Azzschool at CALIFORNIA JAZZ CONSERVATORY CONCERTS •

the azzschool at CALIFORNIA JAZZ CONSERVATORY CONCERTS •

WORKSHOPS

•

2019 SUMMER CATALOG CLASSES Contents

INTRODUCTION YOUNG MUSICIANS PROGRAM CJC Concert Series 2 Introduction 32 The California Jazz Conservatory 4 Program Requirements 32 The Jazzschool at CJC 6 Placement and Audition Requirements 33 ADULT PERFORMANCE ENSEMBLES Fall Quarter Preview 35 Summer Youth Ensembles 36 Bachelor of Music Jazz 8 Small Performance Ensembles 37 Associate of Arts World 12 Large Performance Ensembles 38 in Jazz Studies Latin 12 Vocal Classes 38 Brazilian 12 Jazzschool at CJC Blues 13 WORKSHOPS Classes, Workshops Funk 13 Camps, Intensives For all instruments and voice 3 9 ADULT INSTRUMENTAL CLASSES CJC Concert Series SUMMER PROGRAMS Year-Round Piano and Keyboards 14 Guitar 16 Introduction 47 Bass 1 8 Summer Youth Program 48 Saxophone 1 8 High School Jazz Intensive 49 Drums and Percussion 20 Girls’ Jazz & Blues Camp 50 Vocal Intensive 51 IMPROVISATION AND Jazz Guitar Intensive 52 COMPOSITION CLASSES Jazz Piano Intensive 53 Improvisation 19 Composition 20 INFORMATION Monterey Jazz Festival Partnership ADULT VOCAL CLASSES for Excellence in Jazz Performance 21 Performance and Education 34 Jazz 21 Jazzschool Faculty 54 Pop/Soul/R&B 23 Board and Staff 60 Ensemble Singing 24 Instructions and Technique and Musicianship 24 Application Form 62 Summer Vocal Intensive 24 Map 63 Vocal Mentor Program 26 Support 64 Vocal Workshops 28

IMPORTANT INFORMATION

• Summer Performance Series takes place August 19 – 26.

Many opportunities fill early, so sign up now! Visit cjc.edu for current information, as schedules are subject to change. For the latest news from CJC, sign up for cjc.edu our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu! 1 CJC Concerts 9 Fri 8pm Rising Star: Max Brody $15 10 Sat 8pm Vocal Intensive Student Concert $10

IIn addition to CJC’s Weekend Concert Series featuring an eclectic mix of music 13 Tues 7:30pm Gaea Schell, John Stowell Quartet $20/10 students on Friday and Saturday nights, we're pleased to present our Way Out West (WOW) Concert Series on Tuesdays @ 7:30 pm (made possible by generous support from 16 Fri 8pm Guitar Intensive Concert $10 Larry Dodge and Carol Shen). Our Resident Artists, Electric Squeezebox Orchestra, 16 Fri 8pm High School Jazz Intensive Concert $10 will return for their weekly Sunday evening concerts on September 8, 2019. 17 Sat 8pm Rising Star: Isaiah Harwood $15

Visit cjc.edu for information and tickets! AUGUST 18 Sun various times Jazzschool Young Musicians Program Concerts Free*

19–25 various times Jazzschool Adult Program Student Concerts Free* 23 Fri 8pm Rising Star: Simon Petty $15 6 /28 Fri 6pm Summer Youth Program Concert—Week 1 Free* 24 Sat 8pm Guinga & Monica Salmaso $25 2 Tues 7:30pm Joel Behrman $20/10 students 25 Sun 4:30pm Pedro Martins and Michael Pipoquinha $20 5 Fri 8pm Rising Stars: The Cosmic Conquerers $15 25 Sun 4:30pm Vocal Jam Free* 6 Sat 8pm Rising Star: Sarah Gettys $15 27 Tues 7:30pm Michelle Amador $20/10 students 9 Tues 7:30pm Itch $20/10 students 29 Thur 8pm Jeff Denson, Romain Pilon & Brian Blade $25 12 Fri 8pm Rising Star: Susanna Porte $15 30 Fri 8pm Rising Star: Kevin Goldberg $15 13 Sat 8pm Rising Star: Rick Gordon $15 31 Sat 8pm Rising Star: Natalie Marshall $15 14 Sun 4:30pm Blues Vocal Jam Free* JULY 16 Tues 7:30pm Arnie Co Nonet $20/10 students 3 Tues 7:30pm Corey Wright $20/10 students 19 Fri 8pm Rising Star: Morgan Maudiere $15 6 Fri 8pm SoVoSo $20

20 Sat 8pm Rising Star: Nikita Manin $15 7 Sat 8pm Maria Volanté Blue Tango Project $20

21 Sun 4:30pm Sameer Gupta: Brooklyn Raga Massive $18 8 Sun 4:30pm Blues Vocal Jam Free*

23 Tues 7:30pm Aaron Kruziki $20/10 students 10 Tues 7:30pm Jon Hatamiya $20/10 students SEPTEMBER 26 Fri 8pm Rising Star: Max Cope $15 13 Fri 8pm Jenna & The Charmers $20

27 Sat 8pm Rising Star: Sheldon Alexander $15 14 Sat 8pm The Jolly Gibsons feat. Jean Fineberg $20

28 Sun various times Jazzschool Young Musicians Program Concerts Free* 17 Tues 7:30pm Scott Looney $20/10 students

28 Sun 4:30pm Vocal Jam Free* 20 Fri 8pm Clif Payne $25

30 Tues 7:30pm Alaya $20/10 students 21 Sat 8pm Emilio Solla & Bien Sur! $25 made possible by a generous contribution by Denny Abrams

2 Fri 6pm Summer Youth Program Concert—Week 2 Free* 22 Sun 4:30pm Vocal Jam Free* AUGUST 2 Fri 8pm Rising Star: Shimpei Ogawa $15 24 Tues 7:30pm Javier Santiago $20/10 students

3 Sat 8pm Rising Star: Tatyana $15 27 Fri 8pm Steven Bernstein's Millenial Territory $25 Orchestra West 4 Sun 4:30pm Blues Vocal Jam Free* 28 Sat 8pm Prima Volta Saxophone Quartet $20 6 Tues 7:30pm New Zombies $20/10 students

9 Fri 6pm Girls' Camp Concert at Freight & Salvage Free* *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 music school in America completely devoted to the study and performance of jazz.

Recognized as “the most successful jazz • The California Jazz Conservatory offers education startup in the United States” the aspiring professional jazz musician by jazz historian and author Ted Gioia, a 4-year Bachelor of Music degree in the California Jazz Conservatory honors Jazz Studies, based on a 100% jazz the contributions of past masters and relevant curriculum, taught by a faculty promotes artistic innovation, bringing of artists/educators who share a proven together a diverse music community to track record of success in transforming develop practical skills, acquire artistic musicians into artists. sensibility, realize creative potential and find artistic voice. Our 2-year Associate of Arts degree in Jazz Studies offers the same effective Founded as the Jazzschool in 1997 and faculty, teaching the same 100% jazz accredited by the National Association of relevant courses — the first two years of Schools of Music in 2009, the California our Bachelor program — with students Jazz Conservatory offers two distinct incurring half the cost and half the time education programs: commitment to earn their degree.

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

6 7 6 6 Adult Performance Ensembles

Jazzschool Performance Ensembles JAZZ HARD-BOP ENSEMBLE MUSIC OF THE MASTERS delve into a wide range of styles Study and perform music melding Dig into the music of John Coltrane, bebop with R&B, gospel and the blues Thelonious Monk, Wayne Shorter and including jazz (standards, hard- BEGINNING JAZZ ENSEMBLE as developed by mid-century masters other jazz masters. Learn and internalize Put theory into practice by learning jazz bop, post-bop, fusion), Latin jazz, including Horace Silver, Art Blakey, a variety of essential grooves while standards, while developing improvisation Brazilian, blues, R&B and funk. Cannonball Adderley, Miles Davis, developing improvisation skills through and ensemble skills. For all instruments. Jimmy Smith and others. the rehearsal of challenging repertoire. Ensembles are available for Prerequisites: knowledge of basic jazz instrumentalists and vocalists theory and ability to keep time and Thursdays 6:30 – 8 pm Section 1: Mondays 8:15 – 9:45 pm 7/1 1 – 8/15 (6 weeks) 7/8 – 8/12 (6 weeks) at the beginning, intermediate read music. Performance date: Thursday 8/22 Performance date: Monday 8/19 Section 1: Mondays 6:30 – 8 pm and advanced levels. Groups Raffi Garabedian • $275 Section 2: Mondays 8:15 – 9:45 pm Section 2: Thursdays 8:15 – 9:45 pm range in size from the trio to the 7/8 – 8/12 (6 weeks) 7/1 1 – 8/15 (6 weeks) SOUL JAZZ ENSEMBLE big band. A placement audition Performance date: Monday 8/19 Performance date: Thursday 8/22 An intermediate ensemble delving into the is required for all Performance Steve Erquiaga • $275 groove-based repertoire of Lee Morgan, Glenn Richman • $275 Ensembles. Section 3: Thursdays 8:15 – 9:45 pm Cannonball Adderley, Eddie Harris, George 7/1 1 – 8/15 (6 weeks) Benson and others. Starting in the POST-BOP ENSEMBLE Performance date: Thursday 8/22 mid-60s, these musicians combined the Explore the repertoire of Chick Corea, Joe Steve Erquiaga • $275 popular vocabulary of funk, boogaloo and Henderson, Wayne Shorter, John Coltrane and other post-bop jazz composers from Auditions bossa nova with stripped-down harmonic JAZZ STANDARDS FOR GIGS progressions drawn from gospel and the the 1960s to the present. Strong emphasis Students are placed in Develop the skills and repertoire needed blues — linking them together with placed on group communication and Performance Ensembles by for typical jazz gigs through the study memorable instrumental melodies. interaction. audition and requirements and performance of common jazz styles Thursdays 8:15 – 9:45 pm Wednesdays 6:30 – 8 pm including swing, bossa, jazz waltz and may include playing a selected 7/1 1 – 8/15 (6 weeks) 7/10 – 8/14 (6 weeks) ballads. Instructor covers repertoire, jazz standard and sight Performance date: Thursday 8/22 Performance date: Wednesday 8/21 essential arranging concepts (intros, reading selected excerpts. Raffi Garabedian • $275 Steve Erquiaga • $275 endings, etc.), relevant jazz harmony and Drummers are asked to play tips for soloing. Prerequisites: knowledge various grooves and solo; of basic jazz theory and ability to keep bassists are asked to play bass time and read music. Some previous lines. ensemble experience. For more information please Section 1: Mondays 6:30 – 8 pm 7/8 – 8/12 (6 weeks) contact Jazzschool Director Performance date: Monday 8/19 Rob Ewing at [email protected] or Glenn Richman • $275 510.845.5373 x14. Section 2: Thursdays 6:30 – 8 pm You can schedule an audition 7/1 1 – 8/15 (6 weeks) online at cjc.edu. Performance date: Thursday 8/22 Section 3: Saturdays 10 – 11:30 am Section 4: Saturdays 11:45 am – 1:15 pm Section 5: Saturdays 1:30 – 3 pm 7/13 – 8/17 (6 weeks) Performance date: Saturday 8/24 Glenn Richman • $275

8 2019 Summer Quarter / July 8 – August 25 / c jc.edu 9 Adult Performance Ensembles Adult Performance Ensembles

THELONIOUS MONK new ENSEMBLE This ensemble focuses on the compositions of one of the great jazz iconoclasts, Thelonious Monk. Many of these pieces have become modern jazz standards. Required text: Thelonious Monk Fake Book (Hal Leonard).

Wednesdays 6:30 – 8 pm 7/10 – 8/14 (6 weeks) Performance date: Wednesday 8/21 Charlie Gurke • $275

FREE JAZZ ENSEMBLE: new THE MUSIC OF DAVID MURRAY peter horvath The Free Jazz Ensemble is designed for improvising musicians interested in PIANO TRIO stretching the boundaries of harmony Develop performance skills in the piano, and form. Each quarter the ensemble will ERQUIAGA ENSEMBLE 1 IMPROV ZOO ENSEMBLE: new bass and drums trio format. Open to four focus on the music of a particular master In this Ensemble 1 class, you'll work on GAMES AND TOOLS FOR musician. This summer, we will focus on improvising over chord changes, playing pianists and one drummer with accom CREATIVE GROWTH the music of saxophonist and composer with good time and learn the other skills paniment provided by a professional We all improvise in daily life and conversa- David Murray. needed to perform with other musicians. upright bassist. tion, and yet we often feel stuck or Class emphasis is on standard mainstream Thursdays 8:15 – 9:45 pm inhibited in our musical expression. This Section 1: Mondays 5 – 6:30 pm styles: blues, standards, swing, bebop, 7/1 1 – 8/15 (6 weeks) highly interactive class offers a host of Section 2: Mondays 6:45 – 8:15 pm ballads and bossa novas. Performance date: Thursday 8/22 fun, non-traditional improv games and Section 3: Mondays 8:30 – 10 pm Jason Levis • $275 Tuesdays 4:30 – 6 pm tools for instrumentalists and vocalists 7/8 – 8/12 (6 weeks) 7/9 – 8/13 (6 weeks) at all levels. Activities will include body Performance date: Monday 8/19 Performance date: Tuesday 8/20 percussion warm-ups, playing with Peter Horvath • $275 steve erquiaga Steve Erquiaga • $275 prompts and chance elements, free improv, “soundtracking,” conducted MILES DAVIS/WAYNE SHORTER ERQUIAGA ENSEMBLE 2 improv, and lots of fun surprises! You can ENSEMBLE This Ensemble 2 class focuses on slightly expect to stretch creatively and feel freer Explore the music of Miles Davis and faster tempos and more involved playing on your own and with others. Wayne Shorter from the mid-60s through tunes! Unusual keys, uncommon tune We’ll cultivate a collective sense of the 80s. Repertoire is drawn from far- structures and more complex melodies “play” and safe risk-taking in our improv reaching classic albums including Miles are presented along with standard together. Note: this is a non-performing Smiles, ESP, Filles de Kilimanjaro, Speak repertoire. Includes the music of Miles ensemble, so the focus will stay entirely No Evil, Bitches Brew, In a Silent Way, Davis, Jobim, Art Blakey, Cal Tjader and on the present experience. Open to all Native Dancer and Jack Johnson. Strong many 60s Blue Note–era artists. Original instrumentalists and vocalists. Materials emphasis placed on group communication compositions are encouraged! provided by instructor. Prerequisites: basic and interaction. proficiency on your instrument. Tuesdays 6:30 – 8 pm Wednesdays 8:15 – 9:45 pm 7/9 – 8/13 (6 weeks) Tuesdays 8:15 – 9:45 pm 7/10 – 8/14 (6 weeks) Performance date: Tuesday 8/20 7/9 – 7/30 (4 weeks) Performance date: Wednesday 8/21 Steve Erquiaga • $275 Jennifer Jolly • $180 Steve Erquiaga • $275

