RICHMOND MATTESON: EUPHONIUM INNOVATOR, TEACHER

AND PERFORMER, WITH THREE RECITALS OF

SELECTED WORKS BY FRESCOBALDI,

BACH, SAINT-SAENS, HUTCHINSON,

WHITE, AND OTHERS.

Marcus Dickman, Jr., B.M.E., M.M.

APPROVED:

V4

Major Professor

Committee mber

Committee ember

Dean of the College of Music

Dean of the Robert B. Toulouse Schoolof Graduate Studies

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007k.00/

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RICHMOND MATTESON: EUPHONIUM INNOVATOR,

TEACHER AND PERFORMER

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Marcus Dickman, Jr., B.M.E., M.M.

Denton, Texas

August, 1997

Dickman, Marcus, Jr., Richmond Matteson: Euphonium

Innovator, Teacher and Performer, with Three Recitals of Selected

Works By Frescobaldi, Bach, Saint-Sa~ns, Hutchinson, White and

Others. Doctor of Musical Arts (Performance), August, 1997, 97 pp., 23

examples, 3 tables, 3 appendices, and bibliography.

An examination is conducted of the life, career and musical styles

of Richmond Matteson, an influential jazz euphonium and tuba

performer of the twentieth century. The study includes a brief history of

the euphonium's role in concert bands. A description of Matteson's

background as a musician and clinician including education,

influences and career changes will also be discussed. Analysis of

Matteson's improvisational style and a transcription from the recording

Dan's Blues is included. A formal analysis of Claude T. Smith's

Variations for Baritone is provided, as well as a brief biography of the

composer. Matteson's stylistic traits which Smith employed for the

composition of Variations for Baritone are illustrated. The conclusion

calls for further study of jazz styles by euphoniumists with more

frequent performances of Variations for Baritone. Appendices include

lists of Matteson's compositions and arrangements, a selected

discography and a list of clinics and performances from 1982-1992.

Tape recordings of all performances submitted as dissertation

requirements are on deposit in the University of North Texas Library.

iii

ACKNOWLEDGMENTS

I would like to recognize my colleagues, friends, teachers and family

who gave their expertise, encouragement and selfless dedication during the

completion of my terminal degree. Special thanks are given to: Donald

Little who has given freely of his time and musicianship, and for his kind

hospitality; Dr. Royce Lumpkin for his proofreading and helpful advice and

guidance; Eugene Corporon for serving on my DMA committee; Peggy

Heinkle-Wolfe who was extremely helpful in the theoretical portions of this

study; and Dr. Priscilla VanZandt for proofreading and giving invaluable

editorial suggestions. I would also like to thank Dr. William Prince, Barry

Greene, and Kevin Bales for their assistance in the reproduction of the

musical examples contained in this paper.

I would like to thank my parents, Marcus, Sr., and Janet Dickman,

for their encouragement and support through the long years of my college

education. To my wife Patrice, and children, Jacob and Corrine, I dedicate

this treatise. Their sacrifice throughout my studies are one of the main

reasons I was able to complete my degree.

A musical discussion without examples is unintelligible. I wish to

thank Mr. Frank Fendorf at Wingert-Jones Music, Inc. for giving me

permission to reproduce selected musical examples.

Last of all, a special note of gratitude to Michelle Matteson for

helping me to document the remarkable life and career of her husband.

iv

TABLE OF CONTENTS

Page

ACKNOW LEDGM ENTS .................................................................. iv

RECITAL PROGRAMS..........................................vii

LIST OF MUSICAL EXAMPLES ..................................................... xi

LIST O F TA BLES ............................................................................. xiii

Chapter

I. INTRODUCTION .......................................................... 1

II. A BRIEF HISTORY OF THE EUPHONIUM AND ITSROLE IN THE AMERICAN CONCERT BAND...................3

III. RICHMOND MATTESON: PERFORMER, EDUCATOR,IN N OVA TO R ............................................................... 10

IV. MATTESON'S CONTRIBUTION TO TUBA ANDEUPHONIUM PERFORMANCE........................................24

V. THE VARIATIONS FOR BARITONE BYCLAUDE T. SM ITH ..................................................... 40

VI. CONCLUSION AND SUMMARY...................................57

V

Appendices

A. MATTESON'S COMPOSITIONS AND ARRANGEMENTSFOR JAZZ ENSEMBLE AND SOLOIST, FOR BRASS BANDAND SOLOIST, FOR BRASS BAND ALONE, PUBLISHEDJAZZ ENSEMBLE COMPOSITIONS, AND TUBAJAZZCOMPOSITIONS AND ARRANGEMENTS......................61

B. SELECTED DISCOGRAPHY OFRICHMOND MATTESON..............................................68

C. MATTESON'S CLINICS AND CONCERTS 1982 - 1990..........70

BIBLIO G RA PH Y ............................................................................ 92

vi

Page

University of North Texas

presents

A Graduate Recital

MARC DICKMAN, euphoniumassisted by

Evelyn Barthold, piano

Monday, June 28, 1993 5:00 p.m. Concert Hall

PROGRAM

Concertino No. 1 in B' Major, Opus 7

Canzona IIfor Basso Solo..........

LeCygne.....................

.. . . .Julius Kiengelarr. Leonard Falcone

Girolamo Frescobaldi

. Camille Saint-Saensarr. Leonard Falcone

- pause -

Sonatina...........................

Barcarolle Et Chanson Bachique ........

Beautiful Colorado...................

.. Warner Hutchison

. .a ..Jules Semler-Collery

. . . . . .' . 0Joseph DeLuca

Presented in partial fulfillment of therequirements for the degree of

Doctor of Musical Arts

vii

University of North Texas

present

A Graduate Recital

MARC DICKMAN, euphonium, bass-tromboneaccompanied by

Evelyn Barthold, pianoassisted by

Larry Jones, trumpet - Bill Stowman, trumpetTom Brantley, trombone 9 Marcia Spence, horn * John Rider, tuba

Monday, June 12, 1995 5:00 pm Concert Hall

Lyric Suite ...................................... Donald H. WhiteAdagio cantabileAllegro guistoAndante sostenuto -Allegro energico

Allegro Maestoso per trombone basso e pianoforte ............. Jan Koetsier

Concert Variations for Euphonium and Piano ................... Jan BachVar. I CapriccioVar. II SicilianoVar. III RipresaVar. IV ScherzoVar. V RecitativoVar. VI CoroVar. VII Fuga

Concert a 6 in Bb from theViolin Concert in E Major, BWV1042 ............ Johann Sebastian Bach

Allegro arr. Ryohei NakagawaAdagioAllegro assai

Presented in partial fulfillment of therequirements for the degree of

Doctor of Musical Arts

viii

University of North Texas

presents

A Graduate Recital

MARC DICKMAN, euphoniumaccompanied by

Judi Rockey Bradetich, piano

Monday, July 1, 1996 6:30 pm Concert Hall

Fantasia..t.o..0...................................Gordon Jacob

Pi ce en Forme de Habafiera........................Maurice Ravel

Morceau De Concours...............................J. Ed. Barat

- pause -

Le Fleur gue tu n'avaisjet. ........................... Georges Bizet

Believe Me If All Those Endearing Young Charms............Simone Mantiaarr. David Werden

Presented in partial fulfillment of therequirements for the degree of

Doctor of Musical Arts

ix

University of North Texas

-u -7

presents

A Graduate Lecture Recital

MARC DICKMAN, euphoniumassisted by

Steven Harlos, piano * Mike McGuirk, bassRich Matschulat, drums

Monday, April 14, 1997 6:30 pm Recital Hall

RICHARD MATTESON: EUPHONIUM INNOVATOR,TEACHER AND PERFORMER WITH THREE

RECITALS OF SELECTED WORKS.BYFRESCOBALDI, BACH, SAINT-SAENS,

HUTCHINSON, AND WHITE

Dan's Blues ................. . Jack PetersenI (as performed by Rich Matteson on the albumEasy Street, Four Leaf Records, FLC 5051, 1980)

Variationsfor Baritone ......... ...... Claude T. Smith

Presented in partial fulfillment of therequirements for the degree of

Doctor of Musical Arts

x

LIST OF MUSICAL EXAMPLES

Example Page

1. Transcription of Richmond Matteson's solo euphoniumimprovisation on "Dan's Blues ".....................28

2. Broken third pattern m. 1........................................................31

2a. Sequential third pattern mm. 81-83. ......................................... 31

2b. Sequential third pattern, upper range mm. 67-68.......................31

3. Use of sequence, chordal outline mm. 4-6..................................32

4. Three-note ascending motive m. 17. ......................................... 32

4a. Reuse of three-note motive with rhythmic displacementm m . 36 - 38 ............................................................................ 33

4b. Third occurrence of three-note motive mm. 65-66.......................33

5. Usage of raised and lowered ninths m. 2...................................34

5a. Repeated blues motive mm. 22-26................................................34

6. Linear ideas with chromatic approach tones mm. 7-11...............35

7. Rhythmic displacement mm. 47-51. ......................................... 35

8. Bebop scale and extreme upper register mm. 52-56. ................... 36

9. Use of extreme upper register. Ascending line to Bb5m m . 77-80. ............................................................................... 36

10. Theme I, andante, Variations for Baritone mm. 9-19. ................ 45

10a. Theme II, allegro, Variations for Baritone, mm. 81-92...............45

11. Variations for Baritone. Entrance of soloist mm. 9-11................... 47

12. Continuation of Theme I and "Jazz Waltz" at RehearsalB m m . 12-22 .............................................................................. 48

xi

13. Theme II, allegro mm. 80-85...................................................50

14. Continuation of Theme II mm. 86-98........................................51

15. Cadenza mm. 63-64.................................................................53

16. Matteson's improvised cadenza from Variations forBaritone mm. 63-64............................................................54

17. Matteson's improvised solo from Variations forBaritone mm. 194-207................................................................56

Xii

LIST OF TABLES

Table Page1. Various names for euphonium/baritone........................................4

2. Chordal progression from Variations for Baritone..........................44

3. Formal Analysis of Variations for Baritone...................................46

xiii

CHAPTER I

INTRODUCTION

The purpose of this study is to demonstrate Richmond Matteson's

influence on euphonium playing styles and how he redefined the musical

potential of the euphonium through his career, his phenomenal

performance techniques, and his contributions to jazz education. The study

also analyzes the Variations for Baritone to demonstrate the techniques

designed by composer Claude T. Smith to showcase Matteson's remarkable

talent as a jazz euphonium performer. A historical perspective of the

euphonium is needed to show how unique Matteson's contributions are.

The euphonium's technical and musical possibilities, as displayed by

Richmond Matteson, prove that the euphonium can and should be utilized

in the areas of jazz and jazz improvisation. After all, the euphonium, like

any instrument, is limited only by the imaginations of the people who play

it.

The euphonium used in a jazz setting, either as a soloist or in an

ensemble, was virtually unheard of until it was pioneered by Richmond

Matteson. Matteson was one of the most active jazz clinicians and

performers in the United States and chose the euphonium as his primary

instrument. He helped increase the instrument's popularity, mainly

through his concert and clinic appearances with young musicians. In 1984

1

2

Matteson traveled to more than 16 states and conducted over 40 clinics and

performances while he was a full-time instructor of improvisation at the

University of North Texas. Matteson most frequently played jazz on the

euphonium, a band instrument that had had little contact with the

classical world and even less exposure as a jazz instrument. His

euphonium performance style has had an impact upon current euphonium

performers and has helped change the image of the instrument from one

with a limited range of performance possibilities to one capable of a wide

range of technique and expression, especially in the jazz idiom.

The Variations for Baritone was composed by Claude T. Smith in

1971. It is the only composition written expressly for euphonium and

concert band to utilize jazz improvisation by the soloist. In this work, Smith

produced a vehicle for Matteson's technique, range, and jazz improvisation

skills on the euphonium. The Variations for Baritone provides a unique

avenue of expression for contemporary euphonium soloists and audiences.

Matteson referred to himself as the only full-time jazz euphonium

soloist in the world. This title has yet to be achieved by anyone else. In

order to understand Matteson's innovations on the euphonium, a brief

history of the euphonium/baritone and its place in wind bands is necessary.

