Winners of 2018 Student Jazz Competition announced

A scene from the 2018 Student Jazz Competition.

The live finals of the Eighth Annual Student Jazz Competition took place Thursday, March 15, at Pensacola State College’s Ashmore Fine Arts Auditorium. Audience members were treated to some fine jazz performances by talented finalists accompanied by the Guffman Trio, consisting of Cynthia Domulot on piano, Fred Domulot on drums and Tom Latenser on bass.

The student performers were all winners. Final placements are as follows:

High School Instrumental Division

1. Andrew Tinch – Guitar – A. Crawford Mosley High School
2. Noah Hall – Alto Sax – Booker T. Washington High School
3. Andrew Connor – Trumpet – Booker T. Washington High School
3. Aundre’ Connor – Bass – Booker T. Washington High School
3. Ty Kannegieter – Tenor Sax – Bayside Academy
Note: 3-way tie for third place

Jazz Vocal Division

1. Anastasia Leech – University of West Florida
2. Isabelle Peterson – University of West Florida

College Instrumental Division

1. Troy Harris – Piano – Pensacola State College
2. Jensen Cadenhead – Vibraphone – Northwest Florida State College
3. Mathew Hall – Guitar – Northwest Florida State College

Winners will receive monetary awards, ranging from $100 to $500 to be used to further their jazz/music education.

We thank finals judges Rebecca Barry, Tim Jackson and Bobby van Deusen, all renowned jazz performers and educators, for their role in making some tough choices.

Congratulations to all the competition winners – they speak well for the future of jazz.

Also, a big “Thank You” goes to the following Jazz Education Team Supporters (JETS) for their financial assistance, making the event possible:

  • Avalex Technologies
  • Bob Byrnes
  • John and Myrl Eisinger
  • Paul and Marliese Herrick
  • Horizen Restaurant/Alice Chiang
  • Dave Jenson
  • Dave and Lyndi Kessler
  • Ralph Knowles
  • Tom and Kathy Lyon
  • Knox and Holly Parker
  • Arnold Seligman
  • Tom and Mary Sylte
  • Studer Foundation
  • Carolyn Tokson and Jeff Elliot
  • Dr. F. Norman and Betty Vickers
  • Roger and Kat Villines

Access jazz magazines online via Pensacola Library

Jazz magazines such as Jazz Times now are available online through the resources of West Florida Public Libraries.

Norman Vickers, Jazz Pensacola’s Volunteer Executive Director Emeritus, has brought it to our attention that Jazz Times and other jazz magazines now are available to readers online through the resources of the West Florida Public Libraries.

And now, thanks to the kind help of Rob Bremer, senior librarian for adult services, we have the detailed instructions on accessing the magazines online. The instructions are below, but you also can download a handy PDF document for printing by clicking here.

To access online jazz magazines through West Florida Public Libraries

The following are directions to access Jazz Times and other jazz magazines available online through West Florida Public Libraries. As with anything involving technology there are multiple steps involved. Many patrons find it easier to meet with our librarians in person so that the registration process is seamless. Do not hesitate to call Adult Services at (850) 436-5063 or drop by the information/reference desk at the Main Library if you have any problems.

In order to access magazines online you must first register for RB Digital, a one stop shop for free ebooks, audiobooks, and magazines with your library card through West Florida Public Libraries.

Register for RB Digital (Formerly Known as Zinio)

You must register through our website first before you can read the magazines! Do not register using the RB Digital app.

  • Go to our
  • Click Borrow
  • Click Ebooks
  • Click RB Digital- eBooks and eAudio
  • Once RB Digital loads, click on Register in the top right corner.
  • Fill out the fields and click Register. Once you are registered you have two options.

Option 1: Read the magazine directly on your computer

  • Go to our website
  • Click Borrow
  • Click Ebooks
  • Click Zinio-eMagazines (Now known as RB Digital)
  • Click Learn More
  • Click Browse Magazines
  • Search for “jazz times”
  • Click on Checkout
  • Sign in
  • Read Magazine.

*Here is a link available if you would like to cut and paste

*Remember to sign in if using the above link.