10 2019 Summer Quarter / July 8 – August 25 / c jc.edu 11 Adult Performance Ensembles

BLUES

BLUES AND GROOVE ENSEMBLE Learn to play the blues and blues-related styles. Emphasis on the groove as found on recordings of Charlie Christian, Aaron "T-Bone" Walker, Albert Collins, Jack McDuff, Louis Jordan and other “jump” blues and New Orleans masters. Prerequi- site: knowledge of 12-bar blues. Section 1: Mondays 8:15 – 9:45 pm 7/8 – 8/12 (6 weeks) Performance date: Saturday 8/24 matt jenson Section 2: Saturdays 1:30 – 3 pm 7/13 – 8/17 (6 weeks) REGGAE Performance date: Saturday 8/24 david belove and edgardo cambón leading a latin ensemble Danny Caron and Anthony Paule • $275 INSTRUMENTAL REGGAE new JAZZ ENSEMBLE In this class we will take well-known LATIN BRAZILIAN jazz standards and play them…REGGAE FUNK STYLE! Reggae music, despite its relatively SALSA ENSEMBLE 1 BRAZILIAN ENSEMBLE simplistic nature, has a great deal of FUNK ENSEMBLE Rehearse and perform classic salsa Study and perform the classic and rhythmic and melodic nuance with an From James Brown to Prince, Sly and the repertoire including the music of Tito contemporary Brazilian jazz repertoire of emphasis on the discipline of groove Family Stone to Tower of Power, Stevie Puente, Cal Tjader, Eddie Palmieri and Ivan Lins, Dori Caymmi, Toninho Horta, playing where each musician locks down Wonder to Earth, Wind & Fire, The Meters others. Prerequisites: familiarity with and Antonio Carlos Jobim and instructor their specific part to create a collective, to Herbie Hancock, we get down and ability to play standard Afro-Caribbean Marcos Silva. Vocalists welcome! Audition ecstatic dance groove. We will learn how to funky in this ensemble. Explore what it grooves as applied to your instrument. with Marcos Silva is required. play reggae (including one-drop, steppers takes to master the complexity of the funk and rockers styles), rocksteady, reggae- Tuesdays 6:30 – 8 pm Section 1: Tuesdays 6:15 – 7:45 pm genre by breaking down the rhythmic rock, dub, dancehall and if time permits, 7/9 – 8/13 (6 weeks) Section 2: Tuesdays 8:15 – 9:45 pm foundation of the groove, the feel, the ska. Rhythm section players will learn how Performance date: Tuesday 8/20 7/9 – 8/13 (6 weeks) “pocket!” For all vocalists, horns and to play proper drumset grooves, reggae- David Belove • $275 Performance date: Tuesday 8/20 rhythm section instruments. centric bass lines, the chop (skank) and Section 3: Wednesdays 6 – 7:30 pm Thursdays 6:30 – 8 pm SALSA ENSEMBLE 2 bubble (or shuffle), and the role of hand Section 4: Wednesdays 8:15 – 9:45 pm 7/1 1 – 8/15 (6 weeks) percussion. Horn and any other lead Rehearse and perform more advanced 7/10 – 8/14 (6 weeks) Performance date: Thursday 8/22 instruments will play melodies, learn salsa repertoire. Vocalists interested in Performance date: Wednesday 8/21 Daniel Lucca Parenti • $275 reggae-centric backing lines and of course, participating should sign up for Salsa incorporate jazz improvisation over the Singing (see p. 23). The two courses work Section 5: Thursdays 1 – 2:30 pm ensemble grooves. Open to all instrumen- together throughout the term developing 7/1 1 – 8/15 (6 weeks) talists including bass, drums, keyboards, a full set of high energy dance music for Performance date: Thursday 8/22 guitar, hand percussion and horns. No performance. Marcos Silva • $275 previous reggae experience necessary. Tuesdays 8:15 – 9:45 pm Wednesdays 8:15 – 9:45 7/9 – 8/13 (6 weeks) 7/10 - 8/14 (6 weeks) Performance date: Tuesday 8/20 Performance date: Wednesday 8/21 David Belove • $275 Matt Jenson • $275 12 13 Adult Instrumental Classes

APPLIED KEYBOARD HARMONY PIANO AND KEYBOARDS Learn tonic-dominant chord progressions, PIANO 1 basic turnarounds and chord inversions If you've ever wanted to play the piano, in all keys, while developing the ability now is your chance! Sign up for Piano 1 and to play standard tunes using those basic you'll learn how to read music, play scales, progressions in leadsheet format. This perform a piece, play duets, discover what course prepares students for Jazz Piano 1 musical forms and keys are all about, read and is recommended for pianists with a a jazz chart and play ensemble music with classical background interested in breaking fellow students. No experience necessary. free of the printed page and learning how Required texts: Mastering Music level 1A, to interpret leadsheets as well as learning Piano Town Lessons Level 1 (available at how to improvise. Handouts provided. the CJC Bookstore). Prerequisites: basic keyboard knowledge. Saturdays 10 – 11:30 am Saturdays 1:30 – 3 pm adam shulman 7/13 – 8/17 (6 weeks) 7/13 – 8/17 (6 weeks) Jeanne Walpole • $275 Jeanne Walpole • $275 BEBOP PIANO new GOSPEL PIANO new This class presents a study of the soloing All keyboardists benefit from a familiarity PIANO 2 JAZZ PIANO MASTERS new techniques developed by the great with gospel piano. Whether you play jazz, For those with some experience on keys, In this 6-week class, instructor Omree bebop pianists Bud Powell, Tommy R&B/soul, funk, or country, your music is Piano 2 picks up wherever you left off in Gal-Oz presents an overview of the Flanagan, Barry Harris, Hampton Hawes, influenced by gospel. In this class you’ll your pianistic pursuits and challenges you comping and soloing techniques of Herbie Oscar Peterson and others. From the learn a thumbnail history of gospel styles; to go farther with your musical endeavors. Hancock, McCoy Tyner, Thelonious Monk 1940s on, these masterful pianists the most common piano grooves, song Ensemble and solo music is selected to and other influential jazz pianists through developed a linear concept akin to the forms, and chord progressions; and some match your own level and ability on the listening, demonstration, transcription and innovations being made by Charlie Parker classic songs. Materials provided by piano. This class presents individual guidance analysis. He also presents a series of and other great bebop horn players. instructor. Prerequisites: familiarity with as well as group performance opportunities. exercises designed to help players Learn to play flowing 8th-note line dominant and minor 7th chords; ability to Required text: Bastien Piano for Adults II incorporate the innovations of these jazz improvisations outlining the underlying read treble and bass clefs. (available at the CJC Bookstore). Prerequi- piano masters into their own playing. harmony, drawing on the techniques sites: Piano 1 or equivalent experience. Prerequisites: Functional piano technique Tuesdays 6:30 – 8 pm developed and exemplified by these and knowledge of jazz harmony.. 7/9 – 7/30 (4 weeks) Saturdays 11:45 am – 1:15 pm mid-century innovators. This style of Jennifer Jolly • $180 7/13 – 8/17 (6 weeks) Wednesdays 6:30 – 8 pm playing changes continues as a core 7/10 – 8/14 (6 weeks) Jeanne Walpole • $275 element of contemporary jazz improvisa- Omree Gal-Oz • $275 tion today and is an important part of any aspiring jazz pianist's tool kit. Prerequisites: Functional piano technique and knowledge of jazz harmony. Mondays 6:30 – 8 pm “I loved being at the Jazzschool — seeing 7/8 – 8/12 (6 weeks) other musicians (and aspiring musicians) Adam Shulman • $275 of all ages, hearing the sounds of jazz wafting through the space.” omree gal-oz

14 2019 Summer Quarter / July 8 – August 25 / c jc.edu 15 Adult Instrumental Classes Adult Instrumental Classes

JAZZ GUITAR 1 SIGHTREADING FOR GUITAR MUSIC THEORY AND FRETBOARD If you're a guitarist with a background A class for intermediate to advanced KNOWLEDGE FOR GUITAR in another style and you're interested in guitarists of all styles who wish to improve Learn the basics of music theory as applied exploring jazz and blues, this course is their ability to read standard music to guitar, developing familiarity with the for you! You'll gain hands-on experience notation. fretboard through chord, scale and playing jazz and blues while learning basic Instructor covers: arpeggio practice. Topics include: jazz theory, scales, chords, arpeggios Approaches to seeing the fingerboard • Overview of chord and scale types and songs. You'll have fun while learning • as individual notes, not patterns. and where they are located and playing! Prerequisites: two years Chord progressions commonly playing experience, knowledge of major • Choosing the proper position in which • used in jazz and related styles and pentatonic scales and all seventh to play a given passage and how to chords. most efficiently change from one • Comping patterns position to another. Wednesdays 6:30 – 8 pm • Scale and arpeggio practice • Reading and counting syncopated, 7/10 – 8/14 (6 weeks) in various positions complex rhythms. Jeff Massanari • $275 • Reading charts and standard • Interpreting and executing phrasing and notation (treble clef) dynamic markings JAZZ GUITAR 2 • Transcribing music from recordings In this fun and fast-paced continuation of • Identifying how and what to practice, Basics of melodic improvisation the concepts explored in Jazz Guitar 1, making the process interesting and fun. • you'll dive into more complex harmonic Sight reading materials represent a variety For students with some playing experience, and melodic concepts, scales and chord of styles and genres. knowledge, and facility, who have never voicings, with lots of hands-on playing seriously practiced or studied music theory Thursdays 6:30 – 8 pm time and personal guidance for everyone. or the guitar fretboard. Prerequisites: ability 7/1 1 – 8/15 (6 weeks) This course is designed for guitarists with to play basic barre chords and some Steve Erquiaga • $275 some jazz playing experience looking to familiarity with playing scales. Students take their playing to the next level. should bring a medium or heavy flat pick GUITAR BLUES AND SWING GUITAR Prerequisites: Jazz Guitar 1 or equivalent; and be ready to learn how to use it! You'll learn chord voicings, fingerboard BEGINNING GUITAR knowledge of scale and chord theory and Mondays 6:30 – 8 pm If you're interested in learning how to harmony and single string soloing some familiarity with jazz repertoire. 7/8 – 8/12 (6 weeks) play the guitar, this course will help you techniques, with a variety of styles Wednesdays 8:15 – 9:45 pm Danny Caron • $275 develop a strong foundation in basic skills, covered, from the urban blues of B.B. King 7/10 – 8/14 (6 weeks) learning the essentials, including tuning and Albert Collins to the more complex Jeff Massanari • $275 the guitar, finding notes and basic chords swing of Charlie Christian and Aaron on the fretboard, proper hand positions, "T-Bone" Walker. We'll dive into alternate “Danny Caron is an excel- scale fingerings, simple songs, reading chord cycles and rhythm playing and we'll music and more! Your instructor will work with transcriptions to develop strong lent teacher, especially for answer questions about equipment melodic solos. Prerequisites: familiarity beginners. His instruction selection (guitars, strings, amps, picks, with the 12-bar blues progression, ability is clear, concise and ener- etc.). Required text: Modern Guitar Method to play barre chords in several shapes, Vol. One, Mel Bay (available at the CJC basic knowledge of the minor pentatonic getic. Most important, he Bookstore). Prerequisites: None, for scale, some picking facility. motivated us to excel and complete beginners! Students must Saturdays 11:45 am – 1:15 pm bring a guitar to class. 7/13 – 8/17 (6 weeks) move forward every week. Saturdays 10 – 11:30 am Danny Caron and Anthony Paule • $275 He is the BEST.” 7/13 – 8/17 (6 weeks) Danny Caron and Anthony Paule • $275

16 2019 Summer Quarter / July 8 – August 25 / c jc.edu 17 Adult Instrumental Classes Improvisation and Composition

