2020 WINTER CATALOG2020 WINTER

JANUARY – MARCH

CLASSES • WORKSHOPS • CONCERTS Contents Play A Part — A Letter from Susan Muscarella to Our CJC Community

INTRODUCTION ADULT VOCAL CLASSES (continued) CJC Concert Series 2 Composition 29 You may have heard that the California Jazz Conservatory The California Jazz Conservatory 4 Young Singers 29 suffered a devastating flood at our 2087 Addison campus in The Jazzschool at CJC 6 Vocal Mentor Program 30 mid-October. In spite of this setback, our commitment to our mission to nurture and perpetuate the jazz art form remains ADULT VOCAL WORKSHOPS ADULT PERFORMANCE ENSEMBLES unscathed. The California Jazz Conservatory has built a Vocal Workshops 31 reputation, through its various education programs and the Jazz 8 work of its exemplary teaching staff, leading to our vision: Reggae 1 1 YOUNG MUSICIANS PROGRAM In a Musician, Out an Artist! Brazilian 12 World 12 Introduction 35 Blues 13 Program Requirements 35 Since 2012, the Conservatory degree program has graduated Funk 13 seven classes of students who exemplify this vision. Our Placement and Audition Latin 13 Requirements 36 graduates’ notable accomplishments as artists, educators Large Performance Ensembles 37 and/or arts administrators demonstrate the far-reaching ADULT INSTRUMENTAL CLASSES Small Performance Ensembles 40 effects of our institution’s postsecondary programs. Voice 41 Piano and Keyboards 14 The Conservatory has proudly played an integral part in Guitar 16 WORKSHOPS all of our graduates’ artistic achievements, as have you! Bass 1 8 Drums and Percussion 19 For all instruments and voice 4 3 Saxophone 19 Your ongoing support will help us recover from unfortunate losses incurred during the recent flood THEORY, IMPROVISATION AND INFORMATION COMPOSITION CLASSES and enable us to continue to realize our vision Women's Jazz & Blues Camp 20 to admit the musician and graduate the artist. Theory 21 California Jazz Conservatory Improvisation 21 Master of Music in Jazz Studies 38 I hope you will Play A Part now in supporting the Composition 21 Summer 2020 Camps and important work of all of our education programs by making Intensives 42 a tax-deductible contribution, qualifying the California Jazz ADULT VOCAL CLASSES Jazzschool Faculty 52 Conservatory to operate alongside the most reputable Board and Staff 60 Technique and Musicianship 22 jazz programs in the country. Instructions and Performance 23 Application Form 62 Ensemble Singing 26 Yours in jazz, Blues 28 Map 63 Latin 28 Support 64

Susan Muscarella IMPORTANT INFORMATION President • Winter Performance Series takes place March 17 – 23 Many opportunities fill early, so sign up now! Visit cjc.edu for current information, To make a tax-deductible contribution online visit www.cjc.edu/PAP, as schedules are subject to change. For the latest news from CJC, sign up for or mail a check to “California Jazz Conservatory” at 2087 Addison St., our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu! Berkeley, CA 94704. To contribute with a credit card, contact Mary D’Orazi at 510.845.5373 ext. 19. 1 CJC Concerts

In addition to CJC’s Weekend Concert Series featuring an eclectic mix of music on Friday and Saturday nights, we're pleased to present our Way Out West (WOW) Concert Series on Tuesdays @ 7:30 pm and CJC Resident Artists Electric Squeezebox Orchestra for their weekly Sunday evening concerts. Visit cjc.edu for information and tickets!

10 Fri 8pm Harvey Wainapel Quintet $20 MARCUS SHELBY CAROLYN BRANDY BOB KENMOTSU ANDREA CLABURN JUA HOWARD 11 Sat 8pm Bob Kenmotsu Quartet $20/$15 students

14 Tues 7:30pm Holly Martins $20/$10 students 15 Sat 8pm Omree Gal-Oz: "Village" Explorations $20 17 Fri 8pm Daniel Lucca Quintet $20 18 Tues 7:30pm Dan Rosenboom $20/$10 students 18 Sat 8pm Amanda Addleman — JANUARY $20/$15 students FEBRUARY "Into the Light" Album Release 21 Fri 8pm Black History Month: Glen Pearson $20 19 Sun 4:30pm SFEMS: An Austen Afternoon $25 22 Sat 8pm Black History Month: $ 20 Janice Maxie Reid Tribute to Nina Simone 21 Tues 7:30pm Scott Amendola Quartet $20/$10 students 23 Sun 3pm Jazz Search West $10 24 Fri 8pm Marta Sanchez Quintet $20 23 Sun 7pm Vocal Jam $10 25 Sat 8pm Susana Pineda & Friends $20 28 Fri 8pm CJC Faculty Ensemble $20/$15 students 26 Sun 4:30pm Vocal Jam $10 29 Sat 8pm Black History Month: $25 28 Tues 7:30pm Nora Stanley Trio $20/$10 students Kim Nalley Sings Black Broadway

31 Fri 8pm Orquesta La Moderna Tradición $20 3 Tues 7:30pm Henry Hung's Family Band $20/$10 students 1 Sat 8pm Black History Month: Marcus Shelby Quintet $20 6 Fri 8pm International Women's Day: Pamela Rose — $20

FEBRUARY Great Women of the American Songbook 4 Tues 7:30pm The Lost Trio $20/10 students 7 Sat 8pm International Women's Day: $20 7 Fri 8pm Black History Month: Tribute to $20/$15 students Carolyn Brandy, Amikaeyla, & Friends Ella & Sarah — Kalil Wilson & Daniel Marschak 10 Tues 7:30pm Rob Reich Swings Left $20/$10 students

8 Sat 8pm Dillon Vado's Never Weather — CD Release $20 MARCH 13 Fri 8pm Jessica Jones Quartet featuring Tony Jones $20 11 Tues 7:30pm Telepathy $20/$10 students 13–15 various times Jazzschool Young Musicians Peformances Free* 14 Fri 8pm Black History Month: $25 Nicolas Bearde — "All About Love" 14 Sat 8pm Jeff Gardner & Ricardo Peixoto $20/$15 students

17–23 various times Jazzschool Student Performances Free* MARTA SANCHEZ ROB REICH NORA STANLEY HENRY HUNG KIM NALLEY 21 Sat 8pm Erik Jekabson/Andrew Speight $20/$15 students Birthday Quintet 22 Sun 4:30pm Vocal Jam $10

27 Fri 6pm Women's Jazz & Blues Camp Concert Free*

28 Sat 8pm JUA & Andrea Claburn: A Decade of Music $20

*Your generous donation ($10 suggested) will allow us to continue to offer these presentations. 3 The California Jazz Conservatory

The California Jazz Conservatory is the only independent, accredited school in America completely devoted to the study and performance of jazz.

The California Jazz Conservatory honors The California Jazz Conservatory offers the the contributions of past masters and aspiring professional jazz musician a 4-year promotes artistic innovation, bringing Bachelor of Music degree in Jazz Studies, together a diverse music community to based on a 100% jazz relevant curriculum, develop practical skills, acquire artistic taught by a faculty of artists/educators who sensibility, realize creative potential and share a proven track record of success in find artistic voice. transforming musicians into artists.

Founded as the Jazzschool in 1997 and Our 2-year Associate of Arts degree in accredited by the National Association of Jazz Studies offers the same effective Schools of Music in 2009, the California faculty, teaching the same 100% jazz Jazz Conservatory offers two distinct relevant courses — the first two years of education programs: our Bachelor program — with students incurring half the cost and half the time The California Jazz Conservatory, a commitment to earn their degree. postsecondary degree-granting program; and The Jazzschool at CJC, a non degree- In 2020, CJC will launch our new granting community education program. Master in Jazz Studies for the 21st Century Composer-Performer, structured around the small ensemble, providing the professional- level jazz musician with a creative platform to both compose and perform original work. The California Jazz Conservatory's CJC Concert Series offers a year-round array of performances by students and profes- sionals in our two intimate concert venues, Rendon Hall and Hardymon Hall.

Our popular Jazzcaffè offers light fare and a range of beers, wines and other beverages year-round, while our CJC Bookstore provides a variety of jazz- related books and merchandise.

Located in the heart of Berkeley's vibrant Downtown Arts District, the California Jazz Conservatory campus is easily accessible by car and public transporta- tion. The downtown Berkeley BART station and AC Transit bus stops are located within a block of campus. Public parking is available in a nearby garage and in metered street parking in the neighborhood. 4 5 The Jazzschool at CJC

The Jazzschool at CJC is the California Jazz Conservatory's community Ensembles and Classes music school, serving students of all ages and levels for over 20 years. (Audition required for Ensembles) The Jazzschool offers a wide range of Performance Ensembles and Classes The Jazzschool offers instrumentalists Instrumental Classes for beginning, intermediate and and vocalists Performance Ensembles/ Jazzschool instrumental classes provide advanced instrumentalists and vocalists. Classes, as well as Workshops, Camps study of a specific instrument in a group Ensembles focus on a wide range of and Intensives throughout the year, setting. Classes are available for saxophone, styles including, but not limited to, jazz, including: piano/keyboard, guitar, bass and drums/ blues, funk, Afro-Caribbean and South percussion. Instruction is available for American music. Classes include * Adult instrumental and vocal beginners (covering basic technique and instrumental and vocal technique, music Performance Ensembles/Classes instrumental skills) and also for more theory, jazz improvisation and more. in fall, winter (10 weeks), spring advanced players (focused on jazz style, (9 weeks), and summer (6 weeks); harmony, improvisation and more). Workshops (No audition required) The Jazzschool offers a variety of * Workshops on weekends throughout Vocal Classes Workshops throughout the year, the year; Jazzschool vocal classes provide an available in single sessions or as a * Youth instrumental and vocal Perfor– opportunity for singers at all levels to series. Workshops are taught by mance Ensembles in fall, winter, spring improve style and technique in a group professional artists/educators and (9 weeks) and summer (6 weeks); setting. Performance classes are offered focus on specific approaches to in jazz, Latin, blues, R&B and pop genres. strengthening technical ability, under- Camps and Intensives (Audition required) * Youth instrumental and vocal Summer Beginners, singers returning to music, standing and applying theoretical The Jazzschool offers Camps and Inten- Camps and Intensives in summer and more advanced vocalists can all find concepts to improvisation, and enhanc- sives in the spring and summer in one- and (1 – 2 weeks); classes appropriate for their interests. ing live performance skills, in addition to other jazz-related topics. two-week sessions for adult and youth * Adult instrumental and vocal Camps instrumentalists and vocalists at all levels. and Intensives throughout the year Theory, Improvisation and Composition The Jazzschool offers a number of classes Jazzschool Young Musicians Program (1 week). covering areas of theory, improvisation, ear (Placement audition required) Faculty training, composition and arranging, music The Jazzschool Young Musicians Jazzschool Classes, Ensembles, Workshops, production, music business and more. Program offers a range of classes for Camps, Intensives and other programs are middle and high school students. Young led by a distinguished faculty of profes- Musicians Program ensembles are sional musicians who have played with available for beginning, intermediate some of the music world’s biggest names. and advanced instrumentalists. The More importantly, our faculty consists of program includes small groups focused musicians and vocalists who excel in on improvisation, and big bands that education, with a focus on teaching delve into style and repertoire. Vocal students not just how to play, but how performance classes are also available. to perform, transforming talented musi- Jazzschool Young Musicians Program cians into recognized artists. ensembles have repeatedly been honored in the DownBeat Magazine Enrollment student music awards and at presti- Jazzschool class size is limited and many gious jazz festivals, both here and classes — available on a first-come, first- abroad. served basis — fill up quickly. We encour- age you to register early and guarantee your spot! You can enroll online at cjc.edu or call 510.845.5373. An application form also appears on page 63. 6 7 6 6 Adult Performance Ensembles

Jazzschool Performance Ensembles JAZZ delve into a wide range of styles including jazz (standards, hard- BEGINNING JAZZ ENSEMBLE bop, post-bop, fusion), Latin jazz, Put theory into practice by learning jazz standards, while developing improvisation Brazilian, blues, R&B and funk. and ensemble skills. For all instruments. Ensembles are available for Prerequisites: knowledge of basic jazz instrumentalists and vocalists theory and ability to keep time and at the beginning, intermediate read music. and advanced levels. Groups Section 1: Mondays 6:30 – 8 pm Section 2: Mondays 8:15 – 9:45 pm range in size from the trio to the 1/6 – 3/16 (10 weeks) no class 1/20 big band. A placement audition Performance date: Monday 3/23 is required for all Performance Steve Erquiaga • $420 Ensembles. HARD-BOP ENSEMBLE POST-BOP ENSEMBLE JAZZ STANDARDS FOR GIGS Study and perform music melding Explore the repertoire of Chick Corea, Joe Develop the skills and repertoire needed bebop with R&B, gospel and the blues Henderson, Wayne Shorter, John Coltrane for typical jazz gigs through the study as developed by mid-century masters and other post-bop jazz composers from and performance of common jazz styles including Horace Silver, Art Blakey, the 1960s to the present. Strong emphasis Auditions including swing, bossa, jazz waltz and Cannonball Adderley, Miles Davis, placed on group communication and Students are placed in ballads. Instructor covers repertoire, Jimmy Smith and others. interaction. Performance Ensembles by essential arranging concepts (intros, Thursdays 6:30 – 8 pm Wednesdays 6:30 – 8 pm audition and requirements endings, etc.), relevant jazz harmony and tips for soloing. Prerequisites: knowledge 1/9 – 3/12 (10 weeks) 1/8 – 3/1 1 (10 weeks) may include playing a selected of basic jazz theory and ability to keep Performance date: Thursday 3/19 Performance date: Wednesday 3/18 jazz standard and sight time and read music. Some previous Dave Lefebvre • $420 Steve Erquiaga • $420 reading selected excerpts. ensemble experience. MUSIC OF THE MASTERS MILES DAVIS/WAYNE SHORTER Drummers are asked to play Section 1: Mondays 6:30 – 8 pm Dig into the music of John Coltrane, ENSEMBLE various grooves and solo; 1/6 – 3/16 (10 weeks) no class 1/20 Thelonious Monk, Wayne Shorter and Explore the music of Miles Davis and bassists are asked to play Performance date: Monday 3/23 other jazz masters. Learn and internalize Wayne Shorter from the mid-60s through bass lines. Section 2: Wednesdays 6:30 – 8 pm a variety of essential grooves while the 80s. Repertoire is drawn from far- developing improvisation skills through For more information please 1/8 – 3/1 1 (10 weeks) reaching classic albums including Miles Performance date: Thursday 3/19 the rehearsal of challenging repertoire. Smiles, ESP, Filles de Kilimanjaro, Speak contact Jazzschool Director No Evil, Bitches Brew, In a Silent Way, Section 3: Saturdays 10 – 11:30 am Section 1: Mondays 8:15 – 9:45 pm Rob Ewing at [email protected] or Native Dancer and Jack Johnson. Strong Section 4: Saturdays 11:45 am – 1:15 pm 1/6 – 3/16 (10 weeks) no class 1/20 510.845.5373 x14. emphasis placed on group communication Section 5: Saturdays 1:30 – 3 pm Performance date: Monday 3/23 and interaction. You can schedule an audition 1/1 1 – 3/14 (10 weeks) Section 2: Wednesdays 8:15 – 9:45 pm online at cjc.edu. Performance date: Saturday 3/21 1/8 – 3/1 1 (10 weeks) Wednesdays 8:15 – 9:45 pm Glenn Richman • $420 Performance date: Thursday 3/19 1/8 – 3/1 1 (10 weeks) Glenn Richman • $420 Performance date: Wednesday 3/18 Steve Erquiaga • $420

8 2020 Winter Quarter / January – March / c jc.edu 9 Adult Performance Ensembles Adult Performance Ensembles

