the azzschool at C ALIFORNI A J A Z Z CON SERVATORY

2019 FALL CATALOG

CLASSES • WORKSHOPS • CONCERTS “The Conservatory Contents is an exceptional institution, fostering the next generation of artists and educators, INTRODUCTION ADULT VOCAL CLASSES (continued) many on the cutting edge, CJC Concert Series 2 Composition 28 performing, composing, The California Jazz Conservatory 4 Young Singers 28 teaching and touring The Jazzschool at CJC 6 Vocal Mentor Program 29 throughout the world.” ADULT VOCAL WORKSHOPS Dr. Jeff Denson ADULT PERFORMANCE ENSEMBLES Dean of Instruction, CJC Vocal Workshops 30 Jazz 8 Funk 12 Brazilian 12 YOUNG MUSICIANS PROGRAM World 13 Introduction 35 Latin 13 Program Requirements 35 13 Placement and Audition Requirements 36 ADULT INSTRUMENTAL CLASSES Large Performance Ensembles 37 Small Performance Ensembles 40 Piano and Keyboards 14 Voice 41 Guitar 17 Bass 1 9 Drums and Percussion 20 WORKSHOPS Saxophone 20 For all instruments and voice 4 2

THEORY, IMPROVISATION AND INFORMATION COMPOSITION CLASSES Partnership Theory 21 for Excellence in 21 Performance and Education 38 Composition 21 Jazzschool Faculty 53 Board and Staff 60 ADULT VOCAL CLASSES Instructions and Technique and Musicianship 22 Application Form 62 Performance 23 Map 63 Ensemble Singing 26 Support 64 Blues 27 Latin 27

IMPORTANT INFORMATION Dr. Jeff Denson is just • Fall Performance Series takes place 12/9 – 12/15. one of the reasons the California Jazz Conservatory 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 succeeds in transforming In a Musician, Out an Artist! our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu! musicians into artists. cjc.edu / [email protected] / Contact us to learn more. 510.845.5373 1 CJC Concerts In addition to CJC’s Weekend Concert Series featuring an eclectic mix of music on Friday and Saturday nights, we're pleased to present our Way Out West (WOW) Concert Series on Tuesdays @ 7:30 pm (made possible by generous support from Larry Dodge and Carol Shen) and the return of Electric Squeezebox Orchestra (CJC Resident Artists) for their weekly Sunday evening concerts, September 8 through November 24 (except 9/29 and 11/17). Visit cjc.edu for information and tickets!

TERRIE ODABI KAI ECKHARDT MARY D'ORAZI MARCOS SILVA MIMI FOX

3 Tues 7:30pm Cory Wright $20/10 students 20 Sun 4:30pm SFEMS — Bolivian Baroque: $25

Sacred Song from the Selva OCTOBER 6 Fri 8pm SoVoSo $20 22 Tues 7:30pm Rob Sudduth $20/10 students 7 Sat 8pm Maria Volanté Blue Tango Project $20 25 Fri 8pm Dann Zinn Band $20 8 Sun 4:30pm Blues Vocal Jam Free* 26 Sat 8pm Mary D'Orazi with Marcos Silva $20 10 Tues 7:30pm Jon Hatamiya $20/10 students 27 Sun 4:30pm Vocal Jam Free*

13 Fri 8pm Jenna & The Charmers $20 SEPTEMBER 29 Tues 7:30pm Joel Behrman $20/10 students 14 Sat 8pm The Jolly Gibsons feat. Jean Fineberg $20

17 Tues 7:30pm Scott Looney $20/10 students 1 Fri 8pm Steve Erquiaga, Frank Martin & Dan Parenti Trio $20 20 Fri 8pm Clif Payne & VCB $25 2 Sat 8pm Mimi Fox: This Bird Still Flies— $25 w/special guest Eve Marie Shahoian An evening of solo artistry 21 Sat 8pm Emilio Solla & Bien Sur! $25 3 Sun 4:30pm Blues Vocal Jam Free* Made possible by a generous contribution by Denny Abrams 22 Sun 4:30pm Vocal Jam Free* 5 Tues 7:30pm Flounder $20/10 students 8 Fri 8pm Terrie Odabi $20 24 Tues 7:30pm Javier Santiago $20/10 students NOVEMBER 27 Fri 8pm Steven Bernstein's 9 Sat 8pm John Calloway Flute Odyssey $25 Millenial Territory Orchestra West $25 12 Tues 7:30pm Jack Gates $20/10 students 28 Sat 8pm Kate McGarry / Keith Ganz $20 w/special guest Julie Wolf 15 Fri 8pm Kai Eckhardt Resilience: Old Souls—New Music $20 29 Sun 4:30pm "Le Jazz Hot"— Quartet of the Hot Club of San Francisco $20 16 Sat 8pm The Joshua Breakstone Trio feat. Jeff Chambers and Jason Lewis $25

17 Sun 5:30pm Mike Zilber CD Release $30/$20 students 1 Tues 7:30pm Shoebox Collective $20/10 students 19 Tues 7:30pm Karl Evangelista $20/10 students 4 Fri 8pm Michael O’Neill Quintet feat. Tony Lindsay $20 22 Fri 8pm Jason Levis "Joseph's Bones" $20 5 Sat 8pm Kim Nucci $20/15 students

OCTOBER 23 Sat 8pm Laurie Antonioli & The American Dreams Band $20 6 Sun 4:30pm Blues Vocal Jam Free* 24 Sun 4:30pm Vocal Jam Free* 8 Tues 7:30pm Cornelius Boots $20/10 students 11 Fri 8pm Amy X Neuburg: "None of Me" — $20 2–9 various days & times Jazzschool Student Performances An evening of creative covers Free* DEC 12 Sat 8pm MCH Quartet $20 6–8 various days & times CJC Student Performances Free*

15 Tues 7:30pm Mandalaya $20/10 students 13–14 various days & times CJC Senior Projects $20

18 Fri 8pm "The Last Mambo" — a film by Rita Hargrave $18 22 Sun 4pm TRUMPETSUPERGROUP $28

19 Sat 8pm Clairdee $30 *Your generous donation ($10 suggested) will allow us to continue to offer these presentations. 3 The California Jazz Conservatory

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

The California Jazz Conservatory honors • The California Jazz Conservatory offers the contributions of past masters and the aspiring professional jazz musician promotes artistic innovation, bringing a 4-year Bachelor of Music degree in together a diverse music community to Jazz Studies, based on a 100% jazz develop practical skills, acquire artistic relevant curriculum, taught by a faculty sensibility, realize creative potential and of artists/educators who share a proven find artistic voice. track record of success in transforming musicians into artists. Founded as the Jazzschool in 1997 and accredited by the National Association of Our 2-year Associate of Arts degree in Schools of Music in 2009, the California Jazz Studies offers the same effective Jazz Conservatory offers two distinct faculty, teaching the same 100% jazz education programs: relevant courses — the first two years of our Bachelor program — with students The California Jazz Conservatory, a incurring half the cost and half the time postsecondary degree-granting program; commitment to earn their degree. and The Jazzschool at CJC, a non degree- granting community education program. • The Jazzschool at CJC offers a year-round program of Classes, Workshops, Camps and Intensives for musicians of all ages and abilities. The California Jazz Conservatory's CJC Concert Series offers a year-round array of performances by students and profes- sionals in our two intimate concert venues, Rendon Hall and Hardymon Hall.

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

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

4 5 The Jazzschool at CJC

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

6 7 6 6 Adult Performance Ensembles

Jazzschool Performance Ensembles JAZZ HARD-BOP ENSEMBLE POST-BOP ENSEMBLE delve into a wide range of styles Study and perform music melding Explore the repertoire of , Joe with R&B, gospel and the blues Henderson, , including jazz (standards, hard- BEGINNING JAZZ ENSEMBLE as developed by mid-century masters and other post-bop jazz composers from Put theory into practice by learning jazz bop, post-bop, fusion), , including , , the 1960s to the present. Strong emphasis standards, while developing improvisation Brazilian, blues, R&B and funk. , , placed on group communication and and ensemble skills. For all instruments. and others. interaction. Ensembles are available for Prerequisites: knowledge of basic jazz instrumentalists and vocalists theory and ability to keep time and  Thursdays 6:30 – 8 pm Wednesdays 6:30 – 8 pm 9/26 – 12/5 (10 weeks) 9/25 – 12/4 (10 weeks) at the beginning, intermediate read music. no class 1 1/28 no class 1 1/27 Performance date: Thursday 12/12 Performance date: Wednesday 12/11 Section 1: Mondays 6:30 – 8 pm and advanced levels. Groups Dave Lefebvre • $420 Steve Erquiaga • $420 Section 2: Mondays 8:15 – 9:45 pm range in size from the trio to the 9/23 – 12/2 (10 weeks) no class 1 1/25 MUSIC OF THE MASTERS big band. A placement audition Performance date: Monday 12/9 Dig into the music of John Coltrane, is required for all Performance Steve Erquiaga • $420 , Wayne Shorter and Ensembles. other jazz masters. Learn and internalize “You have a chance to study JAZZ STANDARDS FOR GIGS a variety of essential grooves while Develop the skills and repertoire needed and hang a bit with some of developing improvisation skills through for typical jazz gigs through the study the rehearsal of challenging repertoire. the best musicians around. and performance of common jazz styles Auditions including swing, bossa, jazz waltz and Section 1: Mondays 8:15 – 9:45 pm In addition, you get to do it Students are placed in ballads. Instructor covers repertoire, 9/23 – 12/2 (10 weeks) no class 1 1/25 in combo classes — and if Performance Ensembles by essential arranging concepts (intros, Performance date: Monday 12/9 endings, etc.), relevant jazz harmony and you want to play jazz in a audition and requirements Section 2: Thursdays 8:15 – 9:45 pm tips for soloing. Prerequisites: knowledge may include playing a selected 9/26 – 12/5 (10 weeks) no class 1 1/28 group, that's the way to of basic jazz theory and ability to keep Performance date: Thursday 12/12 and sight time and read music. Some previous learn how.” reading selected excerpts. ensemble experience. Glenn Richman • $420 Drummers are asked to play Section 1: Mondays 6:30 – 8 pm various grooves and solo; 9/23 – 12/2 (10 weeks) no class 1 1/25 are asked to play Performance date: Monday 12/9 bass lines. Section 2: Thursdays 6:30 – 8 pm For more information please 9/26 – 12/5 (10 weeks) no class 1 1/28 Performance date: Thursday 12/12 contact Jazzschool Director Rob Ewing at [email protected] or Section 3: Saturdays 10 – 11:30 am 510.845.5373 x14. Section 4: Saturdays 11:45 am – 1:15 pm Section 5: Saturdays 1:30 – 3 pm You can schedule an audition 9/28 – 12/7 (10 weeks) no class 1 1/30 online at cjc.edu. Performance date: Saturday 12/14 Glenn Richman • $420

8 2019 Fall Quarter / September 23 – December 14 / c jc.edu 9 Adult Performance Ensembles Adult Performance Ensembles

MILES DAVIS/WAYNE SHORTER ENSEMBLE Explore the music of Miles Davis and Wayne Shorter from the mid-60s through the 80s. Repertoire is drawn from far- reaching classic including , ESP, , Speak No Evil, , , Native Dancer and Jack Johnson. Strong emphasis placed on group communication and interaction.

Wednesdays 8:15 – 9:45 pm 9/25 – 12/4 (10 weeks) no class 1 1/27 Performance date: Wednesday 12/11 Steve Erquiaga • $420

MIKE STERN new ENSEMBLE HIP-HOP JAZZ ENSEMBLE ERQUIAGA ENSEMBLE 1 An ensemble focusing on the composi- From its roots in James Brown and 70s In this Ensemble 1 class, you'll work on tions of jazz/rock guitar icon . jazz/soul, through Boom Bap, G-Funk and improvising over chord changes, playing J Dilla, we will explore the sample-based with good time and learn the other skills Wednesdays 8:15 – 9:45 pm music of Hip-Hop in a live band setting. needed to perform with other musicians. 9/25 – 12/4 (10 weeks) no class 1 1/27 For all rhythm section instruments and Class emphasis is on standard mainstream Performance date: Wednesday 12/11 horns. styles: blues, standards, swing, bebop, peter horvath Frank Martin • $420 ballads and bossa novas. Wednesdays 6:30 – 8 pm 9/25 – 12/4 (10 weeks) no class 1 1/27 Tuesdays 4:30 – 6 pm PIANO TRIO Performance date: Wednesday 12/11 9/24 – 12/3 (10 weeks) no class 1 1/26 Develop performance skills in the piano, Steve Hogan • $420 Performance date: Tuesday 12/10 bass and drums trio format. Open to four Steve Erquiaga • $420 pianists and one drummer with accom­ ENSEMBLE: new paniment provided by a professional THE MUSIC OF ERQUIAGA ENSEMBLE 2 upright . AVANT GARDE (1980 – 2010) This Ensemble 2 class focuses on Performance date: Wednesday 12/11 Section 1: Mondays 5 – 6:30 pm The Free Jazz Ensemble is designed for improvising musicians interested in slightly faster tempos and more involved Section 2: Mondays 6:45 – 8:15 pm stretching the boundaries of harmony tunes! Unusual keys, uncommon tune Section 3: Mondays 8:30 – 10 pm and form. Each quarter the ensemble will structures and more complex melodies 9/23 – 12/2 (10 weeks) no class 1 1/25 focus on the music of a particular master are presented along with standard Performance date: Monday 12/9 musician. This fall, rather than focusing on repertoire. Includes the music of Miles Peter Horvath • $420 the work of a particular composer, we’ll be Davis, Jobim, Art Blakey, and focusing on a number of artists from the many 60s Blue Note–era artists. Original Section 4: Fridays 1:30 – 3 pm fertile Chicago Avant Garde scene of the compositions are encouraged! Section 5: Fridays 3:30 – 5 pm last several decades. Tuesdays 6:30 – 8 pm 9/27 – 12/6 (10 weeks) no class 1 1/29 9/24 – 12/3 (10 weeks) no class 1 1/26 Performance date: Friday 12/14 Thursdays 8:15 – 9:45 pm Performance date: Tuesday 12/10 Ben Stolorow • $420 9/26 – 12/5 (10 weeks) no class 1 1/28 P e r f o r m a n c e d a t e : T h u r s d ay 1 2 / 1 2 Steve Erquiaga • $420 Jason Levis • $420 10 steve erquiaga 2019 Fall Quarter / September 23 – December 14 / c jc.edu 11 Adult Performance Ensembles Adult Performance Ensembles