CHAPTER II

A BRIEF HISTORY OF THE EUPHONIUM AND ITS ROLE IN THE

AMERICAN CONCERT BAND

One of the first issues encountered when discussing and researching

the euphonium is the profusion of names for the instrument. In Musical

Wind Instruments, Adam Carse lists 17 names in the euphonium/baritone

category. In The Tuba Family, Clifford Bevan lists over 25 names. (A

partial listing can be found in Table 1.) These instruments are members of

the valved bugle family and are the same length (eight feet), pitched in Bb

and have approximately the same range. The differences among the

instruments are in the amount the tubing widens as it proceeds to the bell.

The euphonium is larger and more conical than a true baritone horn, with

the latter being more cylindrical. The euphonium's more conical bore

allows it to produce a mellow but projected sound.

The euphonium descended from the serpent and ophlicleide as a

tenor-voiced instrument with a cup mouthpiece. With the invention of

valves and rapid improvements made in the various designs, Wilhelm

Wieprecht and Johann Moritz of Germany built a tenor tuba soon after the

invention of their bass tuba in F in 1835.1

3

4

TABLE 1. Various names for euphonium/baritone.

UnitedStatesGreat Britain ItalyGermany France

Euphonium Euphonium Flicorno basso Baryton Saxhorn Basse

Bass Horn Bass Flugel Horn Eufonio Kleine Bass Bugle Basse

Baritone Bombardin_ Tuba tenore Tenorbass Clarion basse2

In 1843, F. Sommer of Weimar built a wider-bored instrument he

named the euphonion. Sommer is considered the father of the euphonium.

Not only did he build one of the first instruments, he was the first known

traveling virtuoso. He toured with the Louis Jullien orchestra from 1849 to

1851 and even tried to change the name of the euphonium to the

sommerphone.'

Aldolphe Sax of Paris, originally from Belgium, patented a complete

family of valved bugle horns in 1843. This action resulted in lawsuits by

Wieprecht, Halary (ophicleide maker) and others to block the patent.

(Wieprecht later abandoned his lawsuit, but others did not.) Sax would

spend great amounts of time and money fighting other instrument makers

over his patents for various instrument designs. Wieprecht felt that Sax

had merely made improvements to his already existing instruments. The

instruments were similar to Wieprecht's horns, but Sax's innovation was

that they had never been manufactured or conceived as a whole family.'

The naming of "saxhorn" for these instruments is attributed to the

Distin family of Great Britain. When they were touring Europe as a brass

ensemble in 1844, they were presented a set of Sax's instruments. The

5

Distin family was so impressed with these instruments they began playing

the saxhorns exclusively. Distin would eventually set up an instrument

shop in Great Britain to sell the saxhorns and manufacture his own line of

instruments. The Distins were the primary creators of the British Brass

Band movement which, in turn, had influence on the American brass

bands.'

The euphonium and baritone have a well-known tradition in the

concert and brass bands; they are considered the most important solo

instruments after the solo cornet and the solo clarinet.' The

euphonium/baritone family is used sparingly in symphony orchestras but

have managed to be utilized in 17 orchestral works. 7 These include;

Ottorino Respighi's Pines of Rome; Gustav Mahler's Symphony No. 7; Leos

Jandicek's Sinfonietta; Gustav Holst's The Planets; Arnold Bax's Overture

to a Picturesque Comedy; Richard Strauss's Ein Heldenleben and Don

Quixote.

By the beginning of the twentieth century, the various instruments

from around Europe had merged into what we now know as the baritone

and euphonium. Even today, there is still some confusion as to what

instruments composers want for their works. Thanks to groups like the

Tubists Universal Brotherhood Association, performers, composers and

students are gaining a better understanding of the capabilities of the

euphonium.

Since its development in the 1840's the euphonium's primary use has

been in the wind band. During the late nineteenth century, municipal

6

brass bands were popular in the United States and remained so until they

were supplanted by the mixed reed and brass band first formed by Patrick

Gilmore in 1859.8 Gilmore, an Irish cornetist, came to Massachusetts in

the 1850's. His initial experience was as a band leader who served in a

Massachusetts regiment during the Civil War.9 After the war, he formed

the Gilmore Band. As one of the first professional bands, they performed

quadrilles, polkas, and popular medleys. They also performed

transcriptions of standard orchestral overtures, excerpts of works of the

masters from Wolfgang A. Mozart to Richard Wagner and many works for

virtuoso soloists. Gilmore set a standard for band programming that

influenced all followers. Other professional bands formed in the 1890's

included those of Victor Herbert and Edwin Franko Goldman. The most

widely known band leader following Gilmore's tradition was the greatest

popularizer of the band in the United States -- the "March King," John

Philip Sousa.'0

John Philip Sousa (1854-1932) is considered the greatest march

composer who ever lived. The time in which Sousa flourished, roughly

1880-1925, was the heyday of the band as a popular musical attraction and

the most prosperous era for the professional touring band."

Sousa had a remarkable talent for marketing his band and his own

compositions as popular entertainment." Sousa's programming closely

resembled that of Gilmore, including his frequent use of soloists. Some

soloists were singers, but most were Sousa's star instrumentalists: for

example, Arthur Pryor on trombone; Herbert L. Clarke and Frank Simon

7

on cornet; and John Perfetto and Simone Mantia on euphonium." As a

solo instrument, the euphonium appeared most frequently in wind bands of

the late-nineteenth century, and, except for the solo cornet and solo

clarinet, the euphonium was the most frequently programmed instrument

in that era. The euphonium offered great technical dexterity, a wide

dynamic range, a warm, expressive tone and sufficient projection to be

heard at a concert whether indoors or outdoors."

The theme and variations was a typical musical form for solos

during this period. The theme in such pieces was usually a slow popular

or operatic tune followed by several variations. Often these variations called

for extremely facile technique by the performers to showcase their

virtuosity. Then, as now, euphoniumists would regularly perform

compositions originally written for trombone or trumpet. Compositions by

euphoniumists Joseph DeLuca and Simone Mantia were virtually the same

as those by cornetist Arban or Clarke. During this era more attention was

given to flare and dazzle than to writing and performing serious music.

Musical substance was secondary to audience appeal."

By the 1920's the working professional bands were becoming less

popular. Also in the 1920's instrumental music programs with bands

began to appear in public schools and colleges. These programs attempted

to combine education with entertainment and to provide pre-professional

training for band directors. Nearly every high school in the nation had

some sort of instrumental program. Thousands of young men and women

were practicing and performing on wind instruments." Many of these

8

people would later become active in music as either listeners or, less

frequently, as performers. Matteson, the son of a band director, was part of

the growth of the American band movement in the 1940's.

9

NOTES

CHAPTER II

1. Clifford Bevan, The Tuba Family. (London: Faber andFaber, 1978), 90.

2. Ibid., 29.

3. Ibid., 92-93.

4. Wally Horwood, Aldophe Sax, His Life and Legacy. (Great Britain:Bramley Books, 1979), 75-76.

5. Bevan, 103-104.

6. Ibid., 94.

7. Roger Oyster and Abe Torchinsky, "Utilizing the Euphonium,"TUBA Journal X/I, 1981, 4.

8. Richard Franko Goldman, The Wind Band (Boston: Allyn and Bacon,Inc., 1961), 49.

9. Norman Lloyd, The Golden Encyclopedia of Music (New York:Golden Press, 1968), 47.

10. Goldman, 50.

11. Ibid., 74

12. Ibid., 71.

13. Ibid., 74.

14. David Royal Miles, An Annotated Bibliography of SelectedContemporary Euphonium Solo Literature by American Composers(Annandale, VA: TUBA Press, 1992), 1.

15. Ibid., 1.

16 Goldman, 95.

CHAPTER III

RICHMOND MATTESON: PERFORMER, EDUCATOR,

INNOVATOR

Richmond Matteson was born on January 12, 1929, in Forest Lake,

Minnesota. Matteson's musical education began early, perhaps because

both of his parents were high school music teachers. Matteson studied

piano from the ages of 3 to 18. And, although his father was a high school

band director, Matteson said, "My father was probably more interested in

my becoming a piano player than a brass player."' When Matteson

reached high school, his father chose the baritone horn for him because

that was the instrument he needed in his school band. 2

Matteson's early exposure to music was through the standard

orchestral repertoire of Beethoven, Mozart, Strauss, and Brahms. As a

result of performing with his father's band, Matteson also was familiar

with the traditional concert band repertoire and standard euphonium solos

such as Beautiful Colorado by Joseph DeLuca and The Carnival of Venice

by Joseph Baptiste Arban. These works require impressive technique and

good breath support, skills that served Matteson well throughout his

career.

The Matteson family's home in Ada, Minnesota, was about 60 miles

from Fargo, North Dakota, where dance bands often stopped to play at the

10

11

local fairgrounds on their way to the bigger cities. Matteson took advantage

of opportunities to listen to their music and said, "I would stand outside of

the pavilion and listen to the bands. Once in a while a really famous band

like Dorsey would come by and play there." 3 While in high school,

Matteson heard a recording of Tommy Dorsey's Boogie Woogie (an

arrangement of an earlier recording by Pinetop Smith) and became

interested in the popular jazz groups of the time. Matteson learned the

piano solo from Boogie Woogie and performed it frequently with his father's

bands.'

In 1946, Matteson's senior year in high school, his family moved to

Rock Island, Illinois. The move allowed Matteson to live at home while

attending Augustana College after his high school graduation. He

frequently listened to the various jazz bands which performed in Rock

Island's jazz clubs, including the young Louie Bellson's group.'

Matteson played his first professional engagements during his

senior year of high school. Matteson remembered:

We formed an unofficial high school jazz band. We'd meet afterschool and each of us contributed a few bucks and bought stockarrangements. The very first gig I ever played was a non-union gigwith this high school jazz band we put together. We played a dancefor the kids at the YMCA. We each got paid a little bit for doing that.6

Because Matteson wanted to work in the jazz idiom, he sold his

euphonium and bought a valve trombone and a bass trumpet. He knew that

the mellow timbre of the euphonium was generally not deemed suitable for

use in dance band trombone sections. Swing-era bands never used

12

euphonium and rarely used tuba. The use of a valve trombone, however,

was fairly common. The bass trumpet, with a timbre closely resembling

that of a trombone, was utilized somewhat less often than the valve

trombone." Matteson easily transferred his knowledge of valve fingerings to

these two instruments instead of having to learn the trombone slide

positions. Other contemporaries of Matteson who perform on valve

trombone are Bob Brookmeyer and Rob McConnell. All three of these

musicians are noted for their modern jazz playing and their arranging and

composition abilities.

Matteson attended Augustana College for two years studying to be a

minister. Matteson explained, "Augustana College had an incredible vocal

program. Their instrumental program back in 1947-1949 was not that

strong. I'm not saying it was bad, but it was not that strong. Because of my

interest in jazz, I didn't really fit in there." When he left Augustana, he

gave up plans on becoming a minister.'

Matteson enlisted in the Army in 1950. After basic training, he was

transferred to Colorado Springs, Colorado, where he played tuba in the

concert band and valve trombone in the jazz band.9

While in the Colorado band, he rehearsed daily with men he believed

to be superior musicians. Matteson also started writing and arranging for

the Army jazz band. At about that same time he discovered the music of

Oscar Peterson and Clifford Brown. Peterson is regarded as one of the most

technically proficient jazz piano performers in the Art Tatum tradition,

and Brown is acknowledged as one of the finest technical and melodic jazz

13

trumpet players. 10 One of the chief benefits that Matteson derived from his

stay in Colorado Springs was that he was inspired to accomplish a complete

mastery of his instruments.