ERQUIAGA ENSEMBLE 1 BIG BAND In this Ensemble 1 class, you'll work on This 19-piece ensemble covers classic and improvising over chord changes, playing contemporary repertoire for big band. with good time and learn the other skills Original compositions by ensemble needed to perform with other musicians. members are also workshopped and Class emphasis is on standard mainstream performed. Full 3-quarter commitment styles: blues, standards, swing, bebop, required (fall, winter, spring). ballads and bossa novas. Thursdays 8:15 – 10:15 pm Tuesdays 4:30 – 6 pm 1/9 – 3/12 (10 weeks) 1/7 – 3/10 (10 weeks) Performance date: Thursday 3/19 Performance date: Monday 3/23 Dave Lefebvre • $290 Steve Erquiaga • $420

ERQUIAGA ENSEMBLE 2 REGGAE This Ensemble 2 class focuses on slightly faster tempos and more involved REGGAE JAZZ ENSEMBLE tunes! Unusual keys, uncommon tune HIP-HOP JAZZ ENSEMBLE In this class we will take well-known structures and more complex melodies From its roots in James Brown and 70s jazz standards and play them…REGGAE are presented along with standard jazz/soul, through Boom Bap, G-Funk and STYLE! Reggae music, despite its relative- repertoire. Includes the music of Miles J Dilla, we will explore the sample-based ly simplistic nature, has a great deal of Davis, Jobim, Art Blakey, Cal Tjader and music of Hip-Hop in a live band setting. rhythmic and melodic nuance with an many 60s Blue Note–era artists. Original For all rhythm section instruments and emphasis on the discipline of groove compositions are encouraged! horns. playing where each musician locks down Tuesdays 6:30 – 8 pm their specific part to create a collective, Wednesdays 6:30 – 8 pm 1/7 – 3/10 (10 weeks) ecstatic dance groove. We will learn how 1/8 – 3/1 1 (10 weeks) Performance date: Tuesday 3/17 to play reggae (including one-drop, Performance date: Wednesday 3/18 Steve Erquiaga • $420 steppers and rockers styles), rocksteady, Steve Hogan • $420 reggae-rock, dub, dancehall and if time PIANO TRIO permits, ska. Rhythm section players will FREE JAZZ ENSEMBLE: matt jenson Develop performance skills in the piano, learn how to play proper drumset grooves, THE MUSIC OF CHICAGO bass and drums trio format. Open to four reggae-centric bass lines, the chop AVANT GARDE (1980 – 2010) pianists and one drummer with accom­ (skank) and bubble (or shuffle), and the The Free Jazz Ensemble is designed paniment provided by a professional role of hand percussion. Horn and any for improvising musicians interested in upright bassist. other lead instruments will play melodies, stretching the boundaries of harmony learn reggae-centric backing lines and of “You have a chance to study and form. Each quarter the ensemble will Section 1: Mondays 5 – 6:30 pm course, incorporate jazz improvisation focus on the music of a particular master Section 2: Mondays 6:45 – 8:15 pm over the ensemble grooves. Open to all and hang a bit with some of musician. This fall, rather than focusing on Section 3: Mondays 8:30 – 10 pm instrumentalists including bass, drums, the best musicians around. the work of a particular composer, we’ll 1/6 – 3/16 (10 weeks) no class 1/20 keyboards, guitar, hand percussion and be focusing on a number of artists from Performance date: Monday 3/23 horns. No previous reggae experience In addition, you get to do it the fertile Chicago Avant Garde scene Peter Horvath • $420 necessary. in combo classes — and if of the last several decades. Section 4: Fridays 1:30 – 3 pm Tuesdays 8:15 – 9:45 you want to play jazz in a Thursdays 8:15 – 9:45 pm Section 5: Fridays 3:30 – 5 pm 1/7 – 3/10 (10 weeks) 1/9 – 3/12 (10 weeks) 1/10 – 3/13 (10 weeks) Performance date: Tuesday 3/17 group, that's the way to Performance date: Thursday 3/19 Performance date: Saturday 3/21 Matt Jenson • $420 learn how.” Jason Levis • $420 Ben Stolorow • $420

10 2020 Winter Quarter / January – March / c jc.edu 11 Adult Performance Ensembles Adult Performance Ensembles

BRAZILIAN BRAZILIAN CHORO new FUNK ENSEMBLE MUSIC OF JOSE NETO new Focusing on classic Choro repertoire by FUNK ENSEMBLE AND THE NETOBAND Jacob do Bandolim, Pixinguinha, Ernesto From James Brown to Prince, Sly and the Brazilian guitarist José Pires de Almeida Nazareth and others, gain experience Family Stone to Tower of Power, Stevie Neto currently is musical director/guitarist playing in the traditional Brazilian ‘Roda Wonder to Earth, Wind & Fire, The Meters for Steve Winwood. His vast musical de Choro’ style. All instruments are to Herbie Hancock, we get down and history includes recording and touring welcome. Prerequisites: ability to read funky in this ensemble. Explore what it with Harry Belafonte, Flora and Airto, charts for rhythm section players, ability takes to master the complexity of the funk Tania Maria, Paquito D'Rivera, Hugh to read notation for melody players. genre by breaking down the rhythmic Masekela, Herbie Mann and others. His Sundays Noon – 1:30pm foundation of the groove, the feel, the band the Netoband has been performing 1/12 – 3/15 (10 weeks) “pocket!” For all vocalists, horns and and recording together for over 25 years. Ricardo Peixoto • $420 rhythm section instruments. The documentary, “The Man Behind the Thursdays 8:15 – 9:45 pm White Guitar” is a celebration of his career. 1/9 – 3/12 (10 weeks) Wednesdays 8:15 – 9:45 pm WORLD Performance date: Thursday 3/19 1/8 – 3/1 1 (10 weeks) Daniel Lucca Parenti • $420 Performance date: Wednesday 3/18 WORLD GROOVE ENSEMBLE: Frank Martin • $420 AFRICAN The African Ensemble explores diverse marcos silva LATIN BRAZILIAN ENSEMBLE styles such as Afrobeat, soukous, Study and perform the classic and highlife, “desert blues,” South African, SALSA ENSEMBLE 1 contemporary Brazilian jazz repertoire of Zimbabwean, Afropop, or Ethio-jazz. BLUES Rehearse and perform classic salsa Ivan Lins, Dori Caymmi, Toninho Horta, Emphasis is placed on listening to each repertoire including the music of Tito other, learning the specific rhythms and Puente, Cal Tjader, Eddie Palmieri and Antonio Carlos Jobim and instructor BLUES AND GROOVE ENSEMBLE Marcos Silva. Vocalists welcome! Audition how they interact to make the groove, others. Prerequisites: familiarity with and The Blues and Groove Ensemble offers with Marcos Silva is required. and understanding the cultural contexts ability to play standard Afro-Caribbean students an opportunity to choose from of the songs. Open to vocalists and grooves as applied to your instrument. Section 1: Tuesdays 6:15 – 7:45 pm a wide array of Blues and R&B, Funk, instrumentalists. The African Ensemble Gospel, New Orleans and American Roots Tuesdays 6:30 – 8 pm Section 2: Tuesdays 8:15 – 9:45 pm is the winter-term offering in the World 1/7 – 3/10 (10 weeks) styles to play with other musicians. We 1/7 – 3/10 (10 weeks) Groove Ensemble series; students may work on getting the best grooves for each Performance date: Tuesday 3/17 Performance date: Tuesday 3/17 enroll in any or all of the classes. Materials player and improvising solos. One vocalist David Belove • $420 Section 3: Wednesdays 6:30 – 8 pm and arrangements provided by instructor. welcome per class. Prerequisites: Ability to Section 4: Wednesdays 8:15 – 9:45 pm Prerequisites: intermediate instrumental play basic blues chords and scales in all SALSA ENSEMBLE 2 1/8 – 3/1 1 (10 weeks) and/or vocal proficiency; ability to read keys. Familiarity with blues and R&B is Rehearse and perform more advanced Performance date: Wednesday 3/18 charts and standard notation. recommended. salsa repertoire. Vocalists interested in Section 5: Thursdays 1 – 2:30 pm Thursdays 8:15 – 9:45 pm par­ticipating should sign up for Salsa Section 1: Mondays 8:15 – 9:45 pm 1/9 – 3/12 (10 weeks) 1/9 – 3/12 (10 weeks) Singing (see p. 27). The two courses work 1/13 – 3/16 (+ Sat 3/21) (10 weeks) Performance date: Thursday 3/19 Performance date: Thursday 3/19 together throughout the term developing no class 1/20 Jennifer Jolly • $420 a full set of high energy dance music for Performance date: Saturday 3/21 Marcos Silva • $420 performance. Section 2: Saturdays 1:30 – 3 pm Tuesdays 8:15 – 9:45 pm 1/1 1 – 3/14 (10 weeks) 1/7 – 3/10 (10 weeks) Performance date: Saturday 3/21 Performance date: Tuesday 3/17 Danny Caron and Anthony Paule • $420 David Belove • $420

12 2020 Winter Quarter / January – March / c jc.edu 13 Adult Instrumental Classes

APPLIED KEYBOARD HARMONY JAZZ PIANO 2 PIANO AND KEYBOARDS Learn tonic-dominant chord progressions, In this continuation of Jazz Piano 1, you'll PIANO 1 basic turnarounds and chord inversions learn more advanced chord voicings and soloing techniques, as well as standard If you've ever wanted to play the piano, in all keys, while developing the ability re-harmonization techniques. Required now is your chance! Sign up for Piano 1 to play standard tunes using those basic text: and you'll learn how to read music, play progressions in leadsheet format. This Jamey Aebersold Play-along Vol. 54, scales, perform a piece, play duets, course prepares students for Jazz Piano 1 Maiden Voyage and The Jazz Piano Book discover what musical forms and keys and is recommended for pianists with a by Mark Levine. Prerequisites: ability to are all about, read a jazz chart and play classical background interested in breaking play 3-note voicings with proper voice ensemble music with fellow students. free of the printed page and learning how leading through a jazz standard (e.g., “All No experience necessary. Required to interpret leadsheets as well as learning The Things You Are” or similar), ability to BEGINNING IMPROV new texts: Mastering Music level 1A, Piano how to improvise. Handouts provided. improvise on a 12-bar blues in time, playing FOR PIANO PLAYERS Town Lessons Level 1 (available at Prerequisites: basic keyboard knowledge. 3rds and 7ths in the left hand. An audition Piano players often face unique challenges is required; please call 510-845-5373 to the CJC Bookstore). Saturdays 1:30 – 3 pm in learning to improvise. This class offers a schedule your audition. highly supportive, non-threatening but Saturdays 10 – 11:30 am 1/1 1 – 3/14 (10 weeks) well-rounded introduction to improvisation 1/1 1 – 3/14 (10 weeks) Jeanne Walpole • $420 Mondays 8:15 – 9:45 pm specifically for keyboardists. You’ll learn Jeanne Walpole • $420 1/6 – 3/16 (10 weeks) no class 1/20 RHYTHM CHANGES AND new Bob Karty • $420 how to play along with simple chord progressions drawn mostly from blues, PIANO 2 THE BLUES NEO-SOUL HARMONY rock/pop, and R&B. You’ll learn “just For those with some experience on keys, The 12-bar blues (major and minor) and & IMPROVISATION FOR enough” pertinent theory, and we’ll do a lot Piano 2 picks up wherever you left off in rhythm changes are among the most KEYBOARDISTS of playing together. This class is perfect for your pianistic pursuits and challenges common chord progressions in jazz. This Have you ever wondered how artists like players who have felt intimidated by the you to go farther with your musical piano class covers a range of essential Erykah Badu, Robert Glasper and Moon- thought of improvising or who have endeavors. Ensemble and solo music is concepts and techniques for improvising child write their music? In this class you avoided a playing situation because of selected to match your own level and and comping over these progressions. will learn how to hear, analyze, improvise nerves about improv. Brand-new impro­ ability on the piano. This class presents Suggested prerequisites: Ability to play and write your very own neo-soul tunes. visers and more experienced players are individual guidance as well as group minor, major and dominant 7th chords in Over the course of 10 weeks, you’ll take a all equally welcome. Prerequisites: basic performance opportunities. Required all keys, and some familiarity with improvis- deep dive into neo-soul/jazz harmony instrumental proficiency; ability to read text: Bastien Piano for Adults II (available ing over chord changes. through a series of ear training exercises, simple standard notation. at the CJC Bookstore). Prerequisites: Wednesdays 6:30 – 8 pm harmonic analysis methods, improvisation Tuesdays 8:15 – 9:45 pm Piano 1 or equivalent experience. 1/8 – 3/1 1 (10 weeks) and chord scale usage techniques and 1/7 – 3/10 (10 weeks) Saturdays 11:45 am – 1:15 pm Frank Martin • $420 reharmonization & composition strategies, Jennifer Jolly • $420 1/1 1 – 3/14 (10 weeks) ultimately composing your own neo-soul Jeanne Walpole • $420 JAZZ PIANO 1 chord progression or song by the end of THE PIANO MAGIC new Learn to play jazz standards and the the course. Prerequisites: basic keyboard OF ELTON JOHN 12-bar blues through the study of jazz proficiency and knowledge of chord If you love the music of Elton John, you’ll chord voicings and improvisation tech- structures (triads and 7th chords). enjoy learning how he plays and how to niques. Required text: Jamey Aebersold Wednesdays 8:15 – 9:45 pm incorporate his brilliant blend of pop, rock, Play-along Vol. 54, Maiden Voyage. Prerequi- 1/15 – 3/1 1 (9 weeks) gospel, and other rootsy styles into your sites: basic piano proficiency, knowledge of Marcelino Quiroz • $380 own playing. Materials provided by instruc- major scales, ability to play root-position tor. Prerequisites: familiarity with major, major, minor, and dominant 7th chords in minor, dominant 7th, and minor 7th chords; all keys, ability to read treble and bass clefs. ability to read basic standard notation. Mondays 6:30 – 8 pm 1/6 – 3/16 (10 weeks) no class 1/20 Tuesdays 6:30 – 8 pm Bob Karty • $420 1/7 – 3/10 (10 weeks) Jennifer Jolly • $420 14 2020 Winter Quarter / January – March / c jc.edu 15 Adult Instrumental Classes

