The Jazz Department at the Harbor Conservatory for the Performing Arts, proudly presents this Wednesday JULY 27th, at 7:30PM


The admission is open
and free of charge, with limited seating, show starting 7:30PM only one
1 East 104th Street Room B21
New York NY 10029


MIGUEL ZENON (alto sax) – ELI DEGIBRI (tenor sax) – STEVE CARDENAS (guitar) DAVID VIRELLES (piano)– MATT BREWER (bass) – ADAM CRUZ (drums)

A creative force on the international jazz scene for the last two decades,
drummer and composer Adam Cruz is best known for his work with Danilo Perez,
Steve Wilson, David Sanchez and Edward Simon. Cruz was born in New York
City. He worked extensively with saxophonist David Sanchez and the Mingus
Big Band during the 1990's. He then toured with Chick Corea, recording
Origin - A Week at the Blue Note, and spent the end of the 90's touring in a
duo setting with guitarist Charlie Hunter. The New York Times had this to
say, "One of the most respected young musicians in New York [Cruz is]
profoundly locked in, shifting easily from straight-ahead swing to funk
patterns and Latin rhythms".



The Jazz Department of Harbor Conservatory
for the Performing Arts, of Boys & Girls Harbor is pleased to present Jazz
Wednesdays a FREE series of three intimate Guest Artist events showcasing
some of the most dynamic musicians currently on the Jazz scene. The series
exemplifies the broad world vision of Jazz that informs the Harbor
Conservatory’s Jazz Program under the direction of pianist, composer,
bandleader Gustavo Casenave. All events will be presented in Music Studio
B21, in the lower level of the Heckscher Building located on Fifth avenue in
Manhattan between 104th Street and Fifth avenue. Seating is limited and
there are no reservations. Support for the Conservatory’s GUEST ARTIST
Series is made possible with public support from the Music Program of the
New York State Council on the Arts.


The amazing and acclaimed composer and bassist Pedro Giraudo, presents his
band, which boasts some of New York’s finest jazz musicians, and has
performed regularly in the most prestigious jazz clubs in the New York City
area, including the Jazz Standard, Birdland, The Jazz Gallery, Blue Note,
Joe’s Pub, as well as abroad. John Murph of Downbeat described Giraudo’s
music as “an opulent listening experience of modern, orchestral jazz,
brimming with passionate improvisations, deliberate contrapuntal melodies
and plush harmonies.” Chip Boaz of Latin Jazz Corner offered this analysis:
“The rich eloquence of Giraudo’s gorgeous artistic expression flows through
the music with an undeniable grace. “Córdoba tells a story of innocence,
discovery, and unbridled emotion, expressed delicately through the colors of
Giraudo’s finely tuned compositions.”

DON’T MISS: August 10, 7:30 pm ADAM CRUZ SEXTET

The Harbor Conservatory Jazz Department under the direction of Gustavo
Casenave is designed to develop skilled performers, composers, and arrangers
in preparation for advanced college level study and future professional
careers. Focusing on all aspects of Jazz education, this program offers an
innovative curriculum, comprised of traditional Jazz studies, enhanced by a
broader world – vision of Jazz and the art of improvisation. Master classes
and concerts by major Jazz artists, are offered in addition to the
arranging, composition, ear training, and performance courses and
opportunities. For more info:

established by Boys & Girls Harbor and offers pre-professional training in
the disciplines of dance, instrumental music, voice and theater arts to
students ages 4-21.

Boys & Girls Harbor founded in 1937 by Anthony D. Duke, and now under the
direction of Dr. Thomas Howard, serves more than 1,300 children and young
people annually through the Harbor’s Early Childhood Education programs; our
affiliated Harbor Science and Arts Charter School for elementary and
middle-school students; the renowned Harbor Conservatory for the Performing
Arts; after-school and summer enrichment programs; college preparation
services; and counseling and social/emotional services and referrals. To
learn more please visit us on-line at
or call 212/427-2244 ext. 544.