SALSA ENSEMBLE 2 WORLD Rehearse and perform more advanced WORLD GROOVE ENSEMBLE: salsa repertoire. Vocalists interested in participating­ should sign up for Salsa CARIBBEAN & LATIN AMERICAN Singing (see p. 27). The two courses work This ensemble features the irresistibly together throughout the term developing deep grooves of Jamaica, Trinidad, Haiti, a full set of high energy dance music for Colombia, Brazil, and other Latin Ameri- performance. can countries. Styles may include calypso/ soca, reggae, ska, cumbia, champeta, Tuesdays 8:15 – 9:45 pm reggaeton, and more. The ensemble may 9/24 – 12/3 (10 weeks) no class 1 1/26 play songs by classic artists such as Performance date: Tuesday 12/10 Calypso Rose, The Skatalites, , David Belove • $420 Kassav’, and Boukman Eksperyans, as well as tunes by newer artists such as Monsieur Periné, Cimafunk, Bixiga 70, Mon Laferte, BLUES and Lakou Mizik. Class members learn the cultural context and rhythmic structure of BLUES AND GROOVE ENSEMBLE BIG BAND each tune. Emphasis is on developing the The Blues and Groove Ensemble offers This 19-piece ensemble covers classic and BRAZILIAN groove, listening, and locking in with each students an opportunity to choose from contemporary repertoire for big band. BRAZILIAN ENSEMBLE other. Open to vocalists and all instrumen- a wide array of Blues and R&B, Funk, Original compositions by ensemble Gospel, and American Roots Study and perform the classic and talists. Prerequisites: intermediate members are also workshopped and styles to play with other musicians. We contemporary Brazilian jazz repertoire of instrumental proficiency; ability to read performed. Full 3-quarter commitment work on getting the best grooves for each Ivan Lins, Dori Caymmi, Toninho Horta, charts and notation. required (fall, winter, spring). player and improvising solos. One vocalist Antonio Carlos Jobim and instructor Thursdays 8:15 – 9:45 pm welcome per class. Prerequisites: Ability  Thursdays 8:15 – 10:15 pm Marcos Silva. Vocalists welcome! Audition 9/26 – 12/5 (10 weeks) no class 1 1/28 to play basic blues chords and scales in  9/26 – 12/5 (10 weeks) no class 1 1/28 with Marcos Silva is required. Performance date: Thursday 12/12 P e r f o r m a n c e d a t e : T h u r s d ay 1 2 / 1 2 all keys. Familiarity with blues and R&B is Section 1: Tuesdays 6:15 – 7:45 pm Jennifer Jolly • $420 Dave Lefebvre • $290 recommended. Section 2: Tuesdays 8:15 – 9:45 pm Section 1: Mondays 8:15 – 9:45 pm 9/24 – 12/3 (10 weeks) no class 1 1/26 9/23 – 12/2 (10 weeks) no class 1 1/25 Performance date: Tuesday 12/10 LATIN FUNK Performance date: Saturday 12/14 Section 3: Wednesdays 6 – 7:30 pm SALSA ENSEMBLE 1 FUNK ENSEMBLE Section 2: Saturdays 1:30 – 3 pm Section 4: Wednesdays 8:15 – 9:45 pm Rehearse and perform classic salsa From James Brown to Prince, Sly and the 9/28 – 12/7 (10 weeks) no class 11/28 9/25 – 12/4 (10 weeks) no class 1 1/27 repertoire including the music of Tito Family Stone to , Stevie Performance date: Saturday 12/14 Performance date: Wednesday 12/11 Puente, Cal Tjader, and Wonder to Earth, Wind & Fire, The Meters others. Prerequisites: familiarity with and Danny Caron and Anthony Paule • $420 to , we get down and Section 5: Thursdays 1 – 2:30 pm ability to play standard Afro-Caribbean funky in this ensemble. Explore what it 9/26 – 12/5 (10 weeks) no class 1 1/28 grooves as applied to your instrument. takes to master the complexity of the funk P e r f o r m a n c e d a t e : T h u r s d ay 1 2 / 1 2 genre by breaking down the rhythmic Tuesdays 6:30 – 8 pm Marcos Silva • $420 foundation of the groove, the feel, the 9/24 – 12/3 (10 weeks) no class 1 1/26 “pocket!” For all vocalists, horns and Performance date: Tuesday 12/10 rhythm section instruments. David Belove • $420 Thursdays 8:15 – 9:45 pm 9/26 – 12/5 (10 weeks) no class 1 1/28 P e r f o r m a n c e d a t e : T h u r s d ay 1 2 / 1 2 Daniel Lucca Parenti • $420

12 2019 Fall Quarter / September 23 – December 14 / c jc.edu 13 Adult Instrumental Classes

APPLIED KEYBOARD HARMONY NEO-SOUL HARMONY PIANO AND KEYBOARDS Learn tonic-dominant chord progressions, & IMPROVISATION FOR PIANO 1 basic turnarounds and chord inversions KEYBOARDISTS If you've ever wanted to play the piano, in all keys, while developing the ability Have you ever wondered how artists like now is your chance! Sign up for Piano 1 and to play standard tunes using those basic Erykah Badu, and Moon- you'll learn how to read music, play scales, progressions in leadsheet format. This child write their music? In this class you perform a piece, play duets, discover what course prepares students for 1 will learn how to hear, analyze, improvise musical forms and keys are all about, read and is recommended for pianists with a and write your very own neo-soul tunes. a jazz chart and play ensemble music with classical background interested in breaking Over the course of 10 weeks, you’ll take a fellow students. No experience necessary. free of the printed page and learning how deep dive into neo-soul/jazz harmony Required texts: Mastering Music level 1A, to interpret leadsheets as well as learning through a series of ear training exercises, Piano Town Lessons Level 1 (available at how to improvise. Handouts provided. harmonic analysis methods, improvisation the CJC Bookstore). Prerequisites: basic keyboard knowledge. and chord scale usage techniques and reharmonization & composition strategies, Saturdays 1:30 – 3 pm Saturdays 10 – 11:30 am ultimately composing your own neo-soul 9/28 – 12/7 (10 weeks) no class 1 1/30 9/28 – 12/7 (10 weeks) no class 1 1/30 chord progression or song by the end of Jeanne Walpole • $420 Jeanne Walpole • $420 the course. Prerequisites: basic keyboard proficiency and knowledge of chord JAZZ PIANO 1 PIANO 2 structures (triads and 7th chords). For those with some experience on keys, Learn to play jazz standards and the Piano 2 picks up wherever you left off in 12-bar blues through the study of jazz bob karty Wednesdays 8:15 – 9:45 pm your pianistic pursuits and challenges you chord voicings and improvisation tech- 9/25 – 12/4 (10 weeks) no class 1 1/27 to go farther with your musical endeavors. niques. Required text: Jamey Aebersold Marcelino Quiroz • $420 Ensemble and solo music is selected to Play-along Vol. 54, Maiden Voyage. Prereq- JAZZ PIANO 2 match your own level and ability on the uisites: basic piano proficiency, knowledge In this continuation of Jazz Piano 1, you'll GOSPEL PIANO piano. This class presents individual guidance of major scales, ability to play root-position learn more advanced chord voicings and All keyboardists benefit from a familiarity as well as group performance opportunities. major, minor, and dominant 7th chords in  soloing techniques, as well as standard with gospel piano. Whether you play jazz, Required text: Bastien Piano for Adults II all keys, ability to read treble and bass clefs. re-harmonization techniques. Required R&B/soul, funk, or country, your music is influenced by gospel music. In this class (available at the CJC Bookstore). Prerequi- Mondays 6:30 – 8 pm text: Jamey Aebersold Play-along Vol. 54, and you’ll learn a thumbnail history of gospel sites: Piano 1 or equivalent experience. 9/23 – 12/2 (10 weeks) no class 1 1/25 Maiden Voyage The Jazz Piano Book by Mark Levine. Prerequisites: ability to styles; the most common piano grooves, Saturdays 11:45 am – 1:15 pm Bob Karty • $420 play 3-note voicings with proper voice song forms, and chord progressions 9/28 – 12/7 (10 weeks) no class 1 1/30 leading through a jazz standard (e.g., “All and substitutions; some classic artists Jeanne Walpole • $420 The Things You Are” or similar), ability to and songs; and how gospel music is improvise on a 12-bar blues in time, playing integrated into secular piano styles. 3rds and 7ths in the left hand. An audition Materials provided by instructor. Prerequi- is required; please call 510-845-5373 to sites: familiarity with dominant and minor schedule your audition. 7th chords; ability to read treble and  bass clefs. Mondays 8:15 – 9:45 pm 9/23 – 12/2 (10 weeks) no class 1 1/25 Tuesdays 8:15 – 9:45 pm Bob Karty • $420 9/24 – 12/3 (10 weeks) no class 1 1/26 Jennifer Jolly • $420

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PIANIST’S SURVIVAL GUIDE new GUITAR 1 SERIES: RHYTHM SECTION SKILLS If you're a guitarist with a background Keyboardists often serve as members BEGINNING GUITAR in another style and you're interested in of the “rhythm section,” the subset of a If you're interested in learning how to exploring jazz and blues, this course is band that provides the pulse, groove, and play the guitar, this course will help you for you! You'll gain hands-on experience harmonic underpinnings for the group as develop a strong foundation in basic skills, playing jazz and blues while learning basic a whole. This role requires specific skills learning the essentials, including tuning jazz theory, scales, chords, arpeggios that solo pianists or “color/texture” key­ the guitar, finding notes and basic chords and songs. You'll have fun while learning boardists may not be familiar with. This on the fretboard, proper hand positions, and playing! Prerequisites: two years class will develop your ability to: pick out scale fingerings, simple songs, reading playing experience, knowledge of major and and hear the specific parts played by the music and more! Your instructor will pentatonic scales and all seventh chords. bass player, guitarist, and drummer; lock in answer questions about equipment Wednesdays 6:30 – 8 pm with the rest of the rhythm section; create selection (guitars, strings, amps, picks, 9/25 – 12/4 (10 weeks) no class 1 1/27 parts that complement the groove without etc.). Required text: Modern Guitar Method  Jeff Massanari • $420 cluttering things up; and grow your stylistic Vol. One, Mel Bay (available at the CJC vocabulary so that you feel more confident Bookstore). Prerequisites: None, for JAZZ GUITAR 2 and appropriate on any given tune. This complete beginners! Students must  In this fun and fast-paced continuation of class is suitable for players from beginning bring a guitar to class. the concepts explored in Jazz Guitar 1, through advanced and will draw on you'll dive into more complex harmonic repertoire from a wide variety of genres. Saturdays 10 – 11:30 am and melodic concepts, scales and chord Materials provided by instructor. 9/28 – 12/7 (10 weeks) no class 1 1/30 Danny Caron and Anthony Paule • $420 voicings, with lots of hands-on playing Prerequisites: Familiarity with triads  time and personal guidance for everyone. (and basic 7ths helpful); basic keyboard  This course is designed for guitarists with and reading proficiency. BLUES AND SWING GUITAR You'll learn chord voicings, fingerboard some jazz playing experience looking to Tuesdays 6:30 – 8 pm harmony and single string soloing take their playing to the next level. 9/24 – 12/3 (10 weeks) no class 1 1/26 techniques, with a variety of styles Prerequisites: Jazz Guitar 1 or equivalent; frank martin Jennifer Jolly • $420 covered, from the urban blues of B.B. King knowledge of scale and chord theory and and to the more complex some familiarity with jazz repertoire. swing of Charlie Christian and Aaron Wednesdays 8:15 – 9:45 pm “T-Bone” Walker. We'll dive into alternate 9/25 – 12/4 (10 weeks) no class 1 1/27 THREE TUNES — new chord cycles and rhythm playing, and we'll Jeff Massanari • $420 A JAZZ PIANO PRACTICUM work with transcriptions to develop strong melodic solos. Prerequisites: familiarity Through the process of learning and with the 12-bar blues progression, ability  improvising on three frequently played to play barre chords in several shapes, jazz tunes, ranging from simple to more basic knowledge of the minor pentatonic “ Danny Caron is an excel- complex, students will learn to apply scale, some picking facility. chord voicings (left hand and two- lent teacher, especially for handed) and improvisation techniques Saturdays 11:45 am – 1:15 pm beginners. His instruction (including modal and thematic soloing) 9/28 – 12/7 (10 weeks) no class 1 1/30 in a variety of settings, all while prioritizing Danny Caron and Anthony Paule • $420 is clear, concise and ener- rhythm and melody. For intermediate- getic. Most important, he level pianists. motivated us to excel and Wednesdays 6:30 – 8 pm 9/25 – 12/4 (10 weeks) no class 1 1/27 move forward every week. Frank Martin • $420 He is the BEST.”

