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SATURDAY, MAY 22 - 9:30 a.m.

Jepson Theater, Modlin Center for the Arts

ITG Jazz Competition Finals
Marshall Scott, chair

Preliminary judges: Terry Sawchuk, Pat Harbison and Rolf Olson.

Finals judges: Mike Vax, John Harbaugh, John Blount

The finalists:

    Andrew Neesley
    University of Wisconsin, Eau Claire
    Teacher: Robert Baca

    Michael Rodriguez
    University of Miami
    Teacher: Alan Hood

    Thomas Heflin
    University of Tennessee
    Teacher: Cathy Leach

    Benjamin Wolkins
    Indiana University at Bloomington
    Teacher: Bill Adam

T. Howard Curtis, drums
Bob Hallahan, piano
|Randall Pharr, bass

ITG Jazz Competition Finals
James R. West, reporter

The finalists for the competition were Andrew Neesley, a student of Robert Baca, Benjamin Wolkins, a student of Bill Adam, Michael Rodriguez, a studs930z.JPGent of Alan Hood, and Thomas Heflin, a student of Cathy Leach. The preliminary judges were Terry Sawchuk, Pat Harbison, and Rolf Olson. The judges for the final round were Mike Vax, John Harbaugh, and John Blount. Marshall Scott chaired the competition, and introduced each one of the soloists. The rhythm section was comprised of Bob Hallahan on piano, Randall Pharr on bass, ans930y.JPGd T. Howard Curtis on drums.

Andrew Neesley began the competition with Seven Steps to Heaven, My Funny Valentine, and Daahoud. His rendition of Funny Valentine was particularly interesting. It was very dark and contained lots of half-valve work and lots of spills.

Benjamin Wolkins was the seconds930w.JPG contestant, and performed Seven Steps to Heaven, Moon Alley, and Blue in Green.

Michael Rodriguez performed One-Finger Snap, Stardust, and Seven Steps to Heaven. The reviewer thought that Stardust was an interesting choice for a competition, and Mr. Rodriguez did a splendid rendition.

Thomas Heflin played Moon Train, I Remember April, and Seven Steps to Heaven. April was done in a Clifford Brown styles930x.JPG.

The reviewer noticed that the finalists didn't interact much with the rhythm section, other than to count off the beginnings of the tunes, and they didn't interact with the audience, other than bowing.

Marshall Scott and John Harbough are supported in part by a grant from United Musical Instruments, USA, Inc.

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