An Interview With Valerie Capers Aired June 22, 1999 Capers lost her sight at the age of six and attended the New York Institute for the Education of The Blind as a youngster. She went on to study classical music at the Juilliard School of Music and became the first blind person to graduate (B.S., M.S.). After years of professorial work at Bronx Community College of the City University Of New York, she was elected Chairman of the Department of Music and Art. During her tenure at BCC, Capers introduced the jazz program into the music curriculum. Over the years Capers has worked with the likes of Dizzy Gillespie, Wynton Marsalis, Marian McPartland, Tito Puente, Max Roach, James Moody among others. Capers was the first recipient of Essence magazine’s Women of Essence Award in Music (1987). Valerie today holds the title of professor emeritus from BCC. She also has a doctor of Fine Arts from the University of Susquehannah in Pennsylvania. She conducts workshops and clinics around the country for students, teachers and aspiring musicians.
Bobby Jackson -Valerie, how did you conceive of writing songs specifically designed for kids musical education? Dr. Valerie Capers--As a young student studying classical music, I remember how excited I was to learn pieces, the repertoire that was created by world famous composers like Bach, Prokofiev and Schumann. They all had pieces for children. I remembered how wonderful it was to learn pieces written by these composers. A Bach piece sounds like Bach and a Schumann piece sounds like Schumann. The pieces weren’t the more difficult ones yet but it was so wonderful to play pieces by these great composers. To be able to create the sounds on the level of piano I was at that particular time. We haven’t had anything like that in jazz repertoire for children. I thought I would like to put a collection of pieces together that give children this opportunity. Students, the beginner and the intermediate player an opportunity to play something that sounds in the traditions of jazz music. The various styles and textures. It’s not a book on how to improvise but rather it is a book of artistic pieces that will give students the opportunity to play keyboard music that sounds like Monk. That sounds like Ragtime and sounds like some of the traditions of jazz performed and perpetuated by jazz musicians other than pianists. Dr. Sylvia Rimm--Valerie did any of these jazz composers actually do what the classical composers did? Did any of them write music specifically for children? VC--Not really. I think not because it’s an oversight necessarily, but I think it has to do with tradition of the development of jazz in this country, coming from the red light districts and the brothels. The entertainment centers and the riverboats. The street parties and various things like that. Bach, of course was a teacher in his home town as well as an organist. Schumann had many children and he wrote for them. Bach wrote for his children and Prokofiev I guess just generally wrote for children. Bartok did a great deal of gathering music together in Hungary and Romania, the way Hall Johnson did for African Americans in the music of slavery time. He wrote a great many pieces for children, but I don’t think it was an oversight. I think it’s just something that didn’t fall in the tradition of the development of the music. SR--I think it’s a true credit to what that music meant for you as a child. For you to take the initiative to interpret music that will be meaningful to children because of your experience. VC--Thank you. I just know that it would be wonderful for students to sit down, for example, and play something that’s Ragtime. Maybe a ten year old or a twelve year old who does not have the technique to play a Scott Joplin piece, yet would like to play something that sounds like Ragtime. I worked very hard to create something that would give students the satisfaction of playing something that sounds grown up and sounds in the style of. You get a great joy in that. BJ--I was really impressed with all of these pieces. We’ll hear some of them. There are thirteen selections in all on this particular CD and were going to just check out a few of them. The thing that really impressed me about the pieces is how much they sound like the people the pieces are named after. I guess we can start with the first one. This is called, “Ella Scats The Little Lamb.” When we think of Ella Fitzgerald we think of a tisket, a tasket, a brown and yellow basket. It has a nursery rhyme quality but we also know that she scatted, so lets check this out. This is “Ella Scats The Little Lamb.” You’re listening to JazzTracks. SONG – “Ella Scats The Little Lamb” BJ--“Ella Scats The Little Lamb.” Scatting is a technique where non-sensible words is employed. Louis Armstrong was one of the first people to introduce