BASS IMPROVISATION BEGINNING BASS BEGINNING JAZZ Get off to a strong start learning your IMPROVISATION instrument in this class covering the A friendly, supportive atmosphere in “bass”ics of what it takes to be an which to practice the basics of jazz effective bassist in any genre. From jazz to improvisation. Start with the blues then funk and everything in between, this class progress to jazz standards, learning focuses on topics including, right and essential scales and chords, playing at left-hand technique, finger dexterity, neck every session, trading licks, learning memorization, the parts of the bass, patterns and building solos. Ideal for theory, reading, transcription and much classical players or anyone aspiring to more! Perfect for new musicians as well as jam or perform with a jazz ensemble. seasoned instrumentalists with the desire Prerequisites: Facility on an instrument to learn more. Prerequisites: None. Open and ability to play all major scales from to all! Students must bring a bass to class. memory. Thursdays 8:15 – 9:45 pm Thursdays 6:30 – 8 pm 7/1 1 – 8/15 (6 weeks) 7/1 1 – 8/15 (6 weeks) Daniel Lucca Parenti • $275 Rob Ewing • $275 ian carey JAZZ BASS INTERMEDIATE JAZZ Learn a variety of essential techniques IMPROVISATION MODERN JAZZ IMPROVISATION for constructing strong jazz bass lines This course gives students a strong Ready to take your improvisational toolkit on blues, jazz standards in 4/4 and 3/4, foundation in the Great American beyond bebop licks, modes, and blues modal tunes, rhythm changes, and ballads. SAXOPHONE Songbook repertoire and the ability scales and into the sonic worlds opened Techniques for soloing are also covered. to improvise over chord progressions with up by artists like McCoy Tyner, John Perform bass lines in class each week with BEGINNING SAXOPHONE correct notes and good phrasing. Several Coltrane, and Woody Shaw? This course piano accompaniment provided by the An introduction to the saxophone utilizing compositions from the Great American will look into three different approaches instructor. Recommended for upright and simple ensemble arrangements to get a Songbook will be used as vehicles to for developing melodically compelling electric bassists interested in participating head start on fingerings, sound production study basic chord structures, scale ideas for use in a wide variety of harmonic in the Jazzschool’s ensemble program. and reading in a fun and musical way. All structures and non-diatonic neighboring situations. Beginning with the applications Prerequisites: intermediate technical saxophones are welcome! Prerequisites: tones. Emphasis is placed on utilization of of pentatonic scales, the course will facility and some ability to read music. none, for complete beginners. Instructor basic harmonic concepts, thereby turning progress to the simple technique of consultation is required. Please call exercises into melody. A step-by-step combining pairs of major triads (and the Tuesdays 8:15 – 9:45 pm 510.845.5373. conceptual approach is used and with six-note scales that result), and finally 7/9 – 8/13 (6 weeks) each new tune, a different concept is intervallic pairs, in each case examining Glenn Richman • $275 Mondays 6:30 – 8 pm their use in major, minor, and sus chords, 7/8 – 8/12 (6 weeks) added. a variety of dominant chords and ii-V-I Performance date: Monday 8/19 Tuesdays 6:30 – 8 pm progressions, and modal or chromatic Bill Aron • $275 7/9 – 8/13 (6 weeks) contexts. Finally we will explore methods Glenn Richman • $275 to integrate these new ideas into the student’s existing language in a natural and non-contrived way. Prerequisites: basic knowledge of jazz harmony. Tuesdays 8:15 – 9:45 pm 7/9 – 8/13 (5 weeks) no class 8/6 Ian Carey • $225 18 2019 Summer Quarter / July 8 – August 25 / c jc.edu 19 Improvisation and Composition Adult Vocal Classes

BEGINNING JAZZ SINGING COMPOSITION PERFORMANCE In this class, students new to jazz will learn to create a focused, relaxed, skilled, and NEW MODALITIES IN new jazz authentic performance. The teacher will JAZZ COMPOSITION introduce basic musicianship concepts as This course focuses on strategies to FOR THE LOVE OF SINGING well as warm-up exercises, understanding expand your approach to jazz composition This popular class has been part of the and singing in different grooves, finding and improvisation by utilizing techniques Jazzschool curriculum for years. It’s open suitable songs, ascertaining the correct from 21st Century classical composition. to all, from aspiring singers to former key, understanding the song form, Topics include the harmonic practices of vocalists who took a break to concentrate preparing a leadsheet, and creating a spectral music, interval-based techniques on education, career, or family, and now home practice plan. A pianist joins the of the post-war avant-garde, and cyclical, long to return to singing. You’ll work with class halfway through the quarter and linear, and tempo-based approaches to a professional accompanist and receive students will further develop the songs by rhythm. Simple compositional tools based individual instruction aimed at eliminating working on sub-text, interpretation, on these practices are defined and whatever hurdles keep you from singing communicating with the accompanist, implemented in short composition the songs you love with joy and confi- singing in different feels and setting up exercises. We also look at how these dence. The class will also touch on mic and counting off songs. This class includes topics can be reflected in structures used technique and basic performance skills, so an end-of-quarter performance. jason levis for improvisation. you’ll be well-prepared to perform a song or two for the end-of-quarter recital. Music Mondays 6:30 – 8 pm PART ONE examines approaches to is available, but you are encouraged to 7/15 – 8/12 (5 weeks) IMPROV ZOO ENSEMBLE: new melody and counterpoint using modal bring in your own favorites. Performance date: Monday 8/19 GAMES AND TOOLS FOR techniques from Olivier Messiaen, sym- Amanda Addleman • $275 CREATIVE GROWTH metrical systems from Bela Bartok, and Saturdays 11:45 am – 1:15 pm We all improvise in daily life and conversa- interval-based linear constructions from 7/13 – 8/17 (6 weeks) tion, and yet we often feel stuck or Henry Threadgill. Performance date: Saturday 8/24 INTERMEDIATE JAZZ SINGING inhibited in our musical expression. This Pamela Joy • $275 This class covers a range of jazz vocal PART TWO discusses harmony from the highly interactive class offers a host of fun, essentials including lyric interpretation, point of view of timbral transformation non-traditional improv games and tools style, rhythm, and feel. Students explore in Gerard Grisey, the symmetrical projec- pamela joy for instrumentalists and vocalists at all improvisation and harmony in depth while tions of Edgar Varese, and tri-chord levels. Activities will include body percus- also learning to create their own arrange- generation techniques from Henry sion warm-ups, playing with prompts and ments. The instructor will suggest Threadgill. chance elements, free improv, “soundtrack- repertoire and help students find interesting,” conducted improv, and lots of fun PART THREE explores cyclical rhythmic ing songs that are best suited for their surprises! You can expect to stretch layering in Steve Coleman, metric modula- voice and ability. Section 1 has a perfor- creatively and feel freer playing on your tion in Elliott Carter, and polyrhythm as mance at the end of the term. Section 2 own and with others. We’ll cultivate a tempo in Brian Ferneyhough. will not have a performance. Open to collective sense of “play” and safe risk- students who have taken the Beginning taking in our improv together. Note: this is Thursdays 6:30 – 8 pm Jazz Singing class or have equivalent jazz a non-performing ensemble, so the focus 7/1 1 – 8/15 (6 weeks) singing experience. will stay entirely on the present experi- Jason Levis • $275 Section 1: Wednesdays 6:30 – 8 pm ence. Open to all instrumentalists and 7/10 – 8/14 (6 weeks) vocalists. Materials provided by instructor. Performance date: Wednesday 8/21 Prerequisites: basic proficiency on your Azure McCall • $275 instrument. Section 2: Thursdays 6:30 – 8 pm Tuesdays 8:15 – 9:45 pm 7/1 1 – 8/15 (6 weeks) 7/9 – 7/30 (4 weeks) No performance Jennifer Jolly • $180 Cecilia Engelhart • $275

20 2019 Summer Quarter / July 8 – August 25 / c jc.edu 21 Adult Vocal Classes

WORKING WITH A new THE MUSIC OF STEVIE WONDER RHYTHM SECTION Learn to sing classic songs by Stevie Without experience, it's almost impossible Wonder such as Golden Lady, If It’s Magic, to learn how to direct a band, count off and Superstition as both soloists and tunes or create on-the-bandstand background singers in preparation for an arrangements. In this class, students end-of-quarter student performance. The learn the essentials of band-leading and instructor will share information on proper ensemble playing: listening, interaction vocal technique, stage presence, and and collaboration. Please bring 2 or 3 interpretation in addition to helping songs to work on during the 6-week students find the lyrics, appropriate keys session. The instructor will also suggest and sheet music. Students are welcome to repertoire. Prerequisites: Some perfor- bring their favorite Stevie Wonder songs mance experience. to sing via lyrics, sheet music, and tracks. A professional accompanist will play for Thursdays 8:15 – 9:45 pm the class. Open to all levels. 7/11 – 8/15 (6 weeks) Cecilia Engelhart • $275 Tuesdays 8:15 – 9:45 pm 7/9 – 8/13 (6 weeks) JAZZ DUOS — BASS AND VOICE Performance date: Tuesday 8/20 PERFORMANCE Clif Payne • $275 joshua tazman The dialogue between a vocalist and bassist can be an intimate, creative daria and exciting opportunity to stretch out latin and create a personal sound. We’ll listen to HOW TO TAKE A TUNE new examples of great duos for inspiration, such pop, soul, r&b SALSA SINGING FROM START TO FINISH: as Sheila Jordan and Harvie S., Nancy King Learn the style, rhythm and technique of and Glen Moore among others. This class FUNDAMENTALS OF CONTEMPORARY VOCAL STYLES salsa vocal music while learning to play provides a chance to dig deeper into the Latin hand-percussion instruments. THE BANDSTAND Learn proper vocal technique (vocal music, listen to and communicate with a Instructor provides instruments like guiro, This 6-week course will equip vocalists health, maintenance and developing a bassist. Singers will work on vocal tech- maracas and claves to use each week. As with the tools they need to get from start practice routine) and apply these ap- nique, finding the correct keys, stage the term progresses, join forces with the to finish on a tune, from the count-off to proaches to singing in any style from jazz presence, interpretation and developing Salsa 2 instrumental ensemble (see page the intro to the solo to the end. Starting to pop, rock, R&B, blues and beyond. Class a personal style. Students will perform 12) as you work to develop a performance with the leadsheets and working our way topics also include chart writing, stage weekly in class and learn the skills needed set. Representative songs include “Tres towards a complete performance, we will presence and microphone technique. This to communicate and interpret songs in a Días de Carnaval” (Celia Cruz), “La learn the essential lingo, hand signals, and class culminates in an end-of-quarter duo setting. Please bring a couple of tunes Rebelión” (Joe Arroyo) and “Brujería” musical techniques that it takes to run a performance. to work on. Songs will also be provided. tune down. In each class, we’ll be applying (El Gran Combo). Prerequisites: previous There will be a final performance, open to Mondays 8:15 – 9:45 pm these concepts hands-on, first with a singing experience or basic technique the public. 7/15 – 8/12 (5 weeks) piano, and then with a full jazz trio. By the training. All songs are in Spanish but Performance date: Monday 8/19 end of the course, we will be prepared to Saturdays 1:30 – 3 pm fluency is not required to participate. Amanda Addleman • $225 both hang at jam sessions and to develop 7/13 – 8/17 (6 weeks) Tuesdays 8:15 – 9:45 pm our own arrangements for concerts. Performance date: Saturday 8/24 7/9 – 8/13 (6 weeks) Daria • $275 Wednesdays 6:30 – 8:30 pm Performance date: Tuesday 8/20 7/10 – 7/24 (3 weeks) For auditions and more information Edgardo Cambón • $275 Joshua Tazman • $180 about our Vocal programs please contact [email protected] or call Laurie Antonioli, 510.845.5373 ext 21

22 2019 Summer Quarter / July 8 – August 25 / c jc.edu 23 Adult Vocal Classes Adult Vocal Classes

TECHNIQUE AND MUSICIANSHIP new MUSICIANSHIP FOR SINGERS This class covers the essential skills singers MINDFUL SINGING new need in order to be confident members of In this ear training class, students will work any ensemble, grounded in theoretical on refining intonation and vocal technique understanding and embodied knowledge. while developing their natural voice and Topics covered will include how to read musical ear through deep listening and through a chart, understand key signa- rigorous vocal exercises of scales, tures, and communicate feels and tempos, intervals, patterns, and phrases. In as well as an introduction to chords, addition, the class will explore scales and scales, and modes, sight-reading, and ellen robinson modes commonly used in jazz and modal beginning keyboard exercises. improvisation by using the principals of Tuesdays 8:15 – 9:45 pm classical Indian music. Prerequisites: None, sarah gettys 7/9 – 8/13 (6 weeks) open to all, no sight-reading required. Be ensemble singing Sarah Gettys • $275 prepared to sing! VOCAL TECHNIQUE ESSENTIALS JAZZ CHOIR new Mondays 6:30 – 8 pm Learn a variety of vocal exercises to clif payne If you love to harmonize, come sing in the 7/8 – 8/12 (6 weeks) condition and strengthen your voice. Range, Jazz Choir. Immerse yourself in lush 3-part Tatyana Dimitrova • $275 intonation, breath management, balancing jazz harmonies to classics such as Frim vocal registers, body alignment, vowel Fram Sauce, I’ve Never Been In Love formation, vocal health and dynamics are Before, Try a Little Tenderness and My all enhanced through technical exercises. Cherie Amour. Enjoy these tunes in a Applicable to all contemporary vocal styles. whole new way. Learn harmony parts to SUMMER VOCAL Prerequisites: None, open to all! a different song each week using written Tuesdays 6:30 – 8 pm choral arrangements. Improve your INTENSIVE 7/9 – 8/13 (6 weeks) harmonizing skills while having a great Laurie Antonioli / Theo Bleckmann Clif Payne • $275 time! Some previous choral experience is recommended. August 5 – 10, 2019 10 am – 4:30 pm Tuesdays 6:30 – 8 pm tatyana dimitrova 7/9 – 7/30 (4 weeks) For more information, see page 51 Ellen Robinson • $185

“Great environment for trying new things out — challenging but always supportive and fun.”

