Mentors

a personal note from Jim about his mentors

William F. Ondrick

Professor William F. Ondrick joined the faculty of Stevens Institute of Technology in Hoboken, N.J. in 1957 where he was a professor of humanities and director of music at the institute for 40 years. He established the school's Department of Music, including the Glee Club, Concert Band and a Jazz Ensemble. He received many awards including an honorary Master of Engineering degree, the Freygang Teaching Award, the Outstanding Teacher Award, and the prestigious Renaissance Engineering and Science Award.

Bill was the professor who influenced me most significantly during my college years and gave me the greatest opportunities to arrange, compose, and perform. He introduced me to jazz. As a classically trained pianist, I really struggled with it at first. He would prod me to listen to Red Garland, Duke Ellington, and Count Basie. Eventually, I found my way and now consider myself a jazz pianist.

When Bob Hebble took a sabbatical, Bill asked me to fill in as accompanist/arranger for one semester. Bob decided not to return, and Bill offered me the job which I kept for another 12 years. Bill remained as Professor Emeritus until his retirement in 1998.

Robert C. Hebble

Bob was my predecessor as the accompanist/arranger of the Glee Club. When I became interested in arranging and composing, I literally read every one of Bob’s arrangements. We also talked about organ music including his compositions.

Bob’s choral arrangements were very different from his organ compositions, but both were filled with beautiful harmonies. I am grateful for having had the opportunity to work with him. More information about Bob can be found at https://lorenz.com/composers-and-authors/meet-our-composers/robert-hebble

L. Kenneth Manzer

Ken was Bob Hebble’s predecessor. I first met Ken at one of Bill’s anniversary concerts. I had started these concerts for Bill’s 25th anniversary and they continued every 5 years until Bill retired. During a summer vacation in Massachusetts, I met Ken again at Deacon’s Perch on Cape Cod. When I reintroduced myself, he said: “You’re the new guy.” At this point, I knew I wanted to work with him.

At Bill’s 30th anniversary, we invited both Ken and Bob to return as performers for the concert. Each of us performed a third of the program followed by three songs performed by the Alumni Chorus who had gathered from all over the country. This created a challenge for me as I had to play Ken’s arrangements for the other concerts on the road that semester. For some of these arrangements, the piano part was not written out. Ken sent me a cassette tape of his performance. Like many of his piano arrangements, they were quite complicated.

The most significant event occurred during the last few years of my tenure. I was feeling burnt out and Bill suggested that I meet with Ken. Not knowing what to expect, I called Ken and we set a date. I drove to Westfield and spent a day with Ken. A full day discussing music and arranging. He had been thinking about writing a book and I offered to help by transcribing his music. I truly regret that we never had the opportunity to do that. Ken also gave me copies of some of his transcriptions. He had an amazing ability to transform popular repertoire into classical-like interpretations that demonstrated his magnificent technique. As with Bob’s choral arrangements, I devoured Ken’s piano transcriptions, and this became the basis of my arranging style today.

When Ken retired from Westfield State University, the board of trustees renamed the recital hall in the Bates building to the L. Kenneth Manzer Recital Hall.

More information about Ken can be found at

https://westfield.academicworks.com/donors/the-kenneth-manzer-scholarship.