GUITAR JAZZ GUITAR COMPING This hands-on course provides the BEGINNING GUITAR intermediate-to-advanced guitarist If you're interested in learning how to with the tools, concepts and techniques play the guitar, this course will help you essential to creative and effective develop a strong foundation in basic skills, contemporary comping. learning the essentials, including tuning Topics include: the guitar, finding notes and basic chords Comping over straight-ahead, bebop, on the fretboard, proper hand positions, • modal, funk/fusion, ballads, contempo- scale fingerings, simple songs, reading rary jazz, Brazilian and Afro-Cuban styles music and more! Your instructor will of music answer questions about equipment Creative chord voicings — looking at the selection (guitars, strings, amps, picks, • fingerboard and voicing chords in a more etc.). Required text: Modern Guitar jeff massanari “pianistic” way; quartal harmony (clusters Method Vol. One, Mel Bay (available at voiced in 4ths) in modal comping; the the CJC Bookstore). Prerequisites: None, possibilities of dissonant intervals such for complete beginners! Students must JAZZ GUITAR 1 If you're a guitarist with a background as the minor 2nd; slash chords; tritone bring a guitar to class. MUSIC THEORY AND FRETBOARD in another style and you're interested in substitution; and upper-register chord Saturdays 10 – 11:30 am exploring jazz and blues, this course is for voicings KNOWLEDGE FOR GUITAR 1/1 1 – 3/14 (10 weeks) you! You'll gain hands-on experience • Rhythmic anticipation and syncopation: Learn the basics of music theory as applied Danny Caron and Anthony Paule • $420 playing jazz and blues while learning basic the “right” places to put chords in order to guitar, developing familiarity with the jazz theory, scales, chords, arpeggios to create “forward motion” comping in fretboard through chord, scale and BLUES AND SWING GUITAR and songs. You'll have fun while learning 3/4, 6/8 and odd meters. arpeggio practice. Topics include: You'll learn chord voicings, fingerboard and playing! Prerequisites: two years Prerequisites: knowledge of chord/scale • Overview of chord and scale types harmony and single string soloing playing experience, knowledge of major and theory; ability to play major, dominant and where they are located techniques, with a variety of styles pentatonic scales and all seventh chords. and minor seventh chords and the ii–V–I • Chord progressions commonly covered, from the urban blues of B.B. King progression in all keys. used in jazz and related styles Wednesdays 6:30 – 8 pm and Albert Collins to the more complex 1/8 – 3/1 1 (10 weeks) Thursdays 8:15 – 9:45 pm • Comping patterns swing of Charlie Christian and Aaron Jeff Massanari • $420 1/9 – 3/12 (10 weeks) Scale and arpeggio practice “T-Bone” Walker. We'll dive into alternate • Steve Erquiaga • $420 in various positions chord cycles and rhythm playing, and we'll work with transcriptions to develop strong JAZZ GUITAR 2 • Reading charts and standard In this fun and fast-paced continuation of melodic solos. Prerequisites: familiarity BRAZILIAN GUITAR notation (treble clef) the concepts explored in Jazz Guitar 1, with the 12-bar blues progression, ability Learn Brazilian music styles including • Transcribing music from recordings you'll dive into more complex harmonic samba, baião, bossa nova and choro, and to play barre chords in several shapes, Basics of melodic improvisation and melodic concepts, scales and chord • basic knowledge of the minor pentatonic the techniques used to play them. Primary voicings, with lots of hands-on playing For students with some playing experience, scale, some picking facility. focus is on learning repertoire, while time and personal guidance for everyone. developing the following areas: stylistically knowledge, and facility, who have never Saturdays 11:45 am – 1:15 pm This course is designed for guitarists with appropriate comping rhythms, chord seriously practiced or studied music theory 1/1 1 – 3/14 (10 weeks) some jazz playing experience looking to melody playing, creating solo arrange- or the guitar fretboard. Prerequisites: ability Danny Caron and Anthony Paule • $420 take their playing to the next level. ments, right hand finger-style techniques to play basic barre chords and some Prerequisites: Jazz Guitar 1 or equivalent; and melodic soloing approaches. familiarity with playing scales. Students knowledge of scale and chord theory and Prerequisites: ability to read music notation. should bring a medium or heavy flat pick some familiarity with jazz repertoire. and be ready to learn how to use it! Sundays 2 – 3:30 pm Wednesdays 8:15 – 9:45 pm 1/12 – 3/15 (10 weeks) Mondays 6:30 – 8 pm 1/8 – 3/1 1 (10 weeks) Ricardo Peixoto • $420 1/13 – 3/23 (10 weeks) no class 1/20 Jeff Massanari • $420 Danny Caron • $420

16 2020 Winter Quarter / January – March / c jc.edu 17 Adult Instrumental Classes

SAXOPHONE DEVELOPING A GREAT new SAXOPHONE SOUND: POWER, FOCUS, AND FLEXIBILITY This is a class for saxophonists! This course will help you develop a great saxophone sound through tone exercises, an efficient, relaxed embouchure, and air flow funda- mentals. It will also explore what makes an individual saxophone setup work, covering reeds, mouthpiece, ligatures, horns, and more. All topics will be put into practice, playing both ballads and uptempo tunes. glenn richman Prerequisites: chromatic, major and minor scale proficiency. Required text: A Com- plete Approach to Sound for the Modern BASS Saxophonist by Ben Britton. Thursdays 6:30 – 8 pm BEGINNING BASS JAZZ BASS 1/9 – 3/12 (10 weeks) Get off to a strong start learning your Learn a variety of essential techniques Tony Peebles • $420 instrument in this class covering the for constructing strong jazz bass lines “bass”ics of what it takes to be an effective on blues, jazz standards in 4/4 and 3/4, bassist in any genre. From jazz to funk and modal tunes, rhythm changes, and ballads. everything in between, this class focuses Techniques for soloing are also covered. tony peebles on topics including right and left-hand Perform bass lines in class each week with technique, finger dexterity, neck memoriza- piano accompaniment provided by the tion, the parts of the bass, theory, reading, instructor. Recommended for upright and DRUMS AND PERCUSSION transcription and much more! Perfect for electric bassists interested in participating INTERMEDIATE JAZZ new new musicians as well as seasoned instru- in the Jazzschool’s ensemble program. DRUMMING mentalists with the desire to learn more. Prerequisites: intermediate technical For drummers with some familiarity with Prerequisites: None. Open to all! Students facility and some ability to read music. jazz and associated styles, this class will must bring a bass to class. Tuesdays 8:15 – 9:45 pm provide insights into how to break through Thursdays 6:30 – 8 pm 1/7 – 3/10 (10 weeks) to the next level. With a deeper under- 1/9 – 3/12 (10 weeks) Glenn Richman • $420 standing of groove, dynamics, phrasing, Daniel Lucca Parenti • $420 melody, interaction, and musical context, one can find greater meaning in their playing. The class will also highlight a narrow subset of exercises which are “Great environment for especially powerful tools for jazz drum- mers, covering stick/brush technique, full trying new things out — drum set technique, and rhythmic ear challenging but always training. supportive and fun.” Wednesdays 6:30 – 8 pm 1/8 – 3/1 1 (10 weeks) Jon Arkin • $420 18 2020 Winter Quarter / January – March / c jc.edu 19 Theory, Improvisation, Composition

INTERMEDIATE JAZZ THEORY IMPROVISATION INTRODUCTION TO MUSIC THEORY This course gives students a strong Learn the basic skills needed to begin any foundation in the Great American serious study of music. Topics include: Songbook repertoire and the ability music notation, time signatures, key to improvise over chord progressions with signatures, rhythmic training, major scales, correct notes and good phrasing. Several intervals, transposition, chord structure, compositions from the Great American harmonic progression, ear training and Songbook will be used as vehicles to study an introduction to musical form and basic chord structures, scale structures composition. Required text: Practical and non-diatonic neighboring tones. Theory Complete by Sandy Feldstein Emphasis is placed on utilization of basic WOMEN’S JAZZ & BLUES CAMP harmonic concepts, thereby turning (available at the CJC Bookstore). exercises into melody. A step-by-step March 23 – 27, 2020 Prerequisites: None, open to all instrumentalists and vocalists. conceptual approach is used, and with Monday – Friday 9:30am – 3 pm • Free concert: Friday, March 27, 6 pm each new tune, a different concept is Thursdays 6:30 – 8 pm added. 1/9 – 3/12 (10 weeks) An exciting five-day program in a supportive networking environment. Jason Levis • $420 Tuesdays 6:30 – 8 pm Prerequisite: Some facility on your instrument. 1/7 – 3/10 (10 weeks) Glenn Richman • $420 Directed by Jean Fineberg & Ellen Seeling, with an all-women faculty from the Montclair Women’s Big Band. IMPROVISATION Open to women instrumentalists and vocalists at all levels. Camp includes: BEGINNING JAZZ COMPOSITION Tuition: $499 IMPROVISATION • Jazz Combo A friendly, supportive atmosphere in SONGWRITING Enrollment: Open (closes when full) • Blues & Soul Band which to practice the basics of jazz Explore melody writing, basic harmony, • Latin Group Financial Aid: Limited funds available improvisation. Start with the blues, then more adventurous chord progressions, • R&B Choir Program info: cjc.edu/womenscamp progress to jazz standards, learning song form, rhyme schemes and the Reggae Enemble • NEW! Email: [email protected] essential scales and chords, playing at instrumental component of songwriting • Jazz Choir every session, trading licks, learning — all with the purpose of honing your Phone: 510.758.2200 • New Orleans Ensemble unique voice as a composer. Most impor- (Leave a message. We'll call you back.) patterns and building solos. Ideal for • Warmup / Master Class classical players or anyone aspiring to tantly, develop two or three songs Registration: cjc.edu/womensreg • Theory & Improvisation jam or perform with a jazz ensemble. to be workshopped and refined in real • Percussion Prerequisites: Facility on an instrument time over the course of the term. • Vocal Skills and ability to play all major scales from Thursdays 6:30 – 8 pm • Private Consultation memory. 1/9 – 3/12 (10 weeks) • Lunchtime Open Jam Thursdays 6:30 – 8 pm Rachel Efron • $420 1/9 – 3/12 (10 weeks) OUR 2019 FACULTY AND STAFF! Rob Ewing • $420

VOCALS / PIANO Jennifer Jolly, Rita Lackey, Janice Maxie Reid, Erika Oba GUITAR Nancy Wenstrom BASS Ariane Cap HORNS / LATIN Mad Duran, Jean Fineberg, Marina Garza, Ellen Seeling DRUMS / PERC Daria Johnson OPERATIONS Karl Gomez 2020 Winter Quarter / January – March / c jc.edu 21 Adult Vocal Classes Adult Vocal Classes

VOCAL TECHNIQUE TECHNIQUE AND Learn a variety of vocal exercises to PERFORMANCE MUSICIANSHIP condition, strengthen, and keep your voice healthy. We will learn about the founda- jazz APPLIED VOCAL TECHNIQUE: tions of breath support and body align- BUILDING REPERTOIRE ment, and use technical exercises to FOR STARTERS — This is a class for singers who want to improve range, intonation, breath manage- JAZZ & BLUES SINGING expand their repertoire while incorporat- ment, and dynamic control. We will also You used to sing a lot but now find ing and applying best practices of vocal discuss how vowel formation, placement yourself relegated to the shower and technique. Each session will include and ability to change tone quality can in-the-car jam sessions. Or, you love to warm-ups and exercises designed to support your unique sound as a vocalist, sing, but feel terribly shy at the idea of maximize vocal range, flexibility, support, and directly apply these techniques to singing in public. Explore and release your dynamic control, and intonation. Instructor songs you are working on. Applicable to inner rock, jazz or blues vocalist in this will provide charts (in appropriate keys) all contemporary vocal styles. Open to all! encouraging, safe environment. Designed that students will select from a list of 100+ to give you confidence through group jazz standards and classics of rock/soul in Mondays 4:45 – 6:15 pm tatyana dimitrova singing, while also bolstering your a variety of styles (swing, bossa, bebop, 1/6 – 3/16 (10 weeks) no class 1/20 repertoire with individual song develop- funk, soul, Latin); students may also bring Danielle Wertz • $420 ment. Accompanist provided. No previous their own charts. This class is not a MINDFUL SINGING experience required. performance class but rather an opportu- VOCAL TECHNIQUE In this ear training class, students will Wednesdays 4:45 – 6:15 pm nity to workshop new material each week FOR JAZZ SINGERS work on refining intonation and vocal 1/8 – 3/1 1 (10 weeks) while expanding and improving vocal Jazz singers need a technique that technique while developing their natural Performance date: Wednesday 3/18 technique. Prerequisites: Beginning Jazz will allow them to express their vocal voice and musical ear through deep Pamela Rose • $420 Singing and/or Vocal Technique Essentials. interpretations and promote the health listening and rigorous vocal exercises of and longevity of their voices. Sandy scales, intervals, patterns, and phrases. In Thursdays 4:45 – 6:15 pm BEGINNING JAZZ SINGING Cressman's Vocal Technique combines addition, the class will explore scales and 1/9 – 3/12 (10 weeks) In this class, students new to jazz will learn principles of Bel Canto, Flow Phonation, modes commonly used in jazz and modal Andrea Claburn • $420 to create a focused, relaxed, skilled and breathing and support, vocal health improvisation by using the principles of authentic performance. The teacher will connected with ear training for jazz classical Indian music. Prerequisites: None, introduce basic musicianship concepts as singing. Students will learn warmup and open to all, no sight-reading required. Be well as warm-up exercises, understanding voice-building exercises and how to apply prepared to sing! them to their songs. and singing in different grooves, finding Saturdays 10 – 11:30 am suitable songs, ascertaining the correct Tuesdays 8:15 – 9:45 pm 1/11 – 3/14 (10 weeks) key, understanding the song form, 1/7 – 3/10 (10 weeks) Tatyana Dimitrova • $420 preparing a leadsheet, and creating a Sandy Cressman • $420 home practice plan. A pianist joins the class halfway through the quarter, and students will further develop the songs by working on sub-text, interpretation, communicating with the accompanist, singing in different feels, and setting up and counting off songs. This class includes an end-of-quarter performance.

For auditions and more information Mondays 6:30 – 8 pm about our Vocal programs please 1/6 – 3/16 (10 weeks) no class 1/20 contact [email protected] or call Performance date: Monday 3/23 Laurie Antonioli, 510.845.5373 ext 21 Danielle Wertz • $420

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INTERMEDIATE JAZZ SINGING THE CONTEMPORARY This class covers a range of jazz vocal JAZZ SINGER essentials including lyric interpretation, Focus on an array of creative jazz singing style, rhythm, and feel. Students explore skills including developing a unique improvisation and harmony in depth while repertoire, communicating with the also learning to create their own arrange- rhythm section and creating arrangements ments. The instructor will suggest on the spot. Study phrasing, improvisation, repertoire and help students find interest- interpretation and work on developing a ing songs that are best suited for their personal sound. Rhythm section provided. voice and ability. There will be a student You are welcome to bring in songs of your performance at the end of the term. Open choice, write original lyrics or use material to students who have taken the Beginning provided by the instructor. Prerequisites: Jazz Singing class or have approval from consent of instructor — telephone the Chair or the instructor. consultation required. Contact Laurie: Thursdays 6:30 – 8pm [email protected] or call 510-845-5373 for 1/9 – 3/12 (10 weeks) more information. Performance date: Thursday 3/19 Section 1 Tuesdays 6:30 – 8 pm Cecilia Engelhart • $420 Section 2 Tuesdays 8:15 – 9:45 pm 1/7 – 3/10 (10 weeks) WORKING WITH Performance date: Tuesday 3/17 A RHYTHM SECTION Laurie Antonioli • $460 kate mcgarry and keith ganz Without experience, it's almost impossible to learn how to direct a band, count off THE SWINGING JAZZ SINGER tunes or create on-the-bandstand arrange- Structured in a classic master class IMPROVISATION AND THE GREAT THE ART OF THE DUO ments. In this class, students learn the format, this supportive, fun and adven- AMERICAN SONGBOOK The duo format offers unmatched essentials of band-leading and ensemble turous course allows students to bring A Modern Singer’s Tool Kit for expressive and improvisational freedom playing: listening, interaction and collabo- in repertoire of their choice including Getting Inside Standards for a jazz vocalist. Focus on duo-enhanc- ration. Please bring 2 or 3 songs to work the Great American Songbook, bebop on during the 10-week session. The Students will learn to identify and utilize ing skills including rhythmic and harmonic and classic jazz tunes. The instructor will instructor will also suggest repertoire. musical devices common to the language independence, connecting and interact- coach vocalists on phrasing, interpreta- Prerequisites: Some performance of jazz. Using both lyrics and scat ing with the accompanist, arranging for tion, feel, improvisation and working with experience. syllables, participants will come away duo, and creating a dynamic and varied a pianist in preparation for the end-of- quarter student performance. During the with clear tools for developing musical duo program. Learn to take advantage of Thursdays 8:15 – 9:45 pm first class, students will learn how to get fluency when improvising on a standard. the intimacy, spaciousness and fluidity 1/9 – 3/12 (10 weeks) their sheet music and songs together in Students should have songs they'd like to of the duo format and gain experience Performance date: Thursday 3/19 the proper key and format. Open to all! work on and clear charts/leadsheets in singing with a renowned accompanist. Cecilia Engelhart • $420 You are welcome to bring in songs of the proper key. Wednesdays 8:15 – 9:45 pm your choice. Wednesdays 6:30 – 8 pm 1/8 – 3/1 1 (10 weeks) 1/8 – 3/1 1 (10 weeks) Wednesdays 8:15 – 9:45 pm Performance date: Wednesday 3/18 Azure McCall • $420 Performance date: Wednesday 3/18 1/8 – 3/1 1 (10 weeks) Kate McGarry with Keith Ganz • $420 Performance date: Wednesday 3/18 Keith Ganz • $420