16 2019 Fall Quarter / September 23 – December 14 / c jc.edu 17 Adult Instrumental Classes Adult Instrumental Classes

JAZZ GUITAR COMPING This hands-on course provides the BASS intermediate-to-advanced guitarist with the tools, concepts and techniques BEGINNING BASS essential to creative and effective Get off to a strong start learning your contemporary comping. instrument in this class covering the “bass”ics of what it takes to be an Topics include: effective bassist in any genre. From jazz • Comping over straight-ahead, bebop, to funk and everything in between, this modal, funk/fusion, ballads, contempo- class focuses on topics including right rary jazz, Brazilian and Afro-Cuban and left-hand technique, finger dexterity, styles of music neck memorization, the parts of the bass, • Creative chord voicings — looking at the theory, reading, transcription and much fingerboard and voicing chords in a more! Perfect for new musicians as well as more “pianistic” way; quartal harmony ricardo peixoto seasoned instrumentalists with the desire (clusters voiced in 4ths) in modal to learn more. Prerequisites: None. Open comping; the of dissonant to all! Students must bring a bass to class. intervals such as the minor 2nd; MUSIC THEORY AND FRETBOARD Thursdays 6:30 – 8 pm chords; tritone substitution; and KNOWLEDGE FOR GUITAR 9/26 – 12/5 (10 weeks) no class 1 1/28 upper-register chord voicings Learn the basics of music theory as applied Daniel Lucca Parenti • $420 • Rhythmic anticipation and syncopation: to guitar, developing familiarity with the the “right” places to put chords in order fretboard through chord, scale and to create “forward motion” comping in arpeggio practice. Topics include: dan parenti 3/4, 6/8 and odd meters. • Overview of chord and scale types Prerequisites: knowledge of chord/scale and where they are located theory; ability to play major, dominant  • Chord progressions commonly and minor seventh chords and the ii–V–I used in jazz and related styles progression in all keys. • Comping patterns Thursdays 8:15 – 9:45 pm • Scale and arpeggio practice 9/26 – 12/5 (10 weeks) no class 1 1/28 in various positions Steve Erquiaga • $420 Reading charts and standard • Learn a variety of essential techniques notation (treble clef) BRAZILIAN GUITAR for constructing strong jazz bass lines Learn Brazilian music styles including • Transcribing music from recordings on blues, jazz standards in 4/4 and 3/4, samba, baião, bossa nova and choro, and • Basics of melodic improvisation modal tunes, rhythm changes, and ballads. Techniques for soloing are also covered. the techniques used to play them. Primary For students with some playing experience, Perform bass lines in class each week with focus is on learning repertoire, while knowledge, and facility, who have never piano accompaniment provided by the developing the following areas: stylistically seriously practiced or studied music theory instructor. Recommended for upright and appropriate comping rhythms, chord or the guitar fretboard. Prerequisites: ability electric bassists interested in participating melody playing, creating solo arrange- to play basic barre chords and some in the Jazzschool’s ensemble program. ments, right hand finger-style techniques familiarity with playing scales. Students Prerequisites: intermediate technical and melodic soloing approaches. should bring a medium or heavy flat pick facility and some ability to read music. Prerequisites: ability to read music notation. and be ready to learn how to use it! Tuesdays 8:15 – 9:45 pm Sundays 2 – 3:30 pm Mondays 6:30 – 8 pm 9/24 – 12/3 (10 weeks) no class 1 1/26 9/29 – 12/8 (10 weeks) no class 12/1 9/23 – 12/2 (10 weeks) no class 1 1/25 Glenn Richman • $420 Ricardo Peixoto • $420 Danny Caron • $420

18 2019 Fall Quarter / September 23 – December 14 / c jc.edu 19 Adult Instrumental Classes Theory, Improvisation, Composition

INTERMEDIATE JAZZ SAXOPHONE THEORY IMPROVISATION BEGINNING SAXOPHONE INTRODUCTION TO MUSIC THEORY This course gives students a strong An introduction to the saxophone utilizing Learn the basic skills needed to begin any foundation in the Great American simple ensemble arrangements to get a serious study of music. Topics include: Songbook repertoire and the ability head start on fingerings, sound production music notation, time signatures, key to improvise over chord progressions with and reading in a fun and musical way. All signatures, rhythmic training, major scales, correct notes and good phrasing. Several saxophones are welcome! Prerequisites: intervals, transposition, chord structure, compositions from the Great American none, for complete beginners. Instructor harmonic progression, ear training and Songbook will be used as vehicles to study consultation is required. Please call an introduction to musical form and basic chord structures, scale structures 510.845.5373. composition. Required text: Practical and non-diatonic neighboring tones. Theory Complete by Sandy Feldstein Emphasis is placed on utilization of basic Mondays 6:30 – 8 pm (available at the CJC Bookstore). harmonic concepts, thereby turning 9/23 – 12/2 (9 weeks) no class 1 1/25 Prerequisites: None, open to all  exercises into melody. A step-by-step Performance date: Monday 12/9 instrumentalists and vocalists. conceptual approach is used, and with Bill Aron • $380 each new tune, a different concept is Thursdays 6:30 – 8 pm added. 9/26 – 12/5 (10 weeks) no class 1 1/28 Jason Levis • $420 Tuesdays 6:30 – 8 pm 9/24 – 12/3 (10 weeks) no class 1 1/26 Glenn Richman • $420 IMPROVISATION jon arkin BEGINNING JAZZ COMPOSITION IMPROVISATION A friendly, supportive atmosphere in SONGWRITING DRUMS AND PERCUSSION which to practice the basics of jazz Explore melody writing, basic harmony, improvisation. Start with the blues, then more adventurous chord progressions, progress to jazz standards, learning song form, rhyme schemes and the instrumental component of songwriting A hands-on course covering essential skills essential scales and chords, playing at — all with the purpose of honing your for jazz drum set playing. Topics covered every session, trading licks, learning unique voice as a composer. Most impor- include time and feel, jazz-specific patterns and building solos. Ideal for tantly, develop two or three songs technique, idiomatic grooves, brush classical players or anyone aspiring to to be workshopped and refined in real playing, limb independence exercises, jam or perform with a jazz ensemble. time over the course of the term. soloing, song forms, and the drummer's Prerequisites: Facility on an instrument role within a jazz group. In addition to and ability to play all major scales from Saturdays 1:30 – 3 pm written exercises, the class will study memory. 9/28 – 12/7 (10 weeks) no class 1 1/30 listening examples featuring many of the Thursdays 6:30 – 8 pm Rachel Efron • $420 pioneers of jazz drumming. Recommended 9/26 – 12/5 (10 weeks) no class 1 1/28 for all drummers interested in developing Rob Ewing • $420 and refining the skills necessary to become a well-rounded and in-demand jazz drummer. Prerequisites: functional drumset technique. Wednesdays 6:30 – 8 pm 9/25 – 12/4 (10 weeks) no class 1 1/27 Jon Arkin • $420

20 2019 Fall Quarter / September 23 – December 14 / c jc.edu 21 Adult Vocal Classes

VOCAL TECHNIQUE INTERMEDIATE JAZZ SINGING TECHNIQUE AND Learn a variety of vocal exercises to This class covers a range of jazz vocal MUSICIANSHIP condition, strengthen, and keep your voice essentials including lyric interpretation, healthy. We will learn about the founda- style, rhythm, and feel. Students explore APPLIED VOCAL TECHNIQUE: tions of breath support and body align- improvisation and harmony in depth while BUILDING REPERTOIRE ment, and use technical exercises to also learning to create their own arrange- This is a class for singers who want to improve range, intonation, breath manage- ments. The instructor will suggest expand their repertoire while incorporat- ment, and dynamic control. We will also repertoire and help students find interest- ing and applying best practices of vocal discuss how vowel formation, placement ing songs that are best suited for their technique. Each session will include and ability to change tone quality can voice and ability. There will be a student warm-ups and exercises designed to support your unique sound as a vocalist, performance at the end of the term. Open maximize vocal range, flexibility, support, and directly apply these techniques to to students who have taken the Beginning dynamic control, and intonation. Instructor songs you are working on. Applicable to Jazz Singing class or have approval from will provide charts (in appropriate keys) all contemporary vocal styles. Open to all! the Chair or the instructor. that students will select from a list of 100+ jazz standards and classics of rock/soul in Mondays 6:30 – 8 pm Thursdays 8:15 – 9:45 pm a variety of styles (swing, bossa, bebop, 9/23 – 12/2 (10 weeks) no class 1 1/25 9/26 – 12/5 (10 weeks) no class 1 1/28 funk, soul, Latin); students may also bring Danielle Wertz • $420 PERFORMANCE Performance date: Thursday 12/12 their own charts. This class is not a Cecilia Engelhart • $420 performance class but rather an opportu- MUSICIANSHIP FOR SINGERS jazz nity to workshop new material each week This class covers the essential skills singers FOR THE LOVE OF SINGING while expanding and improving vocal need in order to be confident members of BEGINNING JAZZ SINGING This popular class has been part of the technique. Prerequisites: Beginning Jazz any ensemble, grounded in theoretical In this class, students new to jazz will learn Jazzschool curriculum for years. It’s open Singing and/or Vocal Technique Essentials. understanding and embodied knowledge. to create a focused, relaxed, skilled and to all, from aspiring singers to former Topics covered will include how to read vocalists who took a break to concentrate Thursdays 4:45 – 6:15pm authentic performance. The teacher will through a chart, understand key signa- on education, career or family, and now 9/26 – 12/5 (10 weeks) no class 1 1/28 introduce basic musicianship concepts as tures, and communicate feels and tempos, long to return to singing. You’ll work with Andrea Claburn • $420 well as warm-up exercises, understanding as well as an introduction to chords, and singing in different grooves, finding a professional accompanist and receive scales, and modes, sight-reading, and suitable songs, ascertaining the correct key, individual instruction aimed at eliminating andrea claburn beginning keyboard exercises. understanding the song form, preparing a whatever hurdles keep you from singing the songs you love with joy and confi- Saturdays 1:30 – 3 pm leadsheet, and creating a home practice dence. The class will also touch on mic 9/28 – 12/7 (10 weeks) no class 1 1/30 plan. A pianist joins the class halfway technique and basic performance skills, so Tatyana Dimitrova • $420 through the quarter, and students will further develop the songs by working on sub-text, you’ll be well-prepared to perform a song interpretation, communicating with the or two for the end-of-quarter recital. Music accompanist, singing in different feels, and is available, but you are encouraged to setting up and counting off songs. This class bring in your own favorites. includes an end-of-quarter performance. Saturdays 10 – 11:30 am Section 1: Mondays 4:45 – 6:15pm 9/28 – 12/7 (10 weeks) no class 1 1/30 9/23 – 12/2 (10 weeks) no class 11/25 Performance date: Saturday 12/14 Performance date: Monday 12/9 Pamela Joy • $420 Danielle Wertz • $420

For auditions and more information Section 2: Thursdays 6:30 – 8pm about our Vocal programs please 9/26 – 12/5 (10 weeks) no class 11/28 contact [email protected] or call Performance date: Thursday 12/12 Laurie Antonioli, 510.845.5373 ext 21 Cecilia Engelhart • $420

22 2019 Fall Quarter / September 23 – December 14 / c jc.edu 23 Adult Vocal Classes Adult Vocal Classes

JAZZ VOCAL STYLES LYRIC WRITING — From and to A TOOLBOX FOR CREATIVITY Mark Murphy, , Gretchen Parlato This course will provide students with and beyond, the various styles of jazz techniques and ideas to guide and inspire singing cover a lot of territory. This class them to produce innovative, original lyrics. explores several versions of the same jazz Formatted as a writer’s workshop–style standard as sung by a range of masterful class, students will do in-class writing and singers, both classic and contemporary. share their work with their classmates. Through learning a tune sung by four Whether you've never written a lyric or master jazz vocalists, students will gain have some experience and are looking for new ideas to help develop their own inspiration and new ideas, it's guaranteed unique style of jazz singing. We will that you will finish the term with new explore, sing, and absorb the musical and material, translating into new repertoire! stylistic devices employed by these great Topics include: getting started; rhyming; artists; and then, students will work on collaborating; differentiating between their own songs, using what we have poetry and lyrics; examining both univer- learned to prepare a piece for the sal and personal stories; and looking at end-of-quarter student performance. and employing some fun angles, exercises, and perspectives. Students will write both Tuesdays 8:15 – 9:45 pm in class and outside of class with weekly 9/24 – 12/3 (10 weeks) no class 1 1/26 assignments. Please bring a notebook and Performance date: Tuesday 12/10 Sandy Cressman • $420 pens. Handwritten work is highly encour- pamela rose azure mccall aged! Open to all! CONTEMPORARY VOCAL STYLES California Jazz Conservatory Vocal Chair, Learn proper vocal technique (vocal Laurie Antonioli, has been writing and FOR STARTERS — health, maintenance and developing THE IMPROVISING JAZZ SINGER recording original lyrics for over 30 years. JAZZ & BLUES SINGING a practice routine) and apply these Structured in a classic master class From her first release in 1985, Soul Eyes,  You used to sing a lot but now find approaches to singing in any style from format, this supportive, fun and adven- to her 2019 release, The Constant Passage yourself relegated to the shower and jazz to pop, rock, R&B, blues and beyond. turous course allows students to bring of Time, her collaborations with iconic jazz in-the-car jam sessions. Or, you love to Class topics also include chart writing, in repertoire of their choice including composers have been a trademark in her sing, but feel terribly shy at the idea of stage presence and microphone tech- the Great American Songbook, bebop body of work. She values the craft of singing in public. Explore and release your nique. This class culminates in an end-of- and classic jazz tunes. The instructor will writing, as much as original ideas or inner rock, jazz or blues vocalist in this quarter performance. Prerequisites: none!  coach vocalists on phrasing, interpreta- personal stories, and has developed encouraging, safe environment. Designed Open to all. tion, feel, improvisation and working with numerous techniques to provoke creativity to give you confidence through group a pianist in preparation for the end-of- and new text. This has informed her own Mondays 8:15 – 9:45 pm singing, while also bolstering your quarter student performance. During the work and heightened her appreciation of 9/23 – 12/2 (10 weeks) no class 1 1/25 repertoire with individual song develop- first class, students will learn how to get the skillful lyrics written by others — from Performance date: Monday 12/9 ment. Accompanist provided. No previous their sheet music and songs together in the Great American Songbook to Joni Amanda Addleman • $420 experience required. the proper key and format. Open to all! Mitchell and beyond. Wednesdays 4:45 – 6:15 pm Wednesdays 8:15 – 9:45 pm Wednesdays 4:45 – 6:15 pm 9/25 – 12/4 (10 weeks) no class 1 1/27 9/25 – 12/4 (10 weeks) no class 1 1/27 9/25 – 12/4 (10 weeks) no class 1 1/27 Performance date: Wednesday 12/11 Performance date: Wednesday 12/11 Laurie Antonioli • $420 Pamela Rose • $420 Azure McCall • $420

24 2019 Fall Quarter / September 23 – December 14 / c jc.edu 25 Adult Vocal Classes Adult Vocal Classes

