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INTRODUCTION
CJC Concert Series 2The California Jazz Conservatory 4The Jazzschool at CJC 6
ADULT PERFORMANCE ENSEMBLES
Jazz 8Reggae 1 1Brazilian 12World 12Blues 13 Funk 13 Latin 13
ADULT INSTRUMENTAL CLASSES
Piano and Keyboards 14Guitar 16Bass 18Drums and Percussion 19 Saxophone 19
THEORY, IMPROVISATION AND COMPOSITION CLASSES
Theory 21Improvisation 21Composition 21
ADULT VOCAL CLASSES
Technique and Musicianship 22Performance 23 Ensemble Singing 26 Blues 28Latin 28
ADULT VOCAL CLASSES (continued)
Composition 29 Young Singers 29Vocal Mentor Program 30
ADULT VOCAL WORKSHOPS
Vocal Workshops 31
YOUNG MUSICIANS PROGRAM
Introduction 35Program Requirements 35Placement and Audition Requirements 36Large Performance Ensembles 37Small Performance Ensembles 40Voice 41
WORKSHOPS
For all instruments and voice 43
INFORMATION
Women's Jazz & Blues Camp 20
California Jazz Conservatory Master of Music in Jazz Studies 38
Summer 2020 Camps and Intensives 42
Jazzschool Faculty 52
Board and Staff 60
Instructions and Application Form 62
Map 63
Support 64
Contents
1
IMPORTANT INFORMATION
• Winter Performance Series takes place March 17 – 23
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
our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu!
To make a tax-deductible contribution online visit www.cjc.edu/PAP, or mail a check to “California Jazz Conservatory” at 2087 Addison St., Berkeley, CA 94704. To contribute with a credit card, contact Mary D’Orazi at 510.845.5373 ext. 19.
Play A Part — A Letter from Susan Muscarella to Our CJC Community
You may have heard that the California Jazz Conservatory suffered a devastating flood at our 2087 Addison campus in mid-October. In spite of this setback, our commitment to our mission to nurture and perpetuate the jazz art form remains unscathed. The California Jazz Conservatory has built a reputation, through its various education programs and the work of its exemplary teaching staff, leading to our vision: In a Musician, Out an Artist! Since 2012, the Conservatory degree program has graduated seven classes of students who exemplify this vision. Our graduates’ notable accomplishments as artists, educators and/or arts administrators demonstrate the far-reaching effects of our institution’s postsecondary programs.
The Conservatory has proudly played an integral part in all of our graduates’ artistic achievements, as have you!
Your ongoing support will help us recover from unfortunate losses incurred during the recent flood and enable us to continue to realize our vision to admit the musician and graduate the artist.
I hope you will Play A Part now in supporting the important work of all of our education programs by making a tax-deductible contribution, qualifying the California Jazz Conservatory to operate alongside the most reputable jazz programs in the country.
Yours in jazz,
Susan Muscarella President
CAROLYN BRANDY
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23 Sun 7pm Vocal Jam $10
JAN
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11 Sat 8pm Bob Kenmotsu Quartet $20/$15 students
17 Fri 8pm Daniel Lucca Quintet $20
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21 Tues 7:30pm Scott Amendola Quartet $20/$10 students
19 Sun 4:30pm SFEMS: An Austen Afternoon $25
14 Tues 7:30pm Holly Martins $20/$10 students
28 Fri 8pm CJC Faculty Ensemble $20/$15 students
10 Fri 8pm Harvey Wainapel Quintet $20
18 Sat 8pm Amanda Addleman — $20/$15 students "Into the Light" Album Release
24 Fri 8pm Marta Sanchez Quintet $20
28 Tues 7:30pm Nora Stanley Trio $20/$10 students
11 Tues 7:30pm Telepathy $20/$10 students
7 Fri 8pm Black History Month: Tribute to $20/$15 students Ella & Sarah — Kalil Wilson & Daniel Marschak
4 Tues 7:30pm The Lost Trio $20/10 students
3 Tues 7:30pm Henry Hung's Family Band $20/$10 students
6 Fri 8pm International Women's Day: Pamela Rose — $20 Great Women of the American Songbook
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7 Sat 8pm International Women's Day: $20 Carolyn Brandy, Amikaeyla, & Friends
13 Fri 8pm Jessica Jones Quartet featuring Tony Jones $20
17–23 various times Jazzschool Student Performances Free*
21 Sat 8pm Erik Jekabson/Andrew Speight $20/$15 students Birthday Quintet
22 Sun 4:30pm Vocal Jam $10
27 Fri 6pm Women's Jazz & Blues Camp Concert Free*
28 Sat 8pm JUA & Andrea Claburn: A Decade of Music $20
1 Sat 8pm Black History Month: Marcus Shelby Quintet $20
8 Sat 8pm Dillon Vado's Never Weather — CD Release $20
23 Sun 3pm Jazz Search West $10
29 Sat 8pm Black History Month: $25 Kim Nalley Sings Black Broadway
10 Tues 7:30pm Rob Reich Swings Left $20/$10 students
13–15 various times Jazzschool Young Musicians Peformances Free*
22 Sat 8pm Black History Month: $ 20 Janice Maxie Reid Tribute to Nina Simone
BOB KENMOTSUMARCUS SHELBY ANDREA CLABURN JUA HOWARD
26 Sun 4:30pm Vocal Jam $10
31 Fri 8pm Orquesta La Moderna Tradición $20
25 Sat 8pm Susana Pineda & Friends $20
14 Sat 8pm Jeff Gardner & Ricardo Peixoto $20/$15 students
MARTA SANCHEZ
CJC ConcertsIn addition to CJC’s Weekend Concert Series featuring an eclectic mix of music on Friday and Saturday nights, we're pleased to present our Way Out West (WOW) Concert Series on Tuesdays @ 7:30 pm and CJC Resident Artists Electric Squeezebox Orchestra for their weekly Sunday evening concerts.