24 2019 Summer Quarter / July 8 – August 25 / c jc.edu 25 Adult Vocal Classes

VOCAL MENTOR PROGRAM

CENTER STAGE — A Mentored Program for Concert Development with Maye Cavallaro and Laurie Antonioli Learn how Work through the process of presenting a full-length, public, professional-level concert. Candidates work with their mentor over the course of three or four months, to take preparing their concert by choosing songs, working out arrangements, deciding on sequencing, and developing patter and stage presence. Lessons also include making a budget, hiring and rehearsing musicians and developing a marketing plan. Center Stage

Candidates will be most successful if they are advanced students who have some performing experience in classes and workshops or in a professional environment. like a pro A repertoire of 15 to 20 memorized songs in various styles is recommended. This is a unique opportunity for singers to design a performance that reflects a personalized from two of artistic vision. Concert dates are available throughout the year. This program also includes: the Bay Area’s • A professional sound technician and quality live recording of your performance • Staff at the door and on-site during the performance most respected • Guidance in marketing and promotion, including how to prepare publicity materials • Inclusion in California Jazz Conservatory advertising, marketing and publicity professional • A percentage of ticket sales

$850 vocalists/educators

Contact the Chair of the Vocal Program, Laurie Antonioli, for more information on how to apply for this program: laurie @ cjc.edu. in this

“ The Vocal Mentor Program with Maye Cavallaro gave me all the comprehensive tools I needed to launch myself as a regularly gigging professional development jazz singer. She covers everything: marketing, hiring and rehearsing the band, selecting material, developing arrangements, organizing course! set lists, wardrobe, stage presence and more — it is a very broad education. Having an experienced, supportive, friendly professional to guide me through the process was an invaluably helpful experience. It requires a lot of time, effort and dedication, but if you want your singing to make the quantum leap from performing at open mics and recitals to owning the stage for an entire show, there’s nothing better out there.”

26 27 Adult Vocal Courses AdultAdult Vocal Vocal Classes Classes

DISCOVERING VOCAL STYLE VOCAL WORKSHOPS with Sandy Cressman

JAZZ PIANO SKILLS FOR The various styles of jazz singing cover a NON-PIANISTS lot of territory, from Billie Holiday and Sarah Vaughan to Mark Murphy and Kurt with Anton Schwartz Elling to Gretchen Parlato and more. The The piano is an invaluable tool for any jazz improvised quality of jazz singing is not musician. This workshop focuses on things limited to scat singing — many singers a non-pianist (or non-jazz pianist) can do improvise with lyrics rather than scat to efficiently acquire skills that will be syllables, and this creates their unique useful in their music. The goal is not to style. In this class, we will learn and become a performing pianist but to be analyze several versions of the same jazz able to use the piano to improve your ear, standard as sung by Carmen McRae, Sarah help you learn songs, demonstrate ideas Vaughan and Cécile McLorin-Salvant to bandmates, and eventually compose masterful singers, classic and contempo- and arrange music. As a result, this rary. We will explore how musical and workshop is very different from “begin- stylistic devices that great jazz singers ning jazz piano.” Topics will include: roles employ to create their interpretations, of the left and right hand, simple chord faith winthrop students will gain new chops and ideas to voicings with a pathway to more complex- build their own unique styles. After ity, bass notes and bass lines, and the VOCAL MASTER CLASS comparing the various vocalists, students ranges of the piano most appropriate with Faith Winthrop will each choose a standard to work on for different purposes. Appropriate for interpreting, using some of the musical/ jazz players with a minimum of piano In her San Francisco studio, Bay Area style devices we have learned. knowledge or non-jazz pianists interested treasure Faith Winthrop has coached a in jazz. number of acclaimed artists, including Sunday, August 4, 1 – 4 pm sandy cressman Ben Vereen, Al Jarreau, Holly Near, Wesla $50 advance, $65 day of workshop Prerequisites: Some familiarity with the Whitfield, Paula West, Madeline Eastman piano, not necessarily jazz. Participants and Jacqui Naylor. She has had an ongoing should be able to at least find individual influence on the music scene through notes. performance and vocal coaching. She Sunday, July 21, 11 am – 4 pm remains a leading specialist in vocal (including 30 min break) technique and performance skills and $75 advance, $90 day of workshop delights in inspiring not only accomplished singers but also beginners and those whose passion for singing has been renewed. In “Whether a student or a jazz enthusiast, this master class, students will perform a the books, music, classes and performances song of their choice while Faith listens and critiques. Her suggestions will run the gamut are a gift to anyone living nearby or visiting from stage presence and vocal technique in the San Francisco Bay Area.” to interpretation and phrasing, depending on what each individual student needs. Students should bring two songs in the appropriate key with 3 copies of each song. Open to all! Maximum of 10 students.

Sunday, July 28, Noon – 3 pm $100 advance, $115 day of workshop

28 2019 Summer Quarter / July 8 – August 25 / c jc.edu 29 Adult Vocal Classes

THE ART OF RUBATO SINGING with Danielle Wertz This workshop dives deeper into the nuances of what it means to effectively deliver a lyric. Singing rubato means to sing without a strict tempo. Without this strict pulse, vocalists have the freedom to deliver a phrase very quickly, while also having the freedom to really pause with, or hang onto a specific word. This flexibility and freedom unlocks countless new possibilities for communicating an emotional message or story. But how do we work together with a pianist as a team so that we don’t get confused or move too quickly and end up in different places? This workshop will address both personal ways that vocalists can uniquely interpret a lyric in a rubato setting, and effective nonverbal cues and ways of communicating with an accompanist. By the end of this workshop, you will have a clear understanding of ways that the vocalist amanda addleman and pianist can support each other with clarity while still feeling grounded in the freedom that comes with singing rubato. MANAGING STAGE FRIGHT & Participants will have opportunities to PERFORMANCE ANXIETY: practice and workshop songs with an WORKSHOP FOR VOCALISTS sofia viola accompanist. Please bring two jazz With Amanda Addleman standards that feel meaningful, comfort- Tips and tools to help singers combat one of able and familiar. If possible, memorize the most difficult aspects of the performing the lyrics ahead of time. Open to all. arts: stage fright and performance anxiety. SONGWRITING with Sofia Viola Sunday, August 11, Noon – 3 pm Through this three hour workshop you will Argentinian songwriter-guitarist-singer $60 advance, $75 day of workshop receive methods for overcoming perfor- Sofia Viola's songs of love, protest, “The instructors provided mance anxiety as well as receiving specific, everyday life, and life in the city are rooted personalized coaching on how to manage in tangos, waltzes, cumbias, huaynos, lots of encouragement the symptoms of performance anxiety. boleros and much more. Join the artist and a safe environment Topics covered will be managing breath, for a special songwriting workshop on vocal placement, stage presence and banter inspiring your creative efforts and for the students to work as well as tips for leading a healthy perform- developing your own sound from a through challenges and ing life outside of the performance hall. combination of stylistic influences and Please be prepared to sing a song of your life in general. to take risks.” choosing and have charts to sing in your key.

Sunday, August 4, 1:30 – 3 pm Sunday, August 18, Noon – 3 pm $20 advance, $35 day of workshop $50 advance, $65 day of workshop

30 2019 Summer Quarter / July 8 – August 25 / c jc.edu 31 YoungYoung MusiciansJazzschool Musicians Program Program Young Musicians Program Young Musicians Program

The Jazzschool Young Musicians PLACEMENT AND INSTRUCTIONS FOR ONLINE Program is a year-round comprehen- VIDEO SUBMISSIONS sive music education and perfor- AUDITION REQUIREMENTS • Student should be clearly visible mance program designed for instru- SUMMER AND FALL 2019 and audible on the video. mental and vocal students between • Perform two skill-level appropriate AUDITION MATERIALS jazz standards. Please state the name the ages of 11 and 18. The Young Entering musicians are asked to prepare of each piece before you play it. Musicians Program has been at the two skill-level appropriate jazz standards, • Download one of the two improvisation center of the Jazzschool’s educational improvise over a 12-bar blues (optional) or tracks at cjc.edu/youth_auditions and artistic goals since 1997. Its rhythm changes (for high school students for the improvisation portion of your curriculum provides students with only) and sight-read. audition. Two choruses required. the opportunity to work with profes- • On the video, it is important that your sional jazz artists and educators, HOW TO SCHEDULE AN AUDITION playing is heard louder than anything strengthening performance skills, To schedule an audition, please apply else, including any accompanying tracks. online at: cjc.edu/youth_auditions expanding knowledge of jazz theory PIANO AND GUITAR PLAYERS and improvisation, and learning more After your application is received, you will Follow the above instructions with only about the foundations of jazz and be contacted within 1 – 2 weeks with an one change: after improvising, please related styles of music. Students audition time. Auditions are scheduled on demonstrate comping/voicings on a participate in after-school classes a first-come, first-served basis and will be blues or rhythm changes. and in master classes with nationally scheduled at the earliest available time. known jazz artists, as well as per- Students will be contacted with placement DRUMMERS information following the audition. Please demonstrate the following styles: forming in venues throughout the Swing, bossa nova, funk/rock San Francisco Bay Area and beyond. • AUDITION DATES • Demonstrate each style at various Ongoing tempos (i.e., slow, medium, fast) erik jekabson • On each style/tempo please “trade AUDITION BY VIDEO (OPTIONAL) fours” with yourself (4 bars of time, Students have the option of submitting 4 bars of solo, etc.) 2019 PROGRAM REQUIREMENTS an online video audition rather than • Play at least 16 bars of each example scheduling an in-person audition. Students Jazzschool Young Musicians Program submitting their audition online are still ensembles require a commitment of After you have completed your video, required to fill out an online application three quarters (fall, winter and spring). upload your audition to YouTube and title at cjc.edu/youth_ auditions. On the Students unable to commit to a full the video with your name (Example: John application form, please select video school year are still encouraged to Smith Jazzschool Audition). You should submission. Please note: online video audition; however, priority will be given to make this a private video (unless you don’t submissions are not available for the those who can remain in the program for mind it being available to the public). Studio Band or Advanced High School the entire school year. Students wishing Once the video is uploaded, send a link to to audition mid-year will be placed in the Jazz Workshops. erik @cjc.edu. You may also upload the program based on availability of open video to a private website and email a link. spots in ensembles and the student’s Please do not email audition videos as ability level. Please note that, while it is attachments. our mission to find a place for everyone in our Young Musicians Program, we may For more information about the Jazzschool Young Musicians Program placement process, not be able to accommodate all students please visit cjc.edu/youth_auditions or contact Program Director, who apply. Erik Jekabson, [email protected] or 510.845.5373.

32 2019 Summer Quarter / July 8 – August 25 / c jc.edu 33 Young Musicians Program

The California Jazz Conservatory The California Jazz Conservatory is pleased to announce: is pleased to announce:

TheThe Monterey Monterey JazzJazz FestivalFestival — — CaliforniaCalifornia JazzJazz ConservatoryConservatory PartnershipPartnership forfor ExcellenceExcellence inin Jazz Jazz Performance Performance andand Education Education

The CaliforniaThe California Jazz Jazz Conservatory Conservatory is ispleased joining forcesto announce with the a new “PartnershipMonterey Jazz for ExcellenceFestival to form in Jazz a long-term, Performance collaborative and Education” effort: withThe The Monterey Monterey Jazz Jazz Festival–California Festival! We’re Jazzjoining Conservatory forces to form Partnershipa new long-term, for Excellence collaborative in Jazz Performance program designed and Education to . This sharenew partnership our strengths, is designed in pursuit to utilize of our the mutual two organizations’ mission respectiveto support strengths and inpromote pursuit ofthe their art sharedform of mission jazz. to support and promote the jazz art form. The newly designated affiliation is a continuation of theThe successful new partnership three-year builds relationship, upon a successful established three-year in 2017, betweenMJF–CJC CJCrelationship, and MJF’s established Next Generation in 2017, in supportJazz Festival. of the Monterey Jazz Festival’s annual Next Generation Jazz Festival. In additionThe organizations to sharing will our share faculty faculty knowledge and facilities, and develop expertise, mutuallythe new beneficialpartnership marketing will share initiatives programs, and marketingprovide one anotherand withfacilities performance on a long-term opportunities basis, year-round. as well as providing year-round performance The California Jazz Conservatory warmly welcomes this opportunities for both organizations. new partnership and looks forward to working together with the Monterey Jazz Festival to forward the performance We welcome our new partners and we look forward to and education of America’s treasured art form, jazz. working together with The Monterey Jazz Festival — to the long-term benefit of jazz performance and jazz education!

34 35 Young Musicians Program Young Musicians Program

HIGH SCHOOL FUNK ENSEMBLE SUMMER YOUTH FALL QUARTER PREVIEW A high-energy ensemble focusing on the ENSEMBLES classic funk hits of James Brown, Sly and Here’s a look ahead at the great The Family Stone, Earth Wind & Fire, The This summer we are offering courses available for middle and Meters, Herbie Hancock, Tower of Power several jazz ensemble sections high school students starting this and Motown’s Funk Brothers. Vocalists fall. The 10-week Fall Quarter and horns welcome! Students learn music for middle school and high by ear. (Also open to advanced middle school students. These ensem- starts September 23, and ensemble school musicians.) bles meet twice a week for placement auditions are planned Coming Fall 2019! 3 weeks, followed by a perfor- for the last two weeks of August mance at the end of each 3-week (see page 33 for audition informa- HIGH SCHOOL JAZZ ENSEMBLE session. The first session begins tion). Course schedules and Intermediate-to advanced-level ensembles the week of July 8 and the pricing information will be pub- for high school musicians interested in lished in our Jazzschool fall second session begins the week gaining a greater understanding of jazz of July 29. Ensemble sections catalog and online at cjc.edu. theory and developing improvisation skills are available Monday, Tuesday, through the study and performance of challenging jazz repertoire. Wednesday and Thursday small performance Coming Fall 2019! afternoons. While we make ensembles every effort to accommodate ADVANCED HIGH SCHOOL scheduling requests, specific MIDDLE SCHOOL JAZZ ENSEMBLE JAZZ WORKSHOP placements are based on the Small groups designed for middle school These DownBeat award–winning ensembles musicians interested in learning how to results of an audition. are designed for the advanced-level high play jazz and improvise. These ensembles school student player who is competent cover a wide repertoire, from John Tuition • $280 per 3-week session in the bebop language and wishes to Coltrane and Sonny Rollins to Eddie explore the post-bop harmonic, melodic, Harris and James Brown! Students play rhythmic and formal innovations of artists new arrangements, focused on stylistic such as Coltrane, Shorter, Corea, Hancock accuracy and developing coherent solos and Brecker. Students record at Fantasy in a friendly, non-competitive environment. Studios and participate in various competitions and festivals. Coming Fall 2019!

