IAJE SURVEY OF NEW TEACHING MATERIALS
Jazz Educators Journal, Volume 39, No. 2, November
2006, page 78
Dr. John Kuzmich, Jr., Senior Columnist
IAJE SURVEY OF NEW TEACHING MATERIALS
by
Dr. John Kuzmich, Jr., Senior Columnist
CATEGORIES
I. Title - Author - Publisher - Date
Published - Price
II. Level of Teaching Application
III. Teaching Approaches
IV. Musical Examples
of Solos
V. Play-along Recording
VI. Application
VII. Discography
Any omitted category
is not applicable to the material reviewed
1145. I. Scat's My Bag! - Erika Paul - Jazz
Q Music - 2005 - $15.00 for interactive CD and Songbook, and $5.00 for song lyrics storybook/coloring/drawing
book. II. EL/MS. III. Scat singing/General music. V. Play-along. VI. Individual. VII. General discography.
Scat's My Bag is an interactive guide for engaging listeners, K-12 and adult, to the American
art form of jazz. It is a general music delight with many creative applications that can also involve
all instrumentalists (Bb, C treble, Eb, and bass clef parts are all included in the main songbook) with
its 17 songs. A clever play-along CD offers lots of excitement. Each track has appropriate topics and
words that hold the attention of your students such as: 'Clarinet Claire,' 'Tickle
Those Ivories Piano Girl!,' 'Tailgate Trombone Bob,' 'There's a Fly
in My Room,' and 'Slap That Bass (And Make It Sing, Boy!)' among 12 others. Listening
is well defined. For example, wherever you hear hand claps or finger snaps, vocal melodies or 'scat' call
and responses and collective vocal/instrumental solos, you are invited to participate along with the
CD with your own voice, instrument, or hands. Literally, you can clap, snap, tap, stomp, dance, sing,
scat, improvise or play your instruments along with the CD. Tracks 1, 9 and 17 support dance movements,
while others encourage imitation of the vocal call. The drums help emphasize the swing and Latin clave
accents for imitation as well. Track 5 encourages leader/worker call and response, whereby the listener
experiences participating on both sides of the dialog. Track 6 encourages imitation and creative sound
effects to a repeated, popular big band horn 'riff.' Track 8 is a jazz waltz that encourages
tapping the second and third beats of each measure, or singing or playing along. Tracks 11 and 17 demonstrate
jazz conversations between instrumental soloists as they trade two and four measure phrases. Track 14
is an example of a song with 3:2 clave, meaning the three-note rhythm is clapped before the two-note
rhythm. Track 12 switches the groupings in a song with 2:3 reverse clave as often heard in Afro-Cuban
and Brazilian music. Track 13 encourages rhythmic imitation through call and response of four-, two-,
and one-bar phrases with the drummer. No matter which track you use with your elementary or middle school
general music students, vocalists or instrumentalists, there will be enthusiasm for the words. Drawing
also fits well with the play-along CD. The song lyrics storybook/coloring/drawing book is a very creative
part of this presentation by getting the students into the words, coloring and drawing. It is very worth
the $5.00 price. Over 35,000 children K-12, teachers, administrators and parents have been exposed to
the author's live interactive school concert visits. Address: P.O. Box 51701, Sparks, NV 89435
USA. Web: <www.erikapaul.com>.
Hodgepodge & Shorties
Cadence Magazine, September 2006, page 18
Jerome Wilson
Hodgepodge & Shorties
Cadence
Magazine, September 2006, page 18
Reviewer: Jerome Wilson
SCAT'S MY BAG (Jazz Q Music)
by ERIKA PAUL (along with playing professionally is also a music teacher in Nevada) is one of those 'Jazz
for Kids' type of CDs but one with a lot of charm and substance. Except for a few obvious throw-ins,
Paul writes all the songs (Maple Leaf Rag/Clarinet Claire/Tickle Those Ivories Piano Girl!/Blue Skies/I
Gotta Do My Homework Blues/There's A Fly In My Room/It Don't Mean A Thing/Sammy The Spider/Clean
Your Room (To The Trumpet Tune)/Bop Boppin' Bumble Bees Buzzin'/Slap The Bass (And Make
It Sing, Boy!)/Tailgate Trombone Bob/Dynamic Dan The Drummer Man/ Guitar Dwight Is The Light Guy/Sassy
Sarah On The Saxophone/ Scat's My Bag/ Linus and Lucy. 54:29.) centering most pieces around a
specific instrument and using every jazz style from Ragtime to Hard Bop.