After Matteson finished his Army service in 1952, he spent a short

time with a band on the road. He explained:

When the (Korean) war started to slow down, they started lettingguys out. I got out in May of'52. I was in a total of 21 months.When Dave Owens got out, I went to Detroit with him, and we formeda group. We went on the road and starved! When you're in theArmy, you're playing for guys at the Enlisted Men's Club, and you'vegot a captive audience. They've got no place to go and no money. Soyou sit there and play, and whether they clap or not, you've got a gig.When you go out on the road, you can't play with that samealoofness. If your attitude is, "We're only gonna play our tunes, andwe're only gonna play the heaviest bebop stuff, and the hell with anyof you folks out there," you might last two nights in a club. I soonrealized I had to go to school and learn more about this business."

Matteson, following his father's advice about a choice of colleges,

reminisced: "Although I was a grown man, my father was still a

dominant force; he insisted that I go to the University of Iowa because Bill

Gower was there. I studied tuba with Bill." 12 Matteson had to major in

tuba because the University did not offer a degree for baritone horn.

While attending college, he worked casual night club jobs at least two

nights a week. After he received his bachelor's degree in music education

in 1955, he taught high school band and chorus for two years in Durant,

Iowa. In 1957, he decided to try playing for a living and moved to Las

Vegas, Nevada. Matteson said:

The day I arrived in Las Vegas, I went to work playing bass trumpetwith a band. The band did Dixieland, straight ahead swing likeAirmail Special, and things like that. No bebop. By that time, I was

14

beginning to get a small reputation as a good improvisationalplayer."

The years working and living in Las Vegas were very important for

Matteson because, while there, he gained employment and ultimately

achieved national recognition. While working for Kay Kaiser's former

trumpeter and comedian Ish Kabibble in 1957, Matteson caught the

attention of Bob Scoby, a highly regarded traditional jazz cornet player. In

1958 Matteson became Scoby's bass player. His instrument was an antique

BBb helicon tuba which he had purchased from a music store in Rock

Island, Illinois. He developed a unique style of tuba playing that imitated

the sound and feel of a string bass (See Chapter IV).

On September 18, 1959, Matteson joined the Dukes of Dixieland, the

most popular and well-paid Dixieland band in the nation. They played six

or seven nights a week at nightclubs, appeared on television shows and

recorded regularly. Matteson remembered:

We went into New York and played a night club at night, then did theGary Moore Show during the day. The Dukes were hot. They weredoing all the best gigs, such as major jazz shows on TV, MadisonSquare Garden, the Thunderbird Hotel and the New Frontier Hotel inVegas. We worked opposite a lot of big stars like Ella Fitzgerald,Sarah Vaughn and Billy Eckstine. I got to meet many influentialpeople in the business."

One of the people he met was Louis Armstrong, with whom he

recorded the album Satchmo and the Dukes of Dixieland (1960). This

recording session had a great impact on Matteson's career. When

Matteson asked Armstrong how he could play with such emotion (as if an

audience was there) during a recording session, Louis replied, "Play for

15

someone you love." Matteson would use Armstrong's advice as one of the

cornerstones of his clinics in his later years. Matteson felt that students

playing for someone they loved, rather than playing for critics or juries,

would put the performers at ease and help them concentrate on the sheer

pleasure of music making.

After two years of traveling with the Dukes, Matteson led his own

groups in Las Vegas and arranged for other musicians, including Harry

James and Count Basie. Matteson said:

I formed my own group backing a girl singer and we also did ourown stuff. We went into the Stardust on Easter weekend 1961. Inever went out on the road with what you'd call a main group afterthat. I became what I call a "Nevada musician" because I workedprimarily Las Vegas, Reno, and Lake Tahoe. I also had a group withPete Barbutti and we worked the Nevada circuit."

In the late 1960's Matteson directed a band in Mexico City and

recorded for RCA de Mexico. By 1968, Matteson perceived a shift to rock

music in the Las Vegas entertainment industry." This reduced the

demand for jazz musicians and Matteson moved to Dallas, Texas, to work

for the Getzen Instrument Company as their low brass clinician. Matteson

said, "Every once in a while, in communication with some of my friends

still in Vegas, they would say, 'yea, you escaped.' But I was just lucky.""

He also helped design a valve trombone and euphonium for Getzen.18 Doc

Severinson was also engaged as a clinician by Getzen, and Matteson

benefited from extra work and opportunities because of Severinson's busy

schedule.

16

As a part of his job with Getzen, Matteson visited schools primarily

in Texas, Arkansas, Kansas and Louisiana. He would carry several

Getzen instruments for the students to examine and would lead clinics

with their bands. Matteson said, "About six weeks after I got into doing

clinics, I realized I'd found my niche. I loved it more than anything I ever

did."19

While living in Dallas, Matteson heard about the jazz program at the

University of North Texas in nearby Denton. He wanted to become involved

with jazz education. After meeting Leon Breeden, Director of Jazz Studies

and conductor of the One O'Clock Lab Band, Matteson was invited to visit

and play several times a year. He worked with the bands, performed and

wrote arrangements for the ensembles. Breeden remembered Matteson's

work:

Rich came by my office with some arrangements and asked if myband could read them. The students loved the charts, and Richvisited often. I invited Rich to perform at the 1971 Texas MusicEducators Conference in San Antonio with the One O'Clock LabBand. Rich told me that this performance helped advance his careeras a nationally recognized soloist and clinician.2

By the early 1970's, Matteson began to gain a national reputation as a

jazz performer and teacher. He was one of the main proponents of the jazz

education movement in the late 1960's and early 1970's. He also started

playing euphonium more often because he recognized that this instrument

could become his trademark.

In 1973, Matteson was hired by the University of North Texas as a

full-time instructor in the areas of jazz improvisation and jazz ensemble, a

17

position he held for 13 years. While there, he conducted the Three O'Clock

Lab Band, assisted with the One O'Clock Lab Band, and taught several

sections of jazz improvisation.

In addition to his performing abilities, Matteson was an

accomplished arranger who received his first writing experience in the

Army. Later he wrote extensively for the Hal Wiese Band. Matteson said:

It was a good band with very good musicians and Hal Wiese, God lovehim, would let me write anything I wanted for that band. Every oncein a while we would have a major rehearsal and read my newcharts. If he liked my chart, he would buy it, and if he didn't like it,he wouldn't buy it, and I could rewrite it or whatever. I wrote them,and I copied the parts. At that time, I was able to have my ownworkshop. I could write for a girl singer, for anybody in the band, orfor the band as an ensemble. Once in a while he would ordersomething, but most of the time I was free to write anything. It wasa tremendous opportunity for me to write, make mistakes, correctthem and learn! I suppose he kept a few dozen charts over a coupleof years. That was a great opportunity. I can't remember the actualnumber of charts I wrote, and I don't know how many were thrownout. They weren't all good, that's for sure.2 '

While working at the University of North Texas, Matteson, and his

close friends, Jack Petersen and Phil Wilson, formed a publishing company

called Outrageous Mother. The company had a dual purpose: to provide

high quality music for young bands and to allow composers and arrangers

to earn a larger percentage of profit for their work than was offered by other

publishers. 2

The staff of Outrageous Mother included some of the best known jazz

arrangers and composers: Charles Argersinger, David Caffey, Carrol

DeCamp, Matt Harris, Les Hooper, Paul Kondziela, Jim Linahon, Rob

McConnell, Jack Petersen, Neil Slater, Howie Smith, Rick Stitzel, Mark

18

Taylor, Eugene Thorne, Phil Wilson and Chris Woods. Several of these

published their first arrangements through Matteson's company.

Outrageous Mother was dissolved in 1986 when Matteson accepted a

position as the Koger Distinguished Chair of American Music Studies at

the University of North Florida in Jacksonville. Matteson felt he would

need to direct all of his attention to creating a new jazz program at a then

relatively unknown university. Many of the arrangements owned by

Outrageous Mother were sold to the University of Northern Colorado Jazz

Press and are currently available through that venue.

Since euphonium and tuba were not a part of the contemporary jazz

scene, it was up to Matteson and his associates to invent a way to present

these neglected instruments in a jazz setting. The opportunity came in 1975

when Matteson and Harvey Phillips, then professor of tuba at Indiana

University, were roommates during a TUBA conference at Chandron State

College in Nebraska. They had been hired to present clinics and perform

with various groups. At a reception for the participants, a tuba/euphonium

ensemble from the University of Northern Iowa, directed by Donald Little,

provided entertainment. The group played light classics, polkas,

barbershop quartets and arrangements of popular tunes. Phillips said,

"The group was very good and that gave us the idea of some sort of jazz

group."" Phillips and Matteson came up with the idea of presenting an all-

star jazz group featuring tubas and euphoniums as the only wind

instruments. " Matteson explained why he chose that particular

instrumentation:

19

The instrumentation was three euphoniums, three tubas, piano,bass, guitar and drums. The reason we use six horns is that thecomplete jazz harmony usually requires six or seven parts. Whenwe need seven parts, we arrange instruments in this order, frombottom to top; tuba, tuba, tuba, euphonium, guitar, euphonium andeuphonium. When we need six parts, the tubas would be the bottomthree parts and the euphoniums would be the top three parts. Sincethe range of the guitar is the same as the tuba and euphoniumcombined, the sound of guitar matches these sounds very well and itsounds beautiful.2 5

At the same time (1975), Phillips was organizing the First

International Brass Conference in Montreux, Switzerland, and he booked

the Tubajazz Consort's first engagement there in the summer of 1976. The

euphonium players were Matteson, Ashley Alexander and John

Marcellus. The tuba players were Phillips, Dan Perantoni and Winston

Morris. The rhythm section consisted of Jack Petersen, guitar; Steve

Harlos, piano; Jerry Coleman, drums; and Steve Lespina, bass. 26 Tubajazz

received a standing ovation during their first selection.

Based on the response in Montreux, Phillips was able to book a tour of

Australia in February, 1978. Tubajazz performed to standing-room-only

crowds in Adelaide, the Sydney Opera House, Melbourne and Brisbane. As

good as the group was, Matteson still had occasional problems booking

Tubajazz. He said:

I'd get frustrated trying to book Tubajazz 'cause they hear "tuba" andthe phone goes dead. They can only hear the "oompah," they can'tsee the other side of it. But then the other thing happens. If we get toplay they're all looking at it like "what in the hell are these guysgonna do? They look like a bunch of fire engines up on the stage." Bigheavy-set players, three big tubas and three what they think are littletubas (euphoniums). Then we start playing, and these people justknock themselves out. They all want to apologize to us for what theythought. They say, "This is just incredible!" Then they all want tobecome your agent, so to speak. They want to push Tubajazz. They'll

20

go to other people and say, "Did you hear Tubajazz? Oh man! Whatyou missed!" It has a funny effect that way. We had a lot of goodcomments in Washington D.C. when we played there."

In spite of some negative initial responses, the Matteson-Phillips

Tubajazz Consort performed frequently and recorded two critically

acclaimed albums, Tubajazz (1978) and Superhorn (1979). The albums have

been combined onto a single compact disc entitled Tubajazz, (Mark MJS

57626CD).

In addition to performing with Tubajazz, Matteson continued to

make guest appearances with other groups in the United States and

abroad. His career took another turn in 1985 after he performed twice with

the St. John's River City Band, a professional brass band based in

Jacksonville, Florida. The first performance was in March and the second

in October at the Jacksonville Jazz Festival.

After the Festival performance, Jacksonville businessman and arts

patron Ira Koger invited Matteson to a reception aboard his yacht. The

eventual outcome of this meeting was the creation of an endowment at the

University of North Florida, provided by Koger, that stipulated the hiring of

Matteson to create a jazz studies program. In the summer of 1986,

Matteson accepted an endowed position at University of North Florida

entitled the Koger Distinguished Chair of American Music. Since 1986,

University of North Florida's jazz studies program has received national

and international recognition.

21

Matteson performed numerous times with the St. John's River City

Band. This association culminated in his featured performance with the

band at New York City's Carnegie Hall on September 29, 1987. The

Carnegie Hall concert was another first for Matteson and the jazz

euphonium.

22

NOTES

CHAPTER III

1. Marc Dickman, "Rich Matteson: Portrait of an Original,"TUBA Journal, XIX/II (1991), 46.

2. In the United States there continues to be little differentiation betweenthe baritone horn and the euphonium. A true baritone has a smallerand more cylindrical bore than a euphonium. Most composers andmusic directors in the United States are actually referring to theeuphonium when they mention baritone.