The Jazz Department at the Harbor Conservatory for the Performing Arts, proudly presents Hector Del Curto, this Wednesday July 20th, in a Tango Master Class, open to all audiences.
The elements of Tango music will be discussed, as well as the mistic “bandoneon” instrument.
An evening of performance and lecture. No specific musical level required to attend

The admission is open and free, with limited seating, starting 7:30PM.


Harbor Conservatory for the Performing Arts
1 East 104th Street Room B21
New York NY 10029

Hope to see you there!

Free Jazz Concert

Dear Friends:
Harbor Conservatory for the Performing Arts, is pleased to present the Harbor Jazz Composers Concert featuring the members of the Jazz Composition Ensemble on Tuesday, February 22, 2011 at 7:30 pm, at our home site at One East 104th Street in the Third Floor Theater, as part of the city-wide Composers Now Festival.  Admission is FREE. The concert will feature works by student composers enrolled in the Conservatory’s Jazz Program, under the direction of Gustavo Casenave.  The Jazz Composition Ensemble performs student compositions in the Jazz idiom. The repertory includes blues, ballads, contemporary post bebop, and avant-garde works.

COMPOSERS NOW, presently in its second year,  puts a public face on the vitality, diversity, and innovations that composers bring to our communities, and was established by composer, conductor Tania Leόn and composer Laura Kaminsky, Artistic Director at Symphony Space and Coordinator of Composers Now.  Believing that music pervades our world, yet the men and women who create the sounds we hear are often unsung.  The Harbor Jazz Composers Concert is a part of Composers Now, a festival celebrating the music of our time at venues throughout the city February 21-27, 2011

The Harbor Conservatory Jazz Program, under the direction of pianist/composer Gustavo Casenave is designed to develop skilled performers, composers, and arrangers in preparation for advanced college level study and future professional careers. Focusing on all aspects of Jazz education, this program offers an innovative curriculum, comprised of not only traditional Jazz studies, but a broader world – vision of Jazz and the art of improvisation. Master classes and concerts by major Jazz artists, are offered in addition to the arranging, composition, ear training, and performance courses and opportunities.

Harbor Conservatory for the Performing Arts is the first New York City member of the Berklee City Music Network of the Berklee College of Music and is a recipient of support from the NAMM Foundation, D’Addario Music Foundation and Mockingbird Foundation.

Director of Jazz Department to play Blue Note Jazz Club

Dear Friends,

Come join Gustavo Casenave, director of the Harbor Conservatory’s Jazz Department, and his trio this Sunday for an afternoon of Jazz and Tango at the world renowned Blue Note Jazz Club.  Brunch is served from 11:30 am until 4:00 pm, with showtimes at 12:30 pm and 2:30 pm. $24.50 includes brunch, the show and a drink.  For reservations please call 212/475-8592 or visit

To learn more about Gustavo, check out my interview with Mr. Casenave here.

Summer Jazz Program Schedule

Dear Friends,

Registration is now open for our summer Jazz Program!  Under the direction of pianist/composer Gustavo Casenave, the Harbor Conservatory  Jazz Program is designed to develop skilled performers, composers, and arrangers in preparation for advanced college level study and future professional careers.
Focusing on all aspects of Jazz education, this program offers an innovative curriculum, comprised of not only traditional Jazz studies, but a broader world – vision of Jazz and the art of improvisation. Master classes and concerts by major Jazz artists, are offered in addition to the arranging, composition, ear training, and performance courses and opportunities.  The semester runs from July 6th to August 13th.  The schedule is as follows:

Harbor Contemporary Jazz Ensemble –
Mondays:  4:30pm to 6pm (meets as usual)

The All Jazz Ensemble –
Mondays: 6pm to 7:30pm (meets as usual)

Ear Training 1 –
Wednesdays:  4pm to 5pm (different day from before, same time)

Arranging for contemporary Jazz Ensemble –
Wednesdays: 5pm to 6pm (different day from before, same time)

Jazz Composition –
Wednesdays: 6pm to 7pm (different day from before, same time)

Jazz Composition Ensemble –
Wednesdays: 7pm to 8pm (different day from before, same time)

The Harbor Jazz Ensemble –
Tuesdays: 6pm to 8pm (taught by Michika Ishikawa)
(different day from before, same time)

Jazz Private Instruction – (for schedule contact the office)

NOTE:  There will no Jazz Vocal Workshop during the summer semester.