Section 1 Michael Zilber

Section 2 Erik Jekabson

Coming Fall 2019!

“ It’s the only place that I know of that offers such high level jazz ensembles for middle and high school students. Last year, my school music program was not challenging enough for me. I loved being involved!”

36 2019 Summer Quarter / July 8 – August 25 / c jc.edu 37 Young Musicians Program Young Musicians Program Workshops

DRUM WORKSHOP: DEVELOPING VOCAL COURSES THE TOOLS TO PLAY WITH GOOD “FEEL” with Jeremy Steinkoler SOLO VOCAL PERFORMANCE FOR TEENS As drummers, we’ve all heard the word “feel” mentioned a lot when it comes to This fun course for teens focuses on playing various styles of music. But what is solo singing and all the things necessary feel? What constitutes a good musical feel? to have a great performance. Students What tools do you need to acquire in order receive coaching on vocal technique, stage to develop it, and how do you develop your presence and assistance in finding the instincts for playing with good feel? In this best song for their level and interests. All clinic we’ll dive into how the drummer genres welcome, from rock to classical, makes the music sound and feel good (like anything goes! Duke Ellington said, “If it sounds good and Coming Fall 2019! it feels good, it is good!”). We’ll break this big concept down into smaller technical dave eshelman and conceptual building blocks, covering touch, tone, dynamics, pocket, swing, and groove. We’ll examine which characteristics large performance of feel differ from style to style and which

ensembles concepts are similar, and dig some musical examples of drummers playing with great STUDIO BAND feel across a range of styles. This award-winning ensemble trains advanced high school musicians from Basic familiarity with jazz, rock, funk, and throughout the Bay Area. Students blues drumming styles recommended, develop technique, knowledge of jazz chico pinheiro but open to all levels. style and an ability to improvise through Sunday, July 14, 2 – 4 pm standard and contemporary big band BRAZILIAN TRIO WORKSHOP $30 advance, $45 day of workshop repertoire. This ensemble performs with Chico Pinheiro, frequently and participates in competitions Scott Thompson, and Rafael Barata throughout the United States. Jazzschool studio bands have played at Yoshi’s and During this workshop, the trio will play Savanna Jazz, as well as jazz festivals in and discuss several examples of Brazilian California, New York, Seattle, Idaho, the music citing different concepts for Vienne Jazz Festival in France and the approaching the songs. Some examples Montreux Jazz Festival, Switzerland. of material include playing in odd time Students also participate in clinics and signatures, communication within the workshops with leading jazz educators. group while playing (active listening), Full school year commitment is required. playing the same song with different Instrumentation: 5 saxes, 5 trumpets, 5 rhythmic feels (i.e. samba, partido alto, trombones, guitar, piano, bass and drums. maracatu, jazz waltz, etc.) This workshop (Students earn the equivalent of one will also involve a Q & A session with semester unit of credit per quarter.) the artists. Saturday, June 22, 11 am – 1 pm Dave Eshelman $40 advance, $55 day of workshop Coming Fall 2019!

38 2019 Summer Quarter / July 8 – August 25 / c jc.edu jeremy steinkoler 39 Workshops

JAZZ PIANO SKILLS FOR NON-PIANISTS with Anton Schwartz The piano is an invaluable tool for any jazz musician. This workshop focuses on things a non-pianist (or non-jazz pianist) can do to efficiently acquire skills that will be useful in their music. The goal is not to become a performing pianist but to be able to use the piano to improve your ear, help you learn songs, demonstrate ideas to bandmates, and eventually compose and arrange music. As a result, this workshop is very different from “beginning jazz piano.” Topics will include: roles of the left and right hand, simple chord voicings with a pathway to more complexity, bass notes and bass lines, and the ranges of the piano most appropriate for different purposes. Appropriate for jazz players with a almir côrtes, nando duarte, brian rice anton schwartz minimum of piano knowledge or non-jazz pianists interested in jazz.

BRAZILIAN CHORO: A COMPLETE COURSE WITH TRÊS BAÍAS EXPANDING OUR RHYTHMIC Prerequisites: Some familiarity with the with Brian Rice, Nando Duarte, Almir Côrtes FREEDOM with Anton Schwartz piano, not necessarily jazz. Participants should be able to at least find individual The members of Três Baías will take you through the basics of Brazilian choro music, How many of us feel trapped by our own notes. first on your individual instruments and then playing as a group. The three instru- rhythmic habits when we improvise? Our ment groups are pandeiro (Brazilian tambourine) taught by Brian Rice; nylon string rhythmic ideas fit neatly into the measures Sunday, July 21, 11 am – 4 pm guitar (6 or 7 strings) taught by Nando Duarte; and melody instruments of any kind like nicely stacked boxes. We know that (including 30 min break) taught by mandolinist, Almir Côrtes. we could be much freer and more exciting; $75 advance, $90 day of workshop Topics include: we just can’t seem to find a path to get • common conventions, there. Perhaps we’ve tried to introduce new ideas into our playing — say, poly- • ornamentation and approaches to playing choro melodies rhythms — but we find that everything • guitar rhythm and counterpoint falls apart when we try to apply them. In • pandeiro technique and rhythms. this workshop we’ll explore new elements In the first half of the workshop you will be working with your instrument group, we can use in our playing, and learn percussion, guitar and melody instrument with one of the Três Baías members. In the general principles that will let us assimilate second half of the workshop we will bring everyone together to play as an ensemble them in a gradual process whereby we can (a choro mini-festival!) and put into practice what we learned from our individual avoid the “brain meltdown” that comes group teachers. from introducing a new one all at once.

Prerequisites: Basic music reading skills recommended. Bring your instrument (optional). Sunday, July 14, 11 am – 1 pm Saturday, July 20, Noon – 2 pm $30 advance, $45 day of workshop $30 advance, $45 day of workshop

40 2019 Summer Quarter / July 8 – August 25 / c jc.edu 41 Workshops

FUSING MIDDLE EASTERN MUSICAL ELEMENTS WITH JAZZ with Alon Nechustan Among the many artists using and fusing world rhythms, Middle Eastern influences have become increasingly widespread as exemplified by the music of Avishai Cohen, Rabih Abou Khalil, Abdullah Ibrahim, Omar Faruk Tekbilek and others. Jazz pioneers from as early as the turn of the century have been influenced by this music and incorporated it into their work. Topics covered include unique Judeo-Arab jake shapiro and danielle wertz modes, the use of tetrachords as building blocks, unique rhythms and beat patterns, VOCAL MASTER CLASS THE PIANO/GUITAR AND VOICE DUO odd meters, Andalusian styles, Klezmer with Faith Winthrop with Jake Shapiro and Danielle Wertz and more. Open to all! For more information, see p. 28 So many times, you will find a pianist and Sunday, July 21, 11:30 am – 1:30 pm vocalist playing as a duo, but they are not Sunday, July 28, Noon – 3 pm $30 advance, $45 day of workshop playing together. This workshop focuses on $100 advance, $115 day of workshop what it means to play together in a duo alon nechustan setting. Playing in a duo is a very intimate greg byers DISCOVERING VOCAL STYLE thing that involves trust between the SINGING THROUGH YOUR with Sandy Cressman musicians. In this workshop, you will learn INSTRUMENT with Greg Byers about the traditional roles of the pianist- For more information, see p. 29 accompanist and vocalist in the duo setting, Join cellist/bassist/singer Greg Byers for as well as what it means to collaborate an exploration of the connection between Sunday, August 4, 1 – 4 pm together as a unit. An important part of your physical voice and your musical voice. $50 advance, $65 day of workshop playing as a duo is being able to lock into In this workshop, Greg will show why all each other’s time feel. This workshop will instrumentalists can benefit from singing THE ART OF RUBATO SINGING address how to lock in with each other, as practice and how understanding your well as about the different ways to play singing voice is crucial for developing with Danielle Wertz various styles ranging from blues to ballads, a distinct sound as an improviser. The For more information, see p. 31 from bebop to bossas, and from swing to workshop will begin by Greg leading a Sunday, August 11, Noon – 3 pm pop songs. This workshop is geared toward variety of vocal warm-ups, followed by a $60 advance, $75 day of workshop both pianists and guitarists. Participants will study of several well-known compositions have opportunities to practice and work- that will explore each individual’s unique shop songs with vocalist Danielle Wertz phrasing and articulation. From there, we MANAGING STAGE FRIGHT & while receiving coaching from both Wertz will use our voices to improvise and to PERFORMANCE ANXIETY: and Shapiro. Please bring two jazz stan- guide our instrumental improvisation, WORKSHOP FOR VOCALISTS dards that you are familiar with. If possible, challenging ourselves to avoid our favorite With Amanda Addleman pianists/guitarists should memorize the licks and instead generate musical content chord progressions and melodies ahead of from within. This is an interactive workshop For more information, see p. 31 time. Participants will leave this class having and is open to instrumentalists of any level. Sunday, August 18, Noon – 3 pm a better understanding of what it means to Saturday, July 20, 2:30 – 4:30 pm $50 advance. $65 day of workshop play together as a duo. $30 advance, $45 day of workshop Sunday, July 21, Noon – 3 pm $30 advance, $45 day of workshop 42 2019 Summer Quarter / July 8 – August 25 / c jc.edu 43 Workshops

sameer gupta, pawan benjamin, michael gam

RAGAS AND JAZZ JAZZ GUITAR WORKSHOP: with Pawan Benjamin (saxes, EXPLORING STANDARD TUNES shehnai, bansuri), Sameer Gupta with Jeff Massanari wendy dewitt (drumset, tabla), Michael Gam In this workshop for jazz guitarists, we’ll (bass, sarod) explore the many common harmonic SONGWRITING BOOGIE WOOGIE PIANO This workshop presents ideas for creating components of jazz standards by playing with Sofia Viola with Wendy DeWitt crossover dialogue between jazz and raga through numerous tunes while learning to styles. Questions on the process, learning recognize those key harmonic building Argentinian songwriter-guitarist-singer Learn intros, bass lines and licks used by the fundamentals of what the systems blocks in a variety of settings. The goal Sofia Viola’s songs of love, protest, the masters of boogie woogie. This of raga-based music and jazz have in is to increase your ability to learn a tune everyday life, and life in the city are rooted workshop will use material from Hadda common, and how one can approach on the fly and to develop familiarity with in tangos, waltzes, cumbias, huaynos, Brooks, Albert Ammons, Meade Lux Lewis finding their own path between the two frequently occurring chord progressions. boleros and much more. Join the artist and Pete Johnson to learn and increase will be encouraged throughout. After Prerequisites: Familiarity with the basics of for a special songwriting workshop on your boogie woogie skills. Tips on how to some basics are nailed down, selections jazz harmony. inspiring your creative efforts and strengthen the left hand, nail the rhythms from the raga repertoire as well as jazz developing your own sound from a and increase coordination will deepen standards will be selected and practiced Sunday, July 21, 2 – 4 pm combination of stylistic influences and your enjoyment of this musical form. together as a group, with a goal of $30 advance, $45 day of workshop life in general. Emphasis will be placed on developing collectively finding and developing the and building improvisational abilities to Sunday, August 4, 1:30 – 3 pm elements that highlight cross-cultural have maximum fun playing. Bringing a $20 advance, $35 day of workshop musical dialogue. video recorder (smart phone, GoPro, etc.) is recommended; at a minimum, please Intermediate to advanced experience on bring an audio recording device. your chosen instrument is recommended. Bring your instrument. Appropriate for intermediate players and above. Sunday, July 21, Noon – 2 pm $40 advance, $55 day of workshop Sunday, August 11, 11:30 am – 1:30 pm $30 advance, $45 day of workshop 44 2019 Summer Quarter / July 8 – August 25 / c jc.edu 45 summer programs Summer Camps and Intensives are Here! Register Now!

Summertime is here and CJC is sizzling with Camps and Intensives all summer long! We have programs available for adults and for young musicians who are currently in middle school and high school.

Summer’s a great time to jump-start your learning and make new musical friends! You’ll work closely with our faculty of artists/educators who share an exceptional ability to transform musicians into artists.

Summer will be a popular time here at CJC and space in our Camps and Intensives is limited — many of these opportunities will fill quickly, so marquis hill register now and check out program updates at cjc.edu! • Jazzschool Summer Youth Program REHARMONIZING JAZZ IMPROVISATIONAL TECHNIQUES, • Girls’ Jazz & Blues Camp STANDARDS USING MELODIC AND RHYTHMIC COMMUNICATION & • High School Jazz Intensive HARMONIC MINOR HARMONY THE ART OF SPACE • Adult Vocal Intensive with John Stowell with the Marquis Hill Blacktet • Guitar Intensive Master guitarist and improviser John Trumpeter Marquis Hill (2014 Thelonious Stowell leads a workshop on reharmoniza- Monk Trumpet Competition Winner) and • Piano Intensive tion techniques applied both to composi- his cutting edge “Blacktet” featuring rising tion and improvisation, integrating stars Greg Ward — alto saxophone, Joel concepts developed from an in-depth Ross — vibraphone, Jeremiah Hunt — bass exploration of melodic and harmonic and Jonathan Pinson — drums visit the minor harmony. Jazzschool for this special workshop.

Prerequisites: basic knowledge of jazz Sunday, August 11, 2 – 4 pm harmony. $30 advance, $45 day of workshop Sunday, August 11, 11 am – 1 pm $30 advance, $45 day of workshop

“More guitarists would play like John Stowell if they knew how.”