Using a horde of local
musicians (Erika Paul Carlson, p, vcl; Dickie Mills, tpt, flgh; Ed Easton, ts, bari s; Frank Perry, flt,
as; Bruce Cox, cl, as, ts; Ron Legg, bari s; Bob Barker, Dale Hampton, tbn; Lin Phillips, g; Dwight Carlson,
g, kazoo; Paul Binnings, Hans Halt, b; Gary Douglas, el b; Andy Heglund, d, perc; Tessa Miller, Ashley
Dotson, Lora Wagener, Drew Hargrove, Erin Macaulay, childrens' vcl. Reno, NV), Paul puts together
music that is both educational and charming in teaching kids about musical styles and instrumnets. On
top of that, the CD booklet mentions places in each song where children can sing or count out the song's
beat and also includes a glossary of musical terms and a suggested Jazz listening list that mentions
all the expected names such as Miles, Duke, Billie, and Monk, but also a few off the mainstream path
such as Tito Puente and Bessie Smith. Is it too much to hope that Erika Paul is named Secretary of Education
one day so kids all over the country can learn from her?
Paul-Carlson Lets the Scat Out of the Bag
August 2006
International Musician, August 2006,
John Otis
Teaching artist in musical performance,
Erika Paul-Carlson puts her energy
where
her heart is to bring fun insight and exciting
understanding of jazz to hundreds of kids.
Paul-Carlson
Lets the Scat Out of the Bag
Scat! When Erika Paul-Carlson of Local 12 (Sacramento, CA) shouts
the word to a group of kids, she isn't telling them to scram. Instead, she's getting them plenty excited
to learn all about jazz.
Her many skills--singing, teaching, performing, and even doodling--have
been combined into projects that enable her to entertain and educate kids across the country.
"I was always really good working with kids," says the teaching artist. "And so I took my jazz
trio to more than 40 schools, giving the kids an hour-long presentation on 100 years of jazz history."
Each informative session is a performance and presentation where she teaches children jazz performance skills,
be it singing or playing rhythm instruments. Paul-Carlson also helps explain how one style of jazz grew
into another during the last century.
Paul-Carlson is an equally gifted teacher with a small audience. "I'm
very diligent of compiling all the skills of music into each private lesson. We go through our theory,
our rhythms, and our sight reading. At the end, we do some fun stuff where I'll play something nice
on the piano that they can improvise to. That way they're well-rounded, they're using all the skills
of music each lesson".
Seeing kids' positive response to the program gave Paul-Carlson the
inspiration to create an interactive CD. "I wanted to do one in jazz because there are so many interactive
CDs out there in everything but jazz."
Scat's My Bag is Paul-Carlson's eighth CD, but her
first release aimed solely at kids, although she insists everyone can enjoy it, especially because of
its educational component. Her album is one part of what she has dubbed "The Trilogy."
Another
element of the trilogy is a songbook that Paul-Carlson thought high school band teachers might find helpful
if they want to use the songs as teaching tools, since that's the age when many start to really get
into their instruments. Best of all, the kid's don't have to transpose the songs. Also included in
the package is a coloring book, featuring pictures Paul-Carlson drew herself.
Several artists
she contacted either were too busy or turned in sketches that were ' well, a bit too sketchy and
unsuitable for teaching kids, so she decided to do them herself. "I sat down and just said, 'let
me do the doodles,'" she says. "They turned out to be fully approved by my kindergarten classes
and private students, so I think I'm safe in saying they are fun to color."
"The coloring
book is a way to keep the younger ones involved in the music because they're not really playing instruments
in the band until they're in middle school," Paul-Carlson observes, emphasizing a unique aspect
of her work. "So they would look at the songbook and say this is too hard, but now they can look
in the coloring book at the stories being told in each song, and they could color in the images that
illustrate the meaning of the song. The coloring pages, and space for their own doodles, lets them be
creative and discover how jazz inspires them to create their own artwork".
"I think
the most positive element is to expose the kids to this style of music," Paul-Carlson adds. "So
many of them say, 'I didn't know this music was jazz. Somebody told me jazz was really ugly, but this
is great.' My CD has brought some fun into a style that is sometimes misunderstood because of its sophistication."
CD: "Out In Front"
Erika Paul and featured guest artists
Jazz Now, October 2002
Reviewer:
Lawrence Brazier
There's that Bacharach bloke again to kick off this album. News seeps in from
all over that the man's music is enjoying a revival. And why not? Ms. Paul shows off her rhythmic sense
on "The Look Of Love". The lady has a keen sense of inflection and a "tone" to her
voice, which she is able to stretch. What is most evident is her obvious musicality, a musician's singer.
