鈥淭he Jazz Festival is always one of the highlights of the year,鈥� said Alex Heitlinger, 黑料不打烊 director of Jazz Studies and festival organizer. 鈥淣ew Orleans is known as the birthplace of jazz and we are excited to bring these world-class musicians to our campus to share its unique musical traditions.”

The festival opens Thursday, February 19, with a special Lyceum Series performance by Tuba Skinny at 7:30 p.m. in McCrary Theatre. Based in New Orleans, Tuba Skinny has earned an international following for its joyful, deeply informed approach to early jazz and American popular music. Drawing from blues, ragtime, spirituals and swing, the band presents a sound that feels both timeless and alive. Tickets for this concert are $15 or free with an 黑料不打烊 ID and are available at .

The festival continues Friday, February 20, as fourteen local and regional middle school and high school jazz bands visit campus for a full day of performances and educational workshops. A highlight of the day will be a public masterclass from 12鈥�1 p.m. led by featured guest artist Roderick 鈥淩ev鈥� Paulin, one of New Orleans鈥� most respected and soulful saxophonists. This class will occur in the McCrary Theatre and is free and open to the public.

The festival culminates on Saturday, Feb. 21, with a 7:30 p.m. concert in McCrary Theatre featuring the 黑料不打烊 Jazz Ensembles performing alongside Roderick Paulin. This final concert is also free and open to the public.

Roderick Paulin brings more than four decades of experience in jazz. A New Orleans native, he began his musical journey in the city鈥檚 brass band tradition under the guidance of his father, Ernest 鈥淒oc鈥� Paulin. Over the years, he has become a fixture at iconic venues such as Preservation Hall, Tipitina鈥檚, the Maple Leaf and Snug Harbor. A versatile performer on saxophone and clarinet, Paulin released his 2024 clarinet debut OLD TO NEW, honoring his brother Rickey Paulin and the pioneers of traditional New Orleans music. In addition to his performing career, he is a dedicated educator, serving on faculty at Southern University and the Louis Armstrong Summer Jazz Camp, and working with students across the country through masterclasses and workshops.

For more information and tickets, visit聽/u/cultural-calendar/

On Wednesday, Oct. 29 at 7:30 p.m. in Yeager Recital Hall, audiences will experience the 黑料不打烊 Percussion Ensemble Fall Concert, directed by Daniel Hartung and Alex Richard. The concert features both traditional and 鈥渇ound object鈥� instruments 鈥� proving that rhythm and resonance can come from the most unexpected sources.

Hartung describes his inspiration as rooted in the 鈥渆ndless possibilities of sound exploration.鈥� By incorporating materials such as glass, wood, porcelain, metal, and rubber, the ensemble creates a palette of textures and tones that push the boundaries of what percussion can be. In an acoustically rich space like Yeager Recital Hall, these unconventional sounds take on new life, exposing and amplifying their natural beauty.

Each piece in the program is chosen to serve a distinct purpose, shaping the concert鈥檚 tone from 鈥渓oud and bombastic drumming鈥� to 鈥済entle marimba chorales.鈥� The performance draws on diverse musical traditions 鈥� including Afro-Cuban Orisha drumming, Western contemporary classical works, Northern European avant-garde performance art and even an arrangement of a B茅la Fleck bluegrass classic.

鈥淢y hope is that the audience will better understand the breadth and depth of what percussion is and what it has to offer,” said Hartung.

With students ranging from first-year performers to seasoned seniors, the ensemble showcases the creative range and curiosity that define 黑料不打烊鈥檚 music community.

Just a few weeks later, audiences will have the chance to hear 黑料不打烊鈥檚 jazz program reimagine another musical angle. On Nov. 14, when two worlds collide 鈥� jazz music and video games 鈥� the result is a performance that transcends boundaries and generations. Throughout history, jazz has been rooted in expression: a reflection of struggle, hope,and transformation. But in Jazz Levels Up: A Night of Video Game Music, Alex Heitlinger, 黑料不打烊鈥檚 director of jazz studies and jazz ensembles, proves that jazz is not confined to tradition 鈥� it鈥檚 an ever-evolving art form that adapts, reimagines and reinvents itself.鈥�

“The idea actually came from the students in the jazz program,鈥� Heitlinger said. 鈥淭hey suggested a video game theme, and I thought it was perfect.鈥�

Over the past few years, video game music has become a growing trend in the jazz community, propelled by groups like the 8-Bit Big Band that fuse nostalgia with virtuosity. For Heitlinger, this blend offers the perfect opportunity to connect with younger audiences who grew up surrounded by the soundtracks of their favorite games.