NEW STUDENTS: Please call Gustavo Casenave @ 212/427-2244 Ext. 551 to discuss registering.

RETURNING STUDENTS: Please call the office @ 212/427-2244 Ext. 573 to register.

All Jazz Ensemble and Harbor Jazz Composers Concerts Announced!

Harbor Jazz Composers: Concert Tuesday, June 8th at 7:30 PM.  Show will be held in the third floor theater and admission is free.  This ensemble will feature works by the Conservatory’s jazz composition students.

All Jazz Ensemble: Concert Wednesday, June 9th at 7:30 PM.  Show will be held in the third floor theater and admission is free.  The ensemble will be performing an evening of jazz standards, and the Harbor Jazz Ensemble will be making a guest appearance.

Hope to see you all at the shows!

Ed Morand Interview

Dear Friends,

I recently interviewed adult music student Ed Morand.  From his previous career in musical theater to finding Latin music years later, Ed had some fascinating insight on music, and how it has affected his life.

(D: Daniel, E: Ed)

D: Ed, according to your background you had a brief career in musical theater and dance. Care to elaborate on this?

E: Well what’s funny is I had access to music growing up.  My father was a city music teacher, a choral director, a church organist, and even now he works as a cantor.  So I had music in the house, but I did not get along with my father at the piano.  I grew up singing in church and doing shows in school and such, but the music studies as a discipline–in terms of playing an instrument–didn’t really stick.  I ended up doing shows in school and then going to college for theater. I then took classes and then getting my first paying job with the Dance Theater of Harlem.  That led me into a career in performing and began a wonderful time of my life where my horizons just opened up.  I ended up going into more musical theater eventually because of the opportunities to work, but I have to be honest.  My career wasn’t the most outstanding, but I did get the chance to tour through the states and a little bit in Europe.  It was really a great experience and opened up my mind, seeing the way the different people lived in different areas of the country and abroad as well.  But you know that was a really brief time period, really only a few years.  I soon found that it wasn’t necessarily where I wanted to be, but I always found myself gravitating towards the piano in the orchestra pit when I was on tour doing shows.

So what’s funny is that I ended up stopping the dance and performance career, and starting a new career in fitness.  At the time I was just trying to make a living between gigs.  Then it swallowed up my time.   It got to the point where I had no time for anything else in my life.   Now I run a Pilates studio, my own business, full-time—the fact is I could squeeze two full-time jobs into the hours I work.  But right after I stopped performing I really needed to find another outlet of expression for my artistic side. So I started to dabble with this developing interest I had in salsa and mambo.  I had no idea what it was about at the time.  I really didn’t get it.  But I had these illusions based largely on TV series’ I saw as a kid, Dirty Dancing with Patrick Swayze, some Latin cliché characters in movies.  And I wanted to be part of it; there was something I couldn’t put my finger on, but I found it infectious and contagious.

So I started to take salsa and mambo classes with Eddie Torres, who is considered the salsa king, or the mambo king.  And he had toured with Tito Puente for three years, so the music was really held up in high regard in those classes and in the dance scene.  It was only a matter of years before I wanted to go and study this music, because I knew I had some music background from childhood and never really made it work for myself.  I really felt like all the steps from that journey were amazing, and I made some revelations at each stage.  When I found out about this place, it was an incredible realization that I could study at a relatively low cost, because these lessons would be much more expensive downtown, at some places easily double the cost of what they are here.  I came in here not knowing what kinds of opportunities existed, and what I found was a series of opportunities.  And these were not available to me in the place I grew up at the time I was growing up.  There was the opportunity to really begin to understand rhythm because I started to take conga/music reading classes.  Soon after I started to study piano trying to free myself from my previous hang-ups about what it all meant.  I think I stuck with two classes for a while and the idea was that I wanted to play piano the way you play in a salsa group or a Latin ensemble, and to do that I had to learn my jazz basics.  So I had this great class with Gustavo Casenave, where he started to build this Jazz vocabulary which really called up a lot of my music fundamentals.  At the same time I studied the basics of playing the Conga with Steve Lopez, but more so emphasizing the reading of music rhythms.  So I got to sort of fill in all these things that had kind of been left by the wayside as a kid.   And I’d have to say that as a kid nothing really caught on.  I was at the church in this intimidating, conservative music environment. I knew I liked music and I got a great start having a musical parent in my Dad.  But at the Harbor I got to free up and explore what I think is much more advanced harmony in jazz and then I started to learn rhythm without thinking about it too hard, which is what I thought I was doing all along.

