Artist and musician Dave Chisholm ’13E (DMA) presents a graphic novel on jazz legend Miles Davis.

Dave Chisholm ’13E (DMA) became fascinated with Miles Davis as a child listening to his parents’ jazz records. At 11, he started playing the trumpet, and in college and at the , he studied Davis and other jazz greats.

Now the jazz trumpeter, composer, and visual artist has realized a dream: crafting a graphic novel about the legendary musician, with participation from Davis’s own family members. In collaboration with Z2 Comics and the Miles Davis estate, Chisholm has published Miles Davis and the Search for Sound, a brilliantly colored, 150-plus-page exploration of Davis’s storied life and career, told through the jazz icon’s own words.

Chisholm and Z2 had previously collaborated on several jazz-themed books, including Chasin’ the Bird, a graphic novel about Charlie Parker, which piqued the interest of Davis’s son, Erin. As Erin Davis writes in the foreword to Chisholm’s latest book, “I was completely drawn in by Dave’s approach to Bird’s story.”

Erin Davis was connected with Z2 to explore the idea of a similar book about his father. When the project got under way, Chisholm spent several months researching and scripting the story, and nine or so months more creating the artwork. Erin Davis and Miles’s nephew, Vincent, provided Chisholm some additional insights along the way, with Vincent sharing recollections of visits to see “Uncle Miles” in New York City.

The title of the book alludes to Davis’s lifelong quest for sound. Raised in East St. Louis, Illinois, he made visits to see extended family in rural Arkansas. There, he was captivated by the sounds of blues, gospel, and honky-tonk coming from the homes he walked by. Those early experiences sparked Davis’s relentless innovation in the pursuit of “that” sound, Chisholm explains.

Later in life, after Davis suffered a debilitating stroke that left his right hand temporarily paralyzed, his doctor handed him a pencil, encouraging him to draw as a form of therapy to regain hand strength. “The pencil gave him another voice,” says Chisholm.

In his foreword, Erin Davis tells how Miles’s capacity for expressing himself through his artwork grew. “He went deep into sketching with pencils, pens, and light markers, eventually filling up dozens (maybe hundreds) of sketchbooks,” he writes. “To me, his fine-line work really has its own identity that speaks to the viewer like his trumpet and his music speak to the listener.”

Chisholm has a similar, innate grasp of the connection between visual and sound art. He adapted his artistic style to mirror the diverse phases of Davis’s music, as chronicled in the narrative.

For the text, Chisholm drew from a wealth of published interviews and Davis’s autobiography. Davis’s unapologetic and candid self-portrayal inspired Chisholm to use the icon’s own words, allowing readers to delve into Davis’s intricate character. “Davis was such a complicated person, gifted musically but with his share of personal challenges,” Chisholm says.

If Davis could have read the book, Chisholm would like to think he would have appreciated seeing his candor reflected. And what does Chisholm hope readers take away? “If readers put down this novel and then want to learn more about Miles Davis and jazz music, I’d be happy.”

Chris Foley ’94E (DMA) and Tyler Ramos ’22E (DMA) share their experience as Eastman alumni, mentorship partners, and music collaborators

Chris Foley ’94E (DMA)

In the world of music education and performance, two alumni from the , and not only excel as musicians, performers, and educators but also as mentorship partners.

Foley, a Canadian residing just outside of Toronto, is an eight-time mentor with , and Ramos, from Honolulu, Hawai’i, has benefited from the program twice as a mentee. In October 2022, the two were matched through The Meliora Collective. The two then began their mentor-mentee relationship, one that included something unexpected: Foley performing the Canadian premiere of one of Ramos’s original arrangements.

“Our mentorship program provides enriching opportunities for all participants to learn, expand their networks, and gain new perspectives,” says Michelle Cavalcanti, senior associate director of Career and Professional Affinity Programs at the University. “Remarkable connections, like the one between Chris and Tyler, often form in the program. We invite everyone to discover more and sign up as either a mentor or mentee—each of us has something to offer and much to gain by participating.”

The backstory

Following the official conclusion of the three-month mentorship program, Foley and Ramos remained in contact. It was during one of their conversations that Ramos shared a new composition: an arrangement of . This piece, a fusion of Queen Liliʻuokalani’s 1878 Hawaiian folk song and the classical style of Franz Liszt, deeply impressed Foley—he knew he had to play the piece. A few months later, Foley brought this composition to life during a performance at an Ontario Registered Music Teachers Association recital.

“Playing my mentee’s work at a concert was never in the mentorship handbook, but it was a lot of fun, and the audience loved it,” says Foley. He adds that both he and Ramos hope to collaborate again in the future.