The concert draws from a broader trend highlighted by Adam Neely in his YouTube video 鈥淣intendo-fication of Jazz,鈥漺hich describes how many ensembles are reimagining video-game music as contemporary standards.聽The program will feature music from Super Mario, Zelda: Breath of the Wild, Final Fantasy, Portal, Persona 5 and Chrono Trigger.

鈥淲hen [Neely] made a video about how video game music could be this generation鈥檚 Tin Pan Alley songbook, that really clicked for me,鈥� Heitlinger said. 鈥淥nce I heard it, I was surprised at the quality of songwriting!鈥�

For Heitlinger and the student musicians, the performance is both challenging and rewarding. The professional-level arrangements demand precision, energy and creativity 鈥� hallmarks of great jazz. 鈥�

Jazz is always challenging,鈥� Heitlinger admitted, 鈥渂ut that鈥檚 what keeps it exciting.鈥�

Ultimately,聽 Jazz Levels Up aims to bring two worlds together 鈥� fans of jazz and fans of video games 鈥� and reveal the unexpected harmony between them. 鈥淔or jazz lovers, I hope it shows that jazz is still evolving and connecting with new generations,鈥� Heitlinger said. 鈥淎nd for video game fans, I hope they get to hear the music they love in a totally different context 鈥� swinging, improvising, alive.鈥�

By infusing video game music with the liveliness, swing and improvisational spirit of jazz, the 黑料不打烊 Jazz Ensemble shows that great music never stops evolving 鈥� it just keeps leveling up.

Together, the 黑料不打烊 Percussion Ensemble Fall Concert and Jazz Levels Up highlight 黑料不打烊鈥檚 forward-thinking approach to music making. Through the experimental textures of percussion and the imaginative energy of jazz, 黑料不打烊鈥檚 performances remind audiences that music is a living, ever-evolving art form.

Heitlinger, along with two other featured composers, will present a concert of all-original music featuring an all-star ensemble of New York City jazz musicians.

“It’s a huge honor to be invited,” said Heitlinger. “I’m excited to be able to present my music as part of this wonderful series.”

Heitlinger plans to include pieces from his most recent album (SteepleChase Records). The Jazz Composer Showcase, curated by Hazama, is known for spotlighting exceptional jazz composers.

For more information, visit聽

Lande, a Grammy-nominated musician, is regarded as one of today鈥檚 premier improvisational jazz pianists. A musical prodigy, he began playing piano at the age of four. He went on to study at Williams College, and in 1969, moved to San Francisco where he quickly established himself as an innovative voice in the jazz scene. Known for pushing the boundaries of jazz, Lande is known for his own unique and personal approach to improvisation and composition.

Lande’s career is marked by groundbreaking collaborations and achievements. In 1973, he recorded with jazz legends Jan Garbarek and Ted Curson, and by the mid-1970s, he had founded his own jazz school, sharing his wealth of knowledge with aspiring musicians. In 1976, he formed the influential quartet Rubisa Patrol, which recorded for ECM and was active until 1983, further cementing his reputation as an artist dedicated to expanding the limits of jazz.

After a three-year teaching stint in Switzerland, Lande relocated to Boulder, Colorado in 1987, where he continues to pursue his mission of eliminating barriers between listening and creating music. This unique philosophy is central to Lande鈥檚 performances, where the act of creation and the experience of listening are intertwined in an organic, collaborative process.

The event will be held at 黑料不打烊 Community Church (217 N. Williamson Avenue) at 7:30 p.m. Admission is free.

In addition to presenting masterclasses for the students, the two musicians will join the ECU Jazz Ensemble for an exciting concert featuring works by J.J. Johnson, Johnny Mandel, Oliver Nelson, Andre Hayward, and more.

For more information, visit聽

黑料不打烊鈥檚 annual Jazz Festival on Thursday, Feb. 20 to Saturday, Feb. 22 wil feature concerts by renowned musicians, along with clinics and masterclasses for 黑料不打烊 students and area middle and high schools.