3. Dickman, 46.

4. Ibid.,146.

5. Ibid., 47.

6. Ibid., 47.

7. Notable examples of players of valve trombone during the Swing Erawere Juan Tizol on the valve trombone (in the Duke Ellington Band)and Cy Tuff on bass trumpet (in the Woody Herman Band).

8. Dickman, 47.

9. Toru Miura, "Super Artist Interview - Rich Matteson," Viva Brass,Band Journal, November (1990), 49.

10. Mark Gridley, Jazz Styles and Analysis, Fourth Edition

(Englewood Cliffs, New Jersey: Prentice Hall, 1991), 202.

11. Dickman, 48.

12. Donald L. Little, "T.U.B.A. Profile-Rich Matteson,"TUBA Journal, V/III (1977), 2-6.

13. Dickman, 49.

14. Ibid., 49.

15. Ibid., 49.

16. Ibid., 51.

23

17. Dickman, 51.

18. Michelle Matteson, Pamphlet, Unpublished, 1992.

19. Dickman, 51.

20. Leon Breeden, interview by author, December 12, 1996.

21. Dickman, 48.

22. Jack Petersen, interview by author, December 23, 1996.

23. Harvey Phillips, interview by author, January 4, 1997.

24. Miura, 53.

25. Ibid., 54.

26. The Tubajazz personnel was relatively stable for most of its existence.Ashley Alexander replaced Marcellus soon after the firstperformance. John Allred replaced Alexander after his passing in1989. The rhythm sections varied depending on who was available andwhere the group was performing.

27. Dickman, 58-59.

CHAPTER IV

MATTESON'S CONTRIBUTION TO TUBA AND EUPHONIUM

PERFORMANCE

Early in his professional career Matteson worked primarily as a bass

player in bands like Bob Scobey's and in the Dukes of Dixieland. He

developed a style of walking bass lines on an antique BBb helicon-shaped

tuba he bought in 1958, and he believed the development of this style on tuba

was important to his career:

That was one of the smartest things I ever did. And that's when Istarted seriously playing walking bass. I became known fordeveloping that style on the tuba. I had done it with this horn as acomedy bit when I was with Ish [Kabibble]. I guess I'd been playingit as a secondary instrument just for selling appeal. Ish would bringme out and we'd play a couple of tunes, and I'd play walking bassand take a solo. 1

"Walking" is a 4/4 style of playing bass lines developed on the string

bass. Traditionally, tuba players in Dixieland jazz bands played on beats

one and three of each measure and were mostly limited to the root and fifth

of the chord. The pattern sounds similar to a bass part from a march.2

Matteson, however, was influenced by modern bass players such as Ray

Brown and Slam Stewart -- players who played four quarter notes in each

measure. Matteson imitated their style of jazz playing and developed a

unique sound for a tuba player. After leaving the Dukes of Dixieland,

Matteson did not perform on tuba with a band full-time. Occasionally he

24

25

would play a few selections on the helicon, but most of his playing was on

the valve trombone and euphonium.

Matteson's trademark upper range on the euphonium was evident at

an early age. He gave partial credit for his ability to the lack of an

orthodontist:

I owned the double F [F5]'from age 16 on. They now think sincethose two teeth are crossed, they form a sort of a point for the lip tostretch over, and that helps with the range.... I never had anytrouble hitting those high notes. . . . when I was 36, I could still hitthe F any time I wanted, but I couldn't go beyond it one bit.... I gotreally frustrated that I couldn't play an F sharp.... I startedpracticing and developed a routine that I thought would work and bygolly, it did! '

There is a tradition of high note trumpet players in jazz. Among

these, Louis Armstrong was known for his prowess in the upper register.

Trombonists such as Tommy Dorsey and Frank Rosolino also influenced

Matteson with their playing in the upper register. There is not an

equivalent tradition on the euphonium: Matteson pioneered the

euphonium's upper tessitura.

Because Matteson was gifted with excellent pitch and melodic

memory, he was able to learn tunes easily and to improvise. Matteson

originally began improvising on a tonette, a recorder-like instrument that

his father used to introduce children to music. Matteson said:

I used to improvise on that all the time. My improvising wasn't jazz-based. I was just making up my own melodies and runs and what Ithought was hip at the moment. I would listen to the radio and try toimitate the music I heard. I was always making up stuff on the hornand on the piano. But I wasn't doing it with the thought of becominga great jazz player. I just did it for fun. I'd just sit down and try tomake up something. I really didn't know any modern piano voicingswith the left hand like they started to do in the 40's.

26

Like many other jazz musicians, Matteson learned to improvise by

imitating his favorite players. He said:

When I was a young man learning to improvise, you didn'thave any books, or at least I wasn't aware of any. And I had no ideathere was a college called the University of North Texas, or NorthTexas State, where Jack Petersen was going. . . . We used to listen torecords and copy the solos, or. . . as much of the solo as you couldplay.

One of the first things I learned was a Frank Rosolino lick....But that's the way we learned to play jazz. I remember working onbits and pieces of solos. A couple of ideas from Oscar Peterson, somefrom. Clifford Brown's Joy Spring. Bits and pieces I'd pull off recordsfrom. "Yardbird," Charlie Parker. I also had fallen in love with theBasie Band and the Ellington Band. I'd lift from Paul Gonsalves,Ellington's tenor player. I liked Lester Young.... I think more thantaking whole solos, I'd just take bits and pieces, take two or threebars from this guy and two or three from that guy then figure outhow to make my ideas run into their ideas.6

Matteson acknowledged the fact that college training could add

another dimension to one's playing:

I didn't really practice licks and patterns in all keys until I got intojazz education in 1968. Until then, you'd play mostly in the standardfamiliar keys. You'd play standards and Dixieland tunes in F, Ab,Bb, Eb, but you're not getting into a lot of keys.... You did a lot ofducking in those days, except for the sincerely heavy players. I'm notaccusing Clark Terry of ducking or Oscar Peterson or any of thoseguys.. . . If this chord was really eating your lunch, then you'd workout 5 or 6 ideas that would get you through it, and that was it. I don'tthink people of my era on the road were nearly as dedicated as thecollege students practicing jazz today. And the college kids that go onthe road, they still practice. It was different.'

A study of Matteson's work shows his remarkable skill at playing

logical solos that are held together by use of repetition and imitation. His

improvisations show a well-conceived form that is the mark of a master

craftsman. A fairly typical example of Matteson's performing style is his

improvised solo on "Dan's Blues" from the album Easy Street, recorded in

27

Sweden in 1980. Always swinging and with an affectionate playfulness,

Matteson utilized a modern jazz harmonic vocabulary fused with a

bouncing rhythmic thrust derived from traditional jazz and swing.

As already mentioned, Matteson's use of the euphonium's upper

range became a trademark and he constantly employed it in his improvised

solos. Many of the ideas adopted by Matteson are fairly typical of dozens of

first rate-jazz performers. What makes Matteson so unique is his

application of modern jazz's harmonic and rhythmic language to the

euphonium. Following is a transcribed solo by Matteson followed by an

analysis of his use of contemporary jazz techniques as he applied them to

the euphonium (Example 1).

28

Example 1. Transcription of Richmond Matteson's solo euphonium

improvisation on "Dan's Blues".