The Eastman difference

Participating in this mentorship program has allowed Foley to give back to the community that has given him so much. He stresses the value of Eastman’s expansive global alumni network, saying, “After completing my doctorate, some of my initial opportunities came through fellow Eastman graduates—they literally helped me get my career started.”

Foley emphasizes that true mentorship goes beyond developing task lists, reviewing professional documents, and providing job-hunting tips. “Understanding a person’s aspirations, cultural background, and educational experience is essential,” he says. “From that foundation, we can engage in genuine, meaningful conversations that can facilitate personal and professional growth.”

Tyler Ramos ’22E (DMA)

In addition to being a mentor, Foley has also benefited from being a mentee. —professor emerita of piano accompanying and chamber music at Eastman and one of Foley’s early teachers—was a particularly influential one. Decades after meeting her, Barr still offers guidance to Foley, which, he notes, is important for those mid-career like him.

“Jean is the greatest mentor I’ve ever had,” he says. “She gave me advice that I pass on to mentees today: make long-term connections and find people you absolutely trust. They will help you throughout your career and guide you when you go through challenging professional experiences.”

For Ramos, his first time as a mentee with the program connected him with Eastman alumnus , a bassoonist and faculty member at the University of Oregon School of Music and Dance. Vacchi, helped Ramos realize that his professional path could encompass more than “just” being one type of musician. “The program, through both Steve and Chris, has broadened my perspective,” he says. “I’ve learned that my career doesn’t have to be narrowly defined—that it can be as diverse and encompassing as the range of instruments I play.”

Like Foley, Ramos appreciates being part of Eastman’s strong alumni community and has found value in being both a mentee and informally mentoring others. For instance, he has provided advice to undergraduate students, encouraging them to build strong friendships and find supportive allies in the competitive music world. “Giving back and supporting others doesn’t ever diminish one’s own success,” he adds. “It brings out the best in everyone.”

Cavalcanti underscores the mutual benefits of mentorship. “Our mentees get to connect with alumni whose career paths aren’t strictly linear, helping them envision career opportunities they may never have considered,” she says. “Our mentors benefit, too—refining their leadership and communication skills, forging new connections, and helping people reach their career goals.”

The Martin E. and Corazon D. Sanders Professor of Voice at the Eastman School of Music says that teaching has been the fulfillment and greatest gift of her life

Katherine Ciesinski ’18M (MS), the Martin E. and Corazon D. Sanders Professor of Voice at the Eastman School of Music
Photo: Jim Caldwell

Since winning the Metropolitan Opera National Council Auditions at the age of 23, Katherine Ciesinski ’18M (MS) has achieved worldwide recognition as a performer and recording artist. The New York Times has called her a “singer of rare communicative presence, and a musician of discrimination and intelligence.”

In 2008, Ciesinski joined the faculty at the Eastman School of Music, where she is now the Martin E. and Corazon D. Sanders Professor of Voice. A decade later, she earned a master’s degree in medical humanities from the School of Medicine and Dentistry.

“Music has infused, inspired, and directed my life,” says Ciesinski. “I will sing and teach for as long as I can until it ceases to give me the great joy that it does.”

My family

My father, a Michigan native, was a World War II prisoner of war in Germany. He earned Purple Heart and Bronze Star medals for his service. My mother was in the USO. They met on a train on Long Island just after the war. They fell in love, married, and moved to Delaware where they raised me, my brother, Raymond, and my sister, Kristine, who also became an international opera singer. My parents were educators, and my father was also inducted into the Delaware Sports Hall of Fame for track and field coaching.

My childhood

My parents told me that I babbled musically to the radio when I was a baby. As a toddler, they couldn’t tear me away from the piano at my grandmother’s house (which soon made its way to our family’s living room). I sang in our church choir and throughout grade school, middle school, and high school. At an early age, my teachers recognized that I had perfect pitch.

My early training and career

I earned a bachelor’s and master’s in applied voice performance from Temple. After Temple, I went to Curtis Institute of Music for a three-year intensive opera certificate program. During that time, I went to a summer music academy in Salzburg, Austria—Mozart’s hometown. It was an eye-opening experience. International opera stars were treated like movie stars and every storefront featured life-sized portraits of them. After Curtis, I spent the summer in France and won major competitions in Geneva and Paris. Soon, I was performing at acclaimed opera houses and with leading orchestras around the globe.