This means that she grooves on the rhythm section, she nuances to a very hip way and, well, she makes
you feel like popping your fingers. What more could you ask? Then she shows you what more with "Guess
Who I Saw Today". Is there anyone among us that has not loved this song for decades? Beautifully
delivered with the guys in the band doing their part. "Body and Soul" is offered as a light-hearted
bit of bossa nova fluff and there's almost a giggle when she sings "my life a wreck you're making".
The whole thing comes together on "Summertime". where there is a great live atmosphere. The
band gets off on this one and works very well with the lady. Nice cd. Good for a hip hour with someone
you like.
CD: "Expressions Of Love"
Erika Paul and featured guest artists
Jazz Now, October 2002
Reviewer: Lawrence Brazier
We are impressed with the lady's ability to sing "with the band".
She blends so well. The swing is maintained (hear "Steam Roller Allie")...She is in there...the
voice is nice...perfectly subject to what is going on. And, there is plenty of jazz content there, material
allowing the musicians to stretch a little and find a groove. Erika's arrangements are probably as much
responsible for the overall feeling good as much as anything else. Ms. Paul is enchantingly sweet on "That's
All". She seems to mean it when singing "My Foolish Heart". In fact, sincerity seems to
be the best word to describe this lady's singing on all accounts. Nice record. Play it in the early
evening when getting ready for a romantic evening. It really helps.
CDs: "Out In Front" and "Expressions Of Love"
Erika Paul and featured guest artists
Cadence
Magazine, March 2002
Reviewer: Frank Rubolino
Both of vocalist/pianist Erika Paul's recordings
are taken from the same studio sessions. These cds, which feature love songs plus a bit of the blues
and swing, show Paul to be an appealing popular songstress. On "Out In Front", she sings the
romantic lyrics in a straightforward manner without deviation from the melody line, leaving the Jazz
content to her supporting cast of musicians...her voice has coquettish charm, yielding a warm, mellow
ambiance. The songs are taken at a casual, graceful pace, and Paul executes them with honey-dripped,
subdued emotion. She is also an adept song selector. The standards on both discs are very engaging, meshing
smoothly with her down-to-earthiness.
Paul is the pianist on several tracks and she composed six
of the tunes on "Expressions Of Love", which has a more upbeat, swinging bearing...an especially
effective cut is the live "Summertime" bonus track on the "Out In Front"cd.
Both
of these recordings come across as stress relievers. The attitude is laid-back, the instrumental segments
are non-threatening, and the vocal effort by Paul remains on an even keel. She is accompanied by musicians
whose playing gives the set it's Jazz affiliation, but Paul holds her own without compromising her unpretentious
style. The excitement level may be mellow, but I do not think it was ever intended to be otherwise.
CD: "So What Is This Thing Called Jazz?"
The Erika Paul Trio
Cadence Magazine, February
1999
Reviewer: Jerome Wilson
Erika Paul on piano and vocals, Paul Binnings on acoustic bass and
Dave Riegert on drums
The piano trio on this CD knows how to mix it up well. They hit the ground
running on One Note Samba and never look back. Erika Paul's piano is tough and sleek and her voice carries
enough of the tune so that she never weighs the group down. They do a good job on the classic Coltrane
arrangement of "My Favorite Things" and get into rocking Latin rhythms on Erika's original "Lightly
Latin On Satin" and wheel through the likes of "I'll Remember April" with energy and
class. This is a piano trio that knows it's stuff.
CD: "Jumpin' Jelly Beans"
The Erika Paul Trio and special guest artists
Nemko CD Liner
Notes-Jazz Q Records 1998
Reviewer: Francesca Nemko, columnist for
Erika Paul on piano and vocals,
Ed Easton on tenor sax, Jeff Leep on flute, Wayne Theriault on muted trumpet, Paul Binnings on acoustic
bass and Pete Spomer on drums
Vocalists, who are also accomplished pianists and choose to accompany
themselves, sometimes have an advantage in that they can pick up their own subtle nuances. Erika Paul
fits nicely into this category. One of my first impressions was how effortless and unpretentious is Erika's
singing. She has a pleasant mid-range, with no need for pyrotechnics of gimmicks, despite the fact that
she has been vocalizing since she was nine. Piano playing started earlier at age seven, and she has stuck
with her chosen field through thick and thin.
When Erika relocated to Nevada in 1990, she had
already been heard with some of the finest bay area jazz bands along with leading her own quartet Jazz
Q. In 1994, Erika joined forces with Binnings and Spomer. Binnings spent time with such luminaries as
Earl "Father" Hines, Zoot Simms, Dizzy Gillespie, Neil Hefti and Henry Mancini among others.