Gm in Am7P5) D7P9) Gmin

12 3 4

Cmn F7 Bb EbMaJ7

5 6 7 8

Am7 P5) D7(e5#9) Gmin D7

A F 3AA

9 10 11 12

Gm in Am 7P5) D7P9) Gmia

13 14 15 16

Cmin F7 Bb EbMaj7

17 18 19 20 L-

Am7 5) D7(#5#9) Gmn D7

21 22 23 24

Gmh Am7P5) D7P9) Gmin

~~~Th~ ___a

25 26 '27o2

25 26 27 28

Cmii F7 Emaj7

I I =F7

29 30 31 32

Am7 5) D7#5#9) Gmin D7

~ A

33 3 34 35 36

Gm Am7 )5) Gmn

I I r _ _

37 38 39 40

Cmii F7B E Maj7

lifA A A K

41 42 43 44

Am7 $5) D7 5 9) Gmin D7

A A

45 46 47 48

Gmin Am71

5) D7 ,9) Gmin

49 50 51 52

Cmi F 7 E M a37

A I A a doI

29

55 5653 54

30

Am 7?5) D705#9) Gmix D7

57 58 59 60

Gmih Am7 5) D7 1 9) Gmin

3 3 3

Cm047 B e4a61 62 63 64

c m iiF7B6Et6M a37

65 66 67 68

Am7 t5) D705#9) Gmin D7

69 70- 71 72

Gm i Am7i)5) D7t)9) GmE

A Poo 9= = F '-1:

73 74 75 76

Cm i F7B EMaj7

A I F- 3~T~~i 8

77 78 79 80

Am7 I5) D7#5#9) Gmih D7 Gmin

The form of Dan's Blues is a twelve-bar blues in G minor. Matteson's

motivic development and reuse of material, use of rhythmic displacement,

and coloristic devices such as usage of flatted fifths, altered dominants and

embellishments are evident throughout the solo. The opening motif, a

31

descending sequential third pattern in measure 1, is also used as the

closing material at the end of the solo (Examples 2 and 2a).

Example 2. Sequential third pattern mm. 1.

Gm in

1 2

Example 2a. Sequential third pattern mm. 81-83.

Am 7 (5) D7 (#5#9) Gm nh

81 82 83

Matteson also uses a similar third sequence in the upper range at

measures 67-68. On the recording he performs turns or mordents between

the intervals, something that musical notation has difficulty representing.

Example 2b. Sequential third pattern, upper range mm. 67-68.

Bb EbMajY

67 68

Another type of sequencing is found in measures 5-6. Matteson

extends the respective Cm and F7 chords to the ninth scale degree.

Example 3 shows his sequencing of the motive from measure 5.

32

Example 3. Use of sequential chordal outline mm. 4-6.Gm! Cmi F7

4 5 6

In measure 17 Matteson uses a simple three-note ascending scale

pattern culminating in an arrival on the third of the respective F7 chord in

measure 18 (Example 4).

Example 4. Three-note ascending motive m. 17.

Gmi Cmi e F7

16 17 18

Matteson uses the three-note ascending pattern again in measures

37-38, (Example 4a) and 65-66 (Example 4b). This pattern is also repeated

and shifted by one-half of a beat.

Example 4a. Reuse of three-note motive with rhythmic displacement mm.

36-38.D7 Gmi AWm7(b5) D7 9)

Ip71 3o

36 37 38

33

Example 4b. Third occurrence of three-note motive mm. 65-66.

Cmi F7

65 66

Matteson always used blues inflections as coloristic devices in his

improvisation. These manifest themselves as altered dominant harmonies

(raised and/or flatted ninths on dominant chords) and usage of the flatted

fifth.

In measure 2, the raised and lowered ninths of the D 7 chord are

emphasized. Matteson constantly used raised and lowered ninths in his

improvisations. These occur from the use of the G minor scale as a basis

for the improvisation (Example 5).

Example 5. Usage of raised and lowered ninths m. 2.

Ami7(b5) D7( 9)

2 3

In measure 22 (Example 5a) Matteson begins a repeated "blues" idea

by emphasizing the flatted fifth (Db) of the parent key of G minor. In

measure 24 he shifts the pattern over by one-half beat. Another observation

is that Matteson shortens the motive in measures 25-26 by omitting one note

(truncation).

34

Example 5a. Repeated blues motive mm. 22-26.

D7alt Gmi7

r D7 r -L 3 Fv. E L r F .~~ L

22 23 24

Gmi Ami7 (b D7( 9)

25 26

In measures 7-11, the melodic line emphasizes diatonic notes (with

the exception of two chromatic approach tones from below in measure 10).

Also in measure 10 is the use of the raised ninth of the D 7. The chromatic

approach tones create tension and melodic interest in the melodic lines.

(Example 6)

Example 6. Linear ideas with chromatic approach tones (circled) mm. 7-

11.

I LN1zq

B A

7 8 9

D7alt Gmi7

10Am A1

LOF

E66a7 A mi7(b5)

10 11

35

At the end of measure 47 (Example 7) Matteson begins a three-note

repeated pattern that concludes in measure 51, creating a fascinating

hemiola effect.

Example 7. Rhythmic displacement mm. 47-51.

Gmi7 D7 Gmi

47 48 49

Ami7(b5) D74 9) Gmi

AMi~il50 51

In measures 52, 54 and 56 (Example 8) Matteson uses a descending

bebop scale, a type of mixolydian scale with an added half-step between the

sixth and seventh scale degree.' Also note the use of the extreme upper

register.

Example 8. Bebop scale and extreme upper register mm. 52-56.

Gmi Cmi F7

.12v k 0 M

52 53 54

BL E~ma7

36

Matteson plays an ascending line up to a B5 in measure 77-80

(Example 9) creating a breathtaking climax.

Example 9. Use of extreme upper register. Ascending line to Bb5 mm. 77-

80.Cm i F7B E MaJ7

77 78 79 so

Matteson not only played jazz at a high level, he possessed an

engaging stage presence. Matteson always worked hard to give the

audience a memorable, high-quality musical experience. Matteson

formulated his style of presentation before jazz was considered an art,

much less a discipline worthy of teaching to high school and college

students.

At a typical performance, Matteson would act as master of

ceremonies and, between selections, would tell jokes to the audience.

Comedy not only had an entertainment value, but it also gave Matteson and

the other musicians a much needed rest between selections. Matteson

explained the motivation for his comic interludes:

We always did some comedy and I justified it in my head because Ilearned so much from several comics that I worked with. If you getthe people laughing, they'll sit back and accept anything you do. Ifyou wanted to play Lush Life, they're not gonna dig that particularly,but if you've got them breaking up, you've got them in your hippocket, and you can do Lush Life. '

37

His sense of humor spilled over into his teaching style. Because of

Matteson's gifts for playing and teaching jazz in an exciting and often

humorous way, he increased each student's interest in jazz.

Once a clinic appearance was set, Matteson would arrive a day or two

before the performance. Matteson would rehearse the jazz group with

which he would perform to make sure they adhered to his conception of

ensemble playing and swing feel. Matteson was not necessarily a stickler

for clean ensemble playing, but would always get the group playing with a

good swing feel.

The clinics usually culminated in a performance by Matteson with a

jazz ensemble, or less frequently, with a concert band. Matteson wrote

and/or arranged more than forty jazz band compositions and

arrangements in which he could be featured as a soloist. (See Appendix A.)

These ranged in difficulty from simple arrangements for high school bands

to extremely difficult ones for advanced college and professional bands.

In addition to performances with jazz ensembles, Matteson also

performed Reflective Mood by Sammy Nestico, and Turn Yourself Around

by David Wolpe, both for soloist and concert band. Matteson arranged his

own features for jazz ensemble but had to search for original compositions

to feature himself on euphonium with concert band. Two works were

written especially for Matteson and concert band, Elkhorn Variations by

Jerry Owen and Variations for Baritone by the well-known band composer,

Claude T. Smith. The Getzen Corporation commissioned the Claude T.

Smith piece for Matteson in 1971.

38

NOTES

CHAPTER IV

1. Dickman, 49.

2. Frank Tirro, Jazz, A History, Second Edition. (New York: W. W.Norton & Company, 1993), 128.

3. This study uses a labeling system for pitchesAcoustical Society.

as developed by the

1 15 ma 8va basso-0-0baso.E

" (

Co C2 C3 C4 C5 C6

4. Dickman, 46.

5. Ibid.

6. Ibid.

7. Ibid.

8. Below is an example of a mixolydian scale followed by the mixolydianBebop scale. The G Bebop scale metrically aligns the chord tones of thedominant chord.

G Mixolydian Scale.

7 Ip

*1

G Bebop scale.

9. Dickman, 50.

9-)-

Ida

CHAPTER V

THE VARIATIONS FOR BARITONE BY CLAUDE T. SMITH

The Variations for Baritone was an important work for Matteson

because it was tailored to his unique playing abilities. It is the only existing

work for euphonium soloist to use a combination of the upper tessitura,

swing articulations and improvisation. The skills required for this piece

are not in the domain of most other euphonium players and consequently,

the work is rarely performed.

Claude T. Smith wrote solo works with a particular soloist in mind,

and he adapted his writing style to exploit the performer's unique abilities.

He recognized Matteson as a unequaled performer in the euphonium world

when he composed the Variations for Baritone. Smith enjoyed writing for

soloists, but only did so when requested. He told an interviewer:

I love to do the solo pieces. They're not the kind of thing youcan make a living on, especially when you do one for a virtuosoplayer. There's just so many people who can play it, and you knowthat after the initial performance that it's not going to have a greatamount of sales, but I love to do it. It's a real challenge to do thosekinds of pieces because the people you write them for can do anythingwith their instruments.1

Claude T. Smith received numerous commissions from renowned

soloists, school and military bands, music companies and the Smithsonian

Institution. Concert works recorded by various bands include

39

40

Acclamation, Concert Dance and Intermezzo, Concert Variations,

Credence, Declaration Overture, Eternal Father Strong to Save, Emperata

Overture and Prelude for Band.' His composition Flight, was adopted as

the official march of the National Air and Space Museum of the

Smithsonian Institution. Commissions for solo works came from such

artists as Doc Severinson, Brian Bowman, Gary Foster, Dale Underwood

and Rich Matteson. 3

Claude T. Smith is recognized as an exceptional composer, educator,

conductor, and clinician. He has composed more than 110 works for band,

choir, orchestra, and instrumental solos and ensembles. He was born in

Monroe City, Missouri, and attended Central Methodist College from 1950-

1952. He joined the 371st Army Band during the Korean War and

completed his B.M.E. degree from 1955 to 1958 at the University of Kansas,

where he played first horn in the band.'

Upon completion of his degree, Smith directed school instrumental

music programs in Cozad, Nebraska, Kansas City, Missouri and

Chillicothe, Missouri. In 1976 he moved to Springfield to take a job as

conductor of the Southwest Missouri State University Orchestra and to

teach music theory and composition. Before his death in Kansas City in

1987, he served as educational consultant for Wingert-Jones Music

Company and as a staff composer for Jenson Publications.5

Smith composed hundreds of works for band, chorus, orchestra and

chamber groups. His works for band are some of the most frequently

performed by any composer. Smith would often use multiple and irregular

41

meters. This forced both band students and teachers to learn how to

negotiate a pervasive twentieth-century rhythmic trait.6 Frequent use of

7/8 measures was a Claude T. Smith compositional trait, and they appear

regularly in the Variations for Baritone. Smith believed each instrument

should have interesting parts to play, and he strived to include melodic

material in each part.

Smith was considered an excellent orchestrator and was one of the

first band composers to use percussion to its full potential, especially in his

writing for timpani. His melodies are usually memorable and his music is

not considered dissonant.

Smith knew Matteson personally and was aware of his abilities and

playing style. These characteristics included a complete technical

command of the euphonium, the ability to play in the extreme high range

and a mastery of jazz improvisation. Getzen earlier had commissioned

Smith to write two pieces for Doc Severinson, the Fantasy for Trumpet and

Rondo. Based on this experience, Getzen felt that Smith would write well

for the euphonium and for Matteson. Severinson was known for his skill at

performing the standard trumpet repertoire and would frequently perform

with concert bands. This activity may have given Matteson the idea for a

work specially written for himself.