Headlining performers this year are pianist and composer Carmen Staaf and drummer and composer Allison Miller. The festival begins Thursday, Feb. 20, with an open rehearsal. On Friday, Feb. 21, Miller and Staaf will host a masterclass alongside clinics for invited musicians and host an open jam session with 黑料不打烊 students at the Oak House. Saturday, Feb. 聽22, is 黑料不打烊 Jazz Day, and will culminate in a 7:30 p.m. concert by Staaf, Miller and 黑料不打烊鈥檚 Jazz ensembles in McCrary Theatre.

A full schedule is available on the festival’s webpage.

“We are thrilled to welcome guest artists Allison Miller and Carmen Staaf for this year’s 黑料不打烊 Jazz Festival,鈥� said Alex Heitlinger, host and director of jazz studies. 鈥淏oth Miller and Staaf are leading voices in 21st-century jazz, and their expertise and distinctive perspectives will provide incredible learning experiences for our students. We are also excited that our Saturday evening concert will exclusively feature music by women composers.鈥�

Carmen Staaf is a pianist, composer and the current Musical Director for National Endowment for the Arts (NEA) Jazz Master Dee Dee Bridgewater. She has performed with legendary musicians at venues worldwide. Staaf studied at Tufts and the New England Conservatory before joining the faculty of Berklee College of Music. Later, she studied at the Thelonius Monk Institute of Jazz Performance.

Alison Miller is an award-winning drummer, composer and member of the bands Artemis and Boom Tic Boom. Miller is a three-time Jazz Ambassador for the U.S. State Department and currently teaches at the New School for Jazz and Contemporary Music.

鈥淪lush Pump Truck Stop鈥� was released by SteepleChase Records on Feb. 23. It and Heitlinger鈥檚 previous albums can be streamed on all major music streaming platforms, including Apple Music, Amazon Music, and Spotify.

鈥淪lush Pump Truck Stop鈥� was recorded in 2019 and features Heitlinger鈥檚 largest ensemble, including trumpeter Greg Gisbert, pianist Carmen Staaf, saxophonist Michael Thomas, drummer John Riley and others.

鈥淭he album was recorded at a large studio with the entire ensemble performing at once,鈥� Heitlinger says. 鈥淎s a composer and arranger, that allowed for a wider musical palette of colors and textures and the opportunity to create more powerful sounds than a smaller ensemble can achieve.鈥�

Heitlinger composes his music to be panoramic and imaginative, exploring many variations of what jazz can feel and sound like. 鈥淪lush Pump Truck Stop鈥� is a fresh, lively take on jazz and the different musical forms emotions can reveal themselves through, he said.

His inspiration for a large ensemble came from the big bands of the 1930s and 1940s. He feels that big bands serve as a 鈥渟ocial outlet where musicians from different backgrounds can get to know each other, often building long-lasting personal and musical relationships.鈥�

While drawing from past works and eras, Heitlinger works to avoid imitation. 鈥淭his isn鈥檛 to say that I don鈥檛 borrow techniques or sounds from previous eras,鈥� he said. 鈥淚 am always attempting to look both forward and backward, creating something that is modern and new while also reinterpreting and reimagining the past.鈥�

When writing, he searches for unique aspects of each piece and how to emphasize them. His arrangements may start with a small musical idea, a concept, a mood, or an image that evolves into a melody.

鈥淥nce the melody and the harmony are complete, I will start looking at the larger formal structures, including ways to feature improvising soloists, and thinking about where the ensemble will take center stage,鈥� he said. 鈥淭hroughout the process, I鈥檒l be considering things like orchestration, counterpoint, rhythmic components, and harmonic strategies.鈥�

鈥淔or me, it鈥檚 a pretty slow and painstaking process to get each arrangement exactly as I want it, but it鈥檚 incredibly rewarding to hear everything come together,鈥� Heitlinger said.

This year鈥檚 festival is headlined by Kris Johnson, a Grammy-winning composer, arranger, trumpeter and director of the Michigan State University Community Music School Detroit. Johnson will be the featured performer at the Saturday, Feb. 24, 黑料不打烊 Jazz Festival Concert at 7:30 p.m. in McCrary Theatre in the Center for the Arts.