Option 2: Read the magazine on a device of your choosing (Must have apps) (NO Kindle Paperwhites)

  • Download the RBDigital App though your app store
  • Follow the prompts to set up the app. (Be sure to use the same email and password as when you
  • Select the magnifying glass in the upper right corner
  • Select Magazines
  • Type “jazz times” into the search box
  • Select the magazine
  • Hit the red “Checkout” icon
  • Hit the green “Read” icon
  • Swipe left to turn the page.

Please do not hesitate to call Adult Services (850) 436-5063 or drop by our second floor desk if you have any problems.

Guest columnist: Jazz guitar scales that every guitarist should know

Marc-Andre Seguin

Editor’s Note: Today we begin what we hope will be an ongoing series of guest columns from jazz musicians, specialists, historians and other experts. Today’s guest columnist is Marc-Andre Seguin of

Marc-Andre Seguin

These days, there is a lot of importance placed on scales while other aspects of improvisation are neglected. Still, however, knowing your scales is extremely valuable and having a well-rounded vocabulary will certainly help you on your way to being a great jazz guitar player. For each one of these scales, there are associated modes, but today, we will look at individual modes from the major scale, the melodic minor scale, and the diminished scale. These scales should get you by in most improvisational settings.

The Dorian mode is the second mode of the major scale and it is often how players are taught to deal with minor 7th chords in the early stages. It also the basis of lots of famous modal tunes such as “Impressions” and “So What.”

The Mixolydian mode is the fifth mode of the major scale and it is commonly played over dominant 7th chords that don’t have altered extensions such as b9, #11, etc. This mode gives you the 1, 3, 5, and b7 of a standard dominant 7th chord.

The Ionian mode, otherwise known as the major scale, can be used over the I chord in a progression. This scale provides the 1, 3, 5, 7 of a standard major 7th chord. It is important to note, however, that when using this scale, you should be careful not to lay into the 4th – in this case the F – as it will clash with the 3rd (E) of the chord. This leads us to our next mode.

The Lydian mode is the fourth mode of the major scale. It’s basically a major scale with a #11. Many players opt to use this in preference over a regular major scale as that #11 doesn’t clash with the 3rd and it also creates a nice, “dreamy” sort of sound.

Knowing all of your melodic minor modes inside-out will get you out of trouble in a lot of situations. You might know this scale from classical music where the 6th and 7th are raised ascending, but go back to normal descending. In jazz, we tend to use the raised 6th and 7th both, ascending and descending. This is great over min/maj 7th chords and is actually applicable over min 7th chords if you don’t lay into that #7 too much.

Lydian Dominant – sometimes known as Lydian b7 – is the fourth mode of melodic minor. This one is particularly useful over dominant 7th chords with a #11. You could also think of simple playing the melodic minor scale from the 5. For example, for Bb7#11, you can play F melodic minor and you’ll have everything you need.

The Altered Dominant scale, otherwise known as the seventh mode of melodic minor, is great for tackling alt dominant chords. It gives you the following chord tones and no natural 5th:

1, 3, b5(or #11), b7, b9, #9, #11, b13

For D7b13b9, you could play Eb melodic minor and be good to go!

Lastly, we have the half-whole diminished scale. I have seen this one go by other names, but this is what I like to call it. There is also the whole-half diminished scale, and it’s basically the same thing but starting from a different note with a different application. I find this scale is great for playing over dominant chords with a natural 13th and a b9 or #9. It’s also great over diminished chords (duh).

To close, I’d like to point out that scales are very valuable, but it’s also important to go over every aspect of music. There is a lot of importance placed on scales and not enough on other things like arpeggios, time-feel, phrasing, etc.

About the Author
Marc-Andre Seguin is the webmaster, “brains behind” and teacher on, the #1 online resource for learning how to play jazz guitar. He draws from his experience both as a professional jazz guitarist and professional jazz teacher to help thousands of people from all around the world learn the craft of jazz guitar.

