Members

Mike Crotty – Alto Sax (Sopranino, Soprano, and Tenor Sax) Piccolo, Flute, Alto and Bass Flutes, Clarinet

Trumpeter, saxophonist, and composer/arranger, Mike is well known to audiences around the country. His musical career, which spans more than 40 years, has been highlighted by performances with great jazz stars such as Dizzy Gillespie, Clark Terry, Sonny Stitt, Randy Brecker, Ernie Watts, Bob Berg, Mel Lewis, Claudio Roditi, Louie Bellson, Billy Taylor as well as legendary entertainers like Frank Sinatra, Tony Bennett, Mel Torme, Sarah Vaughan, Diana Ross, Joe Williams and many others. Appearing as bandleader, instrumentalist and composer/arranger, he showcased his music for years with his 18-piece Sunday Morning Jazz Band, an ensemble applauded for its compelling innovation, musical superiority and artistic integrity.

Since 1984 he has toured the country with singer, Deater O’Neill and jazz trio, appearing in nightclubs, jazz festivals and concerts with symphony orchestras, wind ensembles and jazz bands. Performance highlights include concerts at the Kool Jazz Festival, the Monterey Jazz Festival, the Montreaux/Detroit Jazz Festival, the Smithsonian Institute, the Corcoran Gallery of Art Jazz Series, Washington, D.C.’s National Press Club, the Jazz Times Convention in New York City and 25 years of concerts at D.C.’s famed jazz club, Blues Alley.

Mike served as composer/arranger for the Airmen of Note, the premiere jazz ensemble of the U.S. Air Force, for 26 years. During that time he performed with the band playing both saxophone and trumpet. He has arranged music for hundreds of albums and CD’s as well as performances for such artists as Clark Terry, Billy Taylor, Mel Lewis, Dizzy Gillespie, Stanley Turrentine, Bunky Green, Ernie Watts, Randy Brecker, Ronnie Cuber, Claudio Roditi, Phil Wilson, Bob Berg, Sheila Jordan and Diane Schuur. Originally from Putnam, Conn., Mike has been a mainstay in recording studios across the country since 1965, having written and played on thousands of recording sessions for film, television and commercial recordings.

 

Elliot Ventimiglia – Alto Sax (Soprano, Tenor and Bari Sax), Flute, Clarinet

Elliot Ventimiglia is a dynamic saxophonist who is noted for his inventive, high-energy improvisations with the Bad Cactus Brass Band, The Superstition Jazz Orchestra, Doublers Collective, The Jimmy Dorsey Orchestra, and The Chris Parker Project. Elliot also is a skilled clarinetist and flutist, playing for Broadway musicals appearing at Grady Gammage Auditorium and the Phoenix Theater.

Elliot Began playing at the early age of 10 on the clarinet, but by the time he was 12 he realized jazz and the saxophone was his calling. Throughout his early years, he studied with Teri Vivona and then under the tutelage of Paul Brewer, Bryan Ruth and Hugh Lovelady. At 14 he began performing in a big band setting with the Young Sounds of Arizona. He also continued playing with a jazz combo, which performed at the well received jazz venue, Sedona Jazz on The Rocks Festival. Currently, he is playing at local and international events such as the Puerto Peñasco Jazz Festival, Luminarias at the Desert Botanical Gardens, North American Saxophone Alliance, Phoenix Mardi Gras, Prescott Jazz Summit, Mesa, Scottsdale and Chandler Centers for the Arts. He has performed with an impressive array of jazz artists, including Winston Byrd, T.S. Monk, James Moody, Wycliffe Gordon, Lewis Nash, and Paquito De’Rivera, the Dirty Dozen Brass Band, Wynton Marsalis, Chris Vadala, Ernie Watts, and Pete Christlieb. Elliot has recorded two albums with the Bad Cactus Brass Band, and has also recorded commercials for New Belgium Tour De Fat and Southwest Airlines.

Elliot received his B.A. in Music Education through Ottawa University in 2009. He has been an educator at Sunset Ridge School for two years and has been a private music instructor for four years in the Phoenix area. He currently instructs saxophone, clarinet, flute, guitar, and piano, and also travels around Arizona presenting clinics on woodwind performance and jazz improvisation. Last year Elliot co-founded the Deer Valley District High School Jazz honor band and continues to develop the jazz medium for youth in the local Phoenix area.