46 2019 Summer Quarter / July 8 – August 25 / c jc.edu 2019 Summer Quarter / July 8 – August 25 / c jc.edu 47 SUMMER YOUTH HIGH SCHOOL PROGRAM JAZZ INTENSIVE

Open to all instrumentalists Open to all rhythm section entering 7th – 10th grades instruments and horns

Two Five–Day Sessions: A Five-Day Intensive June 24 – 28 and for Advanced High July 29 – August 2 School Jazz Instrumentalists Monday – Friday led by Artistic Director 9:30 am – 3 pm Michael Zilber!

August 12 – 16 10 am – 4 pm

These fun-filled 5-day sessions provide aspiring young musicians with the Six to eight advanced high school musicians will be selected to work closely opportunity to develop ensemble skills in the areas of reading, improvisation, with top Bay Area jazz artists for a week of rehearsals, master classes and rhythm, jazz theory and more! private lessons. Concludes with a performance at the school, with each participant receiving a professional-quality recording of the concert! Each week culminates in an exciting Friday evening (6 pm) performance featuring all Jazzschool Young Musicians Program participants. A departure from the typical one-instructor-to-an-ensemble model, the student group meets daily with a complete ensemble of seasoned Jazz Ensemble • Funk Ensemble • Latin Ensemble professional musicians working to develop improvisation and arranging/ composition skills in an intensive rehearsal format. Visiting Clinicians • Jam Sessions • Jazz Theory Private Lessons • Guest Performers See cjc.edu / hsji for a daily schedule of events. Tuition • $795 Tuition • $495 per week or $900 for both weeks For more information and audition pre-screening, please contact the Jazzschool at 510.845.5373 or email: erik@ cjc.edu For additional information please contact Rob Ewing, Jazzschool Youth Program Director, at 510.845.5373 x 14 or email [email protected]. Dr. Michael Zilber is the director of the Jazzschool’s multiple DownBeat award–winning Advanced High School Jazz Workshop. Please see cjc.edu / jsyp for complete details.

48 49 SUMMER VOCAL INTENSIVE Open to intermediate to advanced singers (international students welcome)

A Six-Day Intensive Workshop with Theo Bleckmann and Laurie Antonioli August 5 – 10 10 am – 4:30 pm

GIRLS’ JAZZ & BLUES CAMP Learn to create, Open to all instrumentalists and vocalists entering 6th – 12th grades perform and A supportive musical environment where girls have fun and develop sing in a self-confidence, improvisational skills, technical and ensemble techniques. Directed by Jean Fineberg & Ellen Seeling, with an all-women faculty from distinctive and the Montclair Women’s Big Band. authentic style! August 5 – 9 Monday – Friday 9:30 am – 3 pm Limit: 10 students All-Camp Performance, Friday, August 9, 6 pm Contact [email protected] to audition Jazz Combo • Blues & Soul Band • Latin Ensemble Pop Vocal Group • Rhythm & Blues Choir • Jazz Big Band Tuition • $950 Percussion • “My Life” Spoken Word Poetry • Songwriting Theory & Improvisation • Vocal Skills • One Private Lesson (Refund Policy: Until July 1st, Lunchtime Open Jam $100 of the $950 tuition fee is non-refundable. No refunds are allowed after July 1st.) Tuition • $499 • Plus optional $75 for Mon.–Fri. lunch from the Jazzcaffè. Some financial aid available.

Information: cjc.edu/girlscamp CJC Artist-in-Residence and Grammy-nominated ECM recording artist Online registration: cjc.edu/girlsreg Theo Bleckmann joins CJC Vocal Chair Laurie Antonioli in a return of this Email: [email protected] popular annual, week-long workshop. As jazz singing today has expanded Phone: leave message at 510.758.2200 vastly in genres and styles, this unique intensive emphasizes the technical, creative and spiritual aspects of singing and performing and serves as a

catalyst for artistic growth no matter where your path leads. Bleckmann and Antonioli will assist the students in their personal and musical development, opening doors to new ideas and encouraging possibilities. The intensive culminates with a performance open to the public, Saturday, August 10, at 8 pm.

50 51 JAZZ GUITAR INTENSIVE JAZZ PIANO INTENSIVE August 12 – 1 6 June 17 – June 21

An all-day, weeklong intensive for aspiring professionals directed by internationally A 5-day intensive for the intermediate jazz pianist, focusing on acclaimed jazz guitarist and educator Mimi Fox. We are also pleased to welcome rhythm, comping, and soloing in both piano-bass-drums jazz piano guest instructor Jane Getter. Includes daily master classes, jam sessions and trio and solo piano formats. Emphasis on swing feel, voicings and a student concert at the school. First-call Bay Area greats Jeff Denson (bass) voice leading, and analysis of select masters’ solo transcriptions. and Deszon Claiborne (drums) will round out the rhythm section. Enrollment limited to eight pianists.

mimi fox and jane getter susan muscarella and omree gal-oz

DAILY SCHEDULE (Monday – Friday) Prerequisites — Pianists must have the ability to play: Major and minor 9 – 10:30 am . . . . Master class with featured guest artist Jane Getter scales and key signatures in both treble and bass clefs; major, minor, diminished and augmented triads; major, dominant and minor seventh 10:45 am – 12:45pm . Rhythm Section Workout with Deszon Claiborne (drums) chords. Audition required: email [email protected] for appointment. and Jeff Denson (bass) 12:50 – 1:30pm . . . Lunch Faculty — Susan Muscarella, Omree Gal-Oz Rhythm Section — Jeff Denson, Alan Hall 1:35 – 2:35pm . . . . Transcription Class with Mimi Fox 2:40 – 3:40 pm . . . Solo Guitar Mastery with Mimi Fox Tuition • $975

3:45 – 4:30pm . . . Rehearsal / Practice Time WEEKLY SCHEDULE Jazz Piano Technique ...... M, T, W, Th, F 10 am – 12 noon Student/Faculty Concert: Friday August 16, 8 pm Concert: Edward Simon Solo Piano . . T 1 – 1:50 pm Tuition • $850 Concert: Peter Horvath Trio . . . . . Th 1 – 1:50 pm Please call 510.845.5373 or email mfox@ cjc.edu for further information. Private Instruction ...... M, W, F 1 – 2 pm Maximum enrollment of 12 guitarists. Early registration is highly recommended! Transcription and Analysis . . . . . M, W, F 2 – 3 pm Trio rehearsal ...... M, T, W, Th, F 3 – 5 pm Trio Concert (Rendon Hall) . . . . . F 7:30 pm 52 2019 Summer Quarter / July 8 – August 25 / c jc.edu 53 Jazzschool Faculty Jazzschool Faculty Jazzschool Faculty

Amanda Addleman (voice) Ian Carey (trumpet, composition) Tatyana Dimitrova (voice) Dave Eshelman (trombone) B.M. Performance from Berklee College of Music. B.F.A., Jazz and Contemporary Music, The New Bachelor in Jazz Studies and Vocal Jazz Perfor- From 1984 to 2007, Dave Eshelman served as Student of Mili Bermejo-Greenspan, Ken Cervenka, School, New York. Performed with The Nathan mance at CJC in process. Jazz teachers are Laurie Director of Jazz Studies at California State Greg Hopkins, Maggie Scott, Lee Strawn & Tierney Clevenger Group, Satoko Fujii, Anthony Brown’s Antonioli, Theo Bleckmann, Dann Zinn, Jeff Denson, University, East Bay (formerly Cal State Hayward). Sutton. Professional musician with past residencies Asian-American Orchestra, Eddie Bert, Lisa Sandy Cressman, Maye Cavallaro, Raz Kennedy. Eshelman has performed extensively with many at The Palace Hotel, Savanna Jazz Club and more. Mezzacappa, Dayna Stephens, and Loren Schoen- Also studies with Indian vocalist Ranjana Gathak at jazz groups in the Bay Area and has worked as Vocal Program Director at Sir Francis Drake High berg. Recorded with Electric Squeezebox Orchestra, the Ali Akbar College of Music as well as workshops a featured soloist in the big bands of Ray Brown, School and private music educator and clinician. Sam Bevan Group, Bryan Bowman Quintet and Rob with Pandit Uday Bhawalkar, Pandit Nyrmalya Joe Henderson, Tito Puente and Gerald Wilson. Reich’s Circus Bella All-Star Band. Released four Alam Khan. Studied Sound and Music as Healing Various artists across the United States and Europe Laurie Antonioli (voice) albums on Kabocha Records with his group The Ian Arts program at CIIS in San Francisco. She currently — such as Joe Henderson, Don Ellis, Bill Watrous, Studied at Mt. Hood College and Cal State Long Carey Quintet+1 featuring his original compositions, studies Yoga of the Voice and Nada Yoga Teacher and Stan Kenton, the Swedish Radio Orchestra Beach. Chair, Vocal Program, California Jazz including the hourlong suite “Interview Music” Training Program under the mentorship of Silvia and the Airmen of Note — have performed his Conservatory. Professor and Director of Vocal Jazz (commissioned by San Francisco Friends of Nakkach at Vox Mundi Project. Tatyana also studies compositions and arrangements. Department, KUG U., Graz, Austria. Private studies Chamber Music). Pasquina Publishing Musical Artists with Rumen Sali Shopov on her native Bulgarian with Joe Henderson and Mark Murphy. Origin Award winner, 2014. Visiting clinician at Stanford repertoire of traditional songs. Rob Ewing (trombone) Records recording artist; Nabel Records recording University and Santa Rosa Junior College. Jazzschool Director. Jazzschool Summer Youth artist; performed and recorded with George Cables, www.iancareyjazz.com Smith Dobson (saxophone, drums) Program Director. B.A., Naropa U.; 2 years, Berklee Bobby McFerrin, Richie Beirach, Pony Poindexter, Studied jazz theory, improvisation and arranging at College of Music. Leader of Disappear Incompletely Joe Bonner; bandleader of the American Dreams Danny Caron (guitar) Cabrillo College with Ray Brown and Steve Wilson. — The Radiohead Project. Performances with STS9, Band; led international group Foreign Affair; lyricist B.A. in English and Music, Oberlin College and Studied at Stanford Jazz Workshop with Albert Marcus Shelby Orchestra, Vinny Golia, Latin Giants for Richie Beirach; co-creator of the Pauer— Conservatory; graduate of Howard Roberts “Tootie” Heath and Kenny Barron. Student of Jeff of Jazz, Ray Vega, Wayne Wallace, Graham Connah, Antonioli Songbook. www.laurieantonioli.com Program, Guitar Institute of Technology, Los Ballard, Eddie Marshall, Bobby Hutcherson and Joe Bagale, The Barr Brothers, Les Gwan Jupons, Angeles. Best known for being music director and Andrew Speight. Performance credits include Red John Schott’s Typical Orchestra, Jazz Mafia Bill Aron (saxophone) guitarist for the legendary pianist and vocalist Charles Rodney, Sheila Jordan, John Handy, Ben Goldberg Symphony, Oakland Active Orchestra, Half of M.M. in Performance, SF State; B.A. in Music UC Brown until his death in 2000. He has played and and Dayna Stephens. Half, Leslie Helpert, Rebecca Griffin, Naytronix. Berkeley. Professional musician and music educator recorded with Van Morrison, Bonnie Raitt, Dr. John, for 46 years; specializing in classical saxophone Clifton Chenier, Donald Fagan, Hadda Brooks, Red Rachel Efron (songwriting) Jean Fineberg (saxophone, flute) playing with the San Francisco Saxophone Quartet Callender, and many others. www.dannycaron.com B.A., Harvard U. (extensive coursework in both M.Ed. in Secondary Education, B.S. in Science; B.A. and San Francisco Symphony among others. writing and music). Studied jazz piano with faculty in Arts & Sciences, Pennsylvania State U. Founder, Maye Cavallaro (voice) at Berklee College of Music. Released three albums leader of Deuce and Saxophunk; Assistant Director, David Belove (bass) Advanced degree in Education, UC Santa Barbara; of original music and toured on both coasts. composer, arranger, Montclair Women’s Big Band; Studied at SF State and San Francisco B.A. in English Lit, UC Santa Barbara. Fellow NY Bandleader of Rachel Efron Ensemble, which has toured and recorded with Melba Liston, David Conservatory of Music. Recorded or performed Cabaret Symposium; faculty, Blue Bear School performed locally at such venues as Yoshi’s, The Bowie, Laura Nyro, Chic, Sister Sledge; consultant, with Pete Escovedo, John Santos and The Machete of Music; private coaching, 25 years; producer, 8 Plush Room, The Independent, Freight & Salvage San Francisco Arts Commission; NEA Jazz Fellow; Ensemble, Danilo Perez, Tito Puente, Francisco recordings; bandleader, recording artist; awarded and Cafe Du Nord. www.rachelefron.com recipient, ASCAP music composition awards, Aguabella, Rebeca Mauleon, Ray Obiedo, Marcos Best of the Year in Jazz by the San Francisco Meet The Composer grants; featured on Marian Silva, Joe Henderson, Max Roach, Blue Mitchell, Chronicle; visiting clinician, St. John’s U.; graphic Cecilia Engelhart (voice) McPartland’s Piano Jazz on NPR. Eddie Harris, Mark Levine, Pat Metheny, Larry artist, web designer. www.teachingjazz.com Education: San Francisco Conservatory, Mannes Coryell and Zakir Hussain. College of Music. Has performed/recorded with a Mimi Fox (guitar) Daria (voice) wide range of artists including: Ruben Blades, Theo International recording/performing artist and Edgardo Cambón (percussion, voice) Education: SFSU/New College of California, B.A. Bleckmann, Willie Colon, Santi Debriano, Paquito five-timeDownBeat Magazine International Critics Bandleader for 26 years of the renowned salsa Humanities/Early Childhood Music Ed.; A.A. Foreign D’Rivera, Rinde Eckert, Tania Libertad, Meredith Poll winner. Performed throughout Europe, Asia, band “Edgardo & Candela.” Toured throughout Languages; International performing/recording Monk, Oscar Castro Neves, Mario Rivera, Michael the Caribbean and Australia. Festivals include South America, Europe, and Africa since 1986. artist, songwriter/educator. Performs with The Hot Spiro, Keith Terry, Tamba Trio, Wayne Wallace etc. Montreal, Monterey, Guinness Cork, Perth and North LP (Latin Percussion Co.) endorser. Performed Licks and a capella trio, Dangerous Divas. Releases As composer and arranger with Tanaora, Free Wales International Jazz Guitar Festival. Adjunct or recorded with Jesús “Chucho” Valdés (Irakere), include “Strawberry Fields Forever — Songs by the Dive and Trio 3. Classical performance includes professor of Jazz Studies at NYU; guest clinician/ Eddie Palmieri, Carlos Santana, José Luis Beatles” on Origin/OA2 Records; “Feel the Rhythm” SF Symphony Chorus,“Conjunto Nuevo Mundo” artist in residence at Alaska Jazz Workshop, Britt “Changuito” Quintana, Orestes Vilató, Salsa on Jazz ‘m Up Records (own label). Performed and/ early music ensemble. Music Festival, Brubeck Institute, Yale U., CalArts, Romántica Stars Jerry Rivera and Eddie Santiago, or recorded with Dan Hicks, Bob Dorough, Dave Cornish College of the Arts, U. of Oregon, USC and Keith Terry and “Crosspulse,” Omar Sosa, Jeff Grisman, Elvis Costello, Diana Krall and others. Steve Erquiaga (guitar) Berklee College of Music; featured artist on Marian Narell, Andy Narell, Sovosó (formerly Bobby Taught at CJC, Piedmont Piano, College of Marin, National and international recording and perform- McPartland’s Piano Jazz on NPR; featured artist, McFerrin’s “Voicestra”) Mike Spiro, Karl Perazzo and Blue Bear School of American Music and other ing artist; performed at Montreux Jazz Festival, Kennedy Center. Performed with Joey De Rebeca Mauleón. www.musicandela.com locations. www.dariajazz.com Berlin Jazz Festival, North Sea Jazz Festival; Francesco, Charlie Byrd, Kenny Burrell, Branford performed with Bobby McFerrin, Joe Henderson, Marsalis, David Sanchez, Stanley Jordan and Les McCann, John Scofield, David Byrne, Turtle countless others. www.mimifoxguitar.com Island String Quartet, Paulo Bellinati, Andy Narell, and Paul McCandless; founder, leader, Trio Paradiso; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.