My lucky breaks

When I was living in New York City in my early 30s, an opera company in Mexico called me, desperate. They were doing Samson and Delilah, and they needed a new lead, fast, to perform live and on TV with Plácido Domingo, the lead tenor who played Samson. I was given the score just a day or two before getting on a plane. I was awestruck by Plácido and all the talent there, and people were shocked I’d never performed this opera before.

My life as a teacher

In my heart and soul, I am a teacher. I enjoy the ardor, the problem-solving, and the experience of working with very talented students. Teaching allows for the full circle of what I’ve learned and practiced musically. It has been the fulfillment and greatest gift of my life to be a voice teacher, to be a conduit to advance the artistic abilities of others.

My interest in the medical humanities

To be a strong singer, I’ve always known that I must be a healthy person. At one point, I made a connection between why I sing and why others go into medicine. We share a desire and capacity to heal people. I started dreaming of a time when I could offer some understanding of the healing aspects of music to the medical community. I loved being in the inaugural class of the UR medical humanities program. I am currently interested in exploring long-haul COVID and how singing affects lung function.

My life today

My husband, Mark Powell ’19E (DMA), is a conductor who teaches at Queens College in New York City and commutes from Rochester. In the summers, I teach in Italy and Mexico. I also attend international music conferences throughout the year, where I sometimes present, and I chair Eastman’s voice, opera, and vocal coaching department. I serve my community in all these roles with great joy. Eastman is truly my home.

�ճ󾱲���story also appears in the spring 2023 issue of Rochester Review.

Recipients of the John and Mary Celentano Endowed Scholarship

James Marshall ’21E (MM) and Belle Ra in front of a portrait of John Celentano in the Cominsky Promenade outside Kilburn Hall.

James Marshall, a viola player from Washington, and Belle Ra, a cellist from Texas, love all things music—especially chamber music. Both are pursuing advanced degrees at the : Marshall, his doctorate in music, and Ra, her master’s. For the last two years, they have been part of Eastman’s graduate chamber seminar, which has given them opportunities to learn from great teachers, collaborate with other musicians, and perform recitals in beautiful venues such as the school’s Hatch Hall.

The musicians’ chamber experience has been funded through a scholarship established by John Celentano ’37E, ’41E (MM) and his wife, Mary, who died in 2017. Before his death in 2009, John Celentano was a violinist and professor emeritus of chamber music at Eastman. The
Celentanos were passionate about supporting chamber music and the opportunity for talented musicians to study with world-class faculty.

Marshall and Ra are doing both. As a result of being in the graduate seminar, they have participated in several chamber groups and are now playing together in a piano quartet.
Their instructors coach them, but all the musical decisions are up to them. The foursome plays music by a range of musicians, too, from Debussy, a 19th-century French composer, to contemporary composers like Danny Elfman, who has scored more than 100 feature films.

Chamber music dates back to the late 17th century as a form of classical music composed for a small group of instruments, usually a trio, quartet, or quintet. It started with such greats as Bach, Haydn, and Mozart, and it was usually played in a palace chamber or a large room.

“In a chamber group, there’s no one to cover us, which provides a very different experience than playing in an orchestra,” says Marshall. “I enjoy both types of playing, but in an orchestra, the conductor calls the shots. In the quartet, we do.” Adds Ra, “Playing chamber music complements the experience of being in an orchestra and performing solo, which is rewarding but can be isolating. In our quartet, we work hard and challenge and learn from each other. It has
created such a bond between us.”

It was after a high school performance that Ra knew she wanted to dedicate her life to music. That’s when an audience member told her how moved to tears she was by Ra’s performance. The young musician then realized the impact of music on people’s lives and knew she wanted to
pursue a career in it.

Ra was drawn to Eastman for its reputation and because she wanted to study with one particular instructor: Steven Doane. “He is a great performer and teacher,” says Ra, who is also a recipient of the Lowell and Sally Weitkamp Merit Scholarship Fund. “I play better because of him, and, by
example, he teaches me pedagogical skills.”

Marshall felt similarly called to play music, having fallen in love with the viola’s deep sound during a summer music camp in high school. At Eastman, Marshall studies with Masumi Per Rostad. “I met him at a winter camp in 2019 and was captivated by his performance,” he says.

“Learning from Professor Per Rostad has transformed my playing, given me a new way of thinking about music, and taught me how to play to the audience.” After completing his studies,
Marshall plans to pursue performing and teaching. Because of the Celentano scholarship, Marshall and Ra can focus full-time on their music and do not need to work part-time jobs or take out additional loans. Both are incredibly grateful. “I can attend Eastman because of the support of people like the Celentanos,” says Ra.