that technique in song. VC--I would rather than think of it not as non-sensible. I just think of it as syllables and different sounds, you know. Indeed Bobby (just teasing you), it does make perfect musical sense. It was a wonderful way in setting up the Ella piece. I tried to set it up where you had a two part invention, where there’s a little bass line going in the left hand and in the right you could scat. BJ—Okay, lets move on to the next piece Sylvia. SR--Waltz for Miles. VC—Sylvia, one of the things I tried to do in the collection is not only to create the pieces for the students themselves, there are interpretive notes for the teacher. There are suggestions on how execute lines and how to make them sound within the style of/or the tradition of. I wanted to link some of the great artists with each piece so that the student would get a little biographical sketch and some knowledge of the particular twelve people I picked for this collection. SR--So it’s truly a full learning experience. VC—Yes, that is what I was trying to do. To make it a full learning experience for the player. BJ—Okay. In this next piece you hear an airiness; a lyricism, a sweet and sour kind of beauty. Lots of space. This is “Waltz For Miles”. SONG: “Waltz For Miles” BJ--“Waltz For Miles” and you’re tuned to JazzTracks 90.3 FM. I’m with Dr. Sylvia Rimm and Valerie Capers, an educator out of the New York City area. This next composition we’re about to listen to is called “Sweet Mr. Jellyroll.” He (Jelly Roll Morton) claimed to have invented jazz back in 1902. We all know that’s not true but he was quite a character . VC--Quite a character and quite a pianist. SR--I’m looking forward to hearing this one. VC--I hope you’ll like it. SONG: “Sweet Mr. Jelly Roll” BJ--Sweet Mr. Jelly Roll from Valerie Caper’s “Portraits In Jazz” collection. I’m Bobby Jackson and you’re listening to a special education edition of JazzTracks on 90.3 FM. WCPN, the sound of ideas. I’m joined in the studio by Dr. Sylvia Rimm of “Family Talk” fame. We’re also speaking with Valerie Capers about education in jazz. I really love that song. It makes me think of the turn of the century and Valerie, to be honest with you, the music seems pretty complicated. VC--You mean in hearing it? BJ--Yeah. VC--The beauty of it is the way it was constructed. It certainly is not as complicated to play on this level. As I said of Scott Joplin or Jelly Roll, the rhythms and the interplay of the rhythms in both hands has that complexity, or that “raggy” or that loose rhythmic sound that we associate so much with that time. And the fun! That music is always fun to listen to. You listen to Jelly Roll. You listen to Scott Joplin. You always have a smile on your face. It’s music that always conveys a joy and an exuberance. SR--In the actual music in your book, could a beginner or an intermediate student play it? VC—Yes, absolutely. An intermediate student whether he or she is ten, twelve or an adult that is at an intermediate level. It’s definitely for the intermediate; the more advanced level student. SR--This would be for playing it on the piano correct? VC—Yes. SR--So if they played another instrument they couldn’t adapt this? VC—It’s very interesting you mention that. I’ve had some guitar players and also a couple of horn players express an interest in the pieces simply because they felt they were attractive. They like the concept of them and perhaps somewhere along the line if they become adaptable for the saxophone or the trumpet. That’s certainly not out of the realm of possibility. What would happen then is the horns or whatever instrument you arranged for would have the melodic line of these compositions. The accompaniments for piano or any ensemble you choose to make would be rearranged then. SR--So Valerie, is this another challenge for you in the future? VC--It very well could be! BJ--Well this next piece is a portrait of Thelonius Monk. Thelonius Monk was a great, great piano player in the tradition of East Coast stride and before them Ragtime players. VC--Yeah Bobby, every thing you said about Monk is absolutely right but, the thing that sets him apart from any body else is that he really marched to the tune of a different drummer. And not so much by tradition because there are things that Monk himself as a unique personality created himself. The dissonance at the piano, dissonance meaning sounds that are not compatible. BJ--Quirky. . . VC-- Yes, the quirkiness, the humor and the savageness of his music. Monk did not play like a polished pianist, but when he sat down the energy and as you said the quirkiness. The humor; the individual manner in which he played was just extraordinary. Coltrane said he learned more about music in the few years that he worked with Monk than he did than at any other stretch in his life. BJ: Sylvia, see