Adam Roberts – Tenor Sax (Soprano and Alto Sax), Flute, Clarinet

Multi-instrumentalist, Adam Roberts is both a versatile musician and educator. Though he considers tenor saxophone his primary instrument, he has performed and recorded on saxophones, guitars, flutes, and clarinets in a wide variety of genres including jazz (both mainstream and contemporary), rock, funk, classical and pop.

Adam has received 3 degrees in music, including a Bachelor’s of Arts in Music Performance and in Music Education (awarded in 2001) as well as a Master’s of Music: Saxophone Performance with Distinction in Performance from the New England Conservatory of Music (awarded in 2005). He has studied with a wide array of teachers including Jerry Bergonzi, George Garzone, Bob Brookmeyer, Danilo Perez, and Joel DiBartolo among others.

In addition to playing in his own groups, Submersible (a fusion-inspired, adventurous jazz quartet) and Wicked Children (a jazz group that plays Adam’s arrangements of Radiohead works), Adam Roberts has had the privilege of performing in the world premiere of Gunther Schuller’s Encounters, with the Downbeat Award-winning NEC Jazz Orchestra at the IAJE Festival in 2004, with jazz legend George Russell on a performance of The African Game, and with Joe Lovano playing nonet arrangements from his 52nd Street Themes and On This Day at the Vangaurd recordings.

 

Monica Shriver – Tenor Sax (Soprano, Alto, and Bari Sax), Piccolo, Flute, Clarinet, Bass Clarinet, Bassoon

Monica Shriver is a Musician, Clinician and Teaching Artist based in Phoenix, AZ who has a diverse and creative professional career performing in big bands, jazz combos, pit orchestras, rock bands, chamber ensembles, and orchestras. She performs on soprano, alto, tenor and baritone saxophone, flute, piccolo, clarinet, bass clarinet and bassoon.

Monica performs all kinds of music, from world to classical to jazz. In addition to Doublers Collective, Monica‘s current projects include the Monica Shriver Quartet, the Pangean Orchestra, a unifying world ensemble, Hot Birds & the Chili Sauce, a funky old school R&B group, Superstition Jazz Orchestra, and the unique Wicked Children, an experimental fusion band with jazz and rock influences. Monica has performed in the pit orchestra for over 40 musicals.

Monica truly enjoys being a teaching artist and sharing her love and passion for music and improvisation. Monica does a variety of clinics at local middle and high schools, colleges, conferences, and festivals. She developed the program “Jazz for the Classical Musician” to help classical musicians and educators venture into the world of jazz improvisation. Monica teamed with Mike Crotty, former Chief Arranger for the Airmen of Note and fellow doubler, to develop the “Beginning Approach to Doubling in Jazz” Clinic, which they gave at the 2012 Highland Jazz Festival and the 2012 Summer Jazz Clinics Series at The Nash. While playing 18 different instruments between the two of them, Monica and Mike discuss and demonstrate their approach to achieving and maintaining a high level of competency on more than one instrument.

Monica maintains an active and successful private studio, teaching from her home in Phoenix, AZ and online via Skype and Facetime. Monica teaches jazz and jazz improvisation to students of all ages and experiences levels. From 2005 – 2011 she taught saxophone, clarinet, bassoon and jazz band at Arizona School for the Arts. Currently, Monica is the Saxophone Instructor at Phoenix College.

In addition to performing and teaching, Monica focuses on the business side of being a musician. She is a successful grant writer, fundraiser, blogger, web designer, and active on social media. She is an active member of the Jazz Education Network, American Federation of Musicians (Local 586), North American Saxophone Alliance, National Association for Music Education, and Chamber Music America. She currently blogs about her journey as a jazz musician at http://saxymoni.com

Monica earned the prestigious SURDNA Arts Teachers Fellowship Grant in 2010 to study jazz improvisation and a Professional Growth Grant from the Arizona Commission for the Arts in 2011. Monica is an artist with United States Artists Projects and a fiscally sponsored project of Fractured Atlas.

Paul Brewer – Bari Sax (Soprano, Alto, Tenor Sax), Bass Sax, Flute, Clarinet and Bass Clarinet

Paul Brewer, a native of Phoenix, Arizona, loves performing Jazz, Rock, Soul, Funk, Latin, and Classical music styles.  As a saxophonist, he has had the opportunity to perform with such artists as the Temptations, the Four Tops, Doc Severinsen, Diana Ross, the Phoenix Symphony, Michael Bublé, David Foster, Frankie Valli, and Renee Olstead.