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CONTEMPORARY VOCAL STYLES ensemble singing Learn proper vocal technique (vocal health, maintenance and developing VOCAL JAZZ ENSEMBLE a practice routine) and apply these Sing full vocal ensemble arrangements approaches to singing in any style from recorded by The Manhattan Transfer, The jazz to pop, rock, R&B, blues and beyond. Hi-Lo’s, Lambert, Hendricks & Ross and Class topics also include chart writing, more. Arrangements are hand-tailored to stage presence and microphone tech- the ability and interest of the ensemble nique. This class culminates in an end-of- members. Repertoire includes a combina- quarter performance. Prerequisites: none! tion of a cappella and accompanied tunes. Open to all. Learn how to learn this music, with a little Mondays 8:15 – 9:45 pm bit of added history for fun. Rehearsal 1/6 – 3/16 (10 weeks) no class 1/20 tools are made available (including sound Performance date: Monday 3/23 files with individual parts as well as the Amanda Addleman • $420 entire arrangement). Male and female singers of all ages are welcome. Prerequi- BRAZILIAN ENSEMBLE SALSA SINGING THE ART OF JAZZ SINGING sites: some vocal experience is necessary, For full description, see page 12 Learn the style, rhythm and technique of either in choirs or solo voice. salsa vocal music while learning to play WITH A TRIO Section 1: Tuesdays 6:15 – 7:45 pm Latin hand-percussion instruments. Working with other musicians requires a Tuesdays 6:30 – 8 pm Section 2: Tuesdays 8:15 – 9:45 pm Instructor provides instruments like guiro, singer to be able to provide clear direction 1/7 – 3/10 (10 weeks) 1/7 – 3/10 (10 weeks) maracas and claves to use each week. As and leadership. Counting off and setting Performance date: Tuesday 3/17 Performance date: Tuesday 3/17 up a groove, providing signals, being able Angie Doctor • $420 the term progresses, join forces with the to listen and respond to the music-these Section 3: Wednesdays 6:30 – 8 pm Salsa 2 instrumental Ensemble (see page are the keys to a successful performance. WORLD GROOVE ENSEMBLE: Section 4: Wednesdays 8:15 – 9:45 pm 13) as you work to develop a performance In this supportive and challenging environ- AFRICAN 1/8 – 3/1 1 (10 weeks) set. Representative songs include “Tres Performance date: Wednesday 3/18 ment, students work on these skills, as well The African Ensemble explores diverse Días de Carnaval” (Celia Cruz), “La Rebelión” (Joe Arroyo) and “Brujería” as song styling, arranging and interpreta- styles such as Afrobeat, soukous, highlife, Section 5: Thursdays 1 – 2:30 pm (El Gran Combo). Prerequisites: previous tion. Weeks 2 and 3 include a professional “desert blues,” South African, Zimbabwe- 1/9 – 3/12 (10 weeks) singing experience or basic technique accompanist, while the last two classes an, Afropop, or Ethio-jazz. Emphasis is Performance date: Thursday 3/19 and performance include a full trio. For placed on listening to each other, learning training. All songs are in Spanish but Marcos Silva • $420 intermediate singers. Prerequisites: the specific rhythms and how they interact fluency is not required to participate. consent of instructor-telephone consulta- to make the groove, and understanding Tuesdays 8:15 – 9:45 pm FUNK ENSEMBLE tion required. the cultural contexts of the songs. Open to 1/7 – 3/10 (10 weeks) From James Brown to Prince, Sly and the vocalists and instrumentalists. The African Performance date: Tuesday 3/17 Sundays Noon – 3 pm Family Stone to Tower of Power, Stevie Ensemble is the winter-term offering in Edgardo Cambón • $420 5 Sundays: February 16, 23 & Wonder to Earth, Wind & Fire, The Meters the World Groove Ensemble series; March 1, 8, & 15 to Herbie Hancock, we get down and students may enroll in any or all of the Performance date: Tuesday 3/17 funky in this ensemble. Explore what it classes. Materials and arrangements Maye Cavallaro • $495 takes to master the complexity of the funk provided by instructor. Prerequisites: genre by breaking down the rhythmic intermediate instrumental proficiency; foundation of the groove, the feel, the ability to read charts and notation. “pocket!” For all vocalists, horns and Thursdays 8:15 – 9:45 pm rhythm section instruments. 1/9 – 3/12 (10 weeks) Thursdays 8:15 – 9:45 pm Performance date: Thursday 3/19 1/9 – 3/12 (10 weeks) Jennifer Jolly • $420 Performance date: Thursday 3/19 Daniel Lucca Parenti • $420 26 27 Adult Vocal Classes Adult Vocal Classes

blues CANTA BRASIL This class will explore various genres of BLUES VOCAL FUNSHOP 1 Brazilian songs, including samba, bossa Feel like singing the blues? Blues is the nova, choro, baião and frevo. We will learn most primal, powerful part of your soul a song from each genre and its historical and singing it is more fun than you can and regional roots. We will study the possibly imagine. Students will explore the unique rhythmic feels and phrasing of deep, authentic singing strategies of great each genre, incorporating some simple blues singers from Jimmy Reed to Bonnie percussion instruments while preparing Raitt, while developing blues repertoire. songs for the end-of-quarter student No prior music experience necessary. performance. Class is open to both the novice singer Tuesdays 6:30 – 8 pm looking for a supportive, fun, instructive 1/7 – 3/10 (10 weeks) course, and to the more experienced Performance date: Tuesday 3/17 singer looking to gain insight and control Sandy Cressman • $420 on the bandstand. Each class is taught by Bay Area's own jazz/blues diva Pamela Rose and accompanied by legendary YOUNG SINGERS blues guitarist Danny Caron. COMPOSITION Wednesdays 6:30 – 8 pm VOCAL PERFORMANCE FOR TEENS SONGWRITING 1/8 – 3/1 1 (10 weeks) This class explores the essentials of vocal Explore melody writing, basic harmony, Performance date: Wednesday 3/18 performance including healthy vocal more adventurous chord progressions, Pamela Rose • $420 technique, repertoire development, and song form, rhyme schemes and the performance skills. Students are encour- instrumental component of songwriting BLUES VOCAL FUNSHOP 2 aged to bring in songs ranging from pop BLUES AND GROOVE ENSEMBLE — all with the purpose of honing your Music of Etta James and R&B to jazz standards and bebop. For description, dates and times, see p. 13 unique voice as a composer. Most The instructor can also recommend music We’ll celebrate and analyze one of the Danny Caron and Anthony Paule • $420 importantly, develop two or three songs based on interest and level. Students learn most authentic singers of all time! Each to be workshopped and refined in real how to determine a comfortable key for a student will master at least one Etta time over the course of the term. song, count off a tune, and communicate James song, with a focus on her superb latin effectively with an accompanist. The class blues and R & B songs, while delving into Thursdays 6:30 – 8 pm culminates in a performance showcasing Etta's soulful, heartwrenching vocal 1/9 – 3/12 (10 weeks) MARIACHI AND BOLERO new material developed over the 10-week approach. (Some basic charts provided, Rachel Efron • $420 VOCAL PERFORMANCE session. All levels are welcome, for ages but students will transpose or bring in Learn to sing 5 or 6 new songs in mariachi 12 – 18. additional charts if necessary.) Classes to and romantic bolero tradition culminating be accompanied by guitarist Danny Caron, Wednesdays 4:45 – 6:15 pm with an end-of-quarter performance. and last 2 classes will add rhythm section “This school is truly a 1/8 – 3/1 1 (10 weeks) Students will work on Mexican Spanish (bass and drums). Prerequisites: Blues Performance date: Wednesday 3/18 lyric diction, in addition to history, sound, blessing. You aren’t just Vocal Funshop 1 and/or permission from Danielle Wertz • $420 interpretation, and style from Hispanic instructor. song expert, Dr. Juanita Ulloa. Open to all taught by professional Wednesdays 8:15 – 9:45 pm — no previous Spanish necessary. teachers who play music, 1/8 – 3/1 1 (10 weeks) Saturdays 1:30 – 3 pm Performance date: Wednesday 3/18 you’re taught by profes- 1/1 1 – 3/14 (10 weeks) Pamela Rose • $460 Performance date: Saturday 3/21 sional musicians who Juanita Ulloa • $420 teach!”

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VOCAL MENTOR PROGRAM

CENTER STAGE — A Mentored Program for Concert Development with Maye Cavallaro and Laurie Antonioli

Work through the process of presenting a full-length, public, professional-level concert. Candidates work with their “ The Vocal Mentor Program mentor over the course of three or four months, preparing their concert by with Maye Cavallaro gave me choosing songs, working out arrange- all the tools I needed to launch ments, deciding on sequencing, and developing patter and stage presence. myself as a regularly gigging Lessons also include making a budget, professional jazz singer. She hiring and rehearsing musicians and developing a marketing plan. covers everything: marketing,

Candidates will be most successful if they hiring and rehearsing the band, are advanced students who have some selecting material, developing performing experience in classes and workshops or in a professional environ- arrangements, organizing set maye cavallaro ment. A repertoire of 15 to 20 memorized lists, wardrobe, stage pres- songs in various styles is recommended. VOCAL WORKSHOPS This is a unique opportunity for singers to ence and more — it is a very design a performance that reflects a broad education. Having an personalized artistic vision. Concert dates AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES are available throughout the year. experienced, supportive, The Music of Harry Warren “At Last” friendly professional to guide with Maye Cavallaro This program also includes: me through the process was Harry Warren (born Salvatore Antonio Guaragna), was an American composer and lyricist. • A professional sound technician and Warren was the first major American songwriter to write primarily for film. He was quality live recording of your performance an invaluably helpful experi- nominated for the Academy Award for Best Song eleven times and won three Oscars for • Staff at the door and on-site during the ence. It requires a lot of time, composing “Lullaby of Broadway,” “You’ll Never Know” and “On the Atchison, Topeka and performance effort and dedication, but if the Santa Fe.” He wrote the music for the first blockbuster film musical, 42nd Street, • Guidance in marketing and promotion, choreographed by Busby Berkeley, with whom he would collaborate on many musical including how to prepare publicity you want your singing to films. Over a career spanning four decades, Warren wrote more than 800 songs. Other materials make the quantum leap from well-known Warren hits included “I Only Have Eyes for You,” “Jeepers Creepers,” • Inclusion in California Jazz Conservatory “That’s Amore,” “There Will Never Be Another You,” “The More I See You,” “At Last” advertising, marketing and publicity performing at open mics and and “Chattanooga Choo Choo” (the last of which was the first gold record in history). In this workshop we’ll explore and sing the music of Harry Warren. We’ll also listen to how • A percentage of ticket sales recitals to owning the stage some jazz greats have interpreted these songs and get ideas for our own arrangements. $850 for an entire show, there’s Students are provided with 10 leadsheets for songs including practice-backing tracks. In nothing better out there.” the final week we’ll work with an accompanist and sing these songs trying out our own Contact the Chair of the Vocal Program, arrangement ideas. Open to singers and instrumentalists. All levels welcome. Laurie Antonioli, for more information on how to apply for this program: 3 Sundays, Jan 12, 19 & 26, Noon – 3 pm laurie @ cjc.edu. $300 advance, $315 day of workshop

30 2020 Winter Quarter / January – March / c jc.edu 31 Vocal Workshops Vocal Workshops

VOCAL JAZZ DEEP DIVE FEELS & GROOVES with Kitty Margolis with Masha Campagne An exclusive opportunity to spend quality Contemporary jazz singers like Dianne time diving deep into the art of vocal jazz Reeves, Kurt Elling and Jane Monheit have with one of today’s most exciting singers. inspired us with their unmistakable jazz Margolis, whose award-winning recordings phrasing fusing a conversational delivery have earned her Top Ten airplay and an with rhythmic and melodic improvisation. international fan-base, is well known for They also continue to push the musical her inspiring and humorous teaching style. envelope by incorporating a variety of At CJC, she will share concepts, technique, rhythmic textures & time signatures into and individualized feedback to stimulate their singing. From medium to fast swing, improvisational fluency and develop ballad to bossa & blues this workshop will artistic vision. An accompanist will be on expand your knowledge of how to effec- hand. Come ready to sing and leave with tively use a variety of time feels and grooves enhanced understanding, refreshed to create fresh new arrangements on the creativity and brand new chops. Partici- spot. Students should bring a lead sheet for pants should be prepared to sing 2 or 3 melanie o'reilly a song of their choice to work on individually standard songs from memory. Please with live accompaniment. All levels welcome! bring charts/leadsheets for each selection Sunday, February 9, Noon – 3 pm (including chords and melody) in the FROM TRADITIONAL IRISH AIRS $50 advance, $65 day of workshop singer’s key. 3 copies of each chart. kitty margolis TO GAELIC JAZZ: THE JOURNEY Limited to 10 intermediate-to-advanced OF IRISH SONG level vocalists. with Melanie O’Reilly masha campagne Sunday, January 12, Noon – 3 pm Join Irish vocalist Melanie O’Reilly for an $100 advance, $115 day of workshop introductory journey into the rich and diverse Irish vocal tradition, which enjoys ARRANGING FOR SINGERS a prominent place in world music today. IN A DUO SETTING Songs of celebration, laments, lullabies, lilting (mouth music), and sean-nós with Susana Pineda (old-style) will be demonstrated, exploring A vocal/instrumental duo presents many many subjects and themes. The roots of opportunities for creative approaches and the Irish song tradition are traced from the arrangements. In this workshop, singers 17th century to Irish American traditional will learn a variety of techniques from songs, to contemporary times, with new composed intros, soli sections and fusion genres — such as the Afro-Celt background lines to looping, spoken word, Sound System, Celtic fusion, the folk-world effects, and extended vocal techniques. songs of Kila, and O’Reilly’s own Gaelic Students should bring one or two songs of jazz interpretations. Students will have the any style to work on in class. Open to all. opportunity to sing examples from the Irish tradition and will be encouraged to Sunday, January 26, Noon – 3 pm sing in Gaelic (to be learned phonetically), $50 advance, $65 day of workshop as well as English. Some songs will be unaccompanied, as in the Irish tradition. This is a workshop that will be fun as well susana pineda as informative!

Sunday, February 16, Noon – 3 pm $50 advance, $65 day of workshop 32 33 Vocal Workshops JazzschoolYoung Musicians ProgramYoung Musicians Program

The Jazzschool Young Musicians Program is a year-round comprehensive music education and performance program designed for instrumental and vocal students between the ages of 11 and 18. The Young Musicians Program has been at the center of the Jazzschool’s educational and artistic goals since 1997. Its curriculum provides students with the opportunity to work with professional jazz artists and educators, strengthening performance skills, expanding knowledge of jazz theory and improvisation, and learning more about the foundations of jazz and related styles of music. Students participate in after-school classes and in master classes with nationally known jazz artists, as erik jekabson andrea wolper well as performing in venues throughout the San Francisco 2020 PROGRAM REQUIREMENTS INTRO TO FREE IMPROVISATION Bay Area and beyond. with Andrea Wolper Jazzschool Young Musicians Program ensembles require a commitment of three Experience the joy of flying without a net in this introduction to free improvisation. quarters (fall, winter and spring). Students Drawing on what we already know about song form, sound, melody, harmony, “It’s the only place that I unable to commit to a full school year are rhythm, and creative expression, we’ll find our way into spontaneous music-making. still encouraged to audition; however, Expect to expand your musical vocabulary and expressive tools, to find links know of that offers such priority will be given to those who can between songs and spontaneous composition and, perhaps most importantly, remain in the program for the entire school to rediscover the exhilaration of free expression. Open to all vocalists and high level jazz ensembles year. Students wishing to audition mid-year instrumentalists. Some singing/playing experience necessary. for middle and high school will be placed in the program based on availability of open spots in ensembles and Sunday, March 29, Noon – 3 pm students. Last year, my the student’s ability level. Please note that, $50 advance, $65 day of workshop school music program was while it is our mission to find a place for everyone in our Young Musicians Program, not challenging enough for we may not be able to accommodate all me. I loved being involved!” students who apply.