And there were deep issues connected to this; this was a father and son relationship where it was a lot of pressure to be the student of my father.  For some reason…sometimes…we hear stories where this doesn’t always so smoothly as expected, and mine was a perfect example of that.  I’m glad to say now, it’s a little therapeutic because I get to sort of bridge that relationship back and show an appreciation for what my dad was trying to do with me and resume what didn’t quite take at that time.  What’s funny is that as a performing artist in our current culture, in comparison to Europe and other countries where performing arts and artists are subsidized through unemployment and are paid fairly well when they you perform, here in this country you’re sort of an out of work actor,  an out of work dancer.  And knowing I’ve sung, acted and danced my entire life it was kind of put away all the years I was actively working as a performer.  During that time I found that I couldn’t afford to be a performer, and there weren’t opportunities coming up for me.  I mean this is a field where you have to actively make your own opportunities.  So being able to sort of very carefully and very gingerly walk back into the arts in this way, and to feel protected and very sheltered in this environment was amazing.  And what happened was that I said, you know, I love to sing this music, and I’ve dabbled on my own with singing a little bit of Latin music, and I thought since I had a little bit of vocal training in some different languages I would try to sing this stuff.  So I picked up a lesson with David Oquendo, who is a Maestro here, and that was meant to be a Latin vocal class.  But when you study with David you realize he is bringing in this culture of  Cuban Son, boleros and baladas and kind of light popular music with the rumba tradition, the soul tradition, the roots of today’s salsa and much older Cuban “country” music.  That class is like a percussion class, where you’re tapping this and banging that before you get a chance to do any bit of singing because he wants to know that you’ve got the rhythms down, internalized; so you’re getting the roots, the roots and the fundamentals of these Cuban rhythms.  So when you layer all these lessons together it’s amazing.

And what finally happened was it was mentioned to me that there existed a space in the ensemble where I started as a vocalist, and then a piano spot seemed to open up, and in this workshop on Tuesday nights here I get a chance to play the piano.  It’s basically a class in being a completely new start up salsa band, only under the guidance and supervision of two great musical directors like Ramon Rodriguez and David Oquendo.  These guys are both really good at developing students in there own ways because they both have expert eyes and ears for this work.  They see exactly what you need and work to mold you.  They only push you to the degree that you can be pushed, then step back, observe you and then come around from a different angle.  So I’m enormously grateful to them for this opportunity.  Once my lessons turned into playing with this group of people I just felt like it all took off to a new level.  My practice, the discipline I put into the practice, looking to show up prepared for the next class, the next rehearsal with improved material and being able to handle those tricky parts that might have posed a problem on first viewing.  And you know…the group becomes a little family: some of my friends play conga, one of my other friends plays bongo, this other guy plays timbales.  It’s a group and you want to look good in front of your friends and make them look good too.  So we are slowly improving, and we’ve got a hot little group vibe going on and we’re hoping to continue moving forward.  I have to say as a kid I had three years of piano lessons; I was a singer; I could practice for a while; I could put it down; I knew I could always go back to singing.  As a kid I practiced…once a month I think.  And now, you know before beginning this workshop, I was probably practicing at least four days a week for an hour to two hours.  Now that this workshop is happening, there’s so much more motivation to pile on the practice hours, there’s really no limit to what you can strengthen in terms of your rhythmic chops or finger dexterity, or rhythm where I’ll play clave or the drum in practice and sing and work on some of the rhythms.  Although it’s a lot of work and it’s constantly trying to keep all the irons in the fire, it’s endlessly rewarding.  It’s an amazing adventure.  I really feel so indebted to this program, the existence of it, and all the work Ramon has done to keep it together and keep it going.