54 2019 Summer Quarter / July 8 – August 25 / c jc.edu 55 Jazzschool Faculty Jazzschool Faculty

Omree Gal-Oz (piano) Erik Jekabson (trumpet) Pamela Joy (voice) Jenson, Molly Holm, Deuce, Tuck & Patti, Karen B.M. Jazz Studies, B.A. Mathematics, University of M.A. in Composition, SF Conservatory of Music; Performed and recorded with some of the West Blixt; performed/recorded with John McLaughlin, Southern California. Pianist, composer, educator. B. Mus. in Trumpet, Oberlin Conservatory of Music. Coast’s finest jazz musicians including pianists Mike Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Studied with Russell Ferrante, Alan Pasqua and Toured with John Mayer, Illinois Jacquet and Greensill, Art Khu, Ken Muir, John Mackay, Dana Larry Coryell, Herbie Hancock, Stanley Jordan, Bob Mintzer. Has performed with Mark Turner, Eric Galactic, and has composed for film and dance Atherton and Dr. Dee Spencer; bass players John Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Harland, Marcus Printup and Kristin Chenoweth. projects. Released several albums as a leader. Wiitala, Ruth Davies, Daniel Fabricant, Ron Belcher, Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, Performs regularly with Electric Forager, Greg www.erikjekabson.com Paul Breslin and Peter Barshay; guitarist Mimi Fox; UC Berkeley Jazz Ensembles. Johnson, and others. Recorded 2 albums as a and drummer Vince Lateano. San Francisco Bay www.frankmartinproductions.com leader. Has given workshops at colleges and high Matt Jenson (keyboards) Area Cabaret Competition Finalist and was invited schools in the Bay Area and Los Angeles. M.M. Jazz Studies and Composition - New England to perform in the San Francisco Invitational Jeff Massanari (guitar) Conservatory of Music. Studied with Geri Allen, Ran Musicians’ Showcase Vocalist Series and The Four years performance and composition Raffi Garabedian (saxophone) Blake, Dave Holland and later, Eddie Palmieri. Jazzschool’s Emerging Artists Series. coursework at Berklee College of Music. Performed B.F.A. in Jazz Performance, The New School, NYC. Berklee College of Music piano faculty (19yrs) with Mark Inouye and the San Francisco Symphony, Performs with Brass Magic, Raffi Garabedian Blues teaching studio piano lessons, Hammond organ lab, Bob Karty (piano) Kenny Washington, Pamela Rose, Wally Schnalle, Band, and many others. Studies with Dann Zinn, Afro-Cuban piano lab and “The Music and Life of B.A., Biology, Reed College. Pianist, composer, Mary Wilson, Keely Smith, Kim Nalley and Denise Dayna Stephens, Mark Turner, Tony Malaby, Bob Marley” class/ensemble which he has also recording engineer, producer. Performs with Ray Perrier. Appeared at the Umbria Jazz Festival, Chris Cheek, Ben Street and Bill McHenry. presented at the Jazz School, Jazz Camp West and Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Beijing Conservatory, Davies Symphony Hall, Stern at Steel Grass Ranch on the island of Kaui’i. Conjunto Karabalí (led by Michael Spiro & Santana Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz Sarah Gettys (voice) Performed, recorded and worked with Johnny percussionist Karl Perazzo). Founding member of Festival, San Jose Jazz Festival and Theatre Works. B.A. in Music (Classical Piano, with honors) UC Adams, Ronnie Earl, Mighty Sam McClain, Julien Orquesta La Moderna Tradición, one of the few Taught at UC Berkeley, The Jazzschool, Redwood Santa Cruz, B.A. Literature (English Language, with Kasper, Cyril Lance, Rita Marley, Judy Mowatt, authentic charanga orchestras outside of Cuba, High, Bruce Forman’s Jazzmaster series, Jazz honors) UC Santa Cruz, Studied at the School for Chinna Smith, Tuff Lion and currently touring with with whom he performed for over 15 years and Camp West and Blue Bear School of Music. Music Vocations with Jason Smith and Lucas the Bay Area reggae-jazz-fusion band Groundation. recorded three albums in Europe, China, Japan, Mattson, took masterclasses with Phil Mattson. Received the prestigious Newbury Comics Mexico and Thailand. www.bobkarty.com Azure McCall (voice) Studied classical piano with Dr. Nicholas Roth. Fellowship award (associated with Berklee College Hawaii’s first lady of jazz is a multi-award winning Completed Robert Pace piano pedagogy courses. of Music) producing a full-on reggae educational Dave Le Febvre (saxophone) vocalist. She is heir to the vocal tradition of Sarah Studied jazz piano with Murray Low. Private platform entitled, ‘The Art of Reggae.” Co leader of Recipient of an NEA Grant for Jazz Education. Vaughan, Carmen McRae and Ella Fitzgerald. Her teaching experience for 15+ years; taught “Inside Reggae” a yearly experiential trip to Dave has recorded 6 albums as a bandleader and warmth and sense of humor fuel every interpreta- musicianship, keyboard & ear training at UC Santa Kingston, JA. As a composer/arranger, recording has performed at many Bay Area jazz festivals tion. After releasing her first CD,Body and Soul, she Cruz; keyboard at Drake University; ear training, artist and singer Matt leads his all original reggae and in Europe. Musicians who have recorded or was asked by the great bassist Ray Brown to be his musicianship, vocal ensemble classes at Southwest- band, “The Liquid Revolution” and co produced the performed in Dave’s group include Billy Childs, vocalist on tour. Of course, she accepted, beginning ern Community College. Currently studying with reggae-Afro Cuban fusion group “Rebel Tumbao.” John Patitucci, Clay Jenkins, Dave Crigger, Eddie an incredible jazz journey – school was in! Soon after, Laurie Antonioli and Theo Bleckmann. www.mattjenson.com www.liquidrevoloution.net Marshall, Seward McCain and many others. Dave’s Azure became the first singer to work with Freddie big band compositions have been performed by Hubbard’s band. Additional collaborators include Charlie Gurke (saxophone, composition) Jennifer Jolly (keyboards) Freddie Hubbard, Richie Cole, and the BBC Big Frank Morgan, Tennyson Stephens, Joe Lovano, M.M. in Jazz Studies, University of Oregon. B.M., B.A. UC Berkeley. Keyboardist, multi-instrumentalist Band. www.jazzwest.com/davelefebvre Geoffrey Keezer, Curtis Lundy, Dizzy Gillespie and Cal State East Bay. On faculty at Laney College (congas, flute, steel drums, melodica), vocalist, many more. In 2008, President Barack Obama asked and the Community Music Center of San Francisco. composer, bandleader, accompanist, educator. Jason Levis (composition, drum set) her to perform at his pre-election party. “That’s why Currently performs and records with the Electric Specialties include New Orleans, blues/R&B, Ph.D. and M.A. in Composition, UC Berkeley; B.A. in he won,” Azure says (smiling). Azure became the Squeezebox Orchestra, Edgardo Cambón, Carne Americana, North American roots styles, rock, Music, Naropa University. Award winning drummer ‘jazz diva’ for Celebrity and Royal Caribbean Cruises. Cruda, the Gurkestra, and more. Past performance Caribbean, sub-Saharan African, improv, and and composer Jason Levis has led and been a She has traveled to more than 50 countries. and recording credits include Omar Sosa, groove/jam music. Co-founder of The Jolly Gibsons collaborator in numerous jazz, improvised music, Aphrodesia, the Pacific Mambo Orchestra, Carne (eclectic North American roots/world groove dub reggae, and chamber ensembles in the San Susan Muscarella (piano) Cruda, Fito Reinoso, and others. Music director and music). Also currently performing with Kotoja, Francisco Bay Area and Berlin, Germany. These Ph.D. in Musicology, U, of Évora; BA in Music composer in residence, We Players theater company. Zulu Spear, Big B and His Snake Oil Saviors, The include Joseph’s Bones; duo B.; Junior Reggae; the Composition, UC Berkeley. Founder, the Jazzschool Bait & Switch Blues Band, The Party Monsters, Lost Shapes; the Berlin Boom Orchestra; the Nathan (1997 – present): Founder and President, California Peter Horvath (piano) Tom Rigney & Flambeau (sub), Phatlip, and Clevenger Group, and many more. Through these Jazz Conservatory, Inc. (2009-present); Director, M.A., Berklee College of Music; Bèla Bartôk accompanying churches and choruses. Previous avenues he has released over two-dozen records, UC Jazz Ensembles program 1984 – 89; composer, Conservatory of Music, Budapest, Hungary; performance credits include Hot Links, Phil Lesh, bridging a multitude of musical styles. He is an arranger and recording artist; performances at Vienna Conservatory of Music. Performed, toured, Michelle Jacques, James Moseley. Faculty instructor active performer on the drum set in both art and major clubs and festivals including Yoshi’s, recorded with Victor Bailey Group, Bobby at The Jazzschool, Cazadero Family Camp, popular music settings and has extensive national Keystone Korner, Great American Music Hall and Hutcherson, Joe Henderson, Lalah Hathaway, Jazzschool Women’s Jazz and Blues Camp, and international performance experience. the Lighthouse, and Monterey, Berkeley and Oakland Symphony, Bob Sheppard, Bennie after-school programs, and private studio. www.jasonlevismusic.com Concord Jazz Festivals; featured on Marian Maupin, Richie Cole, Ray Obiedo, Lenny White, www.sonicbids.com/band/jollygibsons/ McPartland’s Piano Jazz on NPR; recipient of a Randy Brecker, Marcus Miller, Bob Mintzer, Pee Frank Martin (piano, keyboards) 2008 “A Team” Award from the Jazz Journalists Wee Ellis, Arturo Sandoval, arranged and recorded Music Director for Narada Michael Walden, Patti Association; former member of the Board of for Aretha Franklin. www.peterhorvath.com Austin, Angela Bofill; Carnegie Hall appearances Directors, Chamber Music America; recipient of the with Sting, James Taylor, Elton John; Record Benjamin Ide Wheeler Award. www.cjc.edu producer/arranger for Al Jarreau, Turtle Island String Quartet, Joey DeFrancesco, Mimi Fox, Mary

56 2019 Summer Quarter / July 8 – August 25 / c jc.edu 57 Jazzschool Faculty Jazzschool Faculty