THE SINGER AND THE SONG blues BLUES VOCAL FUNSHOP 2 All the best jazz singers are master Great Blues Women musicians and storytellers. This class will BLUES VOCAL FUNSHOP 1 The fierce, audacious voice of women focus on developing our skills as singers, Feel like singing the blues? Blues is the in the blues is a fascinating and often artists and song interpreters. Topics most primal, powerful part of your soul and overlooked piece of cultural history. include choosing the right song; using singing it is more fun than you can possibly Instructor Pamela Rose (author of the various grooves, tempos and arrange- imagine. Students will explore the deep, show "Blues is a Woman") will take ments; learning and memorizing the authentic singing strategies of great blues the students on a journey from before melody and lyrics; phrasing; improvisation singers from Jimmy Reed to , Ma Rainey through during skills; communicating with an accompa- while developing blues repertoire. No prior this 10-week course. Each student will nist; and stage presence. In this supportive music experience necessary. Class is open master one or two songs while expanding and challenging environment, students to both the novice singer looking for a their vocal chops and band leading skills. work on these skills and create arrange- supportive, fun, instructive course, and to Classes are accompanied by Danny Caron ments for songs, culminating in an the more experienced singer looking to gain on guitar, with rhythm section added last end-of-quarter performance. Weeks 2 and insight and control on the bandstand. Each few weeks. Prerequisites: Must have taken 3 include a professional accompanist, class is taught by Bay Area's own jazz/blues Blues Funshop 1 at least once, and get while the last two classes and performance diva Pamela Rose and accompanied by permission from the instructor. include a full trio. For intermediate to legendary blues guitarist Danny Caron. Wednesdays 8:15 – 9:45 pm advanced singers. Prerequisites: consent 9/25 – 12/4 (10 weeks) no class 1 1/27 of instructor — telephone consultation Wednesdays 6:30 – 8 pm Performance date: Wednesday 12/11 required, 510.845.5373. 9/25 – 12/4 (10 weeks) no class 1 1/27 Performance date: Wednesday 12/11 Pamela Rose • $460 Sundays Noon – 3 pm Pamela Rose • $420 11/3, 10, 17, 24, 12/8 latin Maye Cavallaro • $495 ensemble singing BLUES AND GROOVE ENSEMBLE For description, dates and times, see p. 13 SALSA SINGING THE CONTEMPORARY Danny Caron and Anthony Paule • $420 Learn the style, rhythm and technique of JAZZ SINGER VOCAL JAZZ ENSEMBLE Sing full vocal ensemble arrangements salsa vocal music while learning to play Focus on an array of creative jazz singing recorded by , The Latin hand-percussion instruments. skills including developing a unique Hi-Lo’s, Lambert, Hendricks & Ross and Instructor provides instruments like guiro, repertoire, communicating with the rhythm more. Arrangements are hand-tailored to maracas and claves to use each week. As section and creating arrangements on the ability and interest of the ensemble the term progresses, join forces with the the spot. Study phrasing, improvisation, members. Repertoire includes a combina- Salsa 2 instrumental ensemble (see page interpretation and work on developing a tion of a cappella and accompanied tunes. 13) as you work to develop a performance personal sound. Rhythm section provided. Learn how to learn this music, with a little set. Representative songs include “Tres You are welcome to bring in songs of your bit of added history for fun. Rehearsal Días de Carnaval” (Celia Cruz), “La choice, write original lyrics or use material tools are made available (including sound Rebelión” (Joe Arroyo) and “Brujería” provided by the instructor. Prerequisites: files with individual parts as well as the (El Gran Combo). Prerequisites: previous consent of instructor — telephone consul- entire arrangement). Male and female singing experience or basic technique tation required. Call 510-845-5373 for more singers of all ages are welcome. Prerequi- training. All songs are in Spanish but information. sites: some vocal experience is necessary, fluency is not required to participate. Section 1 Tuesdays 6:30 – 8 pm either in choirs or solo voice. Tuesdays 8:15 – 9:45 pm Section 2 Tuesdays 8:15 – 9:45 pm Tuesdays 6:30 – 8 pm 9/24 – 12/3 (10 weeks) no class 1 1/26 9/24 – 12/3 (10 weeks) no class 1 1/26 9/24 – 12/3 (10 weeks) no class 1 1/26 Performance date: Tuesday 12/10 Performance date: Tuesday 12/10 Performance date: Tuesday 12/10 Edgardo Cambón • $420 Laurie Antonioli • $460 Angie Doctor • $420

26 2019 Fall Quarter / September 23 – December 14 / c jc.edu angie doctor 27 Adult Vocal Classes

CANTA BRASIL VOCAL MENTOR PROGRAM This class will explore various genres of Brazilian songs, including samba, bossa CENTER STAGE — A Mentored Program for Concert Development nova, choro, baião and frevo. We will learn with Maye Cavallaro and Laurie Antonioli a song from each genre and its historical and regional roots. We will study the Work through the process of presenting a full-length, public, professional-level unique rhythmic feels and phrasing of each concert. Candidates work with their mentor over the course of three or four months, genre, incorporating some simple percus- preparing their concert by choosing songs, working out arrangements, deciding on sion instruments while preparing songs for sequencing, and developing patter and stage presence. Lessons also include making the end-of-quarter student performance. a budget, hiring and rehearsing musicians and developing a marketing plan.

Tuesdays 6:30 – 8 pm Candidates will be most successful if they are advanced students who have some 9/24 – 12/3 (10 weeks) no class 1 1/26 performing experience in classes and workshops or in a professional environment. Performance date: Tuesday 12/10 A repertoire of 15 to 20 memorized songs in various styles is recommended. This is Sandy Cressman • $420 a unique opportunity for singers to design a performance that reflects a personalized artistic vision. Concert dates are available throughout the year. BRAZILIAN ENSEMBLE For description, dates and times, see p. 12 This program also includes: Marcos Silva • $420 • A professional sound technician and quality live recording of your performance WORLD GROOVE ENSEMBLE: • Staff at the door and on-site during the performance CARIBBEAN & LATIN AMERICAN maye cavallaro • Guidance in marketing and promotion, including how to prepare publicity materials For description, dates and times, see p. 13 • Inclusion in California Jazz Conservatory advertising, marketing and publicity Jennifer Jolly • $420 • A percentage of ticket sales funk YOUNG SINGERS $850 FUNK ENSEMBLE Contact the Chair of the Vocal Program, Laurie Antonioli, for more information on how to For description, dates and times, see p. 12 VOCAL PERFORMANCE FOR TEENS apply for this program: laurie @ cjc.edu. Daniel Lucca Parenti • $420 This class explores the essentials of vocal performance including healthy vocal technique, repertoire development, and COMPOSITION performance skills. Students are encour- “ The Vocal Mentor Program with Maye Cavallaro gave me all the aged to bring in songs ranging from pop tools I needed to launch myself as a regularly gigging professional SONGWRITING and R&B to jazz standards and bebop. Explore melody writing, basic harmony, The instructor can also recommend music jazz singer. She covers everything: marketing, hiring and rehearsing more adventurous chord progressions, based on interest and level. Students learn the band, selecting material, developing arrangements, organizing song form, rhyme schemes and the how to determine a comfortable key for a instrumental component of songwriting — song, count off a tune, and communicate set lists, wardrobe, stage presence and more — it is a very broad all with the purpose of honing your unique effectively with an accompanist. The class education. Having an experienced, supportive, friendly professional voice as a composer. Most importantly, culminates in a performance showcasing develop two or three songs material developed over the 10-week to guide me through the process was an invaluably helpful experi- to be workshopped and refined in real time session. All levels are welcome, for ages ence. It requires a lot of time, effort and dedication, but if you want over the course of the term. 12 – 18. your singing to make the quantum leap from performing at open Saturdays 1:30 – 3 pm Wednesdays 4:45 – 6:15 pm mics and recitals to owning the stage for an entire show, there’s 9/28 – 12/7 (10 weeks) no class 1 1/30 9/25 – 12/4 (10 weeks) no class 1 1/27 Rachel Efron • $420 Performance date: Wednesday 12/11 nothing better out there.” Danielle Wertz • $420 28 29 Adult Vocal Courses Adult Vocal ClassesWorkshops Adult Vocal Workshops

kate mcgarry and keith ganz VOCAL WORKSHOPS

CREATING A NEW PATH THROUGH AMERICAN SONGBOOK: GET DOWN WITH THE CATS CRASH COURSE IN SOUND THE GREAT AMERICAN SONGBOOK COMPOSER WORKSHOP with Faye Carol SYSTEMS FOR PERFORMING with Kate McGarry and Keith Ganz SERIES — Unsung Gems Master vocalist and founder of School INSTRUMENTALISTS AND VOCALISTS with Maye Cavallaro with Lee Brenkman Through 15 years of performing and of the Getdown, The Dynamic Miss Faye teaching together, 2-time Grammy The Great American Songbook is a Carol presents Get Down with the Cats! A workshop in survival skills to help nominees Kate McGarry and Keith Ganz collection of tunes written from 1930–1950 Learn songs written and performed by instrumentalists and singers get the best have created a set of engaging exercises and is a vital part of the repertoire of jazz The Cats: prominent folks in this music results from their sound equipment — from that make it easier for singers to hear musicians. There are also many songs we call jazz, like Thelonious Monk, Benny a single microphone to a complete sound and navigate chord changes, develop written after 1950 that qualify as stan- Golson, Miles Davis, Abbey Lincoln, Dizzy system — and how to successfully interact harmonic and rhythmic independence, dards. In this workshop we’ll explore the Gillespie and more. Study recordings of with sound technicians at venues with and become fluent in the language of jazz music of several different composers and vocal interpretations of The Cats' tunes sound systems. Learn the tricks of the trade as used by , Sarah Vaughan, lyricists, and songs written after 1950. and bring a song of your choice to from Lee Brenkman, one of the Bay Area’s and Carmen McRae. You’ll come away with We’ll also listen to how some jazz greats develop. Learn the basics of scat (word- preeminent sound technicians, to get the new tools and a road map for developing have interpreted these songs and get less vocal improvisation) and listen to best sound on your gig. Topics covered fluency and artistry as a jazz singer. ideas for our own arrangements. Students Miss Faye's favorite recorded examples. include the different types of microphones will be provided with 10 lead sheets for Enjoy accompaniment from Miss Faye's and their functions, evaluating equipment Sundays, September 15 and 22, songs including practice-backing tracks. pianist, Joe Warner. for purchase, and how to set up a small 11 am – 4 pm In the final week we’ll work with an sound system. Brenkman also addresses $200 advance, $215 day of workshop Sunday, September 29, Noon – 4pm accompanist and sing these songs trying $100 advance, $115 day of workshop how best to communicate with sound out our own arrangement ideas. Expect technicians and making efficient use of BOOKING YOUR OWN TOUR lots of singing for all 3 weeks! sound check time. This workshop is attendee-driven — any and all questions with Blue Tango Project Sundays, 9/29, 10/6, 10/13, Noon – 3 pm welcome! For full description, see p. 42 $300 advance, $315 day of workshop Sunday, September 8, Noon – 3 pm Sunday, October 13, 11 am – 1 pm $50 advance, $65 day of workshop $30 advance, $45 day of workshop

30 2019 Fall Quarter / September 23 – December 14 / c jc.edu 31 Adult Vocal Workshops

INSIDE THE LYRICS with Ed Reed Ed Reed has been singing since he was a child. Now, at the age of 90, he has had a lot of time to think about music and talk about it with others! He released his first recording at the age of 78 and continues to work on new songs and new projects. In this workshop, students will sing a song of their choice with a professional accompanist. Mr. Reed will guide them through the art of interpreting a lyric. Topics include pronunciation, breathing and phrasing as suggested by the nature of the lyric, as well as methods of commu- nicating the story to highlight nuance and irony. Singers of all levels are lilan kane welcome. Sunday, October 6, Noon – 3pm ed reed THE BUSINESS OF GOOD Open to all instrumentalists and vocalists. $75 advance, $90 day of workshop PROMOTION AND BOOKING GIGS Sunday, October, 20 and 27, Noon – 3pm with Lilan Kane $100 for both weeks advance purchase, THE ART OF THE COVER SONG A two-part workshop covering the $115 day of workshop with Amy Dabalos essentials of creating a press kit, Lilan Kane is a professional vocalist who amy dabalos Cover songs are everywhere. Audiences booking successful gigs and more. and listeners alike are drawn to music they holds a degree in Music Business and recognize, especially when the artist puts Part 1: Creating a Press Kit Management from . She worked and interned at Atlantic an exciting spin on it. Bridging the gap • What is a press kit and do you even between jazz, soul, R&B, and contempo- Records, , Revive need one? rary vocal styles, Bay Area songstress Music Group, Upper 11 Records & Manage- • How do I write a great bio? Amy D. has developed a formula that ment, Wide Hive Records, and ran her own • What is networking and why is it works. A successful cover honors the management company LK Management original song while bringing something essential? out of NYC. In 2016, she created and new. In this masterclass, students will • How do you brand yourself — launched one of the top private event learn the difference between imperson- what is branding? bands in the San Francisco Bay Area, Hella ation and interpretation; identifying tools • How important is social media? Fitzgerald, employing over 100 musicians that make a song one’s own. As a class, and booking events and musicians from we will listen to a song and reimagine it Part 2: How to Book a Successful Gig SF to LA. As a recording and performing in various styles with live accompaniment. artist, she has released three albums, • Approaching the venue Students should also bring a song and sold-out local venues Yoshi’s and SFJAZZ • Sealing the deal lead sheet of their choice to work on and is preparing for an East Coast tour this • Creating your setlist and leading individually. Open to all! fall. She is passionate about educating an effective rehearsal musicians and artists on how to under- Sunday, November 3, Noon – 3 pm • Getting people to show up stand the music business in order to $50 advance, $65 day of workshop • How to use that momentum to build further their careers. your fan base and online presence

33 JazzschoolYoung Musicians Program Young MusiciansYoung Program Musicians Program

The Jazzschool Young Musicians Program is a year-round comprehensive music education and performance program designed for instrumental and vocal students between the ages of 11 and 18. The Young Musicians Program has been at the center of the Jazzschool’s educational and artistic goals since 1997. Its curriculum provides students with the opportunity to work with professional jazz artists danielle wertz and educators, strengthening performance skills, expanding knowledge of jazz theory and ALEXANDER TECHNIQUE EVERYTHING YOU NEED TO KNOW improvisation, and learning more FOR MUSICIANS ABOUT MAKING A LEAD SHEET about the foundations of jazz with Laura Klein with Danielle Wertz For full description, see p. 46 and related styles of music. If you've spent any time singing with a pianist Sunday, October 20, 11 am – 1 pm Students participate in after-school or a full band, chances are you've handed $30 advance, $45 day of workshop them some sort of sheet music. classes and in master classes with nationally known jazz artists, as erik jekabson But what happens when the music from your book or online isn't in your key? What if you well as performing in venues have a clear intro and ending in mind but throughout the San Francisco 2019 PROGRAM REQUIREMENTS that's not part of the lead sheet you've found? Bay Area and beyond. “I loved being at the What do you do when there's a whole extra Jazzschool Young Musicians Program part for the pianist that a bass player wouldn't ensembles require a commitment of three Jazzschool — seeing need to see? In this workshop, we will learn quarters (fall, winter and spring). Students other musicians (and all of the essentials for making a simple, clear, “ It’s the only place that I unable to commit to a full school year are legible lead sheet. We will talk about what still encouraged to audition; however, aspiring musicians) of instrumentalists look for in a helpful lead know of that offers such priority will be given to those who can all ages, hearing the sheet and what extra information often gets remain in the program for the entire school in the way of clarity. For this workshop, we high level jazz ensembles year. Students wishing to audition mid-year sounds of jazz wafting will be making lead sheets by hand, so music for middle and high school will be placed in the program based on through the space.” notation software is not required. Please bring availability of open spots in ensembles and in one piece of music that you would like to students. Last year, my the student’s ability level. Please note that, transform to lead sheet format throughout school music program was while it is our mission to find a place for the workshop. Open to all. everyone in our Young Musicians Program, not challenging enough for we may not be able to accommodate all Sunday, October 27, Noon – 3 pm students who apply. $30 advance, $45 day of workshop me. I loved being involved!”