if you can hear the surprise and angularity in this music. This is called, “The Monk.” SONG: “The Monk” BJ--“The Monk,” and you’re tuned to JazzTracks on 90.3. Hope you’re having fun. SR--I heard the quirkiness. BJ–Thelonius Monk, the master. The next piece that were going to take a look at is called, “A Taste Of Bass.” VC—Bob, may I talk about that? BJ—Please, by all means. VC—I kind of like this piece. It’s a fun piece. So many of the famous jazz groups especially from the bebop period and beyond. The famous jazz groups were chamber ensembles, trios, quartets. As ragtime and swing stride piano with the left hand technique disappeared, the bass player and the drummer began to do the things that my dad for example or Fats Waller or Teddy Wilson did with their left hand in creating the rhythm. When the bass moves up and down (doom, doom, doom doom, that type of thing) it’s called walking. The bass is very important. It gives us the harmony. It helps to give movement. It gives it harmonic rhythm. Learning to play with a bass in an ensemble is not an easy thing. They call comping when you play with the guitar or the piano. The bass is walking along and the piano is punctuating the walk as the bass is going doom, doom, doom, doom. So I thought it would be fun to create a piece that imitates if you will the walking of the bass, and the accompaniment, or as we call it in jazz, the comping of the right hand. That was a lot of fun and I enjoyed doing that. SR– I love the concept of walking because I think it would translate so well to children. It translated well to me. It’s the child in me. BJ-- Well this is “A Taste Of Bass.” You’re listening to JazzTracks. Song: “A Taste Of Bass” BJ—“A Taste Of Bass” right here on JazzTracks. We’re with Dr. Sylvia Rimm of Raising Kids and were also with doctor, uh, not doctor. . . . VC—Yes, Doctor too! BJ—I’m sorry! I didn’t know you were a doctor too. I just called you Valerie. VC—BFA (Batchelor’s of Fine Arts) BJ—Well, I guess I’ll just have to catch up with both of you. Anyway, this last piece is a piece that has a very romantic (it’s very beautiful). It has an almost crying, emotional quality. It’s called “Billie’s Song.” VC—Yes, and Sylvia it’s amazing to me. I’ve received letters from teachers around the country who express a particular fondness for this piece. The students seem to enjoy it. It’s called Billie’s Song (and that’s for Billie Holiday). It has a very pretty, warm melody. It’s written in the song form. It has very lush harmonies and the students just seem to love it. It really makes them feel like they’re playing something modern and popular. So that has been a great success with the young people that have played this piece. SR—I look forward to hearing it. VC—Thank You. Song: “Billie’s Song” BJ—“Billie’s Song,” and you’re tuned to JazzTracks 90.3 FM WCPN. Bobby Jackson with you along with Dr. Sylvia Rimm and also “Dr.” Valerie Capers. It’s nice to (be able to) say that! Valerie, where can people pick up this music? VR—Let me say I’m embarrassed a little bit to say I don’t have a web page right now. It is something I’m working on, but certainly any inquiries by anyone who would like to call to ask about this piece, can call 1-718-292-9545. That’s here in The Bronx. If you wish to write to inquire about the music you can write to Val Cap Music P.O. Box 1509, The Bronx, NY 10451 SR—Valerie, can you give us that phone number and address again because there really are some of us that still don’t use the internet so we can reach you? VC—Sylvia, you just made my month! I can be reached at 1-718-292-9545 and the address Val Cap Music PO #1509, The Bronx, New York, 10451. To inquire by fax: 1-718-993-7428. Dr. Valerie Capers can be reached by e-mail at valcapmusic@earthlink.net |
Dr.
Valerie Capers is a pianist, educator, composer and performer of superior
acumen. Despite the fact that throughout her career she has been recognized
for her innovative approach to education, received critical acclaim from
peers about her composing and arranging skills, Capers has not received
the kind of notoriety that her talent truly deserves. Capers was born
in The Bronx, New York City. Her father has musical ties to the great
east coast stride jazz pianist Thomas “Fats” Waller. Her brother Bobby
Capers played flute, tenor and alto saxophones most notably with the great
Latino conguero Mongo Santamaria.
On
August 22, 1999, Capers discussed her “Portraits In Jazz” project, published
by Oxford University Press. “Portraits In Jazz” is a collection of pieces
complete with interpretive notes, bio sketches of the artists in the collection
and an accompanying CD. The music is designed for beginning to intermediate
piano students. Dr. Sylvia Rimm, host of the nationally syndicated radio
show “Family Talk” was also invited to participate in the conversation.