D: How did you hear about the Harbor Conservatory before you got started here?

E: You know that’s a funny question.  It doesn’t come immediately to mind how I heard about it… I remember wondering whether it was open to everybody, whether you had to be Latino or very young, at least school age, to take lessons.  I remember somebody telling me there were Salsa and dance classes being held here a number of years ago, five or six years ago.  And I knew about the existence of it but I thought it was more of a kids after school community project, I didn’t realize the extensiveness of the program.  Ah you know what!  I just realized those things were all true, but they never really made the connection for me.  What happened was I got very interested in playing and I said “I’ve got to learn to play this music on the piano. I want to play Latin music on the piano and I want to be able to sing and accompany myself.”  And in that instant I basically contacted this woman who wrote the “Salsa Guide Book for Piano and Ensemble” Rebeca Mauleon.  She’s an internationally-renowned pianist and Latin music educator.  I’ve read her books and they’re recommended by many teachers here.  I had found these books on my own and her contact information was there, so I wrote her an email and asked “Who do I study with in New York?”, and she recommended Oscar Hernandez.  Now this took some nerve because I knew about Oscar Hernandez.  He’d worked on The Capeman with Paul Simon, he’d been Ray Barretto’s pianist and arranger for years.  And he’d recently started his own big band, the Spanish Harlem Orchestra.

So I took a deep breath and found Oscar Hernandez’s contact information online.  I had seen him in shows with the Spanish Harlem Orchestra, so I stopped him during a show and found out how to get in touch with him.  So when I did he said, “Go to the Harbor Conservatory, Sonny Bravo teaches there”.  Then once I called the school they told me Sonny Bravo only takes advanced students so Ramon suggested I take lessons with Gustavo Casenave to work on Jazz fundamentals.  So that’s how it all started.  It was literally like finding some famous pianists who were hot players and asking from the source where should I go?  It was very gratifying that it happened; that I had access, I could pick up the phone and talk to somebody who could tell me “yes he teaches here, but his schedules full” and that was really gratifying. What’s great about this school is you’re linked in with the people that do play this music.  I’ll literally go out salsa dancing and I’ll see my piano teacher on the stage, and that’s amazing.  Or I’ll go to a gig that David is playing in, he’ll be playing guitar and singing, Gustavo is always playing out doing his jazz thing.  You’re studying with working musicians who are at the top of their craft.

D: Must be an awesome experience.

E: You know what I think is even more awesome is being an adult student and having access to this.  To get pulled in to this extent as an adult, you feel like your brain works better. You feel like you’re sleeping deeper, you’re living life more fully, you feel like you’re percolating and using all your synapses and your whole brain better because we always hear about how little of it we humans use.  And it really feels like, when they say older folks benefit from taking dance lessons or keeping limber and trying new things, playing sudoku and brain twisters and puzzles; in a sense it feels like when you’re doing this you’re in that mode constantly.  It makes you feel like a little kid.  It is truly a joy.

D: That’s great.  So how has taking lessons here affected your relationship with music?