34 35 Young Musicians Program

PLACEMENT AND INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS AUDITION REQUIREMENTS • Student should be clearly visible FALL 2019 and audible on the video. • Perform two skill-level appropriate AUDITION MATERIALS jazz standards. Please state the name Entering musicians are asked to prepare of each piece before you play it. two skill-level appropriate jazz standards, • Download one of the two improvisation improvise over a 12-bar blues (optional) or tracks at cjc.edu/youth_auditions rhythm changes (for high school students for the improvisation portion of your only) and sight-read. audition. Two choruses required. • On the video, it is important that your HOW TO SCHEDULE AN AUDITION playing is heard louder than anything To schedule an audition, please apply else, including any accompanying tracks. online at: cjc.edu/youth_auditions large performance PIANO AND GUITAR PLAYERS INSTRUMENTAL ensembles After your application is received, you will Follow the above instructions with only ENSEMBLES be contacted within 1 – 2 weeks with an one change: after improvising, please STUDIO BAND audition time. Auditions are scheduled on demonstrate comping/voicings on a High school and middle school Develop technique, knowledge of jazz a first-come, first-served basis and will be blues or rhythm changes. jazz ensembles are offered style and an ability to improvise through scheduled at the earliest available time. Monday through Thursday in the standard and contemporary big band Students will be contacted with placement DRUMMERS repertoire. This highly-selective ensemble late afternoon and early evening information following the audition. Please demonstrate the following styles: performs frequently and participates in • swing, bossa nova, funk/rock and during the day on Saturday. competitions throughout the U.S. The AUDITION DATES • Demonstrate each style at various While we make every effort to Studio Band has played at Yoshi’s and Studio Band tempos (i.e., slow, medium, fast) accommodate scheduling requests, Savanna Jazz, as well as jazz festivals August 17 – 18, 2019 • On each style/tempo please “trade in California, New York, Seattle, Idaho, specific placements are based on Small Ensembles and Advanced High fours” with yourself (4 bars of time, the Vienne Jazz Festival in France and the School Jazz Workshops 4 bars of solo, etc.) the results of an audition. in Switzerland. Full August 24 – 25, 2019 • Play at least 16 bars of each example school year commitment is required. Instrumentation: 5 saxes, 5 trumpets, 5 AUDITION BY VIDEO (OPTIONAL) After you have completed your video, trombones, guitar, piano, bass and drums. Students have the option of submitting an upload your audition to YouTube and title Mondays 6:30 – 8 pm online video audition rather than scheduling the video with your name (Example: John 9/23 – 12/2 (10 weeks) no class 1 1/25 an in-person audition. Students submitting Smith Jazzschool Audition). You should make Dave Eshelman • $230 their audition online are still required to fill this a private video (unless you don’t mind it out an online application at cjc.edu/youth_ being available to the public). Once the video auditions. On the application form, please is uploaded, send a link to erik @cjc.edu. Please note that all ensemble select video submission. Please note: online You may also upload the video to a private prices on pages 37 – 41 are video submissions are not available for the website and email a link. Please do not priced for the quarter. Studio Band or Advanced High School email audition videos as attachments. Jazz Workshops. For more information about the Jazzschool Young Musicians Program placement process, please visit cjc.edu/youth_auditions or contact Program Director, Erik Jekabson, [email protected] or 510.845.5373. dave eshelman 36 37 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 with“ TheThe Monterey Monterey Jazz Jazz Festival-California Festival! We’re joiningJazz Conservatory forces to form Partnershipa new long-term, for Excellence collaborative in Jazz Performance program designedand 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 theA successful continuation three-year of the successful relationship, three-year established sponsorship in 2017, establishedbetween in CJC 2017, and to support MJF’s Next the annual Generation Monterey Jazz Jazz Festival. Festival’s Next Generation Jazz Festival, the two organizations will share In facultyaddition and to facilities, sharing developour faculty mutually knowledge beneficial and marketing expertise, theinitiatives new partnership and provide will one share another programs, with performance marketing and facilitiesopportunities on a long-term year-round. basis, 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!

38 39 Young Musicians Program

MIDDLE SCHOOL JAZZ ENSEMBLE Learn to play jazz and improvise while covering a wide repertoire from John Coltrane, , and other jazz masters.

Section 1: Mondays 4:45 – 6:15 pm 9/23 – 12/2 (10 weeks) no class 1 1/25 Colin Hogan • $420

Section 2: Wednesdays 4:45 – 6:15 pm 9/25 – 12/4 (10 weeks) no class 11/27 Erika Oba • $420

Section 3: Thursdays 4:45 – 6:15 pm 9/26 – 12/5 (10 weeks) no class 1 1/28 Erika Oba • $420

Section 4: Saturdays 11:45 am– 1:15 pm 9/28 – 12/7 (10 weeks) no class 1 1/30 Isaac Narell • $420 Section 3: Tuesdays 4:45 – 6:15 pm HIGH SCHOOL FUNK ENSEMBLE HIGH SCHOOL JAZZ ENSEMBLE 9/18 – 11/27 (10 weeks) no class 11/20 Learn the classic funk hits of James Brown, Gain a greater understanding of jazz Charles Hamilton • $420 Sly Stone and others. Vocalists and horns theory and develop improvisation skills welcome! Music is learned by ear. (Also open Section 4: Wednesdays 4:45 – 6:15 pm through the study and performance of to advanced middle-school musicians.) 9/25 – 12/4 (10 weeks) no challenging jazz repertoire. class 11/27 Rob Ewing • $420 Section 1: Saturdays 10 – 11:30 am small performance Section 1: Mondays 4:45 – 6:15 pm Section 2: Saturdays 11:45 am – 1:15 pm Section 5: Wednesdays 6:30 – 8 pm ensembles 9/23 – 12/2 (10 weeks) no class 1 1/25 9/28 – 12/7 (10 weeks) no class 1 1/30 9/25– 12/4 (10 weeks) no class 11/27 Raffi Garabedian • $420 Jon Monahan • $420 ADVANCED HIGH SCHOOL Rob Ewing • $420 Section 2: Mondays 6:30 – 8 pm JAZZ WORKSHOP Section 6: Thursdays 4:45 – 6:15 pm 9/23 – 12/2 (10 weeks) no class 1 1/25 Explore the post-bop harmonic, melodic, 9/26 – 12/5 (10 weeks) n Colin Hogan • $420 o class 1 1/28 rhythmic and formal innovations of Colin Hogan • $420 VOICE Coltrane, Shorter, Corea, Hancock, Section 7: Saturdays 11:45 am – 1:15 pm Brecker and others in this multiple VOCAL PERFORMANCE FOR TEENS 9/28 – 12/7 (10 weeks) no class 1 1/30 DownBeat award-winning ensemble. Delve into songs as a means of storytelling Colin Hogan • $420 For advanced-level high school student while simultaneously developing a personal players, competent in the bebop language. Section 8: Saturdays 11:45 am – 1:15 pm connection to a lyric. All styles of music are Participate in various competitions and 9/28 – 12/7 (10 weeks) no class 1 1/30 welcome and students are encouraged to festivals. Darren Johnston • $420 bring in songs of their choice. The instructor can also suggest repertoire suitable for Section 1: Mondays 4:45 – 6:15 pm individual students. Build vocal technique 9/23 – 12/2 (10 weeks) no class 1 1/25 through a variety of warm-up, ear-training • $420 and musicianship exercises.

Section 2: Mondays 4:45 – 6:15 pm Wednesdays 4:45 – 6:15 pm 9/23 – 12/2 (10 weeks) no class 1 1/25 9/25 – 12/4 (10 weeks) no class 11/27 Colin Hogan • $420 Danielle Wertz • $420

40 erika oba 2019 Fall Quarter / September 23 – December 14 / c jc.edu 41 Workshops Workshops

CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTS with Lee Brenkman A workshop in survival skills to help instrumentalists and singers get the best results from their sound equipment — from a single microphone to a complete sound system — and how to successfully interact with sound technicians at venues with sound systems. Learn the tricks of the trade from Lee Brenkman, one of the Bay Area’s preeminent sound technicians, to get the best sound on your gig. Topics covered include the different types of microphones and their functions, evaluat- — blue tango project ing equipment for purchase, and how to HIS LIFE AND MUSIC set up a small sound system. Brenkman BOOKING YOUR OWN TOUR We don’t have all the answers, but we with Dave Thompson also addresses how best to communicate with Blue Tango Project have found a way that works for us and An in-depth look at legendary jazz pianist with sound technicians and making has kept the adventure full of joy. Join us efficient use of sound check time. This It’s the dream of every musician to go out Bill Evans’ life and music. The workshop for a 3-hour workshop where we will share workshop is attendee-driven — any and on tour, connect with fans, conquer hearts will focus both on Bill’s compositions and concrete advice (and some colorful all questions welcome! and souls and live the adventures that will his harmonically rich approach to jazz anecdotes) to help you take your music embellish the rest of our lives. Music was standards, with a hands-on approach to Sunday, October 13, 11 am – 1 pm where it wants to go. meant to move but, as many find, the provide clear insight into his composi- $30 advance, $45 day of workshop obstacles to touring can become over- Sunday, September 8, Noon – 3 pm tional talent and his remarkable ability whelming. $50 advance, $65 day of workshop to create such profound harmonic and melodic beauty. The workshop will also JAZZ VOCAL WORKSHOP — The Blue Tango Project — the soulful duo AMERICAN SONGBOOK: JAZZ VOCAL WORKSHOP — take a probing look into Bill’s personal comprised of Argentine Latin Grammy- COMPOSER WORKSHOP SERIES — CREATING A NEW PATH THROUGH life, with material gathered from many nominee María Volonté and harmonica of Bill’s contemporaries, friends, family Unsung Gems THE GREAT AMERICAN SONGBOOK player Kevin Carrel Footer — shares the and colleagues. Dave Thompson has with Maye Cavallaro with Kate McGarry and Keith Ganz nuts and bolts of the approach that has spent time with, and has had conversa- For full description, see p. 30 For full description, see p. 30 kept them on the road for much of the tions with many of the people intimately Sundays, 9/29, 10/6, 10/13, Noon – 3 pm Sundays, September 15 and 22, past 10 years and taken them from Boise involved with Bill during his life and career, $300 advance, $315 day of workshop 11 am – 4 pm to Caracas to Kosovo and seen them including Bill’s widow, Nenette Evans, and freely mix travel in chauffeured embassy $200 advance, $215 day of workshop Laurie Verchomin, with whom Bill lived JAZZ VOCAL WORKSHOP — limousines with sleeping in Wal-Mart the last year of his life. Participants will be INSIDE THE LYRICS parking lots. JAZZ VOCAL WORKSHOP — provided extensive written materials as with Ed Reed GET DOWN WITH THE CATS a complement to the workshop. Discover why you don’t have to be famous For full description, see p. 32 with Faye Carol to tour the world with your music but you Saturday, September 28, 3:15 – 5:15 pm Sunday, October 6, Noon – 3pm For full description, see p. 31 do have to be focused and smart and find $30 advance, $45 day of workshop $75 advance, $90 day of workshop your niche. Learn why the first thing to Sunday, September 29, Noon – 4 pm leave behind for successful touring is $100 advance, $115 day of workshop your ego.

42 2019 Fall Quarter / September 23 – December 14 / c jc.edu 43 Workshops Workshops

HOW TO TALK TO DRUMMERS BOOGIE WOOGIE WORKSHOP: with Alan Hall WEST COAST BOOGIE — Have you ever wondered, “What exactly Pete Johnson and Hadda Brooks is a mambo groove?” or “What do I want with Wendy DeWitt from the drummer exactly?” The drummer’s Pete Johnson and Hadda Brooks both role is slightly different than other players recorded for the Bihari Brothers’ Modern in that we are expected to come up with Records label in in the late parts that often aren’t actually written 40s, after the initial popularity of Boogie down anywhere. If we’re lucky enough to Woogie (triggered by the Spirituals to get a lead sheet, we may come up with the Swing Concert, and lengthy right groove for the person in charge of the run of Pete, Albert Ammons and Meade Lux gig, but we might not. We are often given Lewis at New York’s Café Society) began to vague directions like “It’s a Latin groove” or fade. We’ll look at two versions of “Swingin’ dave meder “It’s a funk groove,” as opposed to a more the Boogie.” Both Johnson and Brooks specific, “It’s a 3-2, 6/8 folkloric bembe recorded tunes with that title and both groove” or “It’s a half-time feel, straight 1/16 have ended up being attributed to Hadda LIBERATING THE PIANIST’S THE ART OF THE JAZZ DRUM SOLO note type funk groove.” Brooks. We’ll learn the left hand patterns, LEFT HAND: Exercises for with Jon Arkin Now’s your chance to freely ask questions right hand phrases, tricks on how to put Coordinated Improvisation This workshop, open to drummers of all and hear and record examples of different the hands together, and dissect the licks with Dave Meder levels, will explore many aspects of drum and styles of each artist to fuel your own grooves performed and described by a For countless students of jazz piano, soloing in a jazz context. For beginners, improvisation. Participants will receive a versatile professional drummer. Join mastering the left hand remains one of several basic concepts will be introduced, complete transcription. Recommended for veteran drummer Alan Hall in this free- the most difficult and elusive aspects such as the drummer’s role & responsi- intermediate and above. Bring a recording wheeling and enlightening unlocking of of practice. How do you obtain a basic bility during a solo, understanding song device, notebook, and writing implement. the often un-fathomable drummer’s mind. left-hand technique? With so many forms, trading, and solo vocabulary. Intermediate & advanced topics will focus Sunday, October 6, 11:30 am – 1:30 pm Sunday, October 13, 2 – 4 pm different styles, how do you practice them on melodic approaches, thematic develop- $30 advance, $45 day of workshop $30 advance, $45 day of workshop or better yet, where do you start? This workshop shows you a unified, singular ment, dynamics & time feel, and the method for coordinating your left hand ultimate goal of transcending technique DIFFERENT SHADES OF to be able to express one’s musical voice JAZZ DRUMMING with your right hand, giving you a set of tools to practice a variety of left hand without distraction. Listening examples with Alan Hall styles, from the Harlem stride style of will be provided, featuring the soloing An exploration of the many different Fats Waller and James P. Johnson, to the approaches of some of the most histori- schools of jazz drumming, from Freddie Green style left hand of Erroll cally influential jazz drummers. to bebop to fusion to to ECM to Garner, to the contrapuntal left hand Sunday, October 20, 2 – 4 pm odd times. What factors distinguish these techniques of and Fred $30 advance, $45 day of workshop schools of playing from each other? We Hersch, and everything else in-between. look into many aspects of jazz drumming Through group exercises, you will also including: cymbal tone and variation, develop a functional method for using the “ Jon Arkin’s use of language, pattern vs. non-pattern based approaches, left hand to interact with a rhythm section. floating time, broken time, ECM, Even for non-pianists, this workshop will and his ability to explain and early fusion versus contemporary help establish a broader rhythmic vocabu- otherwise elusive . We will listen to and work through a lary in your own improvisations. drumming concepts is as number of examples covering the range of Sunday, October 13, 11:30 am – 1:30 pm current approaches to jazz drumming. dynamic as his voice on the $30 advance, $45 day of workshop drum set... He is a guru...” Sunday, October 6, 2 – 4 pm $30 advance, $45 day of workshop