34 35 Young Musicians Program

PLACEMENT AND INSTRUCTIONS FOR ONLINE INSTRUMENTAL VIDEO SUBMISSIONS ENSEMBLES AUDITION REQUIREMENTS • Student should be clearly visible WINTER 2020 and audible on the video. High school and middle school • Perform two skill-level appropriate AUDITION MATERIALS jazz standards. Please state the name jazz ensembles are offered Entering musicians are asked to prepare of each piece before you play it. Monday through Thursday in the two skill-level appropriate jazz standards, • Download one of the two improvisation late afternoon and early evening improvise over a 12-bar blues (optional) or tracks at cjc.edu/youth_auditions rhythm changes (for high school students for the improvisation portion of your and during the day on Saturday. only) and sight-read. audition. Two choruses required. While we make every effort to • On the video, it is important that your accommodate scheduling requests, HOW TO SCHEDULE AN AUDITION playing is heard louder than anything specific placements are based on To schedule an audition, please apply else, including any accompanying tracks. online at: cjc.edu/youth_auditions the results of an audition. PIANO AND GUITAR PLAYERS After your application is received, you will Follow the above instructions with only be contacted within 1 – 2 weeks with an one change: after improvising, please large performance audition time. Auditions are scheduled on demonstrate comping/voicings on a ensembles a first-come, first-served basis and will be blues or rhythm changes. scheduled at the earliest available time. STUDIO BAND Students will be contacted with placement DRUMMERS Develop technique, knowledge of jazz information following the audition. Please demonstrate the following styles: style and an ability to improvise through • swing, bossa nova, funk/rock standard and contemporary big band AUDITION DATES • Demonstrate each style at various repertoire. This highly-selective ensemble Studio Band/Advanced High School tempos (i.e., slow, medium, fast) performs frequently and participates in Jazz Workshops • On each style/tempo please “trade competitions throughout the U.S. The Closed fours” with yourself (4 bars of time, dave eshelman Studio Band has played at Yoshi’s and Middle and High School Small 4 bars of solo, etc.) Savanna Jazz, as well as jazz festivals Ensembles • Play at least 16 bars of each example in California, New York, Seattle, Idaho, Ongoing the Vienne Jazz Festival in France and After you have completed your video, the Montreux Jazz Festival in Switzerland. AUDITION BY VIDEO (OPTIONAL) upload your audition to YouTube and title Full school year commitment is required. Students have the option of submitting an the video with your name (Example: John Instrumentation: 5 saxes, 5 trumpets, 5 online video audition rather than scheduling Smith Jazzschool Audition). You should make trombones, guitar, piano, bass and drums. this a private video (unless you don’t mind it an in-person audition. Students submitting Mondays 6:30 – 8 pm being available to the public). Once the video their audition online are still required to fill 1/6 – 3/16 (10 weeks) no class 1/20 is uploaded, send a link to erik @cjc.edu. out an online application at cjc.edu/youth_ Dave Eshelman • $230 auditions. On the application form, please You may also upload the video to a private select video submission. Please note: online website and email a link. Please do not video submissions are not available for the email audition videos as attachments. Please note that all ensemble Studio Band or Advanced High School prices on pages 37 – 41 are Jazz Workshops. For more information about the Jazzschool Young Musicians Program placement process, priced for the quarter. please visit cjc.edu/youth_auditions or contact Program Director, Erik Jekabson, [email protected] or 510.845.5373.

36 2020 Winter Quarter / January – March / c jc.edu 37 The California Jazz Conservatory Master of Music in Jazz Studies

A Master’s Degree for the 21st Century Composer-Performer

The California Jazz Conservatory Master of Music in Jazz Studies is a two-year, 60-credit degree program for the 21st century jazz composer-performer taught by preeminent resident and visiting artists-educators.

The program is structured around the small ensemble, providing the professional-level jazz musician with a creative platform to both compose and perform original work.

To apply, please visit www.cjc.edu/apply

2087 Addison Street, Berkeley CA 94704 (510) 845-5373 cjc.edu Young Musicians Program

HIGH SCHOOL JAZZ ENSEMBLE Gain a greater understanding of jazz theory and develop improvisation skills through the study and performance of challenging jazz repertoire.

Section 1: Mondays 4:45 – 6:15 pm 1/6 – 3/16 (10 weeks) no class 1/20 Colin Hogan • $420

Section 2: Mondays 4:45 – 6:15 pm 1/6 – 3/16 (10 weeks) no class 1/20 Raffi Garabedian • $420

Section 3: Tuesdays 4:45 – 6:15 pm 1/7 – 3/10 (10 weeks) Charles Hamilton • $420

Section 4: Tuesdays 4:45 – 6:15 pm 1/7 – 3/10 (10 weeks) Nora Stanley • $420

Section 5: Wednesdays 4:45 – 6:15 pm MIDDLE SCHOOL JAZZ ENSEMBLE HIGH SCHOOL FUNK ENSEMBLE 1/8 – 3/11 (10 weeks) Learn to play jazz and improvise while Learn the classic funk hits of James Brown, Rob Ewing • $420 covering a wide repertoire from John Sly Stone and others. Vocalists and horns Coltrane, Sonny Rollins, Eddie Harris and welcome! Music is learned by ear. (Also open Section 6: Thursdays 4:45 – 6:15 pm other jazz masters. to advanced middle-school musicians.) 1/9 – 3/12 (10 weeks) Colin Hogan • $420 Section 1: Mondays 4:45 – 6:15 pm Section 1: Saturdays 10 – 11:30 am small performance 1/6 – 3/16 (10 weeks) no class 1/20 Section 2: Saturdays 11:45 am – 1:15 pm Section 7: Saturdays 11:45 am – 1:15 pm ensembles Raffi Garabedian • $420 1/11 – 3/14 (10 weeks) 1/11 – 3/14 (10 weeks) Jon Monahan • $420 ADVANCED HIGH SCHOOL Colin Hogan • $420 Section 2: Wednesdays 4:45 – 6:15 pm 1/8 – 3/11 (10 weeks) JAZZ WORKSHOP 1 AND 2 Section 8: Saturdays 11:45 am – 1:15 pm Scott Thompson • $420 Explore the post-bop harmonic, melodic, 1/11 – 3/14 (10 weeks) rhythmic and formal innovations of Isaac Narell • $420 Section 3: Thursdays 4:45 – 6:15 pm VOICE Coltrane, Shorter, Corea, Hancock, 1/9 – 3/12 (10 weeks) Brecker and others in this multiple Nora Stanley • $420 VOCAL PERFORMANCE FOR TEENS DownBeat award-winning ensemble. Delve into songs as a means of storytelling Section 4: Saturdays 11:45 am – 1:15 pm For advanced-level high school student while simultaneously developing a personal 1/11 – 3/14 (10 weeks) players, competent in the bebop language. connection to a lyric. All styles of music are Joe Hartnett • $420 Participate in various competitions and welcome and students are encouraged to festivals. bring in songs of their choice. The instructor can also suggest repertoire suitable for Workshop 1: Mondays 4:45 – 6:15 pm individual students. Build vocal technique 1/6 – 3/16 (10 weeks) no class 1/20 through a variety of warm-up, ear-training Michael Zilber • $420 and musicianship exercises. Workshop 2: Mondays 4:45 – 6:15 pm Wednesdays 4:45 – 6:15 pm 1/6 – 3/16 (10 weeks) no class 1/20 1/8 – 3/11 (10 weeks) Erik Jekabson • $420 Danielle Wertz • $420

40 erika oba 2020 Winter Quarter / January – March / c jc.edu 41 SUMMER 2020 PREVIEW Workshops JAZZSCHOOL SUMMER CAMPS & INTENSIVES It’s time to start planning for summer 2020! We pride ourselves IMPROVISING ON JAZZ on offering some of the Bay Area’s most exciting summer jazz STANDARDS SERIES programs, for students who want to spend a week (or two) honing This series of hands-on workshops, their skills in a focused environment. directed by some of the Bay Area’s top jazz improvisers, is designed to provide Summer Programs for Young Musicians players with a range of techniques for improvising on jazz standards. Get some • Jazzschool Summer Youth Program new tools for your improvisational toolkit June 22 – 26 and July 27 – 31, 2020 and gain a variety of perspectives on jazz Two 5-day sessions for instrumentalists entering grades 7 – 10 improvisation from each of these wonder- • High School Jazz Intensive ful musicians. Each session will be directed July 6 – 10, 2020 by a different instructor and focus on a A weeklong session for advanced high school jazz instrumentalists, particular jazz standard, including plenty directed by Dr. Michael Zilber of in-class playing time and Q & A. These workshops are open to all. • Girls’ Jazz & Blues Camp August 3 – 7, 2020 Suggested prerequisites for those who A weeklong program for singers and instrumentalists will play during the session: facility on an Summer Programs for Adults instrument and knowledge of jazz theory. WAVE • Jazz Piano Intensive with Anton Schwartz June 15 – 19, 2020 Sunday, January 19, 11:30 am – 1:30 pm • Jazz Saxophone Intensive June 29 – July 3, 2020 ALL THE THINGS YOU ARE with Charlie Gurke • Jazzschool Guitar Intensive Sunday, January 26, 11:30 am – 1:30 pm August 10 – 14, 2020 • Jazzschool Vocal Intensive BUT NOT FOR ME August 10 – 15, 2020 with Henry Hung A weeklong session for jazz vocalists, directed by Laurie Antonioli Sunday, February 2, 11:30 am – 1:30 pm with artist-in-residence Theo Beckmann CHEROKEE with Kasey Knudsen Sunday, February 16, 11:30 am – 1:30 pm

Each workshop: $30 advance, $45 day of workshop

42 43 Workshops

ron jackson

THE FUNDAMENTALS OF IMPROVISATION with Ron Jackson maye cavallaro The workshop is based on the Barry Harris System of Improvisation (bebop-based) combined with guitarist Ron Jackson’s extensive experience teaching improvisation to AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES students of all abilities. The goal of the workshop is to start improvising, using real jazz The Music Of Harry Warren “At Last” phrases (not blues phrases but bebop), on: “Jazz Blues,” “Rhythm Changes” and a jazz With Maye Cavallaro standard (“I’ll Remember April”). By the end of the workshop you should be able to play jazz licks or phrases on any tune and develop confidence in this system of improvisation. Harry Warren (born Salvatore Antonio Guaragna), was an American composer Instructor will demonstrate with a jazz trio. Everyone must bring their instruments and and lyricist. Warren was the first major American songwriter to write primarily play during the workshop. You will also have the opportunity to play with the trio and for film. He was nominated for the Academy Award for Best Song eleven times receive personal feedback. For guitarists in attendance, instructor will recommend and won three Oscars for composing “Lullaby of Broadway,” “You’ll Never specific ways to practice your scales and phrases on the fingerboard. Know” and “On the Atchison, Topeka and the Santa Fe.” He wrote the music for the first blockbuster film musical, 42nd Street, choreographed by Busby Sponsored by the Gardenia Society. Berkeley, with whom he would collaborate on many musical films. Over a career Sunday, January 12, 11:30 am – 1:30 pm spanning four decades, Warren wrote more than 800 songs. Other well-known $30 advance, $45 day of workshop Warren hits included “I Only Have Eyes for You,” “Jeepers Creepers,” “That’s Amore,” “There Will Never Be Another You,” “The More I See You,” “At Last” and “Chattanooga Choo Choo” (the last of which was the first gold record in VOCAL JAZZ DEEP DIVE history). In this workshop we’ll explore and sing the music of Harry Warren. with Kitty Margolis We’ll also listen to how some jazz greats have interpreted these songs and get ideas for our own arrangements. Students are provided with 10 leadsheets for For full description, see p. 32 songs including practice-backing tracks. In the final week we’ll work with an Sunday, January 12, 12 Noon – 3 pm accompanist and sing these songs trying out our own arrangement ideas. $100 advance, $115 day of workshop Open to singers and instrumentalists. All levels welcome. 3 Sundays, Jan 12, 19 & 26, Noon – 3 pm $300 advance, $315 day of workshop

44 2020 Winter Quarter / January – March / c jc.edu 45 Workshops

REHARMONIZING JAZZ STANDARDS USING MELODIC AND HARMONIC MINOR HARMONY with John Stowell Master guitarist and improviser John Stowell leads a workshop on reharmoniza- tion techniques applied both to composi- tion and improvisation, integrating concepts developed from an in-depth exploration of melodic and harmonic minor harmony. Prerequisites: knowledge of jazz harmony suggested. Sunday, January 26, 2 – 4 pm $30 advance, $45 day of workshop

ARRANGING FOR SINGERS john stowell IN A DUO SETTING with Susana Pineda A vocal/instrumental duo presents many opportunities for creative approaches and arrangements. In this workshop, singers will learn a variety of techniques anton schwartz from composed intros, soli sections and background lines to looping, spoken word, SUS CHORDS effects, and extended vocal techniques. with Anton Schwartz Students should bring one or two songs of A deep look at the use of “sus” chords in contemporary jazz and related styles. Topics any style to work on in class. Open to all. include: traditional versus modern use, sus-flat-9, sus-add-3, relation to II-V-I progressions Sunday, January 26, Noon – 3 pm and techniques for improvisation. Prerequisites: basic knowledge of music theory. $50 advance, $65 day of workshop Saturday, January 18, 3:15 – 5:15 pm $30 advance, $45 day of workshop THE GENIUS OF WES MONTGOMERY ALTERED DOMINANT AND DOMINANT 13(b9) CHORDS with Mimi Fox with Anton Schwartz This workshop is designed to acquaint These two chords provide rich colors that are essential to the palette of intermediate and students with the style and techniques of advanced jazz players. This workshop takes a deep look at the chords and their accompa- legendary jazz guitarist Wes Montgomery, nying scales, examining how each is constructed, why they are constructed that way and through the performance of transcriptions, how they may be used to maximal effect. Their sounds are contrasted within the context close listening and instructor demonstra- of jazz (e.g. when should one be used rather than the other?) by listening to examples of tions. Prerequisites: intermediate to their use. Additional topics include: different types of outness and lydian dominant, the advanced facility on guitar. sister of the altered sound. This workshop is appropriate for students with little prior Saturday, February 1, 3:15 – 5:15 pm exposure to the subject, as well as students familiar with melodic minor and diminished $30 advance, $45 day of workshop harmony who wish to deepen their understanding. Prerequisites: an understanding of basic theory and the mixolydian & diminished scales. Sunday, January 19, 2 – 4 pm $30 advance, $45 day of workshop mimi fox

46 2020 Winter Quarter / January – March / c jc.edu 47 Workshops

THE METRONOME IS YOUR FRIEND with Paul Mehling Returning with his popular workshop for musicians and singers of all levels, Mehling demonstrates a range of practice tech- niques making creative use of the metro- nome. Improve your productivity and increase your musicianship! Open to all.