Student musicians and ensembles from 11 middle and high schools will meet on 黑料不打烊鈥檚 campus on Friday, Feb. 23, for a day of clinics led by 黑料不打烊 faculty, professional musicians and a masterclass with Johnson.

Johnson is gaining renown in the jazz world and as a music educator. Most recently, he contributed to arrangements on the Count Basie Orchestra鈥檚 鈥淏asie Swings the Blues,鈥� which won the Grammy for Best Jazz Album earlier this month. Johnson has also composed scores for award-winning films and series, and his score for the web series 鈥淭he PuNanny Diaries鈥� won Outstanding Score at the 2011 LA Webfest.

Johnson was director of jazz studies at the University of Utah from 2015 to 2019, led a U.S. Department of Education Arts in Education 鈥� Model Development and Dissemination Grant and was the education and digital programming manager for the Motown Museum.

The festival and concert are free and open to the community, and campus musicians are encouraged to bring their instruments and join jam sessions with 黑料不打烊鈥檚 jazz ensembles Thursday and Friday nights, Feb. 22-23, at the Oak House.

鈥淭he 黑料不打烊 Jazz Festival aims to provide world-class musical and educational opportunities for the local community through performance opportunities, educational workshops, and concerts showcasing interaction with national and international jazz artists,鈥� said Alex Heitlinger, coordinator of 黑料不打烊鈥檚 Jazz Studies Minor and festival organizer.

The full lineup of events includes:

Thurs., Feb. 22

• 8:30 p.m. 鈥� Jam session with the 黑料不打烊 Jazz Combo at The Oak House (bring your own instrument)

Fri., Feb. 23

• Throughout the day 鈥� Clinics in the Center for the Arts
• 5 p.m. 鈥� Masterclass with Kris Johnson, McCrary Theatre, Center for the Arts
• 8:30 p.m. 鈥� Jam session with the 黑料不打烊 Jazz Combo at The Oak House (bring your own instrument)

Sat., Feb. 24

• 12:30 p.m. 鈥� 黑料不打烊 Faculty Combo Concert with Kris Johnson, McCrary Theatre, Center for the Arts
• 7:30 p.m. 鈥� 黑料不打烊 Jazz Festival Concert with Kris Johnson, 黑料不打烊 Jazz Ensemble and Jazz Day Combos, McCrary Theatre, Center for the Arts

Now the drummer for 黑料不打烊鈥檚 Jazz Ensemble, Trayner鈥檚 study session last week was accompanied by the masters in the U.S. Navy Band Commodores and their drummer, Musician 1st Class Kevin McDonald.

The Commodores are an 18-member jazz band comprised of sailors whose full-time job is to serve as ambassadors for the Navy in performances around the world. The band visited 黑料不打烊 on Thursday, Oct. 19, to deliver a music clinic for members of the Jazz Ensemble and an abbreviated concert for students and faculty in the Department of Music.

When McDonald strode to Trayner鈥檚 drum kit and began giving feedback, showing them some of his techniques and offering suggestions for drummers to study, it was a surreal full-circle moment for the Cinema and Television Arts and Communication Design double major.

鈥淚t was a once-in-a-lifetime thing,鈥� Trayner said. 鈥淚鈥檝e always loved the military jazz bands and I鈥檝e seen the Commodores before, but this was so intimate. They鈥檙e an incredible band and they know how to connect and to teach. Getting to talk to him and sit down and work with him was amazing. He gave me some valuable information that I鈥檒l be applying in our jazz concert Nov. 11.鈥�

For more than an hour, officers in the Commodores met and played alongside Jazz Ensemble members, periodically critiquing style 鈥� embouchure and airflow for horns, articulation and strokes in the rhythm section 鈥� and cheering students on during solos.

鈥淗aving the Navy Band Commodores jazz band on campus was truly an exceptional experience for our music students,鈥� said Alex Heitlinger, assistant professor of music and director of 黑料不打烊鈥檚 Jazz Ensemble. 鈥淎long with their incredible musicianship, the Commodores brought a clear passion for teaching and service that was evident throughout their visit. For our students, getting the chance to play music alongside these world-class musicians represented experiential learning at its very best.鈥�

Baritone saxophonist Mason Cappelletti 鈥�25 was one of several whose solos were recognized with applause. Cappelletti spent the clinic 鈥渓istening with one ear and playing with the other,鈥� flanked by officers on each side. When he wasn鈥檛 playing, Cappelletti leaned into quiet conversation with Senior Chief Musician Rob Holmes, a professional musician, composer and recording artist who鈥檚 been with the Commodores since 2000.