44 2019 Fall Quarter / September 23 – December 14 / c jc.edu 45 Workshops

Lilan Kane is a professional vocalist who holds a degree in Music Business and Management from Berklee College of Music. She worked and interned at , Jazz at Lincoln Center, Revive Music Group, Upper 11 Records & Manage- ment, Wide Hive Records, and ran her own management company LK Management out of NYC. In 2016, she created and launched one of the top private event bands in the San Francisco Bay Area, Hella Fitzgerald, employing over 100 musicians lilan kane and booking events and musicians from SF to LA. As a recording and performing artist, she has released three albums, THE BUSINESS OF GOOD sold-out local venues Yoshi’s and SFJAZZ PROMOTION AND BOOKING GIGS and is preparing for an East Coast tour this Edinho Gerber and Rogério Souza with Lilan Kane fall. She is passionate about educating A two-part workshop covering the musicians and artists on how to under- essentials of creating a press kit, stand the music business in order to CHORO — and culminating with Modern Choro further their careers. booking successful gigs and more. FROM TRADITIONAL TO MODERN and Choro-Samba, the group traces the evolution of the music in a clear and Part 1: Creating a Press Kit with Duo Violão ALEXANDER TECHNIQUE effective way while giving a real sense of • What is a press kit and do you even FOR MUSICIANS Guitarists Rogério Souza (one of the its cultural impact and musical reverbera- need one? with Laura Klein foremost representatives of the music of tions it created throughout the world. Rio de Janeiro and pioneer of the Choro • How do I write a great bio? Playing an instrument or singing is a Novo style and arranger for a widely used Sunday, October 20, 11:30 am – 1:30 pm • What is networking and why is it $30 advance, $45 day of workshop complex process involving not just hands, choro songbook, Choro book Vol. 1) and essential? embouchure or voice, but your whole self. Edinho Gerber (a multi-cultural and • How do you brand yourself — Habits of tension and misuse can hinder genre-crossing artist) have performed THE JAZZ PIANO STYLE what is branding? free musical expression. The Alexander together over the last five years as Duo OF Technique is a powerful tool for preventing • How important is social media? Violão, developing a truly unique sound with Omree Gal-Oz injuries, improving overall ease, and and approach to performing the music of Part 2: How to Book a Successful Gig increasing poise in performance. This their home country. 2019 marks the In this workshop we’ll explore the vocabu- lary of pianist Wynton Kelly — one of the method is taught at performing arts release of their first ,A História do • Approaching the venue most well-known hard bop pianists and institutions all over the world, and it can Choro, where the duo joins forces with • Sealing the deal be applied to any activity. In this introduc- Ami Molinelli, an American pandeiro player sought-after accompanist for artists from • Creating your setlist and leading tory workshop, select participants will and percussionist, to create Duo Violão + 1. the mid-50s until the late 60s. First, we’ll an effective rehearsal receive demonstration hands-on work take a look at his voicings and then his Their in-depth and interactive workshop, • Getting people to show up with their instrument. Musicians of all lines playing — specifically over the blues, developed over many years and presented Autumn Leaves, and other standards. • How to use that momentum to build levels, from beginners to professionals, are welcome. at numerous universities, covers the The playing concepts considered in this your fan base and online presence rhythms and musical genres that helped workshop will be highly applicable to Sunday, October 20, 11 am – 1 pm Open to all instrumentalists and vocalists. Choro become the greatest art form from playing in a regular combo setting. $30 advance, $45 day of workshop Brazil. From the pre-choro style, Lundu, Sunday, October 27, 2 – 4 pm Sunday, October, 20 and 27, Noon – 3pm through Tango-Habanera, Polka, Maxixe $100 for both weeks advance purchase, $30 advance, $45 day of workshop $115 day of workshop

46 2019 Fall Quarter / September 23 – December 14 / c jc.edu 47 Workshops

RELEASING YOUR OWN ALBUM THE PIANO MAGIC OF DR. JOHN with Ben Allison with Jennifer Jolly Called “one of today’s best young jazz Dr. John was one of our great national musicians” by the Boston Globe and treasures: a pianist, singer, composer, and a “visionary composer, adventurous keeper of the New Orleans cultural flame. improviser, and strong organizational force His music synthesized styles ranging from on the jazz scene” by the Great American songbook to Professor JazzTimes, Ben Allison has released 13 Longhair. This workshop will demystify albums, all of which showcase Ben’s and break down his playing into bite-sized forward-thinking vision as a bassist, pieces that you can incorporate into your composer, arranger, producer and mixing own music. Handouts will include transcrip- engineer, as well as his hands-on approach tions, listening guides, and suggestions for to his craft. In this workshop, Ben will further study. Prerequisites: basic piano share his approach to releasing an album. proficiency and reading, familiarity with Topics covered include: What is a record major and minor chords. Materials provided steve cardenas label?; record production essentials; by instructor. distribution; marketing and ownership. Jennifer Jolly teaches keyboard classes Supplemental hand-outs will be provided. JAZZ GUITAR MASTER CLASS and ensembles (Caribbean/Latin American, with Steve Cardenas Saturday, November 2, 3:15 – 5:15 pm African, New Orleans, minimalist,­ and $30 advance, $45 day of workshop improv) at The Jazzschool, clinics, camps, Veteran New York-based guitarist Steve after-school programs, and her private Cardenas has enjoyed a career of creative studio. She currently performs with Pamela associations with many leading artists in Rose’s “Blues is a Woman,” Jennifer Jolly modern jazz as a member of the Paul & Friends, The Jolly Gibsons, Kotoja, Zulu Motian Electric Bebop Band, Charlie ben allison Spear, Big B & His Snake Oil Saviors, The Haden Liberation Music Orchestra, the jennifer jolly Bait & Switch Blues Band, Tom Rigney & Steve Swallow Quintet, and Joey Baron‘s Flambeau (sub), Chelle! and Friends (guest), Killer Joey. Steve is currently a member of and several other Bay Area groups. She Ben Allison and Think Free, JAZZ VOCAL WORKSHOP — accompanies choruses, churches, and Electric Guitar Quartet, Jon Cowherd EVERYTHING YOU NEED TO KNOW musical theater productions on keyboards, Mercy Project and Adam Nussbaum Lead voice, melodica, and . Belly Project. He has toured extensively ABOUT MAKING A LEAD SHEET throughout Europe, North and South with Danielle Wertz Sunday, November 3, 11:30 am – 1:30 pm America, and Asia, performing at interna- For full description, see p. 34 $30 advance, $45 day of workshop tional music festivals, theaters and clubs. Sunday, October 27, Noon – 3 pm Steve also leads his own trio and has $30 advance, $45 day of workshop released four recordings as a leader. VOCAL WORKSHOP — All jazz guitarists are invited to attend this “Ms. Jolly is an exceptionally special master class where Cardenas will THE ART OF THE COVER SONG share his approach to jazz guitar, working with Amy Dabalos gifted teacher. Her love of with attendees on jazz standards and For full description, see p. 32 the music is obvious and other vehicles for improvisation in a duo Sunday, November 3, Noon – 3 pm format. $50 advance, $65 day of workshop contagious. I would study

Saturday, November 2, 3:15 – 5:15 pm anything she taught.” $30 advance, $45 day of workshop

48 2019 Fall Quarter / September 23 – December 14 / c jc.edu 49 Workshops

BEYOND THE BLUES SCALE with Anton Schwartz Designed for players accustomed to using a single scale for each song they impro- vise over, this interactive workshop introduces participants to the rich experience of improvising over changing harmony. The leap from jamming over a chord or a blues scale to playing meaning- fully over moving chords can be over- whelming; this workshop breaks it down through progressive exercises that allow students to HEAR and FEEL the changes of harmony, paving the way for students to play over chord changes as a natural expression of emotion rather than an intellectual exercise. Participants learn to improvise over a 12-bar blues like a jazz CELEBRATING THE LEGACY Garoto and Gnattali were ahead of their musician, bringing out the unique sound joshua breakstone OF BRAZILIAN MUSIC time by combining modern jazz elements of each part of the blues form, rather than treating it all as an undifferentiated whole. with Larry Vuckovich with Brazilian ethnic music and creating something fresh that paved the way for Prerequisites: knowledge of major and BLUES, I GOT RHYTHM AND Master jazz pianist Larry Vuckovich had the later bossa nova movement. Also in minor scales and facility on a melodic THE DYNAMICS OF EXPRESSION the fortune of becoming acquainted with the mid 50s, Larry became familiar with instrument. Bring your instrument. with Joshua Breakstone the early forms of Brazilian music from ’s revolutionary recording Sunday, November 10, 11 am – 4 pm before the bossa nova movement came In this workshop, we’ll take a close look on Pacific Jazz — Brazilliance, that featured $75 advance, $90 day of workshop on the scene. In the mid-50s, Larry was alto saxophonist . This recording at and play through several different introduced to the recordings of Laurindo anticipated the Bossa Nova movement that variations on the blues form including a Almeida, who played a major role in the came a few years later. The famous film range of interesting twists. We’ll also look pre–bossa nova movement and later Black Orpheus in the later 50s introduced at the “I Got Rhythm” progression and continued the Brazilian influence that compositions by Jobim and Luis Bonfa. explore and play through several varia- resulted in what became known as bossa tions on this ubiquitous form. Through it nova. Almeida knew and performed the Larry will cover the origins of Brazilian all, we’ll discuss the hows and whys of music of two important Brazilian jazz music from slavery to choro forms including musical expression — phrasing, the use masters: guitarist Garoto, and pianist renowned composer Pixinguinha, one of of space, using and balancing a range of Radames Gnattali. Brazilian master the most famous in the choro area, whose note values. We’ll experiment with these guitarist Garoto came to the United States original composition Carinhoso is one of elements, each of which is so essential to in the 40s with the vocalist/dancer the most loved. This will be followed by the the dynamics of musical expression and Carmen Miranda. After performances with new inventions of Garoto and Gnattali and we’ll tie them into everything we’ll be her in New York, Garoto would play late at on to the bossa nova movement. This is a doing throughout the course of the night at venues that attracted such greats first-time presentation at the CJC of this workshop. For all instruments. as and Art Tatum, who great Brazilian legacy covering in detail all Sunday, November 17, 11 am – 1 pm became his regular followers. the important steps of the music from Brazil. Don’t miss this special presentation! $30 advance, $45 day of workshop They were highly impressed by Garoto’s virtuosity and were moved by this new Sunday, November 10, Noon – 3 pm form of modern Brazilian music. Both $30 advance, $45 day of workshop anton schwartz 50 2019 Fall Quarter / September 23 – December 14 / c jc.edu 51 Workshops Jazzschool Faculty

HOT CLUB JAZZ GUITAR with Paul Mehling Amanda Addleman (voice) B.M. Performance from Berklee College of Music. This workshop focuses on various aspects Student of Mili Bermejo-Greenspan, Ken Cervenka, Greg Hopkins, Maggie Scott, Lee Strawn & Tierney of hot club-style jazz guitar in the tradition Sutton. Professional musician with past residencies of the legendary . Topics at The Palace Hotel, Savanna and more. include rhythm, picking, scales, arpeggios, Vocal Program Director at Sir Francis Drake High chords, soloing, and more. One-on-one School and private music educator and clinician. evaluation is available to all attendees, Laurie Antonioli (voice) with a directed jam at the conclusion of Studied at Mt. Hood College and Cal State Long the workshop (time permitting). Bring Beach. Chair, Vocal Program, California Jazz Conservatory. Professor and Director of Vocal Jazz your instrument, recording device (or Department, Kug U., Graz, Austria. Private studies paper and pencil) and questions! with and Mark Murphy. Origin Records recording artist; Nabel Records recording Sunday, November 24, 11:30 am – 1:30 pm artist; performed and recorded with George Cables, $30 advance, $45 day of workshop Bobby McFerrin, Richie Beirach, Pony Poindexter, Joe Bonner; bandleader of the American Dreams Band; led international group Foreign Affair; lyricist THE METRONOME IS YOUR FRIEND for Richie Beirach; co-creator of the Pauer— with Paul Mehling Antonioli Songbook. www.laurieantonioli.com Returning with his popular workshop for musicians and singers of all levels, Mehling Jon Arkin (drums) demonstrates a range of practice tech- B.M. in Jazz Performance, University of Miami School of Music (now Frost School of Music); has niques making creative use of the metro- performed internationally with a wide variety of nome. Improve your productivity and musicians including , Gene Perla, Grady increase your musicianship! Open to all. Tate, Ira Sullivan, Cuong Vu, Dayna Stephens, , Julian Lage, Wil Blades, Vusi Mahlasela, Sunday, November 24, 2 – 4 pm Meklit Hadero, Karl Denson, Stew, , laurie antonioli $30 advance, $45 day of workshop and many others; longtime member of groups led by Nathan Clevenger, Ian Carey, Adam Shulman, Matthew Charles Heulitt; performs in various configurations with his self-designed electro- David Belove (bass) paul mehling acoustic setup, including with the Schimscheimer Studied at SF State and San Francisco Conserva- Family Trio, Jordan Glenn, Rob Ewing, Kasey tory of Music. Recorded or performed with Pete Knudsen, and Ben Goldberg; has taught classes/ Escovedo, John Santos and The Machete Ensemble, lessons/workshops at the CJC/JCMS, Stanford , , Francisco Aguabella, Jazz Workshop, UC Berkeley, Sonoma State U, Rebeca Mauleon, Ray Obiedo, Marcos Silva, Joe mimi fox Humboldt State U, and many other schools Henderson, , , Eddie Harris, around the U.S. and Europe. Mark Levine, , and Zakir HOW TO PRACTICE www.jonarkin.net Hussain. with Mimi Fox Bill Aron (saxophone) Edgardo Cambón (percussion, voice) A step-by-step system for organizing M.M. in Performance, SF State; B.A. in Music UC Bandleader for 26 years of the renowned salsa band “Edgardo & Candela.” Toured throughout South practice time by covering the three Berkeley. Professional musician and music educator for 46 years; specializing in classical saxophone America, Europe, and Africa since 1986. LP (Latin essential musical building blocks: melody, playing with the San Francisco Saxophone Quartet Percussion Co.) endorser. Performed or recorded harmony, and rhythm. Using songs as and San Francisco Symphony among others. with Jesús “Chucho” Valdés (), Eddie Palmieri, the template we will cover application of , José Luis “Changuito” Quintana, Joe Bagale (drums) Orestes Vilató, Salsa Romántica Stars Jerry Rivera scales, arpeggios, chord voicings, rhythmic Eastman School of Music (1.5 years) currently lead and Eddie Santiago, Keith Terry and “Crosspulse,” concepts, and more to learn tunes in depth, vocalist, keyboardist, guitarist with Mickey Hart Omar Sosa, Jeff Narell, , Sovosó expand repertoire, and maximize/enhance Band. Leads Joe Bagale band, performs with (formerly Bobby McFerrin’s “Voicestra”) Mike Spiro, practice time. Open to all instrumentalists. Jazz Mafia, Hot Einstein, Disappear Incompletely. Karl Perazzo and Rebeca Mauleón. www.joebagale.com www.musicandela.com Sunday, November 17, 2 – 4 pm $30 advance, $45 day of workshop