Matteson performed Smith's Variations for Baritone on April 2, 1976,

for the Chillicothe High School Celebrity Concert with Smith conducting.

Matteson also performed the Variations on the following dates with school

groups:

42

March 21, 1975

November 14, 1975

March 30, 1976

February 26, 1978

April 22, 1978

April 20, 1979

October 19, 1980

February 23, 1982

February 16, 1983

Oak Lawn Community High School, Illinois

Newton High School, Kansas

Everman Senior High School, Texas

East High School, Kansas

College of Lake County, California

McAllen, Texas High School SymphonicBand

University of Nebraska Symphonic WindEnsemble, Omaha

Leander, Texas High School Band

University of Southern California ConcertBand

The title, Variations for Baritone, is somewhat misleading because it

brings to mind the older style of theme and variations as practiced in the

early part of the century. Smith's variations are based upon a single

harmonic structure and several subtle melodic variations result (Table 2).

Table 2. Chordal progression from Variations for Baritone.

mm. 9 mm. 10 mm. 11 mm. 12

Bb maj 7 AhmB 7 Bbmaj 7 Ab 7+11

Bb_ Bb

mm. 13 mm. 14 mm. 15 mm. 16

G min G min9 E0 Eb m 7 Ab . G n m F7

F // // // I

Two contrasting melodies are used over the chord progression. The

first, Theme I, is a flowing cantabile melody (immediately followed by its

43

modal variation), and the latter, Theme II, is a boisterous allegro

(Examples 10 and 10a).

Example 10. Theme I, andante, Variations for Baritone mm. 9-19.

[a tempo] 3

ENO II

9 10 11 12

1.

13 14 15 16

/0-0

17S[rit. .1

18

Example 10a. Theme II, allegro, Variations for Baritone, mm. 81-92.

83 82 83 84

85 86 87 88

3

89 90 91 3 92

The Variations is in the key of Bb major and consists of seven sections

with a short introduction. The form is governed by subtle variations of the

44

two contrasting themes with a "Jazz Waltz" inserted between them (Table

3).

Table 3. Formal Analysis of Variations for Baritone.

Introduction A B A A'mm. 1-8 mm. 9 - 18 mm. 19 - 41 mm. 42 - 51 mm. 52 - 62

B' major Repeated "Jazz Waltz" Band only Bb minorwith soloist with soloist

Theme II Theme I Cycle of Theme I Theme IFragments fifths

Cadenza C B C-Finalemm. 63 - 64 mm. 65 - 132 mm. 133 - 154 mm. 155-214

B major ' - B' minor "Jazz Waltz" Bb MajorBb minor' allegro

Theme II Cycle of fifths Theme II

The Variations for Baritone, as already mentioned, has many unique

features that illustrate and illuminate Matteson's playing style. The

entrance of the soloist at letter A (measure 9) exploits the lyrical aspect of

his playing, while the leaps of major and minor sevenths (and a climax on

a D4) reflect Matteson's technical ability (Examples 10-11).

45

Example 11. Variations for Baritone. Entrance of soloist mm. 9-11..7

1971 Wingert-Jones Music

The "Jazz Waltz" section at letter B calls for a swing feel. (In the

swing style, eighth notes are played unevenly, similar to dotted eighth-

sixteenth note figures.) Smith uses jazz-influenced syncopated rhythms in

all parts (Example 11).

46

Example 12. Continuation of Theme I and "Jazz Waltz" at Rehearsal Bmm. 12-22.

/PlIL L'

C..~ -0

-~ TO

V ________ _____f___ __________________(J I___n__Orr_

I1)

1971, Wingert-Jones Music

The "Jazz Waltz" occurs twice in the composition at measures 19-40

and 133-154. These are the most dissonant, but at the same time,

harmonically static sections of the work. The dissonance comes from the

47

angular melodic line that emphasizes the flatted fifths of the respective

chords. Matteson also enjoyed using altered harmonies in his

improvisations as can be seen in the transcription of Dan's Blues where he

employs similar angular lines and uses flatted fifths. This section begins

with four measures of an A dominant harmony (V7 of D minor) with an

added flatted ninth. As preparation for a modulation back to Bb major,

Smith employs a cycle of dominant chords, D 7 and G7, and reuses the

cadential material from measure 17. Cycles of dominant harmonies are

traits frequently encountered in jazz compositions and used by jazz

performers.

Following a short improvised coda, Theme I is restated by the band

followed by a statement of the first variation by the soloist in the minor

mode. The allegro (Section C) begins with 4/4 measures alternating with

7/8, a Smith trademark. A samba feel is created by use of claves and bongos

with a lively bass line. The soloist enters with material first stated in the

introduction, Theme II. The tempo and range require facility and

endurance from the soloist, qualities that Matteson certainly possessed

(Examples 12 and 13).

48

Example 13. Theme II, allegro mm. 80-85.

-I (CTh

___________

Pt 1 _L

1971 inger-JoneIMusi

Exmpe 3 oninesth mloicmaeralwiha cia naE5imeasure 88. Te fgrsi esrs8-4ar ntekyo bmnr

toalt jraeyueinbn wokthtcetsdfiutfneigptrs

for the M euphon 1%L IIum Oteewetan eorigjo hs okAMteoexectes hes pasage wit aplmb ndMfair

Vi V& - a 0---500im pi

49

Example 14. Continuation of Theme II mm. 86-98.

4LTo 0201-0 4 #8

S S P

1971 Wingert-Jones Music

IW -r-V- -F T F.

pow- Ld

7!!NW

Lv IA M 1- w I

; MftYO'k

%MO

I 10 7,-1 A

ob

--fv-- WA, 'wo J A 104 FIX isv

R L'a As1 8: m :I-1..

-I-Imopmr-mmermaowp-",

P7

Mft

IL I E% r do

Ab

T000I k T -

L I .AL ill _rn i T__ f-]PIP L V I

v AIr

In-TIL W_

7

foolLdpMUM-

_AL77 1 If Am

4f TO)h o M

up --upxg le I ::) :1.In a ir pm A-

44,p-

i F:47 I I 1 1 1 4=4=1 1 i iw -VJ13 40 i I - R0I

w w Li ppr

50

The solo cadenza and its placement is another point of interest. In

classical works, the cadenza is usually placed toward the end of a

composition or, in the sonata form, at the end of the movement. The

cadenza brings the movement to a close.' In the Variations, Smith places it

in the first third of the piece immediately before the first allegro. There is a

distinct stylistic change between the andante and allegro that is

demarcated by the cadenza.

While it is common for the classically-trained soloist to improvise a

cadenza, the classical composer did not indicate the cadenza with a chord

symbol as Smith does. The cadenza placed in measures 63 and 64 (Example

17) is a B major7resolving to a Bb minor7, the prevailing key at the time.

The B major7 replaces an F7, an example of a tritone substitution. This is

commonly used in contemporary jazz and modern compositions. Smith

voiced the B major7 chord with the seventh, a Bb, in the bass (Example 14).

This juxtaposition creates a very dissonant and harmonically unstable

chord resolving to the relatively stable minor seventh chord. Another way

to interpret this harmony is as an Ab minor7 chord over a Bb pedal, a figure

consistent with classical cadenzas and a harmonic configuration Smith

frequently uses in the work.

51

Example 15. Cadenza mm. 63-64.

Matteson interprets the cadenza as a jazz improvisation, not as a

place to manipulate melodic material from earlier in the composition.

Here, Matteson does not quote any motivic material from the composition.

This contrasts with traditional performance practice as used by classically

trained performers. Matteson comes to rest on the tonic of both chords

which helps the listener to hear the resolution from the B major7 down one

half step to the Bb minor7 . The B acts as a leading tone from above. He also

extends the first chord to the ninth and the second chord to the eleventh

scale degree. The cadenza below was transcribed from a recording made in

1975 with the Everman, Texas High School band (Example 15).

52

Example 16. Matteson's improvised cadenza from Variations for Baritone

mm. 63-64.

Rit.Freely

Bma73~~~~l

(7N

11 -a- I I

63 ~I

633

accel. Rit.

P FrL3-j

Many of the compositional and stylistic traits used by Smith can be

found in works by contemporary composers. What separates this work

from that of other solo euphonium compositions is the fact that the

euphonium soloist is asked to improvise over a given chord progression.

The improvisational section makes this work truly a "Third Stream"

composition. Gunther Schuller coined this term in the 1950's and states:

"'Third Stream' is a concept of composing, improvising, and performing

rm".

53

which seeks to fuse, creatively, jazz (and other vernacular music) with

contemporary classical concepts and techniques."9

The Variations for Baritone requires the soloist to, improvise over a

chord progression from measures 194-207, thus enabling the soloist to

compose his own "variation" over a pre-existing harmonic and rhythmic

framework (Example 16). Improvisation is the essence of jazz and is what

makes this piece a unique part of the solo euphonium literature. The

following passage was transcribed from a recording made in 1975 with the

Everman, Texas High School band.

54

Example 17. Matteson's improvised solo from Variations for Baritone,

mm. 194-207.

Jp=5IN Blma7

194 195

A ma7A

196 197

B ma7

198 199

A 7(# 11) Gmi7

200 201 202

203 204

F+7 AF+7 .mw

2051 206 207

The Variations for Baritone is scored for a standard modern wind

band with a full complement of percussion. The Variations is available on

rental from Wingert-Jones Music, Inc. in Kansas City, Missouri. Parts are

provided for piccolo, flute, three clarinets, alto clarinet, bass clarinet, two

.0 7 7 r Ic- -p- 0 AS -0- a . ilp- p- I'-, t I! A k-&- Am

55

oboes, two bassoons, Eb contrabass clarinet, two alto saxes, two tenor saxes,

baritone sax, three cornets, four horns, three trombones, baritone, tuba,

timpani, bass drum, snare drum, crash cymbal, ride cymbal, bongos,

timbales, vibes, chimes, vibraslap, and tambourine.10

56

NOTES

CHAPTER V

1. Mary Louise Jones, "Claude Thomas Smith: American Composer,Conductor, and Music Educator." Dissertation, 1992, 32.

2. Norman E. Smith. March Music Notes. (Lake Charles, Louisiana:Program Notes Press 1986), 380.

3. Ibid.

4. Ibid.

5. Ibid.

6. Jones, 52.

7. Claude T. Smith, Variations for Baritone. Wingert-Jones Music, 1971.

8. Willi Apel, The Harvard Dictionary of Music. (Cambridge:Harvard University Press, 1972), 120.

9. Gunther Schuller, The Swing Era: The Development of Jazz,1930-1945. (New York: Oxford University Press, 1989),12.

10. Claude T. Smith.

CHAPTER VI

CONCLUSION AND SUMMARY

Matteson's career, and the remarkable influence he had in

promoting the euphonium in the jazz idiom, had a lasting impact on the

conception and performing styles of the euphonium. He has inspired

performers and composers to re-evaluate the euphonium's role in diverse

musical situations. Matteson's contributions are especially noteworthy in

light of the euphonium not being employed as a regular member of the

symphony orchestra or jazz ensemble. He was a product of the school band

movement that utilized the baritone horn/euphonium as an important

member of wind and brass bands. He pioneered the use of the euphonium

as a jazz solo voice on par with the saxophone, trumpet and trombone.

Analysis of Matteson's improvisational style reveals usage of a

contemporary jazz harmonic and rhythmic vocabulary. These manifest

themselves in his usage of melodic and harmonic sequencing, non-

harmonic tones, the bebop scale, and blues related ideas. The euphonium's

upper tessitura was constantly utilized by Matteson. Few other euphonium

performers can match his prowess and stamina in the high register.

Matteson's early career was centered on playing valve trombone,

bass trumpet and tuba in various jazz ensembles based in Las Vegas with

57

58

international reputations. He is also noted for developing a walking tuba

style derived from modern jazz bass players.

Matteson co-created Tubajazz, the only professional jazz ensemble

made up of tubas and euphoniums as its only wind instruments. Their

world-wide performances and recordings have inspired countless

euphonium and tuba players to study jazz and to form similar ensembles.

Not all of Matteson's efforts were centered around performing. He is

also noted for his jazz arranging abilities. His publishing company,

Outrageous Mother, was one of the first writer-owned firms to publish easy

arrangements for student jazz ensembles, and they also paid a higher

percentage of the profits to the writers.

Matteson's constant exposure as a clinician with student musicians