Spomer's credits show his versatility and his special gift of small combo playing as he spent time with
Lester Young, the house trio at the London House in Chicago, and Ira Sullivan.
Erika's own contributions
to this CD are all fine examples of both music and lyric writing. The title track, "Jumpin' Jelly
Beans" is child-like, upbeat and bouncy. I was especially taken by her original "As He Began
To Leave" with it's intelligent lyric surrounded by Easton's moody tenor. Another Erika original
is dedicated to the Northern Nevada area "(Take Me Back To) My Reno-Sparks Home", in waltz
tempo, as Leep's suitable descriptive flute and melody-doubling weaves through this in a light and breezy
way. On Erika's "Let's Mambo Tonight," both Easton and Theriault round out the trio's infectious
peregrinations. The closing original. "The Choice Is Up To You," is somewhat of an anomaly,
and Erika is quick to acknowledge that she's "no gospel singer," yet her writing and delivery
of this back-to-the-roots oration are right on target. So too is Easton's hard-edged tenor sax, stirring
up just the right amount of soulful sermonizing.
Erika offers words in two languages on "Autumn
Leaves", where her vocals remind me of such other straight-ahead vocalists as Blossom Dearie and
Bob Dorough. Erika's piano, on every track, is supremely empathetic. On Ellington's "Just Squeeze
Me", Easton noodles around Erika's vocal lines, plunges into his own solo, followed by Erika's
piano solo--no Ellington copy, this Erika girl--she plays piano all her own way. Theriault makes his
entrance with a unique muted trumpet sound on "It's Only A Paper Moon", with impressive vocal
intonation and pronounciation by Erika, as she pays attention to the lost art of interpretation of others'
words. The Gershwins' "Fascinating Rhythm" and Johnny Mercer's "Goody Goody" are
given a light-hearted humorous tilt. I'd like to hear more of the back-up vocals of Binnings and Spomer
after hearing this version. Here is a trio that knows each other's moves fluently, and consistently
demonstrates this ability.
Undoubtedly Erika Paul and her entourage are onto something here. Tasty,
uncluttered, jazz-at-it's-depths, to enjoy in person and on record for years to come.
CD: "Jumpin' Jelly Beans"
The Erika Paul Trio and special guest artists
Wong CD Liner
Notes-Jazz Q Records 1998
Reviewer: Dr. Herb Wong, Jazz Media Producer, Journalst/Educator
Erika
Paul on piano and vocals, Ed Easton on tenor sax, Wayne Theriault on muted trumpet, Jeff Leep on flute,
Paul Binnings on acoustic bass and Pete Spomer on drums
A jazz trio that persists as a working
jazz combo for a reasonably long time is an uncommon phenomenon nowadays. Pianist Erika Paul, with trio
mates Paul Binnings on bass and Pete Spomer on drums, have been together since 1994, sustaining a tight,
swinging brand of jazz. Considering the heavy pressures of social/cultural dynamics, this cohesion is
beyond a minor achievement.
Obviously, there are wiry threads of strength that weave in resiliency
and special "x" factors, especially in regards to the requesites of intuitive, democratic interplay
and emotional warmth of the musicians that successful jazz performances demand. It is obligatory to refer
to the trio's fortuitous bonding which gave birth to the group's jazz life. "We jelled the moment
we played together that first time," Erika recalls, "And we all knew we had something very
precious and special."
This third cd by the trio shows marked maturation and points of genuine
progress. It also welcomes enhancement via guest horn soloists. Ed Easton, in particular, is an upper
tier talent whose tenor saxophone prowess reminds one of the mellifluous sounds of Stan Getz and Wardell
Gray, as well as the sinewy drive of Gene Ammons and Illinois Jacquet. Two other lyrical players, providing
additional spice and color are Jeff Leep on flute and Wayne Theriault on muted trumpet.
Striking
a balance of durable standards and a half a dozen fresh Erika originals, the scope of tunes mirrors the
capacious abilities and grooves of the band, and of it's versatility, in reference to the eclectic character
of mainstream swing, which the musicians share on stage in a wide array of venues, in and out of their
Nevadan homebase environs.