Sunday, February 2, 2 – 4 pm $30 advance, $45 day of workshop

FEELS & GROOVES with Masha Campagne

For full description, see p. 33 Sunday, February 9, Noon – 3 pm $50 advance, $65 day of workshop dan zemelman

FROM TRADITIONAL IRISH TURNING SCALES, PATTERNS & AIRS TO GAELIC JAZZ: RHYTHMIC IDEAS INTO MUSIC The Journey of Irish Song with Dan Zemelman with Melanie O’Reilly wendy dewitt Learn how to transform your playing using paul mehling For full description, see p. 33 many different scales and patterns in Sunday, February 16, Noon – 3 pm various rhythmic contexts. We will explore $50 advance, $65 day of workshop how to turn these ‘everyday’ musical tasks HOT CLUB JAZZ GUITAR into satisfying melodic ideas. Develop a with Paul Mehling BOOGIE WOOGIE PIANO fresh and musical approach to practicing scales. For all instruments. This workshop focuses on various aspects with Wendy DeWitt Sunday, February 23, 11:30 am – 1:30 pm of hot club-style jazz guitar in the Join us in a deep dive into Albert Ammons $30 advance, $45 day of workshop tradition of the legendary Django and Pete Johnson, two of the greats of Reinhardt. Topics include rhythm, picking, boogie woogie and where Jerry Lee and scales, arpeggios, chords, soloing, and those who followed got their inspiration MELODIC & HARMONIC PRINCIPLES more. One-on-one evaluation is available from. We’ll explore licks and the technique ON THE PIANO — FROM INSIDE TO to all attendees, with a directed jam at necessary for smooth execution, breaks, OUTSIDE AND BACK the conclusion of the workshop (time intros and endings. Be ready to flesh out with Dan Zemelman permitting). Bring your instrument, your improvisations with lots of new Have you ever wondered how to get that recording device (or paper and pencil) material. We’ll also cover how to create certain ‘sound’ on the piano? How do you and questions! dynamics, develop themes, and keep your go from basic chords and melodic ideas to playing interesting with the many tools Sunday, February 2, 11:30 am – 1:30 pm more interesting and harmonically diverse available to pull in your listener’s ear. $30 advance, $45 day of workshop ones? We’ll cover a vast range of material Recording is invited. Bring a notebook. that will help expand your palette and give Recommended level: Advanced beginner you tools for creating new and more and beyond. diverse choices on the piano. Sunday, February 16, 2 – 4 pm Sunday, February 23, 2 – 4 pm $30 advance, $45 day of workshop $30 advance, $45 day of workshop

48 2020 Winter Quarter / January – March / c jc.edu 49 Workshops

POPULAR MUSIC HARMONY with Jeff Gardner This workshop provides a solid foundation for learning the fundamental elements of most styles of modern music. These include cadences, harmonic sequences and cycles, pedal points, superimposed triads and seventh chords, and analysis of jazz standards using these concepts. Compositional exercises will be presented to help the student assimilate the material quickly and thoroughly in a creative manner. These will tie in concepts such as chord scales, line writing, approach notes, and passing tones. The workshop will be structured on three different levels — beginning, intermediate, and advanced. The first module will present piano jeff gardner exercises relevant not only to apprentice jazz and pop pianists, but to other instrumentalists who wish to have a command of the piano for composing, INTRO TO FREE IMPROVISATION andrea wolper arranging, and accompanying. The with Andrea Wolper advanced level will deal with all the above greg abate elements and include Coltrane Changes, Experience the joy of flying without a net polytonal cadences, non-traditional key in this introduction to free improvisation. centers, polymodality and high level Drawing on what we already know about compositional strategies. song form, sound, melody, harmony, ELEMENTS OF JAZZ rhythm, and creative expression, we’ll find Sunday, March 15, 11:30 am – 1:30 pm IMPROVISATION our way into spontaneous music-making. $30 advance, $45 day of workshop with Greg Abate Expect to expand your musical vocabulary and expressive tools, to find links between Saxophonist Greg Abate shares his STRETCHING THE ENVELOPE songs and spontaneous composition and, approach to jazz improvisation. Emphasis with Jeff Gardner perhaps most importantly, to rediscover on the concept of improvising in “slow This workshop presents concepts drawn the exhilaration of free expression. Open motion” which he thinks of as songwriting, from 20th century “classical” music as a to all vocalists and instrumentalists. Some as a way to improvise melodically without mine of ideas for jazz and contemporary singing/playing experience necessary. resorting to licks or patterns. Recom- improvisation and composition. Topics mended for all players looking to develop Sunday, March 29, Noon – 3 pm include: uncommon combinations of a fresh and musical approach to improvis- $50 advance, $65 day of workshop added tones, polytonality, non-diatonic ing over jazz standards and related bass tones (slash chords on the border of repertoire. polytonality), pandiatonicism and much Sponsored by Conn-Selmer. more. Students will work through a series “This place is the best. I Saturday, March 14, 3:15 - 5:15 pm of composition exercises based on $30 advance, $45 day of workshop different parameters of contemporary love it and we’re all SO music, mixed with forms and techniques associated with jazz. For all instruments. lucky that the Jazzschool

Sunday, March 15, 2 – 4 pm exists.” $30 advance, $45 day of workshop

50 2020 Winter Quarter / January – March / c jc.edu 51 Jazzschool Faculty Maye Cavallaro (voice) Angie Doctor (voice) Advanced degree in Education, UC Santa Barbara; Studied at Foothill College and Gonzaga University B.A. in English Lit, UC Santa Barbara. Fellow NY (B.A. Music Performance) with Phil Mattson Cabaret Symposium; faculty, Blue Bear School (Foothill and Gonzaga), Terry Summa (Foothill), Amanda Addleman (voice) of Music; private coaching, 25 years; producer, 8 Tim Smith (Gonzaga). Founding member of the B.M. Performance from Berklee College of Music. recordings; bandleader, recording artist; awarded Grammy-nominated PM Singers with Phil Mattson. Student of Mili Bermejo-Greenspan, Ken Cervenka, Best of the Year in Jazz by the San Francisco Performing and recording artist, studio singer, Greg Hopkins, Maggie Scott, Lee Strawn & Tierney Chronicle; visiting clinician, St. John’s U.; graphic Vocal Jazz adjudicator and clinician, jazz and pop Sutton. Professional musician with past residencies artist, web designer. www.teachingjazz.com solo coach. Artist-in-residence at Ruth Asawa San at The Palace Hotel, Savanna Jazz Club and more. Francisco School of the Arts High School, Vocal Jazz Vocal Program Director at Sir Francis Drake High Andrea Claburn (voice) Choir. Performed with Bobby McFerrin, Don Shelton, School and private music educator and clinician. B.Mus. (in progress), California Jazz Conservatory; The Hi-Lo’s, Barbara Morrison, The Manhattans, B.A. (High Honors, Humanities) University of Laurie Antonioli (voice) Heatwave, Deneice Williams, Barbara Lewis, GQ, California at Berkeley. Co-bandleader, Andrea Studied at Mt. Hood College and Cal State Long Gene Chandler, Eddie Holman, Barbara Mason, Billy Claburn/Jua Howard Group. Studied vocal Beach. Chair, Vocal Program, California Jazz Paul. Founding member and lead singer for technique and performance with Sandy Cressman, Conservatory. Professor and Director of Vocal Jazz Clockwork, currently the Girl in The Bobs. Laurie Antonioli, Raz Kennedy, Maye Cavallaro. Department, Kug U., Graz, Austria. Private studies www.andreaclaburn.com Rachel Efron (songwriting) with Joe Henderson and Mark Murphy. Origin B.A., Harvard U. (extensive coursework in both Records recording artist; Nabel Records recording Sandy Cressman (voice) writing and music). Studied jazz piano with faculty artist; performed and recorded with George Cables, Educated at UC Berkeley and San Jose State at Berklee College of Music. Released three albums Bobby McFerrin, Richie Beirach, Pony Poindexter, University; international performing and recording of original music and toured on both coasts. Joe Bonner; bandleader of the American Dreams artist and clinician. Artist-in-residence or lecturer Bandleader of Rachel Efron Ensemble, which has Band; led international group Foreign Affair; lyricist at Jazz Education Network Conference, Cornish performed locally at such venues as Yoshi’s, The for Richie Beirach; co-creator of the Pauer— Institute of the Arts, San Francisco State University, Plush Room, The Independent, Freight & Salvage Antonioli Songbook. www.laurieantonioli.com laurie antonioli CSU Long Beach, KUG University (Graz Austria), and Cafe Du Nord. www.rachelefron.com ASMM (Paris), Voice Conference Munich, JazzCamp Jon Arkin (drums) West, Stanford Jazz Camp and California Brazil Cecilia Engelhart (voice) B.M. in Jazz Performance, University of Miami David Belove (bass) Summer Camp. Bandleader of critically acclaimed Education: San Francisco Conservatory, Mannes School of Music (now Frost School of Music); has Studied at SF State and San Francisco Conserva- Homenagem Brasileira Quintet. Featured artist with College of Music. Has performed/recorded with a performed internationally with a wide variety of tory of Music. Recorded or performed with Pete Ray Obiedo’s Mistura Fina and Jai Uttal’s Pagan wide range of artists including: Ruben Blades, Theo musicians including Lee Konitz, Gene Perla, Grady Escovedo, John Santos and The Machete Love Orchestra. Studio vocalist for Latin and world Bleckmann, Willie Colon, Santi Debriano, Paquito Tate, Ira Sullivan, Cuong Vu, Dayna Stephens, Taylor Ensemble, Danilo Perez, Tito Puente, Francisco jazz styles, recently featured on Bossa Nova D’Rivera, Rinde Eckert, Tania Libertad, Meredith Eigsti, Julian Lage, Wil Blades, Vusi Mahlasela, Aguabella, Rebeca Mauleon, Ray Obiedo, Marcos Dreams with Akira Tana, Branford Marsalis and Monk, Oscar Castro Neves, Mario Rivera, Michael Meklit Hadero, Karl Denson, Stew, Fareed Haque, Silva, Joe Henderson, Max Roach, Blue Mitchell, Arturo Sandoval. Heard on a wide variety of Spiro, Keith Terry, Tamba Trio, Wayne Wallace etc. and many others; longtime member of groups led Eddie Harris, Mark Levine, Pat Metheny, Larry commercials and soundtracks. As composer and arranger with “Tanaora,” “Free by Nathan Clevenger, Ian Carey, Adam Shulman, Coryell and Zakir Hussain. www.cressmanmusic.com Dive” and “Trio 3.” Classical performance includes Matthew Charles Heulitt; performs in various SF Symphony Chorus,“Conjunto Nuevo Mundo” configurations with his self-designed electro- Edgardo Cambón (percussion, voice) Tatyana Dimitrova (voice) early music ensemble. Bandleader for 26 years of the renowned salsa acoustic setup, including with the Schimscheimer Bachelor in Jazz Studies and Vocal Jazz Perfor- band “Edgardo & Candela.” Toured throughout Family Trio, Jordan Glenn, Rob Ewing, Kasey mance at CJC in process. Jazz teachers are Laurie Steve Erquiaga (guitar) South America, Europe, and Africa since 1986. LP Knudsen, and Ben Goldberg; has taught classes/ Antonioli, Theo Bleckmann, Dann Zinn, Jeff Denson, National and international recording and perform- (Latin Percussion Co.) endorser. Performed or lessons/workshops at the CJC/JCMS, Stanford Sandy Cressman, Maye Cavallaro, Raz Kennedy. ing artist; performed at Montreux Jazz Festival, recorded with Jesús “Chucho” Valdés (Irakere), Jazz Workshop, UC Berkeley, Sonoma State U, Also studies with Indian vocalist Ranjana Gathak at Berlin Jazz Festival, North Sea Jazz Festival; Eddie Palmieri, Carlos Santana, José Luis Humboldt State U, and many other schools the Ali Akbar College of Music as well as workshops performed with Bobby McFerrin, Joe Henderson, “Changuito” Quintana, Orestes Vilató, Salsa around the U.S. and Europe. www.jonarkin.net with Pandit Uday Bhawalkar, Pandit Nyrmalya Les McCann, John Scofield, David Byrne, Turtle Romántica Stars Jerry Rivera and Eddie Santiago, Alam Khan. Studied Sound and Music as Healing Island String Quartet, Paulo Bellinati, Andy Narell, Bill Aron (saxophone) Keith Terry and “Crosspulse,” Omar Sosa, Jeff Arts program at CIIS in San Francisco. She currently and Paul McCandless; founder, leader, Trio Paradiso; M.M. in Performance, SF State; B.A. in Music UC Narell, Andy Narell, Sovosó (formerly Bobby studies Yoga of the Voice and Nada Yoga Teacher faculty, Jamey Aebersold Jazz Clinics; publications Berkeley. Professional musician and music educator McFerrin’s “Voicestra”) Mike Spiro, Karl Perazzo Training Program under the mentorship of Silvia include Guitar Duets and arrangements from his for 46 years; specializing in classical saxophone and Rebeca Mauleón. www.musicandela.com Nakkach at Vox Mundi Project. Tatyana also studies CD Cafe Paradiso. playing with the San Francisco Saxophone Quartet with Rumen Sali Shopov on her native Bulgarian and San Francisco Symphony among others. Danny Caron (guitar) repertoire of traditional songs. B.A. in English and Music, Oberlin College and Conservatory; graduate of Howard Roberts Program, Guitar Institute of Technology, Los Angeles. Best known for being music director and guitarist for the legendary pianist and vocalist Charles Brown until his death in 2000. He has played and recorded with Van Morrison, Bonnie Raitt, Dr. John, Clifton Chenier, Donald Fagan, Hadda Brooks, Red Callender, and many others. www.dannycaron.com

52 2020 Winter Quarter / January – March / c jc.edu 53 Jazzschool Faculty JazzschoolJazzschool FacultyFaculty