He earned his Bachelor of Music Education from Northern Arizona University, and later earned his Master’s degree in Music Education with emphasis in Jazz Studies from Arizona State University. Paul has also worked as an Artist-in-Residence for the Peoria, and Roosevelt School Districts and served on the board of the Arizona Association for Jazz Education.

As an educator, Paul has taught music at Barry Goldwater, Paradise Valley, and Marcos de Niza High Schools as well as Scottsdale Community College.  Currently, Paul is the Director of Jazz Studies at Mesa Community College.

Doublers Collective is joined by a stellar rhythm section:
Nick Manson on piano
Tom Williams or Chris Finet on bass
John Lewis on drums

Recent Posts

JEN Conference Update 2013

Happy New Year! As you know, the beginning of 2013 brought the group an opportunity to perform at 4th Annual Jazz Education Network (JEN) Conference in Atlanta, GA. We received a total of $2050 in donations which covered all but about $700 of the total cost of airfare and hotel. In addition, my parents covered all of the cost associated with driving the instruments to Atlanta and back. The outpouring of support and kindness by our friends and fans has been so touching. Thank you all so much for helping us make this happen. We had an absolutely incredible time at the Conference and look forward to telling you all about it. :)

Below is Monica Shriver’s account of the conference. Hope you enjoy! (Might want to grab an extra cup of coffee to read this one, it’s pretty long. Too much good stuff…)

I flew into Atlanta a day early (saving quite a bit of money on airfare) and stayed with friends on January 1st. It was really nice to catch up with them, relax and get a good night sleep before the conference started. I was able to check into the hotel early on the 2nd, practice, and relax before the evening concerts. My parents arrived that same day with all the instruments. The hotel was the gorgeous Hyatt Peachtree in downtown Atlanta.

The Hyatt Peachtree Lobby 2

They had plenty of convention center space, although many people ended up having to stay at nearby hotels. (Ask Paul about sleeping on the 32nd floor next time you see him!) That evening I stood in line for registration for about an hour, but eventually got our passes. It was pretty awesome to see my name and Doublers Collective on the pass – I was really proud.

Monica's Badge

Although there was music from 8 PM until 1:30 AM that evening, the highlight for me was definitely Rufus Reid’s “Quiet Pride”. A 23-piece big band with wordless voice performed this 5 movement work by Rufus that was written honoring the sculptures and spirit of the late Black-American artist Elizabeth Catlett. It was one of the most unique and moving pieces of music that I heard all conference. Rufus has been doing more and more composing and I really enjoy his writing.

Thursday morning I woke up early to attend clinics on Transcription and how to use it with young beginning improvisors, Jazz Funding Opportunities, and Flute technique with Jamie Baum. My favorite clinic that day, however, was a complete surprise. About a week before the conference, a person by the name of Aubrey Logan added me on Twitter. When I saw her name on a clinic description, I decided to go check it out. It was called Combining Chops with Soul, but the clinic mostly focused on stage presence and interacting with your audience. Aubrey was entertaining, funny, and straight forward. I really enjoyed what she had to say and getting the chance to meet her in person.

I also saw a lot of great music Thursday, including Kris Berg and the Metroplexity Big Band featuring friend and mentor Chris Vadala, Wayne Bergeron, and Clay Jenkins. One of the best college groups I heard was from the University of Central Florida joined by Aubrey Logan and they even had a surprise guest perform with them: one of my favorite saxophone players Antonio Hart!

My Friday morning began with a performance by a saxophone quintet out of the University of Kentucky called the Mega-Sax Ensemble, directed by a friend, Miles Osland. The last couple of songs they played featured great saxophonists, Jeff Coffin and Bob Mintzer. I also went to a clinic by Jeff Coffin about listening to early saxophone recordings, which wasn’t anything new but still fun. Actually the best part was seeing Jeff again (he was the 2011 Highland Jazz Festival Clinician) – he’s one of my favorite people. I spent most of the afternoon practicing and making sure all my reeds worked. In a square shaped hotel, I was lucky enough to end up with a far corner room, hidden down a hallway with only one neighbor. We soon found out that we could practice without being heard at all – so everyone practiced in my room! All of my reeds worked great except for my tenor reeds. I tried every single one and none of them sounded good. I ended up heading down to the exhibits to see if I could pick up some reeds from the Vandoren booth. They gave me 3 for free! Totally saved me too, because one of them ended up being the perfect reed!