Photo Gallery: Jan. 15 Jazz Gumbo

A packed crowd at Phineas Phogg’s in Seville Quarter enjoyed the swinging sounds of music legends Chuck Mangione and Herb Alpert at the Jan. 15 Jazz Gumbo. Leading the combo was Brian Taylor on trumpet and flugelhorn. Backing him up were Gino Rosaria on keyboards, Matt McCarty on woodwind, Tom Latenser on bass and Jazz Pensacola president Fred Domulot on drums.

The next Jazz Gumbo will be from 6:30 to 9 p.m. on Monday, Feb. 19, at Phineas Phogg’s, Seville Quarter, 130 E. Government St. Doors open at 5:30 p.m.

Note, however, that the Feb. 19 event will be a Super Jazz Gumbo, a fundraiser for JazzFest.

This New Orleans music extravaganza, a fundraiser for JazzFest, will feature the sounds of The Village Brass Band and The Seville Saints, playing everything from Second-Line to Dixieland to Swing to Funk and what Jazz Pensacola president Fred Domulot tells us will be a lot of surprises! This is one you can’t miss.

Cost of Super Jazz Gumbo is $20.

Admission includes a cup of seafood gumbo, and you can order from the menu and cash bar. Hold onto your admission tickets for Door Prize drawings. Attendees can also purchase 50/50 tickets for a cash drawing. The winner gets half, and Jazz Pensacola gets half to benefit its music program.

Here are scenes from the Jan. 15 gig (photos by Norman Vickers, Alice Crann Good, Mike Suchcicki):

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Meet the folks behind the scenes

Mike Suchcicki, left, Communications Director; Administrator Alice Crann Good.

As the new year begins the next tune on our setlist, let’s pause a beat to get to know the folks behind the scenes at Jazz Pensacola, namely the people in the office ensuring that everything runs smoothly and that the public knows what we’re all about.

Alice Crann Good has been Administrator of Jazz Pensacola since 2014. She handles memberships, financials, grant proposals, event organization and implementation, the Pensacola JazzFest exhibitor process and many other duties that keep our group of jazz musicians and jazz lovers in perfect harmony. The award-winning writer and editor worked for 18 years for Gannett Co. Inc./Pensacola News Journal and USA Today and for seven years in the marketing department of Pensacola State College. Hers is the cheerful voice that greets you when you call the downtown Pensacola office.

Mike Suchcicki has just joined the Jazz Pensacola family as Communications Director. In this position he will handle the website, outreach, publicity, graphic design, branding and social media, with the goal of introducing Jazz Pensacola to new members. He brings to JazzPensacola more than 30 years experience as a writer, editor, designer and web producer at the Pensacola News Journal. He looks forward to an exciting year of helping to spread the word about this fun, entertaining and educational organization.

Jazz Pensacola board member profiled in Pensacola News Journal

Crystal Joy Albert at her piano with one of her albums. Photo: Tony Giberson/PNJ, used with permission

Jazz Pensacola’s own Crystal Joy Albert, board member and musical director of Pensacola JazzFest, recently was profiled in a Pensacola News Journal article by reporter Troy Moon.

Albert (who goes by Crystal Joy in the article) recounts her days of performing and recording, as well as meeting many of the legends of jazz, including John Coltrane, Art Blakey, Duke Ellington and Miles Davis.

The article focuses on her meetings and performances with legendary jazz pianist Thelonious Monk, a tale she also shares in a Jazz Pensacola post by Norman Vickers.

From the Jazz Pensacola board of directors page:

Crystal began her singing career as a toddler and continued her formal musical studies winning awards and scholarships until she eventually left Boston University to devote time to her flourishing singing career. Soon she was appearing at New York’s top clubs, gaining national acclaim. She was discovered by Steve Allen and appeared on his television show. She also recorded an album for him titled “The Fabulous Crystal Joy Sings Steve Allen.” Of Crystal, Allen said, “She has pure and simple talent and a beautiful style of her own.”

Crystal has traveled all over the United States, the Caribbean and Europe in various roles promoting her recordings, acting and directing. After retiring from a career in interior design, she moved to Navarre, Fla., to return to her first love, singing. For the last 10 years, Crystal has been Musical Director for Pensacola JazzFest.

Click here to read the PNJ article.