52 2019 Fall Quarter / September 23 – December 14 / c jc.edu 53 Jazzschool Faculty JazzschoolJazzschool FacultyFaculty

Sandy Cressman (voice) Rachel Efron (songwriting) Educated at UC Berkeley and San Jose State B.A., Harvard U. (extensive coursework in both University; international performing and recording writing and music). Studied jazz piano with faculty artist and clinician. Artist-in-residence or lecturer at Berklee College of Music. Released three albums at Jazz Education Network Conference, Cornish of original music and toured on both coasts. Institute of the Arts, San Francisco State University, Bandleader of Rachel Efron Ensemble, which has CSU Long Beach, KUG University (Graz Austria), performed locally at such venues as Yoshi’s, The ASMM (Paris), Voice Conference Munich, JazzCamp Plush Room, The Independent, Freight & Salvage West, Stanford Jazz Camp and California Brazil and Cafe Du Nord. Summer Camp. Bandleader of critically acclaimed www.rachelefron.com Homenagem Brasileira Quintet. Featured artist with Ray Obiedo’s Mistura Fina and Jai Uttal’s Pagan Cecilia Engelhart (voice) Love Orchestra. Studio vocalist for Latin and world Education: San Francisco Conservatory, Mannes jazz styles, recently featured on Bossa Nova College of Music. Has performed/recorded with a Dreams with Akira Tana, and wide range of artists including: Ruben Blades, Theo . Heard on a wide variety of Bleckmann, Willie Colon, Santi Debriano, Paquito commercials and soundtracks. D’Rivera, Rinde Eckert, Tania Libertad, Meredith www.cressmanmusic.com Monk, Oscar Castro Neves, Mario Rivera, Michael Spiro, Keith Terry, Tamba Trio, Wayne Wallace etc. Tatyana Dimitrova (voice) As composer and arranger with “Tanaora,” “Free Bachelor in Jazz Studies and Vocal Jazz Perfor- Dive” and “Trio 3.” Classical performance includes raffi garabedian mance at CJC in process. Jazz teachers are Laurie SF Symphony Chorus,“Conjunto Nuevo Mundo” Antonioli, Theo Bleckmann, Dann Zinn, Jeff Denson, early music ensemble. Mimi Fox (guitar) Sandy Cressman, Maye Cavallaro, Raz Kennedy. International recording/performing artist and Also studies with Indian vocalist Ranjana Gathak at Steve Erquiaga (guitar) five-timeDownBeat Magazine International Critics danny caron the Ali Akbar College of Music as well as workshops National and international recording and perform- Poll winner. Performed throughout Europe, Asia, with Pandit Uday Bhawalkar, Pandit Nyrmalya ing artist; performed at Montreux Jazz Festival, the Caribbean and Australia. Festivals include Alam Khan. Studied Sound and Music as Healing Berlin Jazz Festival, North Sea Jazz Festival; Montreal, Monterey, Guinness Cork, Perth and North Danny Caron (guitar) Arts program at CIIS in San Francisco. She currently performed with Bobby McFerrin, Joe Henderson, Wales International Jazz Guitar Festival. Adjunct B.A. in English and Music, Oberlin College and studies Yoga of the Voice and Nada Yoga Teacher Les McCann, , David Byrne, Turtle professor of Jazz Studies at NYU; guest clinician/ Conservatory; graduate of Training Program under the mentorship of Silvia Island String Quartet, Paulo Bellinati, Andy Narell, artist in residence at Alaska Jazz Workshop, Britt Program, Guitar Institute of Technology, Los Nakkach at Vox Mundi Project. Tatyana also studies and Paul McCandless; founder, leader, Trio Paradiso; Music Festival, Brubeck Institute, Yale U., CalArts, Angeles. Best known for being music director with Rumen Sali Shopov on her native Bulgarian faculty, Jamey Aebersold Jazz Clinics; publications Cornish College of the Arts, U. of Oregon, USC and and guitarist for the legendary pianist and vocalist repertoire of traditional songs. include Guitar Duets and arrangements from his Berklee College of Music; featured artist on Marian until his death in 2000. He has CD Cafe Paradiso. McPartland’s on NPR; featured artist, played and recorded with , Bonnie Angie Doctor (voice) Kennedy Center. Performed with Joey De Raitt, Dr. John, Clifton Chenier, Donald Fagan, Studied at Foothill College and Gonzaga University Dave Eshelman (trombone) Francesco, , , Branford Hadda Brooks, , and many others. (B.A. Music Performance) with Phil Mattson From 1984 to 2007, Dave Eshelman served as Marsalis, David Sanchez, Stanley Jordan and www.dannycaron.com (Foothill and Gonzaga), Terry Summa (Foothill), Director of Jazz Studies at California State countless others. Tim Smith (Gonzaga). Founding member of the University, East Bay (formerly Cal State Hayward). www.mimifoxguitar.com Maye Cavallaro (voice) Grammy-nominated PM Singers with Phil Mattson. Eshelman has performed extensively with many jazz Advanced degree in Education, UC Santa Barbara; Performing and recording artist, studio singer, groups in the Bay Area and has worked as a Raffi Garabedian (saxophone) B.A. in English Lit, UC Santa Barbara. Fellow NY Vocal Jazz adjudicator and clinician, jazz and pop featured soloist in the big bands of , Joe B.F.A. in Jazz Performance, The New School, NYC. Cabaret Symposium; faculty, Blue Bear School solo coach. Artist-in-residence at Ruth Asawa San Henderson, Tito Puente and . Various Performs with Brass Magic, Raffi Garabedian Blues of Music; private coaching, 25 years; producer, 8 Francisco School of the Arts High School, Vocal Jazz artists across the United States and Europe — such Band, and many others. Studies with Dann Zinn, recordings; bandleader, recording artist; awarded Choir. Performed with Bobby McFerrin, Don Shelton, as Joe Henderson, , Bill Watrous, and Stan Dayna Stephens, , Tony Malaby, Chris Best of the Year in Jazz by the San Francisco The Hi-Lo’s, , The Manhattans, Kenton, the Swedish Radio Orchestra and the Cheek, Ben Street, & Bill McHenry. Chronicle; visiting clinician, St. John’s U.; graphic Heatwave, Deneice Williams, Barbara Lewis, GQ, Airmen of Note — have performed his composi- artist, web designer. Gene Chandler, Eddie Holman, Barbara Mason, tions and arrangements. Charles Hamilton (trombone) www.teachingjazz.com Billy Paul. Founding member and lead singer for Leader of the Berkeley High School Jazz Ensemble Rob Ewing (trombone) for 28 years. Has performed with Joe Henderson, Andrea Claburn (voice) Clockwork, currently the Girl in The Bobs. Jazzschool Director. Jazzschool Summer Youth Fred Berry, Karlton Hester, Khalil Shaheed, Marcus B.Mus. (in progress), California Jazz Conservatory; Program Director. B.A., Naropa U.; 2 years, Berklee Shelby, and Babatunde Lea. Created the San B.A. (High Honors, Humanities) University of College of Music. Leader of Disappear Incompletely Francisco Bay Jazz Band; at the invitation of the US California at Berkeley. Co-bandleader, Andrea — The Radiohead Project. Performances with STS9, State Department, he took them to Asia twice Claburn/Jua Howard Group. Studied vocal Marcus Shelby Orchestra, Vinny Golia, Latin Giants (Vietnam and China). Recently released “Charles technique and performance with Sandy Cressman, of Jazz, Ray Vega, Wayne Wallace, Graham Hamilton and Beyond: Mr Hamudah,” for Global Laurie Antonioli, Raz Kennedy, Maye Cavallaro. Connah, Joe Bagale, The Barr Brothers, Les Gwan Recording Artists. Currently directing the UC Santa www.andreaclaburn.com Jupons, John Schott’s Typical Orchestra, Jazz Mafia Cruz Big Band. Received the National Foundation Symphony, Oakland Active Orchestra, Half of for the Advancement of the Arts “Distinguished Half, Leslie Helpert, Rebecca Griffin, Naytronix. Teacher in the Arts” Award. 54 2019 Fall Quarter / September 23 – December 14 / c jc.edu 55 Jazzschool Faculty Jazzschool Faculty

Erik Jekabson (trumpet) Lilan Kane (voice) Frank Martin (piano, keyboards) M.A. in Composition, SF Conservatory of Music; B.M. Music Business and Management, Berklee Music Director for Narada Michael Walden, Patti B. Mus. in Trumpet, Oberlin Conservatory of Music. College of Music (voice principal); faculty San Austin, Angela Bofill; Carnegie Hall appearances Toured with , Jacquet and Domenico School (Chorus, Rock Band, Songwriting); with , , Elton John; Record Galactic, and has composed for film and dance Founder of Own The Mic Summer Singing Camp; producer/arranger for , Turtle Island projects. Released several albums as a leader. private vocal coach 12 years; Bandleader of Hella String Quartet, Joey DeFrancesco, Mimi Fox, Mary www.erikjekabson.com Fitzgerald; recording and performing artist; Jenson, Molly Holm, Deuce, Tuck & Patti, Karen Blixt; Featured performer at New Orleans French performed/recorded with John McLaughlin, Buddy Darren Johnston (trumpet) Quarter Festival, Fillmore Jazz Festival, Novato Montgomery, , , Larry B.A. jazz performance — Cincinnati Conservatory Art & Wine Festival, San Jose Winter Jazz Fest, Coryell, Herbie Hancock, Stanley Jordan, Stevie of Music, M.A. composition — Mills College. Adjunct Great American Music Hall, Sweetwater Music Wonder, Airto, Dori Caymmi, , Patrice trumpet/jazz professor at UC Berkeley, private Hall, The Mint LA, the Whisky A Go-Go, among Rushen, Trilok Gurtu, ; Faculty, UC instructor at SF Community Music Center, Stanford others. She has opened for Hall & Oates, Sharon Berkeley Jazz Ensembles. Jazz Workshop. Performed/recorded with Fred Jones, , and Morgan James. ww.frankmartinproductions.com Frith, Marcus Shelby, Myra Melford, ROVA www.lilankane.com Saxophone Quartet, Meklit Hadero, and many Jeff Massanari (guitar) others. Has led United Brassworker’s Front, Nice Bob Karty (piano) Four years performance and composition Guy Trio, Darren Johnston Quintet (featuring Ben B.A., Biology, Reed College. Pianist, composer, coursework at Berklee College of Music. Goldberg and Sheldon Brown), Trans-Global recording engineer, producer. Performs with Ray Performed with Mark Inouye and the San Francisco People’s Chorus, Broken Shadows, and others. Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Symphony, Kenny Washington, Pamela Rose, Wally Conjunto Karabalí (led by Michael Spiro & Santana Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Jennifer Jolly (keyboards) percussionist Karl Perazzo). Founding member of Denise Perrier. Appeared at the Umbria Jazz B.A. UC Berkeley. Keyboards and melodica, Orquesta La Moderna Tradición, one of the few Festival, Beijing Conservatory, Davies Symphony multi-instrumentalist, vocalist, composer/arranger, authentic charanga orchestras outside of Cuba, Hall, Stern Grove, SFJAZZ Center, Yoshi’s, Monterey bandleader. Specialist in Americana, blues/R&B, with whom he performed for over 15 years and Jazz Festival, San Jose Jazz Festival and Theatre pamela joy New Orleans, rock’n’roll, Caribbean, and African recorded three albums. www.bobkarty.com Works. Taught at UC Berkeley, The Jazzschool, roots music. Founder of Jennifer Jolly & Friends, in Europe, China, Japan, Mexico and Thailand. Redwood High, ’s Jazzmaster series, co-founder of and composer for The Jolly Gibsons. Jazz Camp West and Blue Bear School of Music. Colin Hogan (piano) Additional current projects include Pamela Rose’s Dave Le Febvre (saxophone) B.A. Cal State East Bay. Performances with James touring theatrical concert “Blues is a Woman,” Zulu Recipient of an NEA Grant for Jazz Education. Azure McCall (voice) Moody, , , , Spear, Kotoja, Tom Rigney & Flambeau (sub), Dave has recorded 6 albums as a bandleader and Hawaii’s first lady of jazz is a multi-award winning Maria Schneider and hip hop luminaries such as Chelle! and Friends (guest), Bait & Switch Blues has performed at many Bay Area Jazz Festivals vocalist. She is heir to the vocal tradition of Sarah Too $hort, DJ QBert, Dan the Automator, and Lyrics Band, Big B and His Snake Oil Saviors, The Party and in Europe. Musicians who have recorded or Vaughan, Carmen McRae and Ella Fitzgerald. Her Born. Performed with electric bass revolutionary Monsters, The Linwood Chorus (accompanist), and performed in Dave’s group include , warmth and sense of humor fuel every interpreta- Larry Graham of at the the Creekside Community Church Worship Band. John Patitucci, Clay Jenkins, Dave Crigger, Eddie tion. After releasing her first CD,Body and Soul, she 2004 California Music Awards. Pianist and featured Previous credits include Phil Lesh, The Broken Marshall, Seward McCain and many others. was asked by the great bassist Ray Brown to be his soloist on accordion with the Tommy Igoe Big Angels, Hot Links, Barbara Dane, Rusty Zinn, two Dave’s big band compositions have been vocalist on tour. Of course, she accepted, beginning Band in its first-ever weekly residency at Yoshi’s dozen theatrical productions, and numerous performed by , , an incredible jazz journey — school was in! Soon San Francisco. Currently involved in various reggae, blues/New Orleans, singer/songwriter, and the BBC Big Band. after, Azure became the first singer to work with projects including hip hop/R&B group Dynamic, and country bands; twenty-plus recording credits. www.jazzwest.com/davelefebvre Freddie Hubbard’s band. Additional collaborators jazz/groove/experimental collective the Jazz Mafia, Faculty instructor at The Jazzschool, Cazadero include , Tennyson Stephens, Joe international cafe music group Trio Zincalo and Family Camp, Jazzschool Women’s Jazz and Blues Jason Levis (percussion) Lovano, , Curtis Lundy, Dizzy jazz/funk/fusion band The Hogan Bros., with Camp, after-school programs, workshops, and Ph.D. and M.A. in Composition, UC Berkeley; B.A. Gillespie and many more. In 2008, President Barack brothers Steve and Julian. private studio. in Music, Naropa University. Two-time Meet the Obama asked her to perform at his pre-election Composer award recipient; Eisner Prize for Music party. “That’s why he won,” Azure says (smiling). Peter Horvath (piano) Pamela Joy (voice) winner; Outstanding Graduate Student Instructor Azure became the ‘jazz diva’ for Celebrity and M.A., Berklee College of Music; Bèla Bartôk Performed and recorded with some of the West (UC Berkeley); Interaktion Festival finalist (Berlin), Royal Caribbean Cruises. She has traveled to more Conservatory of Music, Budapest, Hungary; Coast’s finest jazz musicians including pianists Mike drummer and composer Jason Levis has led and than 50 countries. Vienna Conservatory of Music. Performed, toured, Greensill, Art Khu, Ken Muir, John Mackay, Dana been a collaborator in numerous jazz, improvised recorded with Victor Bailey Group, Bobby Atherton and Dr. Dee Spencer; bass players John music, and chamber ensembles in the San Francisco Jon Monahan (guitar) Hutcherson, Joe Henderson, Lalah Hathaway, Wiitala, Ruth Davies, Daniel Fabricant, Ron Belcher, Bay Area and Berlin, Germany. These include the Studied at SFSU School of Music, B.S. in Physiology Oakland Symphony, Bob Sheppard, Bennie Paul Breslin and Peter Barshay; guitarist Mimi Fox; Heftpistole Chamber Ensemble; duo B.; Married from UC San Diego. Performance credits include Maupin, Richie Cole, Ray Obiedo, , and drummer Vince Lateano. San Francisco Bay Couple; DRY; live dub-reggae ensemble Joseph’s , Roy Ayers, Mary Wilson, Lyrics , , , Pee Area Cabaret Competition Finalist and was invited Bones; the Echo Chamber Ensemble; most recently Born, Gift of Gab, Digital Underground, Qbert, Wee Ellis, Arturo Sandoval, arranged and to perform in the San Francisco Invitational the Berlin Boom Orchestra, and many more. Fantastic Negrito, Jack Johnson, Rogue Wave, with recorded for . Musicians’ Showcase Vocalist Series and The www.jasonlevismusic.com performances at the Monterey, Montreal, Newport, www.peterhorvath.com Jazzschool’s Emerging Artists Series. Playboy and Kathmandu Jazz Festivals, and on TV at Jimmy Kimmel Live.