Among many highlights, the following readily grab interest: Erika's
finger poppin' scat vocals and lyrical singing stylings on Autumn Leaves and A Foggy Day; Easton's
Getzian obligatos on Just Squeeze Me; Binnings' melodic, exact bass lines and huge bass notes that yank
at your ears (he's a beautiful time center) and Spomer's tasty and supportive drum statements on Goody
Goody; plus the personally ambient lyrics of Erika's (Take Me Back To My)Reno-Sparks Home sense of place
and esteem. Not to be missed through casual attention, is the jaunty, joyful title track "Jumpin'
Jelly Beans"... a title selection that kicks and shakes up every jelly belly and jazz fan into a
wonderful ear treat!
The Erika jazz experience needs no more than a brief introduction--warm,
tenacious memories don't evaporate easily. Audiences are brought close to the heart of the band's swinging
human spirit. It is simply ego-less and accessable. This CD is the band's most engaging illustration
of it's jazz aesthetic. Dig it!
CD: "Wishing You A Swingin' Happy Holiday"
The Erika Paul Trio
Jazz Now World Magazine,
December 1998
Reviewer: Haybert K. Houston
Erika Paul on piano and vocals, Paul Binnings on acoustic
bass and Pete Spomer on drums
This is the fourth offering from Erika Paul and her trio. This very
talented and productive lady got this one out just in time for the holidays. Tracks 1, 2, 8, and 16 are
original compositions by Erika. I think track 1 (a beautiful waltz with lyrics that paint a warm, romantic
picture) could very well become a standard. Track 2, (the title track) gives Paul Binnings and Pete Spomer
the opportunity to show off their talents as they support Erika and each other. This is one tight trio.
Track 16, "The Holiday Season Is Here" really swings with a little Latin flavor. I have always
liked Erika's piano playing, and this is a wonderful vehicle for that talent. This release is a showcase
for the lyrical and compositional talent of Erika and the trio. You'll be sure to hear it being played
a lot around the Jazz Now Building this holiday season, and if you're on my gift list, now you know
what you're going to get.
CD: "Wishing You A Swingin' Happy Holiday"
The Erika Paul Trio
Cadence Magazine, December
1998
Reviewer: Frank Rubolino
Erika Paul on piano and vocals, Paul Binnings on acoustic bass, and
Pete Spomer on drums
The music on this cd takes a different turn for a Christmas jazz album, or
for that matter, any Christmas album. Pianist and vocalist Erika Paul wrote the music and lyrics to 4
of the tunes that are mixed with a dozen holiday standards. She and her trio play these Christmas songs
with the typical holiday spirit, and the original tunes give the recording a nice twist. Erika Paul has
a pleasing, innocent-sounding voice that projects with clarity and good range. She accompanies herself
while singing on all 16 selections, but also diverts to the instrumental jazz trio on each piece. The
vocals have the sound of Tin Pan Alley music, moving them more toward the popular category. The instrumental
portions are taken at a straight-ahead pace and obviously are more jazz-oriented. Bassist Binnings and
drummer Spomer perform almost exclusively in the support role with only occasional spots as soloists.
Spomer favors the brushes and Binnings plays in quieter tones to give the music a soft touch. The trio
respite tend to be short exercises between the vocal segments, but they are tastefully played with finesse
and a light touch to match the mood of the season. The recording, however, is designed to feature Erika's
voice, and the instrumental segments are secondary to that goal. It is a well executed performance, and
the result is a pleasant sounding Christmas album.
CD: "It's About Time"
The Erika Paul Trio
Jazz Now World Magazine, June 1997
Reviewer:
Robert Tate
Erika Paul on piano and vocals, Paul Binnings on acoustic bass, Pete Spomer on drums
As
more and more singers put out cds, the quality diminishes. Many vocalists warble and waver all around
the note they're supposed to be singing. Do they think that singing out of tune is the hallmark of a
Jazz Vocalist? But it has been my experience that singers who play piano and pianists who sing almost
always get the tune right. And it's refreshing to hear someone who is dead right on all the time, as
Erika Paul is on this recording.
Erika's voice is hard to describe without adjectives like hard
that sound negative, but I enjoy it very much. It is exactly right for what she does with the songs,
which is to swing them, putting on a class act without digging into any soul-searing emotional depths
they may have. Her piano playing is imaginative and effervescent, and she throws in unusual twists that
will have you nodding your head appreciately.
Paul Binnings and Pete Spomer are integral to the
sound of this trio, helping to define it's distinctive character. Binnings has a hard-walking presence
that underpins the swinging, gives it bottom, and propels the whole group. Spomer is a consumate artist
who can play melody on his drums and punctuate a solo with just the right percussive lick.
The
program comprises mostly standards with a couple of originals by Erika Paul. My personal favorite was
the trio's treatment of an almost-forgotten Artie Shaw tune, "Any Old Time."
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