Dave Eshelman (trombone) Joe Hartnett (Saxophone) Matt Jenson (keyboards) From 1984 to 2007, Dave Eshelman served as B.F.A. Jazz Performance, New School University, M.M. Jazz Studies and Composition — New England Director of Jazz Studies at California State NYC. Studied with Dave Glasser, Jon Gordon, and Conservatory of Music. Studied with Geri Allen, University, East Bay (formerly Cal State Hayward). Tony Malaby. Have performed with Brass Magic, Ran Blake, Dave Holland and later, Eddie Palmieri. Eshelman has performed extensively with many jazz Zongo Junction, and many others at such venues Berklee College of Music piano faculty (19 yrs) groups in the Bay Area and has worked as a as SFJAZZ, The Kennedy Center, and Irving Plaza. teaching studio piano lessons, Hammond organ lab, featured soloist in the big bands of Ray Brown, Joe Afro-Cuban piano lab and “The Music and Life of Henderson, Tito Puente and Gerald Wilson. Various Colin Hogan (piano) Bob Marley” class/ensemble which he has also artists across the United States and Europe — such B.A. Cal State East Bay. Performances with James presented at the Jazzschool, Jazz Camp West as Joe Henderson, Don Ellis, Bill Watrous, and Stan Moody, Peter Erskine, Bob Brookmeyer, Roy Ayers, and at Steel Grass Ranch on the island of Kaua’i. Kenton, the Swedish Radio Orchestra and the Maria Schneider and hip hop luminaries such as Performed, recorded and worked with Johnny Airmen of Note — have performed his composi- Too $hort, DJ QBert, Dan the Automator, and Lyrics Adams, Ronnie Earl, Mighty Sam McClain, Julien tions and arrangements. Born. Performed with electric bass revolutionary Kasper, Cyril Lance, Rita Marley, Judy Mowatt, Larry Graham of Sly and the Family Stone at the Chinna Smith, Tuff Lion and currently touring with Rob Ewing (trombone) 2004 California Music Awards. Pianist and featured the Bay Area reggae-jazz-fusion band Groundation. Jazzschool Director. Jazzschool Summer Youth soloist on accordion with the Tommy Igoe Big Received the prestigious Newbury Comics Program Director. B.A., Naropa U.; 2 years, Berklee Band in its first-ever weekly residency at Yoshi’s Fellowship award (associated with Berklee College College of Music. Leader of Disappear Incompletely San Francisco. Currently involved in various of Music) producing a full-on reggae educational — The Radiohead Project. Performances with STS9, projects including hip hop/R&B group Dynamic, platform entitled, “The Art of Reggae.” Co-leader Marcus Shelby Orchestra, Vinny Golia, Latin Giants jazz/groove/experimental collective the Jazz Mafia, of “Inside Reggae,” a yearly experiential trip to of Jazz, Ray Vega, Wayne Wallace, Graham international cafe music group Trio Zincalo and Kingston, JA. As a composer/arranger, recording Connah, Joe Bagale, The Barr Brothers, Les Gwan jazz/funk/fusion band The Hogan Bros., with artist and singer, Matt leads his all-original reggae Jupons, John Schott’s Typical Orchestra, Jazz Mafia brothers Steve and Julian. band, “The Liquid Revolution,” and co-produced the Symphony, Oakland Active Orchestra, Half of reggae-Afro Cuban fusion group, “Rebel Tumbao.” Half, Leslie Helpert, Rebecca Griffin, Naytronix. Steve Hogan (bass guitar, vocal percussion) www.mattjenson.com www.liquidrevoloution.net B.A. UC Berkeley. Multi-Instrumentalist. Toured/ Mimi Fox (guitar) performed/recorded with Goapele, Zion I, The Darren Johnston (trumpet) International recording/performing artist and Coup, Will Bernard, Hugh Masekela, Dave B.A. jazz performance — Cincinnati Conservatory five-timeDownBeat Magazine International Critics Chappelle, DJ Fuze, Thomas Pridgen, Ambrose of Music, M.A. composition — Mills College. Adjunct Poll winner. Performed throughout Europe, Asia, Akinmusire, Raul Midón, Chuchito Valdez, Roberto trumpet/jazz professor at UC Berkeley, private the Caribbean and Australia. Festivals include Carcassés, Balawan, Faye Carol, Tuck & Patti, Linda instructor at SF Community Music Center, Stanford Montreal, Monterey, Guinness Cork, Perth and North Tillery, Keith Terry, Gamelan Sekar Jaya. Performed Jazz Workshop. Performed/recorded with Fred Wales International Jazz Guitar Festival. Adjunct at Kennedy Center, SFJazz, Stern Grove, Hollywood Frith, Marcus Shelby, Myra Melford, ROVA professor of Jazz Studies at NYU; guest clinician/ Bowl, The Fillmore, Bali Arts Festival, Gunung Jazz Saxophone Quartet, Meklit Hadero, and many artist in residence at Alaska Jazz Workshop, Britt Festival (Java). Founding member of Bay Area others. Has led United Brassworker’s Front, Nice Music Festival, Brubeck Institute, Yale U., CalArts, raffi garabedian groups O-Maya, AguaLibre, Slammin All Body Guy Trio, Darren Johnston Quintet (featuring Ben Cornish College of the Arts, U. of Oregon, USC and Band. Currently performs locally with Josh Jones Goldberg and Sheldon Brown), Trans-Global Berklee College of Music; featured artist on Marian Latin Ensemble, Keith Terry’s Free Dive, and People’s Chorus, Broken Shadows, and others. McPartland’s Piano Jazz on NPR; featured artist, primary project fusion group The Hogan Brothers, Kennedy Center. Performed with Joey De Raffi Garabedian (saxophone) with brothers Colin and Julian. Jennifer Jolly (keyboards) Francesco, Charlie Byrd, Kenny Burrell, Branford B.F.A. in Jazz Performance, The New School, NYC. B.A. UC Berkeley. Keyboards and melodica, Marsalis, David Sanchez, Stanley Jordan and Performs with Brass Magic, Raffi Garabedian Blues Peter Horvath (piano) multi-instrumentalist, vocalist, composer/arranger, countless others. www.mimifoxguitar.com Band, and many others. Studies with Dann Zinn, M.A., Berklee College of Music; Bèla Bartôk bandleader. Specialist in Americana, blues/R&B, Dayna Stephens, Mark Turner, Tony Malaby, Chris Conservatory of Music, Budapest, Hungary; New Orleans, rock’n’roll, Caribbean, and African Keith Ganz (guitar) Cheek, Ben Street, & Bill McHenry. Vienna Conservatory of Music. Performed, toured, roots music. Founder of Jennifer Jolly & Friends, B.A. from UNC-Chapel Hill. 2018 GRAMMY recorded with Victor Bailey Group, Bobby co-founder of and composer for The Jolly Gibsons. nominee. Toured as accompanist for Harry Connick, Charles Hamilton (trombone) Hutcherson, Joe Henderson, Lalah Hathaway, Additional current projects include Pamela Rose’s Jr., Kurt Elling, Luciana Souza, Tierney Sutton, Leader of the Berkeley High School Jazz Ensemble Oakland Symphony, Bob Sheppard, Bennie touring theatrical concert “Blues is a Woman,” Zulu Gretchen Parlato, Jo Lawry, Peter Eldridge, Moss. for 28 years. Has performed with Joe Henderson, Maupin, Richie Cole, Ray Obiedo, Lenny White, Spear, Kotoja, Tom Rigney & Flambeau (sub), 15 years as Guitarist/Musical Director/Arranger/ Fred Berry, Karlton Hester, Khalil Shaheed, Marcus Randy Brecker, Marcus Miller, Bob Mintzer, Pee Chelle! and Friends (guest), Bait & Switch Blues Producer for Kate McGarry producing 6 critically Shelby, and Babatunde Lea. Created the San Wee Ellis, Arturo Sandoval, arranged and recorded Band, Big B and His Snake Oil Saviors, The Party acclaimed recordings with two GRAMMY Francisco Bay Jazz Band; at the invitation of the US for Aretha Franklin. www.peterhorvath.com Monsters, The Linwood Chorus (accompanist), and nominations. 11 years in NYC, worked with Chris State Department, he took them to Asia twice the Creekside Community Church Worship Band. Potter, Christian McBride, Fred Hersch, Greg (Vietnam and China). Recently released “Charles Erik Jekabson (trumpet) Previous credits include Phil Lesh, The Broken Hutchinson, Victor Lewis, Aaron Goldberg, Joel Hamilton and Beyond: Mr Hamudah,” for Global M.A. in Composition, SF Conservatory of Music; Angels, Hot Links, Barbara Dane, Rusty Zinn, two Frahm, Gary Versace, Kendrick Scott, Aaron Recording Artists. Currently directing the UC Santa B. Mus. in Trumpet, Oberlin Conservatory of Music. dozen theatrical productions, and numerous Parks, Bruce Barth, Ben Monder, Steve Cardenas. Cruz Big Band. Received the National Foundation Toured with John Mayer, Illinois Jacquet and reggae, blues/New Orleans, singer/songwriter, Masterclasses at Berklee, Eastman, Jazz at for the Advancement of the Arts “Distinguished Galactic, and has composed for film and dance and country bands; twenty-plus recording credits. Lincoln Center, McGill, CalArts, Graz. Teacher in the Arts” Award. projects. Released several albums as a leader. Faculty instructor at The Jazzschool, Cazadero www.erikjekabson.com Family Camp, Jazzschool Women’s Jazz and Blues Camp, after-school programs, workshops, and private studio.

54 2020 Winter Quarter / January – March / c jc.edu 55 Jazzschool Faculty Jazzschool Faculty

Jason Levis (percussion) Susan Muscarella (piano) Ph.D. and M.A. in Composition, UC Berkeley; B.A. B.A. in Music Composition, UC Berkeley. Ph.D. in Music, Naropa University. Two-time Meet the candidate in Musicology, University of Évora, Composer award recipient; Eisner Prize for Music Portugal. Founder and Executive Director, California winner; Outstanding Graduate Student Instructor Jazz Conservatory, f/k/a Jazzschool Inc.; President (UC Berkeley); Interaktion Festival finalist (Berlin), and Dean of Instruction, California Jazz Conserva- drummer and composer Jason Levis has led and tory. Director, UC Jazz Ensembles program 1984 been a collaborator in numerous jazz, improvised – 89; composer, arranger and recording artist; music, and chamber ensembles in the San Francisco performances at major clubs and festivals including Bay Area and Berlin, Germany. These include the Yoshi’s, Keystone Korner, Great American Music Hall Heftpistole Chamber Ensemble; duo B.; Married and the Lighthouse, and Monterey, Berkeley and Couple; DRY; live dub-reggae ensemble Joseph’s Concord Jazz Festivals; featured on Marian Bones; the Echo Chamber Ensemble; most recently McPartland’s Piano Jazz on NPR; recipient of a the Berlin Boom Orchestra, and many more. 2008 “A Team” Award from the Jazz Journalists www.jasonlevismusic.com Association; member of the Board of Directors, Chamber Music America. Frank Martin (piano, keyboards) Music Director for Narada Michael Walden, Patti Isaac Narell (saxophone) Austin, Angela Bofill; Carnegie Hall appearances B.F.A. from California Institute of the Arts. with Sting, James Taylor, Elton John; Record Performed with Karim Ziad, The WDR Big Band, producer/arranger for Al Jarreau, Turtle Island Mokhtar Samba, Afia Mala, Thierry Fanfant, Andy String Quartet, Joey DeFrancesco, Mimi Fox, Mary Narell, Josh Jones, Jeff Narell, Jenna Mammina, Jenson, Molly Holm, Deuce, Tuck & Patti, Karen jon monahan Silvestre Martinez, Alfred Ladzekpo, Miguelito Blixt; performed/recorded with John McLaughlin, Martinez, The Southwest Michigan Symphony Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Orchestra, The Pacific Mambo Orchestra and The Larry Coryell, Herbie Hancock, Stanley Jordan, Electric Squeezebox Orchestra. Isaac has written Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Kate McGarry (voice) arrangements for The Bordeaux Symphony Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, B.M. Afro-American Music & Jazz Studies UMass Orchestra, The University of Trinidad and Tobago, UC Berkeley Jazz Ensembles. Amherst, professors included Archie Shepp, Max The Metropole Orkest, Mizikopeyi Big Band and www.frankmartinproductions.com Roach, Dr. Billy Taylor, Dr Hoarce Boyer, Afro-Am The Southwest Michigan Symphony Orchestra. Studies classes with James Baldwin, and Cornel azure mccall Jeff Massanari (guitar) West. 7 Critically acclaimed recordings as a leader Erika Oba (piano, flute) Four years performance and composition with Palmetto, and Sunnyside Records. Grammy M.A. in Music Composition, Mills College, B.M. in Jazz coursework at Berklee College of Music. Performed nominations (2008, 2018) Best Jazz Vocal Piano Performance, Oberlin Conservatory. Composer, with Mark Inouye and the San Francisco Symphony, Recording. 2016 Downbeat Critics Poll winner — pianist/flutist, and educator based in the East Bay. Bob Karty (piano) Kenny Washington, Pamela Rose, Wally Schnalle, Rising Female Vocalist. Performances, recording Member of the Montclair Women’s Big Band, electro- B.A., Biology, Reed College. Pianist, composer, Mary Wilson, Keely Smith, Kim Nalley and Denise and/or collaborations with Fred Hersch, Maria jazz duo Rice Kings, Ends Meat’ Catastrophe Jazz recording engineer, producer. Performs with Ray Perrier. Appeared at the Umbria Jazz Festival, Schneider, John Hollenbeck, Billy Childs, Kurt Elling, Ensemble, and the Oba/Bastian duo. Erikaoba.com Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Beijing Conservatory, Davies Symphony Hall, Stern Luciana Souza, Theo Bleckmann and Tony Award Conjunto Karabalí (led by Michael Spiro & Santana Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz winner Jason Robert Brown. 3 years as a Jazz Daniel Lucca Parenti (bass) percussionist Karl Perazzo). Founding member of Festival, San Jose Jazz Festival and Theatre Works. Ambassador for U.S. State Department and Jazz Performance experience with many jazz legends Orquesta La Moderna Tradición, one of the few Taught at UC Berkeley, The Jazzschool, Redwood at Lincoln Center teaching and performing in China including Rosemary Clooney, Michael Brecker, and authentic charanga orchestras outside of Cuba, High, Bruce Forman’s Jazzmaster series, Jazz Mongolia, South America and Eastern Europe. Lionel Hampton. Has released six full-length original with whom he performed for over 15 years and Camp West and Blue Bear School of Music. 15 years functional voice training with Level 3 albums under his own name. Has performed with recorded three albums. www.bobkarty.com certification in Somatic Voice Work™ The many well-known Bay Area artists including Tommy in Europe, China, Japan, Mexico and Thailand. Azure McCall (voice) LoVetri Method. Performances with Marion Igoe, Billy Johnson (Santana), Frank Martin (Narada Hawaii’s first lady of jazz is a multi-award winning McPartland on Piano Jazz, NPR’s Jazz Set with Michael Walden), Joel Smith (Walter Hawkins) and Dave Le Febvre (saxophone) vocalist. She is heir to the vocal tradition of Sarah Dee Dee Bridgewater, All Things Considered, Jazz Lorn Leber (Jerry Garcia Band). Recipient of an NEA Grant for Jazz Education. Vaughan, Carmen McRae and Ella Fitzgerald. Her Faculty positions at NEC, Manhattan School of Anthony Paule (guitar) Dave has recorded 6 albums as a bandleader and warmth and sense of humor fuel every interpreta- Music, Assistant Director of Music Courses SYDA A.A. Degree from CCSF. Has toured and/or has performed at many Bay Area Jazz Festivals tion. After releasing her first CD,Body and Soul, she Foundation, NY, Clinics, masterclasses and recorded with Maria Muldaur, Boz Skaggs, Charlie and in Europe. Musicians who have recorded or was asked by the great bassist Ray Brown to be his performances given worldwide. performed in Dave’s group include Billy Childs, vocalist on tour. Of course, she accepted, beginning Musselwhite, Barbara Lynn, Earl King, Big Jay John Patitucci, Clay Jenkins, Dave Crigger, an incredible jazz journey — school was in! Soon Jon Monahan (guitar) McNeely, Johnny Adams and many others. Eddie Marshall, Seward McCain and many after, Azure became the first singer to work with Studied at SFSU School of Music, B.S. in Physiology Released three solo albums, “Big Guitar” and others. Dave’s big band compositions have Freddie Hubbard’s band. Additional collaborators from UC San Diego. Performance credits include “Hiding In Plain Sight” and “You Don’t Know been performed by Freddie Hubbard, Richie Cole, include Frank Morgan, Tennyson Stephens, Joe Stevie Wonder, Roy Ayers, Mary Wilson, Lyrics Nothing” the latter with soul singer Frank Bey. Has and the BBC Big Band. Lovano, Geoffrey Keezer, Curtis Lundy, Dizzy Born, Gift of Gab, Digital Underground, Qbert, performed at festivals including Monterey Jazz, www.jazzwest.com/davelefebvre Gillespie and many more. In 2008, President Barack Fantastic Negrito, Jack Johnson, Rogue Wave, with Umbria Jazz, San Francisco Blues, Mississippi Valley Obama asked her to perform at his pre-election performances at the Monterey, Montreal, Newport, Blues, Du Maurier Jazz, Waterfront Blues, S.F. Jazz, party. “That’s why he won,” Azure says (smiling). Playboy and Kathmandu Jazz Festivals, and on TV Atlanta Olympic Games. www.anthonypaule.com Azure became the ‘jazz diva’ for Celebrity and Royal at Jimmy Kimmel Live. Caribbean Cruises. She has traveled to more than 50 countries. 56 2020 Winter Quarter / January – March / c jc.edu 57 Jazzschool Faculty Jazzschool Faculty