Clif Payne (voice) Glenn Richman (bass) Marcos Silva (piano) Joshua Tazman (voice) Evershift recording artist, international concert Mannes School of Music (1 yr); Berklee College of Adviser, CJC Brazilian Program. National and Studies at Oberlin College and Conservatory. vocalist, and vocal coach, studied with David Baker Music (2 yrs). Advisor, Jazzschool Bass Program; international performing and recording artist, Student of Laurie Antonioli, La Tanya Hall, Peter at Indiana University and Speech Level Singing vocal student of Buster Williams, George Mraz and Mike composer, arranger, producer, educator; performed Horvath, Michael Zilber. Winner, DownBeat Student technique with Chip Hand and Rober Burnley in LA. Longo; performed with Bobby Hutcherson, Jon with Leny Andrade, Emilio Santiago, Marcio Music Awards 2016 (Jazz Vocal Solo); 1st Place, PDX Recording projects include a collaboration with Hendricks, Dave Liebman, Chet Baker, Benny Green, Montarroyos, Jon Lucien, Claudio Roditi; Music Jazz Forward Competition (2016), 1st Place, former Kurt Elling music director Laurence Dakota Staton, Chris Connor, Tom Harrell, Eddie Director, arranger, keyboards for Flora Purim, Airto, NextGen Jazz Festival (2017), Semifinalist, US Hobgood. His debut solo album — Welcome To Henderson, John Hicks, Mike Clark, Jack Wilkins, Toninho Horta, Paquito D’Rivera, Bud Shank, Presidential Scholars in the Arts (2017). Performed My World — was released In 2016. Discovered by Billy Hart, Larry Willis, George Coleman and Mickey Ricardo Silveira, Dori Caymmi, Nana Caymmi, with Michael Feinstein, Sandy Cressman, Universal Bobby McFerrin, Clif has performed or recorded Roker; faculty, Brubeck Institute, UC Berkeley and Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Consciousness (Pharaoh Sanders, Ravi Coltrane), with Freda Payne, Bobby McFerrin, Bill Champlain, Chabot College. www.glennrichman.com Silva and Intersection. www.marcossilva.com SFJAZZ All-Stars Orchestra. Featured in San Lenny Williams, Evelyn “Champagne” King, Norman Francisco Chronicle in 2016 for premiere of modern Connors, Harvey Mason. Ellen Robinson (Voice) Nora Stanley (saxophone) jazz song cycle The Leaving Suite at the California Bachelor of Music degree (voice/piano) from Ithaca Nora Stanley holds a B.M. in Jazz Studies and a B.A. Jazz Conservatory. Daniel Lucca Parenti (bass) College, NY; graduate studies at Bank Street in Latin American Studies from Oberlin College and Performance experience with many jazz legends College of Education, SUNY-Stony Brook, Hofstra Conservatory where she was a student of Gary Jeanne Walpole (piano) including Rosemary Clooney, Michael Brecker, and University and C.W. Post; director of the Anything Bartz, Eddie Henderson, Billy Hart and Dan Wall. M.A. in Music Theory, San Francisco State U.; Lionel Hampton. Has released six full-length original Goes Chorus; private vocal coach; musical theater She has performed/recorded with luminaries such M.A. Studies in Piano Manhattan School of Music; albums under his own name. Has performed with director at Stagebridge; member of the National as Ambrose Akinmusire, Eddie Henderson, Dayna B.A., Smith College: studied with Dick Hindman many well-known Bay Area artists including Tommy Association of Teachers of Singing; Jefferson Stephens, Chucho Valdes and Jerry Gonzalez and 1990–2003; Pianist, Nordstrom. Igoe, Billy Johnson (Santana), Frank Martin (Narada Award Winner; performed and recorded with has had the opportunity to play and study abroad Michael Walden), Joel Smith (Walter Hawkins) and Harvey Wainapel, Paul Nagel, David Rokeach, Bud in Cuba, Spain and Brazil. Danielle Wertz (voice) Lorn Leber (Jerry Garcia Band). Spangler; bandleader of Don’t Wait Too Long, B.M. in Studio Music and Jazz Vocal Performance, Mercy! Ellen Robinson Live, On My Way To You. Jeremy Steinkoler (drums) University of Miami’s Frost School of Music. Student Anthony Paule (guitar) www.ellenrobinson.com B.A., University of Michigan. Studied with Norman of Dr. Kate Reid, John Hart, Craig Carothers and A.A. Degree from CCSF. Has toured and/or Grossman in NYC. Co-Founder and Co-Director of Dann Zinn. Former Jazz Vocal Director for youth recorded with Maria Muldaur, Boz Skaggs, Charlie Pamela Rose (voice) the award-winning BandWorks Rock ’n’ Roll Music jazz education program, Virginia Music Adventures. Musselwhite, Barbara Lynn, Earl King, Big Jay B.A., UC Berkeley. Jazz and blues vocalist, Program. Founder and Director of East Bay Drum Clinician at Duke Ellington School of the Arts and McNeely, Johnny Adams and many others. Released songwriter, recording artist. Recent performances School. Instructor on staff at Cazadero Performing Sonoma State University. 2015 Thelonious Monk three solo albums, Big Guitar, Hiding In Plain Sight include Monterey Jazz Festival, SFJAZZ, Grammy Arts Family Camp since 1996, Co-Director from International Jazz Vocals Competition Semi- and You Don’t Know Nothing — the latter with soul Foundation, Copenhagen Jazz Festival, Cal 1999-2001. Has taught workshops and clinics in Finalist, 2017 Ella Fitzgerald Competition runner-up, singer Frank Bey. Has performed at festivals Performances. Featured on NPR’s “All Things Dublin, Ireland, Ann Arbor, MI, and around Northern Inaugural Washington Women in Jazz Young Artist including Monterey Jazz, Umbria Jazz, San Francisco Considered.” Her latest project “Wild Women of CA. Plays currently with Mo’Fone, J. Steinkoler Competition Winner. Performed or recorded with Blues, Mississippi Valley Blues, Du Maurier Jazz, Song” (highlighting the work of women jazz and Quartet, Jenna & the Charmers, Bait & Switch Shelly Berg, Jamie Oehlers, Tal Cohen, Cyrille Waterfront Blues, S.F. Jazz, Atlanta Olympic Games. blues songwriters) has Rose touring, speaking Blues Band, and various jazz players and singer/ Aimee, Bruce Hornsby and Gretchen Parlato. www.anthonypaule.com and performing at universities and performing arts songwriters. Has also performed and recorded with www.daniellewertz.com centers nation-wide, and resulted in the publication Kirk Joseph, Dave Ellis, Clarence Bucaro, Jenna Clif Payne (voice) of a book on the topic. www.pamelarose.com Mammina, Guru Garage, Mamadou Sidibe, Chelle & Michael Zilber (saxophone) Evershift recording artist, international concert Friends, members of the Dirty Dozen Brass Band, Ph.D. in Composition, NYU; M.M. in Composition, vocalist, vocal coach. Payne’s debut solo album Ellen Seeling (trumpet) Rachel Efron, Valerie Orth, Hot Links, Kevin Beadles Tufts U.; B.Mus. in Composition, New England — “Welcome To My World” — was released in 2016. B.Mus. in Jazz Studies, Indiana U. Composer, Band, Phatlip, and others. Performed multiple times Conservatory. Currently co-leads a quartet with Discovered by Bobby McFerrin, Clif has performed arranger and recording artist. Founder and Director, at SFJAZZ & Monterey Jazz Festivals, Yoshi’s, guitar great John Stowell, and is completing a or recorded with Freda Payne, Bobby McFerrin, Bill Montclair Women’s Big Band; featured on Marian Freight & Salvage, etc. Recently published a book recording project in New York with Mike Clark, Champlain, Lenny Williams, Evelyn “Champagne” McPartland’s Piano Jazz on NPR and Grammy of essays on drumming called Finding the Groove James Genus and Rachel Z. Co-led a group with King, Norman Connors, and Harvey Mason. He has Foundation; performed with Thad Jones/Mel Lewis (Hudson Music). www.jsteinkoler.com drumming legend Steve Smith for 8 years. Has opened for Tony Bennett, Johnny Mathis and Dionne Big Band, Joe Cocker, Ray Barretto, Patti LaBelle; performed, toured or recorded with everyone Warwick and shared the stage with Dianne Reeves, consultant, San Francisco Arts Commission. Ben Stolorow (piano) from Dave Liebman to Dizzy Gillespie, including The Commodores, Lionel Richie, Lakeside and B.A. in Music, UC Berkeley; Recipient, Hertz Miroslav Vitous, Bob Berg, Eddie Henderson, Fareed Sheila E. www.clifpayne.org Adam Shulman (piano) Traveling Fellowship from Berkeley to study jazz Haque, Geoffrey Keezer, Donald Harrison, John B.A. in music at UC Santa Cruz. Studied with Smith piano privately and at the Manhattan School of Handy, Dave Douglas, Barry Finnerty, Bruce Barth, Ricardo Peixoto (guitar) Dobson IV. Played as a sideman with internationally Music; studied in New York with Fred Hersch, and Clarence Penn. www.michaelzilber.com Native of Rio de Janeiro, graduated from Berklee renowned artists Stefon Harris, Willie Jones III, Stanley Cowell, James Williams, and David College of Music, studied with Pat Metheny. Also Dayna Stevens, Miguel Zenon, Mark Murphy, Alan Hazeltine; performed with Akira Tana, Craig Handy, studied classical guitar with George Sakellariou at Harris, Luciana Souza, Paula West, Larry Coryell, Lorca Hart, Nasheet Waits, Danya Stephens, SF Conservatory. Adventure Music recording artist, Sean Jones, Grant Stewart, John Clayton, Bobby Andrew Speight, Vince Lateano, Bob Kenmotsu, composer, arranger, has performed nationally and Hutcherson, Scott Hamilton, Bria Skonberg and Noel Jewkes, Michael O’Neill, and vocalist Kenny internationally with Claudia Villela, Terra Sul, Carlos with the Glen Miller Orchestra. Arranger for Paula Washington; Also studied classical piano and the Oliveira, Airto, Flora Purim, Guinga, Dori Caymmi, West. Taubman Technique. www.benstolorow.com Bud Shank, Dom Um Romão, Claudio Roditi.

58 2019 Summer Quarter / July 8 – August 25 / c jc.edu 59 Board and Staff

BOARD DIRECTORS ADVISORY PROGRAM ADMINISTRATIVE OF DIRECTORS EMERITUS BOARD STAFF STAFF

Tyler Johnston, Chairman Denny Abrams Tom Carr Susan Muscarella Bill Aron Susan Brand, Vice Chairman Sherie Friedlander Carole Davis President and Dean of Instruction Business Manager Sy Grossman Paula Forney Karen Shepherd Richard A. Lyons, Secretary Rob Ewing Vaughan Johnson Benny Green Director of Financial Aid Neil Rudolph, Treasurer Director, Jazzschool Steve Baker James J. Keefe Charles Hamilton Jesse Rimler Registrar and Custodian of Records Gordon Brooks Bert Lubin Stacey Hoffman Laurie Antonioli Clifford Brown, Jr. Larry Marcus Mark Levine Chair, CJC Vocal Program Zach Mondlick Director of Recruitment Charles Charnas Ernie Mieger Jason Olaine Director, Jazzschool Vocal Program Elizabeth M. Williams James Ellis Amy Orton Patricia Phillips Erik Jekabson Director of Philanthropy Jerry Fiddler John Papini David Ring Director, Jazzschool Young Mary D’Orazi Erle Flad Walter Riley Jayne Sanchez Musicians Program Philanthropy Associate, Rita Hargrave Danny Scher Chuck Sher Jayn Pettingill Concert Booking Manager John Moss Michael Zaninovich Merrilee Trost Wayne Wallace Head Librarian Paul Fingerote Susan Muscarella Marketing and Public Relations Director Gregg Perloff Peter Williams Sheryl Lynn Thomas Jerry Povse Digital Marketing Manager Jim Reynolds Sheldon Alexander M. David Sherrill Marketing Assistant Eric Siegel Julie Birch Judy Walters Data Manager, Systems Administrator Kevin Whitman Kim Nucci IT Systems Administrator, Technical Projects Director SUMMER 2019 CATALOG PRODUCTION Max Hodes Susan Muscarella, Laurie Antonioli, Operations Director President and Vocal Program Cover Jesse Rimler, illustration Dean of Instruction Chair Omree Gal-Oz, Michael Golds, Design Poulson Gluck Design [email protected] [email protected] Sam Priven, Alex Shapiro-Romano, Editorial Rob Ewing, Paul Fingerote, Tom Weeks Elizabeth Williams Operations Staff Tatyana Dimitrova Photography Tatyana Dimitrova, House Manager Chris Hardy, Robin Kempster, Grason Littles, Lee Brenkman Hali McGrath, Mike Melnyk, Sound Technician Akida Thomas, and others Erik Jekabson, Robert Soper Rob Ewing, Director, Jazzschool Photo Piano Technician Director, Young Musicians Research Sheryl Lynn Thomas Poulson Gluck Design Jazzschool Program Printing FolgerGraphics Graphic Design [email protected] [email protected] Chris Hardy, Mike Melnyk Photographers 60 61 Instructions and Application

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

Shattuck Ave 580 BART University Avenue

2087& 2040 Channing 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 invest in a truly unique endeavor, the California Jazz Conservatory, the only independent, accredited music school in the country — celebrating, preserving and advancing America’s original art form.

This one-of-a-kind institution encompasses:

• California Jazz Conservatory (degree-granting program) • Jazzschool (non-degree-granting program) • Workshops, Classes, Camps and Intensives for adults and youth • Concerts showcasing students, faculty and visiting artists

Hundreds of individuals have partnered with us; we invite you to join them with your support. Please consider making a gift to The CJC Fund, the Conservatory’s annual fund, which supports the institution in the broadest terms. These flexible dollars, crucial to maintaining the ongoing excellence of the institution, address myriad priorities at any given time.

Your gift to The CJC Fund can be made by:

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

Your CJC Fund donation can be enhanced by structuring it as a recurring gift, made on an ongoing basis by credit card, and/or by having it be matched by your employer.

Thank you for supporting this unique endeavor — of celebrating, preserving and advancing America’s original art form, at the California Jazz Conservatory.

64 the NON-PROFIT ORGANIZATION azzschool U.S. POSTAGE CALIFORNIA JAZZ CONSERVATORY at PAID 2087 Addison Street OAKLAND, CA Berkeley CA 94704 PERMIT NO. 8494 510.845.5373 IN HOME BY JUNE 7 info @ cjc.edu

JAZZSCHOOL SUMMER QUARTER 2019 • Instrumental and Vocal Classes • Beginning, Intermediate, Advanced Levels • Youth and Adult Programs • Performance Ensembles • Workshops and Classes • Technique and Musicianship • Improvisation and Composition • Summer Camps and Intensives • 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