Stephen K. Peeples -- CalArts Jazz Students Issue 16th Annual Compilation

Available free to students and the public, the 10-track "CalArts Jazz 2005" CD features 10 original compositions and performances by CalArts musicians, along with package design by CalArts graphics students. It's the 16th in a series of annual compilations produced by CalArts Jazz in association with Capitol/EMI and Capitol Studios in Hollywood, where the tracks were recorded in Studio A.

"The two (to) three hours these students spend in the studio are an extraordinary and unforgettable experience," said David Roitstein, who chairs CalArts' jazz studies program and helms the annual CD project. "They can see, feel, and hear the result of their hard work and intensive preparation. Many have told me it was a defining moment in their lives."

Among the highlights: "Virgule" by pianist Gary Fukushima and sextet; "Esta Luz Tambien Se Ve en el Frio Saliendo de las Nubes Grises" by drummer/percussionist Tonatiuh Avila and sextet; "Spoken For" by singer and violinist Andrea Hammond and quartet; "End Class" by tenor sax player Matthew Logan Otto and quartet; and guitar player Joel Peloquin's "Eyes of Jade," a duet with faculty guitarist Larry Koonse.

Roitstein, who teaches jazz piano, theory and ear training at CalArts, earned his Bachelor's and Master's degrees in music and jazz from the University of Miami between 1972-1980, including time off to teach as a member of the UM faculty and play professional gigs.

Moving west, he was on the faculty at California State University, Northridge and joined the CalArts Music faculty in 1982. Also an active studio musician in the film and TV industry, Roitstein has performed with a wide range of artists including Bruce Hornsby, Steve Kujala, Carmen McRae, Carmen Lundy, Sheena Easton, the Brecker Brothers, Pat Metheny, Steve Morse and Dixie Dregs, Jaco Pastorius, Ira Sullivan, Frank Sinatra and Mel Tormé.

The CD's genesis dates to the 1982-1983 school year, when Roitstein and legendary jazz composer and bassist Charlie Haden cofounded the CalArts Jazz program and began teaching there.

"We wanted to record some of the wonderful music being made at CalArts, and allow the student players to gain hands-on experience in a professional studio setting," Roitstein said. "We didn't get an opportunity to do that until 1989-90, when Joe Smith [then Capitol/EMI's president, and a past chief of Elektra/Asylum and Warner Bros. Records] joined the CalArts Board of Trustees."

Smith, a longtime jazz fan and booster of music education, provided access to Capitol's world-class studio and staff.

"The idea was simple," Roitstein said. "Capitol/EMI would support an annual recording project of new original music from CalArts students. This project would be a relatively inexpensive and easy way for Capitol/EMI to have a tremendous impact on the lives of many young, talented musicians."

At least 500 young CalArts musicians, composers and graphic designers have had their best work documented and widely distributed in the past 16 years, according to Roitstein. "The annual recording has become an anticipated event and an established model for other projects like it around the world," he said.

Many CalArts graduates have capped on their Capitol Studios experience and gone on to successful careers in music. They've worked with Beck, No Doubt, Macy Gray, The Calling, the Wallflowers, Garbage, Smashing Pumpkins, Ozomatli, Big Bad Voodoo Daddy, Brian Setzer, Chaka Khan, Tina Turner and many others.

"We've also had our students touring and recording with a long list of jazz masters, including Horace Silver, Herbie Hancock, Jack DeJohnette, Roy Hargrove, Steve Coleman, Elvin Jones, Geri Allen, Jim Hall, John Scofield, Dianne Reeves, John McLaughlin, Arturo Sandoval, and Brad Mehldau," Roitstein said.

The annual CD project gets started in late November. "All composers and performers at CalArts are invited to submit demo tapes or CDs of their best work to a faculty committee," Roitstein explained. "This first round produces 70-80 submissions and includes an indescribably broad range of musical styles and instrumentations."

A screening committee chooses 20 compositions. "Then, in January and February, we hold intensive rehearsal sessions," Roitstein continued. "At the end of February or early March, we have a marathon concert and listen to all 20 'finalist' groups - the whole place buzzes in anticipation. We then select the final 10 groups that will get to record at Capitol."

Roitstein produced the CD's 10 tracks April 14-15 at Capitol with staff engineer Charlie Paakkari. The two-day studio budget worked out to about two hours per group, including set-up time. "That's an incredible challenge, especially by today's standards," Roitstein said. "Thanks to the professionalism and talent of Paula Salvatore and her staff at Capitol, we've been able to complete the project on time and within the budget every year."

To create the CD cover art and packaging, Roitstein said, the CalArts graphics crew has a similar process. "Students submit finished designs, and we choose the best for the CD. The chosen graphic artist then works closely with us to complete camera-ready artwork. This year, the graphics were designed by Ryan Corey."

While Corey was developing the visuals, Roitstein spent two days overseeing final sound mixing of the session tapes, then a day of mastering in Capitol's mastering studio down the hall from Studio A. Once the master was produced, Capitol manufactured the CD, pressing about 2,000 copies, and delivered them to Roitstein on May 12. A one-month turnaround from sessions to release is remarkably fast by record industry standards.

"We follow a production deadline every year that allows a release date so it's available for graduation," Roitstein said. "When you see the excitement, pride, and satisfaction of everyone at the Institute when the CD arrives, you understand how important this project has become. It's wonderful to watch as people see and hear it for the first time, and reminds me every year that it's well worth all the effort and expense."

The just-released CD has been sent to key reviewers for jazz-oriented magazines such as down beat and JazzTimes as well as National Public Radio, college radio stations and other interested media outlets. "This exposure is a key part of what we wanted to accomplish with the CD, and has helped tremendously to establish CalArts as a leader among music schools, jazz programs, and creative music communities around the world," Roitstein said.

The CD will also be distributed at music and educational conferences around the country, and to prospective students when they apply to CalArts, Roitstein said. "When we first began going to these conferences -- where attendance is 6,000-8,000 -- and giving out the CDs, we were the only music school to professionally produce such a wide range of original student compositions and performances. People were quite surprised. Now, several schools and organizations have begun to emulate our project."