E: I would say I listen to music a lot more intently.  I can hear things I’ve never heard before.  I would say I bring that enthusiasm to other people in my life, when I recommend music lessons to friends, their kids, or young people I know.  I feel like in the Latin music and dance scene which is a BIG trend right now, that twenty or thirty percent of the people I meet would love to study this music.  In a sense I feel a certain compulsion, a certain desire, to keep this music alive because it is roots music.  I’ve thought for a long time, long before going this direction that Latin music and Latin jazz is the best music in the world.  I had no Latin music growing up. I was in that strict kind of church and classical music environment.  All very square harmonies, with no bounce.  It wasn’t like a soul or a gospel chorus or choir, it was a traditional church choir.  When I say I think Latin music is the best music in the world, it’s the sophistication of the harmonies, combining these U.S. based jazz harmonies with the complexities of these Afro-Cuban rhythms, you’re basically layering all the tradition, all the richness that African and Arabic music has brought us, and when you look at the history you realize all the Eastern stuff including Asian, Persian, and Indian music found their way into this mix through early trade routes like the silk road.  And similar traders carried stringed instruments into North Africa where they inevitably ran into forest African drumming traditions.  Then you have the harmonic stuff that came from some of the same hybrid roots but became what we think of as European music.  Some of which came to be called romantic music and then more contemporary music.  You have all this breadth of rhythmic and choral and melodic and chordal music that is really the best elements of each of those kinds of music brought together.  Harmonic perfection.

D: Great way of putting that.  You mentioned that you play with the ensemble here.  Do you play with anybody else, and do you hope to potentially play gigs with the Harbor Ensemble in the future?

E: Those guys get excited, they talk about it.  The other day one of them told us of a place who wanted to use us as a band.  They asked Ramon about it afterwards and he said that we weren’t quite ready yet, that he wouldn’t want to throw us to the wolves right away.  The guys all have their delusions of grandeur, you have this one guy who’s ready to start this group with one singer, this other singer also suggesting a group of others become another separate group.  Then some of us want to keep this workshop and keep the same personnel and start a group.  Even David said the same thing a few months ago, that we should be a group and start something.  I dunno if we have the glue to make it stick, there’s something to be said for the sense of authority and the sense of trust that David and Ramon instill when they’re there administering that workshop and leading it.  Without our leaders, I don’t know if we’re strong enough.  I write my own songs and would love to start my own group playing original popular music, but they have these new jazz workshops here, a sort of renaissance of the jazz program here where they’re starting new things and having new ensembles, and I hope to get into one of those.  So it’s possible that much like the teachers here, maybe if I’m able to do this Latin workshop, then a Jazz workshop, then I can do my own music once I get my skills up in all those musical disciplines.  That would be the best outcome I can imagine.  It’s most gratifying when you’ve written something yourself and you also perform it. That puts together my singing, my writing, and my playing.  So that’s most definitely on my mind.

D: Cool.  Lastly do you have any advice you’d like to impart to somebody who wants to learn more about the conservatory, and possibly take lessons here?

E: I most certainly do.  I think that sometimes people think it’s a good idea to take lessons with a friend of a friend or a neighborhood person because it’s the economical choice, or it’s nearby.  The classes here are extremely affordable, especially with the high quality of working professionals they have teaching here.  I think it’s fair to say the teachers here go out of their way to serve this community, this institution, this conservatory.  If it was only about money you wouldn’t see the kind of character in the teachers here.  And I am extremely grateful for that.  I do know that in downtown Manhattan you might find these classes going for 3 to five times as much with the same teachers, so it is a big deal that they’re choosing to serve the school, and this community.  I think it is a good idea NOT to take lessons from  a friend of a friend, or a person down the block.  I think it’s a good idea to come here because there is a structure and as I just said the way that things worked for me is I had two classes first, then realized I needed more and different skills, so I took a workshop.  Then once I took a workshop I felt part of a community here, and you start to know this player, and this singer.  And that’s the way to get a true artist to flower.  It’s not just one trait, one discipline; it’s really kind of that music has these different arms, these different wings.  Your skills really hang on your ability to both network socially and as a musician.  So there’s a network of teachers, there’s a network of peers, and there’s a family feel here, which is really, really awesome.  That’s why I recommend this kind of a place, this place specifically, over studying with a friend or neighbor.  So you asked “Do you have any advice?”  This is the advice I’m constantly giving people.  You know, my friend’s son might want to study guitar, another friend’s son might want to study percussion, another friend’s daughter might want to study piano.  I have spoken highly of this place because I believe in it.  I will recommend it time and again, and deep down, I just want everyone to experience for themselves just how special it is.

