increased the number of ensembles available to students. The program has three big bands, two primarily for music majors, and one that is open to all students. The school also offers four or five small groups that are coached by adjunct faculty, as well as a weekly jam session for majors and non-majors. Just as the university as a whole has steadily instituted a more rigorous admissions process, acceptance to the program has also become more competitive.

"The bar has been raised quite high," Vadala said. "As a result, the level of the performing groups has been elevated quite a bit."

Vadala has also helped institute administrative changes in the program. The program offers a graduate degree in jazz studies, and will soon offer a specialized Bachelors of Music degree at the undergraduate level. Neither program was in place when Vadala took over. The university has also expanded the jazz faculty. Several of the area's more established players teach at Maryland, including percussionist Chuck Redd, pianist Jon Ozment, and bassist Tom Baldwin.

The music school's increased visibility is also due, in large part, to the opening of the Clarice Smith Performing Arts Center, a beautiful 318,000 square foot facility that opened in 2001. Prior to that, the School of Music was housed in Tawes Theater, a poorly designed and outdated facility. Along with ample performing and practice space, the university also invested in new equipment to boost the jazz program. The Center also invites artists to perform and engage with campus and community beyond their time onstage. For example, saxophonist Steve Wilson, who DCist interviewed last year, is in the midst of a four day residency in which he will perform as a guest with the university's big band on Wednesday, and with his own group on Thursday.

The result of all this effort is that the jazz program has a national reputation among state universities, regularly attracting top talent from across the country. However, there are no plans to compete with specialized conservatories that exist solely for musical training. Prospective students at Maryland must meet the academic standards of the university, as well as the requirements of the jazz program.

"We are a centralized and focused program," Vadala explained. "If people are looking for a huge program like Berklee, Miami, or North Texas, we’re not going to be that."

Of course, the recent economic meltdown has deeply affected the University of Maryland. Vadala now has to deal with a university-wide budget freeze, a decrease in scholarship money, and a decrease in available graduate assistanceships.

"I've had a pretty comfortable budget, but now the whole university is on standby," said Vadala. "It’s a nationwide problem, not just a School of Music problem. But it's not going to make recruiting any easier."

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By Sriram Gopal in on March 10, 2009 10:39 AM

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