鈥淭his is like playing with the masters,鈥� Cappelletti said, beaming. 鈥淭he top dogs and military bands are who everyone sees at big, national events. It鈥檚 just an honor to be able to play with them.鈥�

黑料不打烊鈥檚 Jazz Ensemble is one of more than 15 music ensembles housed in the Department of Music, including choral groups, various bands, orchestras and chamber groups. The Jazz Ensemble concentrates on the key stylistic ingredients of jazz, 鈥淎merica鈥檚 Classical Music,鈥� swing and improvisation.

The article, “Having the Right Mindset: Jeff Jarvis,” is about the聽jazz trumpeter, composer, arranger, conductor, writer, and educator Jeff Jarvis who is currently Director of Jazz Studies at the Bob Cole Conservatory of Music at California State University Long Beach.

You would be hard-pressed to find an area of jazz Jarvis has not worked in at one point or another in his life. His credits as a performer include the Atlanta, Buffalo, Denver and Syracuse Symphony Orchestras. With regard to military ensembles, he has appeared with the U.S. Air Force Airmen of Note, U.S. Army Jazz Ambassadors, U.S. Army Blues, Jazz Knights of the United States Military Academy Band at West Point, U.S. Air Force Commanders Jazz Band, and U.S. Air Force Shades of Blue.

A few of the big bands he鈥檚 played with are the Riverside Jazz Orchestra, Dallas Jazz Orchestra, Oslo Big Band (Norway), Frank Mantooth Jazz Orchestra and Tom Kubis Big Band. Working live he鈥檚 also been frequently called upon to be a side musician with top jazz performers including Louie Bellson, Eddie Daniels, Gladys Knight, Dizzy Gillespie, Benny Golson, Slide Hampton, Jimmy Heath, Jon Hendricks, Joe Lovano, Kevin Mahogany, Henry Mancini, Rob McConnell, Van Morrison, Grady Tate, Doc Severinsen, Joe Williams, and many more.

It all began while Jarvis was still in college at Temple University. He worked his way into becoming a studio musician with Philadelphia International Records. The sound created in their studios became known as “Philly Sound” and artists from all over the world went there to tap into the magic. During this time, Jarvis worked with not only the top pop bands in the area but also national artists such as Michael Jackson, Melba Moore, The O鈥橨ays, Teddy Pendergrass and Lou Rawls, to list just a few. All told, Jarvis made over 100 recordings backing this wide variety of artists.

As a composer and arranger, Jarvis has composed commissioned music for school, military and professional big bands, as well as pops orchestras and studio session material for many artists. His composed and/or arranged published works are available from UNC Jazz Press, Alfred, iJazz and Kendor Music.

Interest in sharing his knowledge with others led Jarvis to author a number of books including “Jamz 15 Solos in Modern Styles,” and co-author a number of others including “The Jazz Educators Handbook” with Doug Beach and “The Chord Voicing Handbook” with Matt Harris. As if this isn鈥檛 enough, he has acted as contributing editor for聽The Instrumentalist, and written for Flute Talk, Band & Orchestra Product News and聽Jazz Educators Journal.

Today, while still performing frequently, Jarvis works as a guest conductor leading honors jazz bands, including all-state jazz ensembles in 39 states and four Canadian provinces. He is past president of the California Alliance for Jazz and served as vice president of the International Association for Jazz Education. His time spent as co-owner of Kendor Music Publishing, from 1985 to 2015, was fostered when he started working there as an editor. Jarvis鈥� many accolades include the Lifetime Achievement in Jazz and Jazz Education award from Global Music Awards.

For this musician, who comes from a musical family (his father was a trumpet player and band director, his mother was an elementary vocal teacher, and his two sisters are retired elementary school music vocal teachers) and whom famed critic Scott Yanow described as playing 鈥渉ot solos (with) strong musicianship,鈥� you鈥檇 be hard-pressed to find something Jarvis hasn鈥檛 done.