led to the commission of the Variations for Baritone by Claude T. Smith. As

seen in the previous examples, Smith composed a unique piece for an

extraordinary euphonium player that can be considered a third stream

composition. Smith adopted many of Matteson's jazz-influenced stylistic

traits in the Variations for Baritone. First and most obvious to the listener

is his utilization of the euphonium's upper tessitura. The upper range and

extreme tessitura are employed throughout the composition. The work

calls for the soloist to play a Bb5 at the conclusion, something that only

Matteson was able to do with any consistency.

The second feature that makes the Variations a singular

composition for euphonium and band is use of a swing feel in the "Jazz

Waltz" section. The soloist and accompaniment are required to play with a

59

swing feel and to use jazz articulations. While usage of swing is not

entirely foreign to concert band works, it is one of the only known

euphonium solo compositions to do so. For the accompanying players, jazz

phrasing and articulations are best executed by performers with

commercial or dance band experience. The Variations for Baritone is an

excellent composition for introducing non-jazz instrumentalists to some

jazz and commercial articulations.

Another jazz influence on Smith's compositional technique is the

composer's choice of harmonic progressions. The composition borrows

from jazz harmonies and chordal progressions. These include use of

ninth, eleventh and thirteenth chords, suspended chords, and dominant

harmonies with raised and lowered ninths. Smith employs a tritone

substitution at several cadences (a B chord substituting for an F 7 chord

functioning as a dominant of Bb).

Players with little or no background in jazz style may have difficulty

performing the Variations for Baritone ; however, to perform this work a

few minor changes can be made that will not negatively affect the essence of

the composition. For example, some of the upper-register melodies can be

taken down an octave, and the improvised cadenza and finale can be

written out as well, without harming the intent of the composer. In fact,

Smith included melodic material for the soloist in the finale in case the

soloist was not skilled at improvising. The author believes that the

Variations for Baritone can and should be performed more frequently by

euphoniumists in the future.

APPENDIX A

MATTESON'S COMPOSITIONS AND ARRANGEMENTS FOR JAZZ

ENSEMBLE AND SOLOIST, FOR BRASS BAND AND SOLOIST, FOR

BRASS BAND ALONE, PUBLISHED JAZZ ENSEMBLE COMPOSITIONS,

AND TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS

60

APPENDIX A

COMPOSITIONS AND ARRANGEMENTSFOR

JAZZ ENSEMBLE AND SOLOIST

The following are original compositions unless otherwise noted.

Title Composer

Baubles Bangles and Beads Borodin

Beautiful Friendship Styne/Kahn

Bebop Minor

Broadway Woods/Mcrae/Bird

Blues It

Carioca Youman

I've Got A Crush On You Gershwin

Davenport Blues Beiderbecke

Don't Get Around Much Anymore Ellington

Doxy Rollins

Easy Street Jones/Carleton

Ellington Medley Ellington

Georgia On My Mind Carmichael

Goin' Easy

Hassles

How Long Has This Been Going On Gershwin

I Got No Bread

I'm Beginning To See The Light Ellington

In A Mellow Tone Ellington

Ira's Tune

61

62

Just Breezing Along With The Breeze

Just The Two Of Us

Just the Way You Are

Like Someone In Love

Little '01 Softy

Love For Sale

Lover Man

Mikki's Blues

My Old Flame

I'm Getting Sentimental Over You

The Shadow Of Your Smile

The Shout

Spoofy

Strike It Rich

Surely We

Swedish Blues

Tahoe

Tangerine

Tickle Toe

What A Wonderful World

Whiting

Joel

Van-Heusen

Porter

Davis/Ramires/Sherma

Johnston/Coslow

Bassman

Mandel

Schertzinger

Young

Savitt

63

ARRANGEMENTS AND COMPOSITIONSFOR

BRASS BAND AND SOLOIST

Bebop Minor

Boat Dockin' Blues

Broadway

Carioca

Don't Get Around Much Anymore

Doxy

Easy Street

Georgia On My Mind

How Long Has This Been Going On?

In A Mellow Tone

Like Someone In Love

Mikki's Blues

My Old Flame

Original Dixieland One Step

Royal Garden Blues

There Is No Greater Love

Woods/Mcrae/Bird

You-Man

Ellington

Rollins

Jones/Carlton

Carmichael

Gershwin

Ellington

Van-Heusen

Johnston/Coslow

LaRocca/Shields

Williams

IshamIn Jones

BRASS BAND ALONE

I Can't Get Started

Undecided

When The Saints Go Marchin' In

Vernon Duke

Shavers/Robin

Traditional

64

PUBLISHED JAZZ ENSEMBLE COMPOSITIONS

Title

Ballad For Holly

Biscuits and Gravy

Blues for Dr. Cranberry

Blues For Punkin

Blues For Rein

Don't Rush The Count

Doo Dit Dot

Going Easy

Happy Days

Hassles

Hey Archie, Your Back

I Got No Bread

Just Hangin' Around

Just The Two Of Us

Kinda Cute

Little Girl Blue

Little '01 Softy

Mikki's Blues

Mikki's Bossa Nova

Moten Swing

No, No, No

Spoofy

Publisher

CPPfBelwin Mills

CPP/Belwin Mills

Southern Music

UNC Jazz Press

CPPfBelwin Mills

UNC Jazz Press

CPPfBelwin Mills

UNC Jazz Press

UNC Jazz Press

UNC Jazz Press

Southern Music

UNC Jazz Press

UNC Jazz Press

UNC Jazz Press

CPP/Belwin Mills

Barnhouse

UNC Jazz Press

UNC Jazz Press

CPPfBelwin Mills

CPP/Belwin Mills

Southern Music

UNC Jazz Press

Surely We

This One's For Snoops

Tricky Chris

A Tube Of Blues

Turkey Toes

UNC Jazz Press

UNC Jazz Press

UNC Jazz Press

UNC Jazz Press

UNC Jazz Press

TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS

Three euphoniums, three tubas, piano, bass, guitar, drums

Original compositions unless noted.

Title

A Tube of Blues

Bye Bye Blues

Cherokee

Christmas Song

C.T. Blues

Georgia On My Mind

Gregory Is Here

Hoagy Medley

In A Mellow Tone

Jingle Bells

Little '01 Softy

Lucky Southern

Composer

Lown/Gray/Bennett/Ham

Noble

Torm6

Carmichael

Silver

Carmichael

Ellington

Jarett

65

66

Oleo

Rush Street Rush Hour

Satin Doll

Senor Blues

Shuckin' and Jivin'

Skylark

Over the Rainbow

Spoofy

Stompin'At the Savoy

Summertime

Tahoe

Things Ain't What They Used To Be

Tribute To Louis

Waltzing Matilda

Without A Song

Rollins

Ellington

Silver

Carmichael/Mercer

Arlen/Harburg

Webb/Goodman/Sampson

Gershwin

Ellington

Australian Folk Tune

Youman/Rose/Eliscu

APPENDIX B

SELECTED DISCOGRAPHY OF RICHMOND MATTESON

67

APPENDIX B

SELECTED DISCOGRAPHY OF RICHMOND MATTESON

Compact Disc

Pardon Our Dust, We're Makin' Changes , Four Leaf Clover, FLCCD 131, 1995.

Mainstream, Fullerton College Jazz Band, JLFC 9012, 1991.

TubaJazz, Mark Records, MJS 57626CD, 1990.

Satchmo and the Dukes of Dixieland, Leisure 0 4900-91052-2, 1960.

Long Playing Album

Easy Street , Four Leaf Records, FLC 5051, 1980.

The Matteson-Phillips Tubajazz Consort, Tubajazz Record Co., 1978.

Groovey, Four Leaf Records, FLC 5060, 1982.

"Superhorn", Mark Records, MJS 57591, 1982.

The Sound of the Wasp, ASI Records, ASI-203, 1975.

The Riverboat Five on a Swinging Date, Mercury, MG 20509, SR60186, 1960.

Something's Always Happening on the River, Bob Scobey's FriscoBand, RCA Victor, LPM-1889, 1960.

Rompin' and Stompin', Bob Scoby's Frisco Band, RCA Victor, LPS2806, 1961.

68

APPENDIX C

MATTESON'S CLINICS AND CONCERTS

69

APPENDIX C

MATTESON'S CLINICS AND CONCERTS

From the years 1968 to 1981, Matteson performed over 500 clinics andconcerts throughout the United States, Canada and Europe. In 1982 hebegan keeping a record of each performance and they are listed below.

1982

January 22-23 Midwestern ConferenceAnn Arbor, Michigan

28-29 Regional Texas Jazz BandHouston, Texas

February 4-6 Illinois All State Band ConferenceSpringfield, Illinois

9-10 Spokane Falls Community CollegeSpokane, Washington

11-13 Casper Community CollegeCasper, Wyoming

19 Cameron University with Count BasieLawton, Oklahoma

23 Leander High SchoolLeander, Texas

March 6 Central Methodist UniversityFayette, Missouri

10-13 University of Hawaii

April 1 Lamberton High School Jazz FestivalLamberton, Minnesota

2 St. Cloud State CollegeSt. Cloud, Minnesota

3 University of Wisconsin at River FallsRiver Falls, Wisconsin

70

71

April 4-9 Conference of World AffairsBoulder, Colorado

16-17 Fullerton CollegeFullerton, California

23-25 Wichita Jazz FestivalWichita, Kansas

30 Quad-City Jazz Ensemble

1983

January 13-15 NAJE ConventionKansas City, Missouri

22 Midwestern Music ConferenceAnn Arbor, Michigan

28 Meridian Junior CollegeMeridian, Mississippi

February 3 Alamo Heights High SchoolSan Antonio, Texas

4-5 Ohio Music Educators ConventionColumbus, Ohio

11-12 University of IowaIowa City, Iowa

16 University of Southern CaliforniaLos Angeles, California

17 Fullerton CollegeFullerton, California

19 California State UniversityLong Beach, California

March 5 A&M High SchoolCollege Station, Texas

12 University of Texas at El Paso

Morgantown, West VirginiaMarch 18

72

19-20

April 16

22-24

May 1

6

17

28

30-31

21-25June

24

June 29 - July 13

July 7

August 3-6

College of Lake CountyGrayslake, Illinois

Cumberland CollegeLebanon, Tennessee

Wichita Jazz FestivalWichita, Kansas

University of Northern ColoradoGreeley, Colorado

Northern Kentucky University

Wright State UniversityDayton, Ohio

Helena, Montana

College of WoosterWooster, Ohio

International TUBA ConferenceUniversity of MarylandCollege Park, Maryland

Performed with U.S. Army Blues Band on thesteps of the U.S. Capitol Building

England -- Pizza Express; German School; TrinitySchool of Music; Ronnie Scott's Club

Recording for radio station with Radio SymphonyHamburg, Germany

DisneylandAnaheim, California

Epcot and the Village LoungeDisney World'Orlando, Florida

University of Texas at Arlington

October 25 Octubafest at North Texas State UniversityDenton, Texas

9-20

October 12

November 8

16

17-18

19

December

20

5

Jefferson CollegeHillsboro, Michigan

University of UtahSalt Lake City, Utah

Western New MexicoSilver City, New Mexico

Chuy'sEl Paso, Texas

University of Texas at El Paso

Tarrant County Junior CollegeTexas

1984

Mary College,Bismark, North Dakota

Oklahoma Music EducatorsOklahoma City

Texas Music Educators ConferenceFt. Worth, Texas

Southwestern UniversityWeatherford, Oklahoma

Rock Valley CollegeRockford, Illinois

Washington State Music Educators Convention

Kansas Music Educators ConventionWichita, Kansas

Youngstown State UniversityYoungstown, Ohio

Kansas UniversityLawrence, Kansas

Hastings College

73

January 20-21

27

February 1

10

17-18

20

23-24

February

March

29

3

17

74

Hastings, Nebraska

18 California State CollegeFresno, California

22 Skyline High SchoolFresno, California

23-24 Kansas City Jazz Festival

26-28 Monterey Peninsula CollegeMonterey, California

29 Skyline CollegeSan Bruno, California

30 Cuesta CollegeSan Luis Obispo, California

April 6-7 Newberry CollegeNewberry, South Carolina

9 Hutchinson Community CollegeHutchinson, Kansas

11-12 Del Mar CollegeCorpus Christi, Texas

7 Rose Hill Jr. High SchoolRedmund, Washington

25 Southwest Texas State UniversitySan Marcos, Texas

29 University of Northern ColoradoGreeley, Colorado

May 8 Powderly High SchoolPowderly, Texas

11 Dodge City High SchoolDodge City, Kansas

12 Arts Festival of AtlantaAtlanta, Georgia

Ohio University18-19

75

Athens, Ohio

June 3-9 International Brass ConferenceIndiana UniversityBloomington, Indiana

10 Jazz AmbassadorsWashington, D.C.

29 Helena Jazz FestivalHelena, Montana

July 18-21 Disneyland All-Star College BandAnaheim, California

24-28 Wayne State College Music CampWayne, Nebraska

August 9-18 Disney World All-Star College BandThe Village Lounge, Orlando, Florida

19-21 Republican National ConventionDallas, Texas

24-26 Monterey Teachers WorkshopMonterey, California

September 13 California State UniversityLong Beach, California

14-15 Dante's Jazz ClubHollywood, California

16 Monterey Jazz FestivalMonterey, California

September 21 University of IowaIowa City

October 23 Oklahoma State UniversityStillwater, Oklahoma

November 9 Houston High School of theVisual & Performing ArtsHouston, Texas

Regional All State Jazz BandDecember 1

76

Alvin, Texas

11 Odessa CollegeOdessa, Texas

1985

January 10-13 National Association of Jazz EducatorsConvention

Dallas, Texas

February 24 Appalachian CollegeBoone, North Carolina

27 North Texas Faculty Concert

March 1-2 Brigham Young UniversityProvo, Utah

8-9 Charles City High SchoolCharles City, Iowa

10 Des Moines Big BandDes Moines, Iowa