Monica's hotel room

Friday evening was the LeJENds Fundraising Gala, honoring the two great educators David Leibman and Rufus Reid. It was a really nice event and great to talk to some people who I wouldn’t have had a chance to talk with otherwise. I ran into a friend that I met the previous year, and he introduced me to a bunch of new people. I also enjoyed a really fancy dinner and great conversation with the people at my table.

After the Gala was the evening concerts. The highlight was hands down, the Army Blues performing with Wycliff Gordon. I knew many of the guys in the Army Blues from hearing Alan Baylock’s Big Band the previous 2 years, too. Man, that band sounded incredible! I was completely blown away. What I also couldn’t believe was that in less that 14 hours from that point, the rhythm section from the Army Blues would be playing with Doublers Collective. I was so excited!! Following the Army Blues performance, Mike and I headed down the street to a local jazz club to hear the Western Michigan University Jazz Quartet. Unfortunately, we had to sit in the back and couldn’t hear much. We called it an early night (1 AM!) and tried to get some sleep before the performance the next day.

The Performance Space at JEN13

Saturday was performance day. Mike and I got breakfast together at 9 AM and then around 10 grabbed all of our stuff and started getting ready. We were scheduled to do a sound check at 11:15, but luckily nothing was schedule in our performance room, so we snuck into the hall early to get everything set up. (It takes a long time to set up 24 different horns and then warm-up them all.) Around 11 the rhythm section showed up and we did a run through and sound check with them. Before we knew it, it was performance time.

IMG_1020

We played 5 tunes for our performance – Stompin’ at the Savoy, Homer Takes a Holiday, Tempis Fugit (Alan Baylock’s new arrangement for us), Quiet Now, and In a Joyful Mood (in memory of James Moody). It went really well. The rhythm section from the Army Blues sounded amazing! Locking up with them was effortless. I’m still blown away by them – sharing the stage with Steve Fidyk, Regan Brough, and Tony Nalker was one of the highlights of my musical life. Incredible players and fabulous people, too. I sincerely hope I get the opportunity to do it again.

We had a really great response from our performance – tons of positive feedback! It was really cool being able to perform for people outside of Arizona and we were able to reach fans, other musicians, club owners, grant providers, university professors, and composers! It was wonderful getting the opportunity to network with so many people during the entire conference!

Although, so many great things came from attending and performing at the JEN Conference, here are a few of the highlights:
1) Michael Abene (who has agreed to write a piece for us) told me that he was so glad we were there so that he could hear us in person. His plan is to write us an original piece featuring the five of us without a rhythm section. Hearing us live really inspired him!
2) Harry Schnipper, the owner of Blues Alley in Washington DC, loved the group and said we have a place to play when we make it to DC. The rhythm section from the Army Blues also agreed to play with us again. :)
3) One of my friends works in the marketing department at Alfred Publishing. She has offered to help me with any questions I have about marketing and Doublers Collective.
4) In addition to the clinics and music, I also got to hang out with and listen to some amazing musicians and educators, including Dave Liebman, Rufus Reid, Antonio Hart, John Patitucci, Jeff Coffin, Wayne Bergeron, Wycliff Gordon, John Clayton, Gordon Goodwin, Caleb Chapman, and many others. Although I was running around pretty much all day long, there was so much that I missed due to so many events happening all at once.

As a bonus, here’s a nice blog post written about us by a new fan: http://www.stevemoffett.biz/1/post/2013/01/jen-convention-atlanta.html

Sadly, I didn’t get a lot of pictures, I really need someone to follow me around with a camera! But the ones I did take can be found at http://www.doublerscollective.com/jen2013/

If you are on Twitter you can search #JEN13 and read all the tweets by everyone from the conference.

The entire performance was professionally recorded by The Rush Stage and can be viewed by purchasing a pass (which enables you to view everything that was recorded at the entire conference) or just purchasing Doublers Collective’s performance. Here’s that link if you’d like more info: http://jensales.therushstage.com/

Thanks again for all your support of Doublers Collective – for donating, for attending our performances, and for helping to spread the word about us. We couldn’t do it without you!

Sincerely,
Monica Shriver
Founder and Director of Doublers Collective

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