Three Palmieri Scholarships Awarded!

Dear Friends,

To pay tribute to piano master Charlie Palmieri and to honor his memory, the 20th Annual competition for the Charlie Palmieri Memorial Piano Scholarship established by Tito Puente was held on Saturday, March 6th, 2010.  From a total of eight applicants, the Jury selected the following three young contestants: Tony Suero, Brian Olivo and Kevin Rentas, all of whom will receive half-scholarships to study Latin style piano at the Harbor Conservatory for a full year. The Jurors in this year’s competition were Sonny Bravo, Pablo Mayor and Gustavo Casenave, who reached a unanimous decision.


Tony Suero, age 19, a self taught musician, has been formally studying music at the Harbor Conservatory since 2007, with Pablo Mayor, Gustavo Schartz, and Gustavo Casenave. He is a three time Palmieri Scholarship recipient, who  enjoys the artistry of musicians like Pappo Luca, Sergio George, Michel Camilo and Gustavo Casenave because of their diversity in styles and creativity.  Tony’s goal is to become a composer, arranger, and to create his own musical institution in order to help others. He was given highest scores for his understanding and performance of the Latin style.

Brian Olivo, age 18, has been a student of Mohsan Rasool. He admires musicians such as Michel Camilo, Sergio George, Chick Corea and Herbie Hancock. When asked about his goals, Brian stated: “Music is my passion and I want to be the best that I can be. I want to learn to compose and arrange, and become a music producer.” Brian was given high scores for his understanding and performance of the Latin style.

Kevin Rentas, age 15, has studied piano at the Bloomingdale House of Music as well as at the Harbor Conservatory, under the direction of Pablo Mayor. He received highest scores in his preparation for the Competition. As part of the prize, Kevin will continue working with Mr. Mayor as a scholarship student.

Over the course of its 20 year history, a host of talented young pianists have received the invaluable support provided by the Palmieri scholarship enabling them to pursue in-depth training and preparing many of them for entry into leading conservatories such as the Berklee School of Music, and the Jazz Program at the New School.  The Conservatory is proud that the majority of Palmieri recipients are currently active professional musicians who represent the legacy of the great Charlie Palmieri and the generosity and vision of the King of Latin Music, El Rey Tito Puente.

Previous recipients include: Danny Kader, Yecenia Gaitan, Dominick Agostini, Migdio Dominguez, Crystal Triay, Victoria Hoyos, Richy Rojas, Christopher Holder, Zacai Curtis, Luis Irizarry, Ruben Flamenco, Yeisson Villamar, Dennis Guevara, Mauri Frosio, Silvio Delis, Harold Gutierrez, Luis Gomez, Jr., Miguel Vargas, Matthias Bublath, David Santiago, Luis Fernandez, Angel Echevarria,
Roy Assaf, and Christian Sands.

Nina Gale Olson
Director of External Affairs

Composers Now Festival a Success!

Dear Friends,

On February, 22, 2010 at 10:00 AM the newly initiated Composers Now Festival was kicked off at Symphony Space with a proclamation from Mayor Michael Bloomberg read by NYC Department of Cultural Affairs Commissioner Kate Levin.  Harbor faculty members Pablo Mayor and Gustavo Casenave both of whom are composers posed for a group shot with their peers.  In addition to Harbor Conservatory, Partners included El Museo del Barrio, Harlem Stage, The Jazz Gallery, Jazzmobile, Greenwich House, American Symphony Orchestra, and others.

The Conservatory’s program on Tuesday, February 23rd, entitled Composition: The Creative Process, moderated by Classical Music Director Dr. Martin Soderberg was a fascinating multi-generational conversation between Harbor faculty members Pablo Mayor, Gustavo Casenave, Francis Rodriguez and guest composer Rafael Landestoy.  Topics discussed included: What is a Composer? The Creative Process from inspiration to final product, the relationship between improvisation and composition, and current technological tools for composers.

Nina Gale Olson
Director of External Affairs

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