11 Coppell High SchoolCoppell, Texas

19-20 Bob Farley Music StoreAlbuquerque, New Mexico

23-24 St. Johns River City BandJacksonville, Florida

April 12 Johnson County Jazz BandCedar Rapids, Iowa

15-17 Edison Community CollegeFt. Myers, Florida

19-20 Mesa CollegeGrand Junction, Colorado

22 Ft. Hayes State UniversityHayes, Kansas

77

26 Belmont CollegeNashville, Tennessee

May 4 McNeese Jazz FestivalLake Charles, Louisiana

19 Quebec City Jazz FestivalQuebec, Canada

29-31 Recorded with the Frankfurt Radio BandFrankfurt, Germany

June 3-4 Ski Big BandSki, Norway

7-8 Oslo Jazz ClubOslo, Norway

10-13 Oslo Jazz Club BenefitOslo, Norway

14-15 Recorded with the Oslo Radio BandOslo, Norway

17-19 Recorded with the Arvika Big BandArvika, Sweden

20-21 Recorded albumStockholm, Sweden

July 11-13 Manhattan College WorkshopManhattan, Kansas

July 13 Manhattan City Park Summer Concert SeriesManhattan, Kansas

17-20 Kansas Bandmasters ConventionHutchinson, Kansas

21-28 Rich Matteson Jazz CampTelluride, Colorado

August 1-4 Disney World All American College Workshopand The Village LoungeOrlando, Florida

Disneyland All American College Workshop6-9

78

Anaheim, California

September

September

October

13

15

U.S. Army Jazz AmbassadorsNorth Texas State UniversityDenton, Texas

Fred Crane Memorial ConcertDallas, Texas

St. Johns River City BandJacksonville Jazz FestivalJacksonville, Florida

North Texas State UniversityDenton, Texas

4-6

31

November 8 The LibraryDenton, Texas

December

11

15

21-22

17-22

Lake Dallas Scholarship FundLake Dallas, Texas

Meridian Junior CollegeMeridian, Mississippi

Dowling High SchoolDes Moines, Iowa

Chicago Midwest ConventionChicago, Illinois

1986

January 8-12 New Mexico State ConventionAlbuquerque, New Mexico

Colorado Music Educators ConventionColorado Springs, Colorado

Northern Arizona UniversityFlagstaff, Arizona

Western Illinois UniversityMacomb, Illinois

Leander High School

30-31

February 1

14-15

March 4

79

Leander, Texas

7-8 Trevecca Nazarene CollegeNashville, Tennessee

10-14 Plattsburgh State UniversityPlattsburgh, New York

18 Augustana CollegeSioux Falls, South Dakota

21 Las Cruces Public SchoolLas Cruces, New Mexico

April 1 Ft. Collins High SchoolFt. Collins, Colorado

2 Air Force AcademyColorado Springs, Colorado

4-5 U. S. Armed Forces School of MusicNorfolk, Virginia

14 Grapevine High SchoolGrapevine, Texas

17 The Drum ShopLas Vegas, Nevada

21 Olathe Public SchoolsOlathe, Kansas

April 22-28 Wichita Jazz FestivalWichita, Kansas

May 9-10 University of MontanaMissoula, Montana

16 Forney High SchoolForney, Texas

29 Chesterton High SchoolChesterton, Indiana

June 8-13 TUBA National ConventionAustin, Texas

80

14 St. Johns River City BandTampa, Florida

15 St. Johns River City BandJacksonville, Florida

July 7-10 Arts in the Park WorkshopManhattan, Kansas

18 All State BandSalem, Oregon

20-26 Rich Matteson Summer CampTelluride, Colorado

August 1-4 Disney World All American College BandOrlando, Florida

1-2 Village LoungeDisney WorldOrlando, Florida

6-9 Disneyland All American College BandAnaheim, California

September 13 Lionel Hampton Concert withthe St. Johns River City BandJacksonville, Florida

29 St. Augustine High SchoolSt. Augustine, Florida

October 10 Jacksonville Jazz FestivalJacksonville, Florida

17 Orange Park High SchoolOrange Park, Florida

30 School of Fine ArtsJacksonville, Florida

November 2 St. Johns River City BandJacksonville, Florida

4 Ed White High SchoolJacksonville, Florida

7

10

17

19-22

25

December 3-4

17-20

January 2

8-12

10

14

21

22-24

February 12-14

16

Middleburg High SchoolMiddleburg, Florida

Stanton Preparatory SchoolJacksonville, Florida

Bishop Kenny High SchoolJacksonville, Florida

Georgia Music Educators AssociationAtlanta, Georgia

Wolfson Senior High SchoolJacksonville, Florida

Disney World Entertainment ArtsOrlando, Florida

Jazz ShowcaseChicago Mid-West ConventionChicago, Illinois

1987

The Jazz Corner -- Radio ShowStereo 90Jacksonville, Florida

8th Annual Western International Band ClinicSeattle, Washington

15th Annual Opera House Jazz FestivalSeattle, Washington

Neptune Beach Library Lecture

Clinic - Orange Park High SchoolClinic - Nease High School

Georgia Music Educators AssociationColumbus, Georgia

"All That Jazz" Jazz ClubJacksonville, Florida

Georgia College

81

82

Milledgeville, Georgia

24 U. S. Army BluesUniversity of North FloridaJacksonville, Florida

24 University of North Florida Jazz EnsembleJacksonville, Florida

March 27-28 Tennessee Technical UniversityCookeville, Tennessee

30 Clinic -- Florida Junior CollegeJacksonville, Florida

April 1-3 Clinic - Disney WorldOrlando, Florida

3-4 "All That Jazz" Jazz ClubJacksonville, Florida

April 8 Clinic -- Florida Junior CollegeJacksonville, Florida

10-11 University of NebraskaLincoln, Nebraska

15-16 University of FloridaGainesville, Florida

24 Western Carolina UniversityCullowhee, North Carolina

May 1-2 "All That Jazz" Jazz ClubJacksonville, Florida

3 St. Johns River City BandJacksonville, Florida

7-9 State Music ContestFt. Pierce, Florida

11 State Music ContestLakeland, Florida

12 University of North Florida Jazz Ensemble"All That Jazz" Jazz Club

83

Jacksonville, Florida

13 Clinic - Nease High SchoolJacksonville, Florida

14-16 State Music ContestTallahassee, Florida

20 Clinic - Baker County High SchoolMacclenny, Florida

21 Clinic - Bradford High SchoolStark, Florida

22 College Jazz FestivalEpcot - Disney WorldOrlando, Florida

May 25 Guest SpeakerBishop Kenny Band BanquetJacksonville, Florida

31 St. Johns River City BandJacksonville, Florida

June 13-20 Clark Terry Summer CampEmporia, Kansas

25-28 Disney World All American College BandOrlando, Florida

July 1-3 Arts in the Park - WorkshopManhattan, Kansas

5-10 Monterey Summer Jazz CampMonterey, California

14-16 Disneyland All American College BandAnaheim, California

17 Four FreshmenFlorida Theater, Jacksonville, Florida

20-26 Rich Matteson Summer CampTelluride, Colorado

Guest soloist with St. Johns River City BandS eptember 25-30

84

Carnegie HallNew York, New York

October 15-17 Judged piano competitionGuest soloist with St. Johns River City BandConducted University of North Florida 1:30 JazzEnsembleJacksonville Jazz Festival

November 21 Conducted University of North Florida 1:30 JazzEnsembleDisney World, Orlando

During 1987 Matteson participated in "The Jazz Corner with RichMatteson" radio show every Friday night from 9:00 - 11:00 p.m.

1988

January 7-10 National Association of Jazz EducatorsConvention

Detroit, Michigan

29 Georgia Music Educators ConventionJekyll Island, Georgia

February 4 Howard UniversityWashington, D.C.

5-6 Tuba/Euphonium ConferenceU.S. Army BandWashington, D.C.

10 Rehearse Sandalwood High SchoolJacksonville, Florida

14 UNF Performance - Tuesday Night Dues BandEpcot CenterDisney WorldOrlando, Florida

22 Villa Nova ClubOrlando, Florida

24-25 Augusta CollegeAugusta, Georgia

85

26-27 Western New MexicoSilver City, New Mexico

March 1 2nd Annual Ira Koger Invitational Jazz FestivalJacksonville, Florida

3 UNF 1:30 Jazz EnsembleCocoa Beach Junior CollegeCocoa Beach, Florida

4 UNF 1:30 Jazz EnsembleSt. Petersburg Junior CollegeSt. Petersburg, Florida

5 UNF 1:30 Jazz EnsembleSuncoast Jazz FestivalTampa, Florida

March 6 Guest Soloist with U.S. Jazz AmbassadorsSuncoast Jazz FestivalTampa, Florida

13 St. Johns River City BandJacksonville, Florida

19 UNF 3:00 Jazz EnsembleDisney WorldOrlando, Florida

22 UNF 1:30 Jazz EnsembleValdosta High SchoolValdosta, Georgia

22 UNF 1:30 Jazz EnsembleLowndes High SchoolValdosta, Georgia

23 UNF 1:30 Jazz EnsembleCentral High SchoolMacon, Georgia

24 UNF 1:30 Jazz EnsembleAtlanta Jazz FestivalAtlanta, Georgia

25 UNF 1:30 Jazz EnsembleLincolnton High School

86

Lincolnton, Georgia

26 UNF 1:30 Jazz EnsembleSavannah, Georgia

April 13 St. Johns River City BandValdosta, Georgia

14-17 Pensacola Jazz FestivalPensacola, Florida

23 Pembroke State UniversityPembroke, North Carolina

April 28 Clinic/ConcertWolfson High SchoolJacksonville, Florida

30 UNF 1:30 Jazz EnsembleGraduation Ceremonies Jacksonville, Florida

May 4-8 MusicfestOrlando, Florida

14 Abraham-Baldwin CollegeTifton, Georgia

25 Guest SpeakerBishop Kenny High School Band BanquetJacksonville, Florida

June 12-13 Bands of AmericaArlington Heights, Illinois

June 26 - July 1 Clark Terry/Rich Matteson Summer Jazz CampEmporia, Kansas

July 4-8 Monterey Summer Music WorkshopMonterey, California

12-14 Disneyland All American CollegeWorkshop/ConcertAnaheim, California

18-24 Rich Matteson Summer Jazz CampTelluride, Colorado

87

August 11-14 Disney World All American CollegeWorkshop/ConcertOrlando, Florida

October 15 UNF 1:30 Jazz EnsembleJacksonville Jazz FestivalJacksonville, Florida

16 Clearwater Jazz FestivalClearwater, Florida

During 1988 Matteson participated in "The Jazz Corner with RichMatteson" radio show every Friday night from 9:00 - 11:00 p.m.

1989

January 4-6 Florida All State BandTampa, Florida

12-15 National Association of Jazz EducatorsConvention

San Diego, California

February 9-10 Southwestern State UniversityWeatherford, Oklahoma

11-14 UNF Third Annual Ira Koger Jazz FestivalJacksonville, Florida

24-25 Mile High Jazz FestivalDenver, Colorado

March 4 Central Methodist CollegeFayette, Missouri

10 Edmonds Community CollegeLynwood, Washington

11 San Jacinto Junior CollegePasadena, Texas

13 Steven's High SchoolRapid City, South Dakota

West Valley High School16

88

Yakima, Washington

March 27 - April 1

April

April

May

6

15

17-20

21-23

29-30

6

May 25 - June 23

June 25-30

July 5-8

12-15

17-23

24-28

September 16

UNF Florida Tour

Brevard All County Jazz BandSatellite Beach, Florida

St. Cloud State UniversitySt. Cloud, Minnesota

UNF Florida Tour

Disney World Jazz FestivalOrlando, Florida

Musicfest USAPhiladelphia, Pennsylvania

Buena Vista CollegeStorm Lake, Iowa

American Wind Symphony Orchestra TourAmsterdam, Rotterdam, and Heusden, Holland.Salle Du Hainaut, France. Brussels, Belgium.Cork, Cogh, Waterford, and Dublin, Ireland.Londonderry and Belfast, Northern Ireland.Glasgow, Scotland.

Clark Terry Summer CampCentral State UniversityOklahoma

Disney World All American College BandOrlando, Florida

Disneyland All American College BandAnaheim, California

Rich Matteson Summer CampTelluride, Colorado

Monterey Teachers Summer Music WorkshopMonterey, California

University of North Florida Jazz CruiseJacksonville, Florida

Ponte Vedra Rotary ClubMarsh LandingPonte Vedra, Florida

St. Johns River City BandJacksonville, Florida

Richard's Jazz ClubSt. Augustine, Florida

Indiana UniversityIndiana, Pennsylvania

University of North Florida Jazz EnsembleJacksonville Jazz FestivalJacksonville, Florida

November 9-10

17

21

December 14-16

Adams State CollegeAlamosa, Colorado

University of North Florida Jazz EnsembleUNF Osprey AuctionJacksonville, Florida

University of North Florida Fall ConcertJacksonville, Florida

Clinic on rehearsing a Jazz Ensemble andperformance by the UNF Jazz EnsembleChicago Mid-West ConventionChicago, Illinois

1990

Performance by the UNF Jazz EnsembleNational Association of Jazz EducatorsConventionNew Orleans, Louisiana

North Dakota State UniversityFargo, North Dakota

Ohio Music Educators ConventionDayton, Ohio

21

89

October

October

1

3-4

10-11

13-14

January 11-14

27

February 1

90

6 Fourth Annual Ira Koger Invitational JazzFestival

Jacksonville, Florida

9 20th Annual Jazz FestivalSouthwestern State UniversityWeatherford, Oklahoma

17 Millikin UniversityDecatur, Illinois

March 6 Northeastern State UniversityTahlequah, Oklahoma

March 13 Gainesville Jazz FestivalGainesville, Florida

April 7 Peru State CollegePeru, Nebraska

10 Johnson City, Tennessee

22 Orlando Jazz SocietyOrlando, Florida

May 4-5 East Valencia CollegeOrlando, Florida

29 DeKalb Community CollegeDeKalb, Illinois

June 24-29 Clark Terry Summer CampCentral State UniversityOklahoma

Disney World All American College BandOrlando, Florida

Disneyland All American College BandAnaheim, California

July 23-29 Rich Matteson Summer Jazz CampTelluride, Colorado

August 1-5 Spokane UniversitySpokane, Washington

91

7-12 International TUBA ConventionSapporo, Japan

October 18-20 James Madison UniversityHarrisonburg, Virginia

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