56 2019 Fall Quarter / September 23 – December 14 / c jc.edu 57 Jazzschool Faculty Jazzschool Faculty

Susan Muscarella (piano) Anthony Paule (guitar) Glenn Richman (bass) B.A. in Music Composition, UC Berkeley. Ph.D. A.A. Degree from CCSF. Has toured and/or Mannes School of Music (1 yr); Berklee College of candidate in Musicology, University of Évora, recorded with Maria Muldaur, Boz Skaggs, Charlie Music (2 yrs). Advisor, Jazzschool Bass Program; Portugal. Founder and Executive Director, Musselwhite, Barbara Lynn, , Big Jay student of Buster Williams, George Mraz and Mike California Jazz Conservatory, f/k/a Jazzschool Inc.; McNeely, Johnny Adams and many others. Longo; performed with , Jon President and Dean of Instruction, California Jazz Released three solo albums, “Big Guitar” and Hendricks, Dave Liebman, , , Conservatory. Director, UC Jazz Ensembles “Hiding In Plain Sight” and “You Don’t Know Dakota Staton, Chris Connor, , Eddie program 1984 – 89; composer, arranger and Nothing” the latter with soul singer Frank Bey. Has Henderson, John Hicks, Mike Clark, Jack Wilkins, recording artist; performances at major clubs and performed at festivals including Monterey Jazz, , Larry Willis, and Mickey festivals including Yoshi’s, Keystone Korner, Great Umbria Jazz, San Francisco Blues, Mississippi Roker; faculty, Brubeck Institute, UC Berkeley and American Music Hall and the Lighthouse, and Valley Blues, Du Maurier Jazz, Waterfront Blues, Chabot College. Monterey, Berkeley and Festivals; S.F. Jazz, Atlanta Olympic Games. www.glennrichman.com featured on Marian McPartland’s Piano Jazz on www.anthonypaule.com NPR; recipient of a 2008 “A Team” Award from the Pamela Rose (voice) Jazz Journalists Association; member of the Board Clif Payne (voice) B.A., UC Berkeley. Jazz and blues vocalist, of Directors, Chamber Music America. Evershift recording artist, international concert songwriter, recording artist. Recent performances vocalist, and vocal coach, studied with David Baker include Monterey Jazz Festival, SFJAZZ, Grammy Isaac Narell (saxophone) at Indiana University and Speech Level Singing Foundation, Jazz Festival, Cal B.F.A. from California Institute of the Arts. vocal technique with Chip Hand and Rober Burnley Performances. Featured on NPR’s “All Things Performed with Karim Ziad, The WDR Big Band, in LA. Recording projects include a collaboration Considered.” Her latest project “Wild Women of Mokhtar Samba, Afia Mala, Thierry Fanfant, Andy with former Kurt Elling music director Laurence Song” (highlighting the work of women jazz and michael zilber Narell, Josh Jones, Jeff Narell, Jenna Mammina, Hobgood. His debut solo album — Welcome To blues songwriters) has Rose touring, speaking Silvestre Martinez, Alfred Ladzekpo, Miguelito My World — was released In 2016. Discovered by and performing at universities and performing Jeanne Walpole (piano) Martinez, The Southwest Michigan Symphony Bobby McFerrin, Clif has performed or recorded arts centers nation-wide, and resulted in the M.A. in Music Theory, San Francisco State U.; Orchestra, The Pacific Mambo Orchestra and The with Freda Payne, Bobby McFerrin, Bill Champlain, publication of a book on the topic. M.A. Studies in Piano Manhattan School of Music; Electric Squeezebox Orchestra. Isaac has written Lenny Williams, Evelyn “Champagne” King, Norman www.pamelarose.com B.A., Smith College: studied with Dick Hindman arrangements for The Bordeaux Symphony Connors, Harvey Mason. 1990–2003; Pianist, Nordstrom. Orchestra, The University of Trinidad and Tobago, Marcos Silva (piano) The Metropole Orkest, Mizikopeyi Big Band and Ricardo Peixoto (guitar) Adviser, CJC Brazilian Program. National and Danielle Wertz (voice) The Southwest Michigan Symphony Orchestra. Native of Rio de Janeiro, graduated from Berklee international performing and recording artist, B.M. in Studio Music and Jazz Vocal Performance, College of Music, studied with Pat Metheny. Also composer, arranger, producer, educator; performed University of Miami’s Frost School of Music. Student Erika Oba (piano, flute) studied classical guitar with George Sakellariou at with Leny Andrade, Emilio Santiago, Marcio of Dr. Kate Reid, John Hart, Craig Carothers and M.A. in Music Composition, Mills College, B.M. in Jazz SF Conservatory. Adventure Music recording artist, Montarroyos, Jon Lucien, Claudio Roditi; Music Dann Zinn. Former Jazz Vocal Director for youth Piano Performance, Oberlin Conservatory. Composer, composer, arranger, has performed nationally and Director, arranger, keyboards for , Airto, jazz education program, Virginia Music Adventures. pianist/flutist, and educator based in the East Bay. internationally with Claudia Villela, Terra Sul, Carlos Toninho Horta, Paquito D’Rivera, Bud Shank, Clinician at Duke Ellington School of the Arts and Member of the Montclair Women’s Big Band, Oliveira, Airto, Flora Purim, Guinga, Dori Caymmi, Ricardo Silveira, Dori Caymmi, Nana Caymmi, Sonoma State University. 2015 Thelonious Monk electro-jazz duo Rice Kings, Ends Meat’ Catastrophe Bud Shank, Dom Um Romão, Claudio Roditi. Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos International Jazz Vocals Competition Semi- Jazz Ensemble, and the Oba/Bastian duo. Silva and Intersection. Finalist, 2017 Ella Fitzgerald Competition runner-up, Marcelino Quiroz (piano) Erikaoba.com www.marcossilva.com Inaugural Washington Women in Jazz Young Artist B.M. Film Scoring (’04), Berklee College of Music Competition Winner. Performed or recorded with Daniel Lucca Parenti (bass) (piano principal), studied jazz piano performance Ben Stolorow (piano) Shelly Berg, Jamie Oehlers, Tal Cohen, Cyrille Performance experience with many jazz legends with ; MRQ Productions, principal B.A. in Music, UC Berkeley; Recipient, Hertz Aimee, Bruce Hornsby and Gretchen Parlato. including Rosemary Clooney, , and film composer/audio editor; Professional Musician, Traveling Fellowship from Berkeley to study jazz daniellewertz.com . Has released six full-length performing on piano, synth and Hammond B-3 piano privately and at the Manhattan School of original albums under his own name. Has regularly in the SF Bay Area in a variety of genres, Music; studied in New York with , Michael Zilber (saxophone) performed with many well-known Bay Area artists including: jazz, funk, neo-soul, R&B, reggae and Stanley Cowell, James Williams, and David Ph.D. in Composition, NYU; M.M. in Composition, including Tommy Igoe, Billy Johnson (Santana), more; Private Piano Instructor/Certified K-6 Hazeltine; performed with Akira Tana, Craig Handy, Tufts U.; B.Mus. in Composition, New England Frank Martin (Narada Michael Walden), Joel Smith Educator, 14 years experience teaching music Lorca Hart, Nasheet Waits, Danya Stephens, Conservatory. Currently co-leads a quartet with (Walter Hawkins) and Lorn Leber (Jerry Garcia theory to groups and individuals, ranging from Andrew Speight, Vince Lateano, Bob Kenmotsu, guitar great John Stowell, and is completing a Band). beginner children to advanced-level adults; Musical Noel Jewkes, Michael O’Neill, and vocalist Kenny recording project in New York with Mike Clark, Director/Bandleader, Mango Kingz (island reggae) Washington; Also studied classical piano and the and Rachel Z. Co-led a group with and The Mars Express (neo-soul/cosmic gospel). Taubman Technique. drumming legend Steve Smith for 8 years. Has www.benstolorow.com performed, toured or recorded with everyone from Dave Liebman to Dizzy Gillespie, including , , Eddie Henderson, Fareed Haque, Geoffrey Keezer, Donald Harrison, , , Barry Finnerty, Bruce Barth, and Clarence Penn. www.michaelzilber.com

58 2019 Fall Quarter / September 23 – December 14 / c jc.edu 59 Board and Staff

BOARD DIRECTORS ADVISORY PROGRAM ADMINISTRATIVE OF DIRECTORS EMERITUS BOARD STAFF STAFF

Tyler Johnston, Chairman Denny Abrams Anthony Brown Susan Muscarella Bill Aron Susan Brand, Vice Chairman Sherie Friedlander Tom Carr President and Dean of Instruction Business Manager Sy Grossman Carole Davis Karen Shepherd Richard A. Lyons, Secretary Rob Ewing Vaughan Johnson Paula Forney Director of Financial Aid Neil Rudolph, Treasurer Director, Jazzschool Steve Baker James J. Keefe Benny Green Jesse Rimler Registrar and Custodian of Records Gordon Brooks Bert Lubin Charles Hamilton Laurie Antonioli Clifford Brown, Jr. Larry Marcus Stacey Hoffman Chair, CJC Vocal Program Zach Mondlick Director of Recruitment Charles Charnas Ernie Mieger Mark Levine Director, Jazzschool Vocal Program Elizabeth M. Williams James Ellis Amy Orton Jason Olaine Erik Jekabson Director of Philanthropy Jerry Fiddler John Papini Patricia Phillips Director, Jazzschool Young Mary D’Orazi Walter Riley David Ring Erle Flad Musicians Program Director of Concert Programming, Rita Hargrave Danny Scher Jayne Sanchez Philanthropy Associate Jayn Pettingill John Moss Michael Zaninovich Chuck Sher Head Librarian Paul Fingerote Susan Muscarella Merrilee Trost Marketing and Public Relations Director Gregg Perloff Wayne Wallace Sheryl Lynn Thomas Jerry Povse Peter Williams 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 Max Hodes Operations Director Susan Muscarella, Laurie Antonioli, FALL 2019 CATALOG PRODUCTION President and Vocal Program Omree Gal-Oz, Michael Golds, Dean of Instruction Chair Cover Jesse Rimler, illustration Sam Priven, Alex Shapiro-Romano, [email protected] [email protected] Tom Weeks Design Poulson Gluck Design Operations Staff Editorial Rob Ewing, Paul Fingerote, Tatyana Dimitrova Elizabeth Williams House Manager

Photography Tatyana Dimitrova, Lee Brenkman Chris Hardy, Robin Sound Technician Kempster, Grason Littles, Robert Soper Hali McGrath, Mike Melnyk, Erik Jekabson, Piano Technician Akida Thomas, and others Rob Ewing, Director, Jazzschool Poulson Gluck Design Director, Young Musicians Photo Graphic Design Jazzschool Program Research Sheryl Lynn Thomas [email protected] [email protected] Chris Hardy, Mike Melnyk Printing FolgerGraphics Photographers

60 2019 Fall Quarter / September 23 – December 14 / c jc.edu 61 Instructions and Application

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

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

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

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

This unique institution encompasses:

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

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

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

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

Thank you!

64 the NON-PROFIT ORGANIZATION azzschool U.S. POSTAGE C ALIFORNI A J A Z Z CON SERVATORY at PAID 2087 Addison Street OAKLAND, CA Berkeley CA 94704 PERMIT NO. 8494 510.845.5373 IN HOME BY AUG 25 info @ cjc.edu

JAZZSCHOOL FALL QUARTER 2019 • Instrumental and Vocal Classes • Beginning, Intermediate, Advanced Levels • Youth and Adult Programs • Performance Ensembles • Workshops and Classes • Technique and Musicianship • Theory and Improvisation • Composition and Arranging • Concerts

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

cjc.edu