Clif Payne (voice) Nora Stanley (saxophone) Evershift recording artist, international concert Nora Stanley holds a B.M. in Jazz Studies and a B.A. vocalist, and vocal coach, studied with David Baker in Latin American Studies from Oberlin College and at Indiana University and Speech Level Singing Conservatory where she was a student of Gary vocal technique with Chip Hand and Rober Burnley Bartz, Eddie Henderson, Billy Hart and Dan Wall. in LA. Recording projects include a collaboration She has performed/recorded with luminaries such with former Kurt Elling music director Laurence as Ambrose Akinmusire, Eddie Henderson, Dayna Hobgood. His debut solo album — Welcome To My Stephens, Chucho Valdes and Jerry Gonzalez and World — was released In 2016. Discovered by has had the opportunity to play and study abroad Bobby McFerrin, Clif has performed or recorded in Cuba, Spain and Brazil. with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Ben Stolorow (piano) Norman Connors, Harvey Mason. B.A. in Music, UC Berkeley; Recipient, Hertz Traveling Fellowship from Berkeley to study jazz Tony Peebles (saxophone) piano privately and at the Manhattan School of M.M. Jazz Performance (Saxophone), University Music; studied in New York with Fred Hersch, of the Arts in Philadelphia; B.A. Music (Theory), Stanley Cowell, James Williams, and David University of Pennsylvania. Featured soloist on Hazeltine; performed with Akira Tana, Craig Handy, Grammy-winning album PMO by Pacific Mambo Lorca Hart, Nasheet Waits, Danya Stephens, Orchestra. Performed with Fred Wesley, Lenny Andrew Speight, Vince Lateano, Bob Kenmotsu, juanita ulloa Williams, Tommy Igoe, Karl Perazzo, Kenny Noel Jewkes, Michael O’Neill, and vocalist Kenny Washington, John Lee Hooker Jr., Doc Severinson. marcelino quiroz Washington; Also studied classical piano and the Toured Europe, Africa, South America, and Taubman Technique. www.benstolorow.com Jeanne Walpole (piano) Australia with reggae legend Don Carlos and Glenn Richman (bass) M.A. in Music Theory, San Francisco State U.; Scott Thompson (bass) New Zealand’s Katchafire. Mannes School of Music (1 yr); Berklee College of M.A. Studies in Piano Manhattan School of Music; B.M. in Performance, California Jazz Conservatory Music (2 yrs). Advisor, Jazzschool Bass Program; B.A., Smith College: studied with Dick Hindman Ricardo Peixoto (guitar) (Berkeley, CA). Teaches regularly at the California student of Buster Williams, George Mraz and Mike 1990–2003; Pianist, Nordstrom. Native of Rio de Janeiro, graduated from Berklee Brazil Camp, Jazz Camp West, and Lafayette Longo; performed with Bobby Hutcherson, Jon College of Music, studied with Pat Metheny. Also Summer Music Workshop. Tours nationally and Danielle Wertz (voice) Hendricks, Dave Liebman, Chet Baker, Benny Green, studied classical guitar with George Sakellariou at internationally as a bassist with Chico Pinheiro, B.M. in Studio Music and Jazz Vocal Performance, Dakota Staton, Chris Connor, Tom Harrell, Eddie SF Conservatory. Adventure Music recording artist, including teaching workshops in Teresina (Brazil), University of Miami’s Frost School of Music. Student Henderson, John Hicks, Mike Clark, Jack Wilkins, composer, arranger, has performed nationally and Helsinki (Finland) and San Diego. Performance/ of Dr. Kate Reid, John Hart, Craig Carothers and Billy Hart, Larry Willis, George Coleman and Mickey internationally with Claudia Villela, Terra Sul, Carlos Recording credits also include: Cesar Carmago Dann Zinn. Former Jazz Vocal Director for youth Roker; faculty, Brubeck Institute, UC Berkeley and Oliveira, Airto, Flora Purim, Guinga, Dori Caymmi, Mariano, Toninho Horta, Marcos Silva, Helio Alvez, jazz education program, Virginia Music Adventures. Chabot College. www.glennrichman.com Bud Shank, Dom Um Romão, Claudio Roditi. Kiko Freitas, Too $hort, Edu Ribeiro, Marcio Bahia, Clinician at Duke Ellington School of the Arts and Pamela Rose (voice) E-40, Josh Jones, Marcos Suzano, The Hieroglyphics, Sonoma State University. 2015 Thelonious Monk Marcelino Quiroz (piano) International Jazz Vocals Competition Semi- B.A., UC Berkeley. Jazz and blues vocalist, Thiago Rabello, Debora Gurgel, Dani Gurgel, Mark B.M. Film Scoring (’04), Berklee College of Music Finalist, 2017 Ella Fitzgerald Competition runner-up, songwriter, recording artist. Recent performances Levine, The Souls of Mischief, Jovino Santos Neto. (piano principal), studied jazz piano performance Inaugural Washington Women in Jazz Young Artist include Monterey Jazz Festival, SFJAZZ, Grammy with Joanne Brackeen; MRQ Productions, principal Juanita Ulloa (voice) Competition Winner. Performed or recorded with Foundation, Copenhagen Jazz Festival, Cal film composer/audio editor; Professional Musician, Juanita Ulloa has spent over 3 decades sharing Shelly Berg, Jamie Oehlers, Tal Cohen, Cyrille Performances. Featured on NPR’s “All Things performing on piano, synth and Hammond B-3 unparalleled knowledge in Mexican song and many Aimee, Bruce Hornsby and Gretchen Parlato. Considered.” Her latest project “Wild Women of regularly in the SF Bay Area in a variety of genres, Spanish speaking vocal traditions, both folkloric daniellewertz.com Song” (highlighting the work of women jazz and including: jazz, funk, neo-soul, R&B, reggae and and classical. Featured soloist at international blues songwriters) has Rose touring, speaking more; Private Piano Instructor/Certified K-6 Olympic & major events, festivals, concerts, Michael Zilber (saxophone) and performing at universities and performing arts Educator, 14 years experience teaching music masterclasses, and Latin Pops symphonies. Ph.D. in Composition, NYU; M.M. in Composition, centers nation-wide, and resulted in the publication theory to groups and individuals, ranging from Recorded six Mexican CDs, six-time winner of Tufts U.; B.Mus. in Composition, New England of a book on the topic. www.pamelarose.com beginner children to advanced-level adults; Musical Festival de la canción latinoamericana, has won Conservatory. Currently co-leads a quartet with Director/Bandleader, Mango Kingz (island reggae) Marcos Silva (piano) regional NATS, Disney and Parent’s Choice awards. guitar great John Stowell, and is completing a recording project in New York with Mike Clark, and The Mars Express (neo-soul/cosmic gospel). Adviser, CJC Brazilian Program. National and In 2018 she published 3 volumes of Mexican Art James Genus and Rachel Z. Co-led a group with international performing and recording artist, Song (www.classicalvocalrep.com). Has published drumming legend Steve Smith for 8 years. Has composer, arranger, producer, educator; performed on the Mariachi Voice in SYWTS World Music and performed, toured or recorded with everyone with Leny Andrade, Emilio Santiago, Marcio with Oxford (2020). Holds music degrees from Yale from Dave Liebman to Dizzy Gillespie, including Montarroyos, Jon Lucien, Claudio Roditi; Music University, UC Berkeley, & D.A. in vocal performance Miroslav Vitous, Bob Berg, Eddie Henderson, Director, arranger, keyboards for Flora Purim, Airto, from the University of No. Colorado. Fareed Haque, Geoffrey Keezer, Donald Harrison, Toninho Horta, Paquito D’Rivera, Bud Shank, www.juanitamusic.com www.voicetrainerdr.com John Handy, Dave Douglas, Barry Finnerty, Bruce Ricardo Silveira, Dori Caymmi, Nana Caymmi, Barth, and Clarence Penn. www.michaelzilber.com Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Silva and Intersection. www.marcossilva.com

58 2020 Winter Quarter / January – March / c jc.edu 59 Board and Staff

BOARD OF DIRECTORS DIRECTORS EMERITUS ADVISORY BOARD PROGRAM STAFF Karen Shepherd Director of Financial Aid Tyler Johnston, Chairman Denny Abrams Anthony Brown Susan Muscarella Julie Birch Susan Brand, Vice Chairman Sherie Friedlander Tom Carr President, California Jazz Conservatory (CJC) Data Manager; Systems Administrator Richard A. Lyons, Secretary Sy Grossman Carole Davis Jeff Denson Dean of Instruction, CJC Paul Fingerote Neil Rudolph, Treasurer Vaughan Johnson Paula Forney Marketing and Public Relations Director Steve Baker James J. Keefe Benny Green Rob Ewing Director, Jazzschool Jonathan Poretz Gordon Brooks Bert Lubin Charles Hamilton Marketing Associate Laurie Antonioli Clifford Brown, Jr. Larry Marcus Stacey Hoffman Chair, CJC Vocal Program Sheryl Lynn Thomas Charles Charnas Ernie Mieger Mark Levine Director, Jazzschool Vocal Program Digital Marketing Manager James Ellis Amy Orton Jason Olaine Erik Jekabson Max Hodes Jerry Fiddler John Papini Patricia Phillips Director, Jazzschool Young Musicians Program Operations Director Erle Flad Walter Riley David Ring Jayn Pettingill Kim Nucci Rita Hargrave Danny Scher Jayne Sanchez Head Librarian IT Systems Administrator, Technical Projects Director John Moss Michael Zaninovich Chuck Sher Scott Latham Sheldon Alexander, Michael Golds, Susan Muscarella Merrilee Trost Recruiting Director, CJC Japan Jonathan Poretz, Alex Shapiro-Romano Gregg Perloff Wayne Wallace Keiko Shinozaki Operations Staff Administrative Assistant, CJC Japan Jerry Povse Peter Williams Tatyana Dimitrova Jim Reynolds House Manager ADMINISTRATIVE STAFF M. David Sherrill Tom Weeks Eric Siegel Bill Aron and Debra Steineman Operations and House Manager Business Managers Judy Walters Lee Brenkman Jesse Rimler Kevin Whitman Sound Technician Registrar and Custodian of Records Robert Soper Zach Mondlick Piano Technician Director of Recruitment Poulson Gluck Design Elizabeth M. Williams Graphic Design Director of Philanthropy Chris Hardy, Mike Melnyk Susan Muscarella, Laurie Antonioli, Mary D’Orazi Official Photographers President Vocal Program Director of Concert Programming [email protected] Chair Philanthropy Associate [email protected]

WINTER 2020 CATALOG PRODUCTION Cover Jesse Rimler, illustration Rob Ewing, Erik Jekabson, Design Poulson Gluck Design Director, Director, Jazzschool Editorial Rob Ewing, Paul Fingerote, Elizabeth Williams Jazzschool Young Musicians [email protected] Program Photography Thanks to Chris Hardy, Mike Melnyk, Jane Higgins and others [email protected] for their jazz photography. Printing FolgerGraphics

60 2020 Winter Quarter / January – March / c jc.edu 61 Instructions and Application

To enroll in the Jazzschool Please note: With the exception of the Please read instructions on facing page before completing application form. Winter Quarter, please read Fall Quarter, students previously enrolled in a performance ensemble have the Name (print) ______these important instructions! option of re-enrolling in that same course Address______again on a consecutive quarterly basis Street City/State Zip For courses that don’t require an within the academic year without having audition or consultation, sign up online to re-audition. New students wishing to Home phone ( ___ )______Work phone ( ____ ) ______at cjc.edu or complete the application enroll in a performance ensemble in on page 63 and submit it along with full winter, spring and/or summer quarters Cell phone ( ___ )______Email______tuition. Students may register online, must schedule a placement audition Instrumentalist — list instrument(s) played and years studied/performed: by phone (510.845.5373), mail, fax or telephone consultation and will be (510.841.5373) or in person. Enrollment accepted on a parts-available basis. ______( ) ______( ) ______( ) is on a first-come, first-served basis and cannot be guaranteed without JAZZSCHOOL FACULTY Vocalist — years studied/performed: ____ new student ____ returning student full payment. Students applying for AND COURSE SCHEDULES I will enroll in (list by class title; see class listings): courses that are full may be placed Given the vagaries of performing, lectur- on a waiting list. The Jazzschool ing and travel incurred by our Faculty 1. ______2. ______accepts checks (made payable to members, Jazzschool courses, classes, California Jazz Conservatory), cash, workshops and schedules are subject to 3. ______4. ______VISA, MasterCard or Discover. change. If this occurs, we will make every Payment plans are available. effort to provide our students with an How did you hear about the Jazzschool? ______optimal educational experience and To register in courses requiring accommodate any changes caused by For courses requiring audition or consultations, please call the Jazzschool prior to submitting a consultation or audition please unforeseen circumstances. your application at 510.845.5373 call at 510.845.5373 for assistance with placement. Please enclose full tuition for all courses. Note: Enrollment cannot be guaranteed REFUND POLICY without full payment. Course and ensemble tuition includes a Charge my tuition to: ____ VISA ____ MasterCard ____ Discover PERFORMANCE ENSEMBLES $50 non-refundable deposit. Requests to Admission is based on a confidential, drop must be received in writing within 48 Card #______Exp. date ______friendly 20-minute placement audition hours of the first class meeting to qualify to determine where students are best for a refund; please visit the main office or 3-digit security code ______suited to play or sing. Placement auditions e-mail [email protected] to request a refund. address students’ overall musicality, Refunds for remaining tuition are not Signature of cardholder ______technical ability, stylistic preference(s) possible after the 48-hour drop deadline. and availability. $100 per week of camp and intensive Name as It appears on card ______Please fill out the online tuition is non-refundable; the remainder 24 ensemble application form is refundable only until 30 days prior College Ave at cjc.edu/ensemble or call to the start of the program. Tuition for UC Campus Telegraph Ave workshops is non-refundable. No excep- the Jazzschool to schedule Fulton an appointment (510.845.5373). tions please! Please note: Refunds may take up to 30 days to process. Please visit Shattuck Ave 580 BART University Avenue

2087& 2040 Channing cjc.edu/policies for more information. Kittredge Bancroft Addison Allston Durant Center Ashby P E

N S Sacramento W San Pablo Ave 580/80 62 Call 510.845.5373 CALIFORNIA JAZZ CONSERVATORY: 62 Enroll online at cjc.edu or call 510.845.5373 2087 AND 2040 ADDISON STREET, JUST WEST OF SHATTUCK AVENUE, IN BERKELEY 63 Support a Unique Endeavor!

It’s not often one has the opportunity to support a truly unique endeavor — the California Jazz Conservatory — America’s only independent, accredited music school dedicated solely to the study and performance of jazz.

This unique institution encompasses:

• California Jazz Conservatory, a degree-granting program for aspiring professional musicians • Jazzschool, a community music school for all ages and levels • Workshops, Classes, Camps and Intensives for adults and youth • Concerts showcasing students, faculty and visiting artists

Many individuals have supported this unique endeavor; join them by making a gift to The CJC Fund, the Conservatory’s annual fund, which supports new ventures on an ongoing basis. A gift to The CJC Fund can be made by credit card or check:

• Telephone Mary D’Orazi, Philanthropy Associate, at 510.845.5373 x 19, to make a secure credit card donation or • Mail a check, payable to California Jazz Conservatory, Inc., to 2087 Addison Street, Berkeley, CA 94704

Good News: A gift to The CJC Fund can be enhanced by structuring it as a recurring gift, made by credit card, and/or by having it be matched by your employer.

Thank you!

64 the NON-PROFIT ORGANIZATION azzschool U.S. POSTAGE C ALIFORNI A J A Z Z CON SERVATORY at PAID 2087 Addison Street OAKLAND, CA Berkeley CA 94704 PERMIT NO. 8494 510.845.5373 IN HOME BY NOV 26 info @ cjc.edu

JAZZSCHOOL WINTER QUARTER 2020 • Instrumental and Vocal Classes • Beginning, Intermediate, Advanced Levels • Youth and Adult Programs • Performance Ensembles • Workshops and Classes • Technique and Musicianship • Theory and Improvisation • Composition and Arranging • Concerts

Classes, Workshops, Concerts, Camps and Intensives may sell out! Enroll or buy tickets online now at cjc.edu. Auditions for Ensembles are ongoing.

cjc.edu