Visit cjc.edu for information and tickets!
15 Sat 8pm Omree Gal-Oz: "Village" Explorations $20
14 Fri 8pm Black History Month: $25 Nicolas Bearde — "All About Love"
18 Tues 7:30pm Dan Rosenboom $20/$10 students
21 Fri 8pm Black History Month: Glen Pearson $20
ROB REICH NORA STANLEY HENRY HUNG KIM NALLEY
* Your generous donation ($10 suggested) will allow us to continue to offer these presentations.
4 5
The California Jazz Conservatory
The California Jazz Conservatory honors
the contributions of past masters and
promotes artistic innovation, bringing
together a diverse music community to
develop practical skills, acquire artistic
sensibility, realize creative potential and
find artistic voice.
Founded as the Jazzschool in 1997 and
accredited by the National Association of
Schools of Music in 2009, the California
Jazz Conservatory offers two distinct
education programs:
The California Jazz Conservatory, a
postsecondary degree-granting program;
and The Jazzschool at CJC, a non degree-
granting community education program.
The California Jazz Conservatory offers the
aspiring professional jazz musician a 4-year
Bachelor of Music degree in Jazz Studies,
based on a 100% jazz relevant curriculum,
taught by a faculty of artists/educators who
share a proven track record of success in
transforming musicians into artists.
Our 2-year Associate of Arts degree in
Jazz Studies offers the same effective
faculty, teaching the same 100% jazz
relevant courses — the first two years of
our Bachelor program — with students
incurring half the cost and half the time
commitment to earn their degree.
In 2020, CJC will launch our new
Master in Jazz Studies for the 21st Century Composer-Performer, structured around the
small ensemble, providing the professional-
level jazz musician with a creative platform
to both compose and perform original work.
The California Jazz Conservatory's CJC Concert Series offers a year-round array
of performances by students and profes-
sionals in our two intimate concert venues,
Rendon Hall and Hardymon Hall.
Our popular Jazzcaffè offers light fare
and a range of beers, wines and other
beverages year-round, while our CJC Bookstore provides a variety of jazz-
related books and merchandise.
Located in the heart of Berkeley's vibrant
Downtown Arts District, the California
Jazz Conservatory campus is easily
accessible by car and public transporta-
tion. The downtown Berkeley BART
station and AC Transit bus stops are
located within a block of campus. Public
parking is available in a nearby garage
and in metered street parking in the
neighborhood.
TheCaliforniaJazzConservatoryistheonlyindependent,
accreditedschoolinAmericacompletelydevoted
tothestudyandperformanceofjazz.
6 76 6
The Jazzschool offers instrumentalists
and vocalists Performance Ensembles/
Classes, as well as Workshops, Camps
and Intensives throughout the year,
including:
* Adult instrumental and vocal
Performance Ensembles/Classes
in fall, winter (10 weeks), spring
(9 weeks), and summer (6 weeks);
* Workshops on weekends throughout
the year;
* Youth instrumental and vocal Perfor–
mance Ensembles in fall, winter, spring
(9 weeks) and summer (6 weeks);
* Youth instrumental and vocal Summer
Camps and Intensives in summer
(1 – 2 weeks);
* Adult instrumental and vocal Camps
and Intensives throughout the year
(1 week).
Instrumental ClassesJazzschool instrumental classes provide
study of a specific instrument in a group
setting. Classes are available for saxophone,
piano/keyboard, guitar, bass and drums/
percussion. Instruction is available for
beginners (covering basic technique and
instrumental skills) and also for more
advanced players (focused on jazz style,
harmony, improvisation and more).
Vocal ClassesJazzschool vocal classes provide an
opportunity for singers at all levels to
improve style and technique in a group
setting. Performance classes are offered
in jazz, Latin, blues, R&B and pop genres.
Beginners, singers returning to music,
and more advanced vocalists can all find
classes appropriate for their interests.
Theory, Improvisation and CompositionThe Jazzschool offers a number of classes
covering areas of theory, improvisation, ear
training, composition and arranging, music
production, music business and more.
6
The Jazzschool at CJC
Ensembles and Classes(Audition required for Ensembles)The Jazzschool offers a wide range
of Performance Ensembles and Classes
for beginning, intermediate and
advanced instrumentalists and vocalists.
Ensembles focus on a wide range of
styles including, but not limited to, jazz,
blues, funk, Afro-Caribbean and South
American music. Classes include
instrumental and vocal technique, music
theory, jazz improvisation and more.
Workshops (No audition required)The Jazzschool offers a variety of
Workshops throughout the year,
available in single sessions or as a
series. Workshops are taught by
professional artists/educators and
focus on specific approaches to
strengthening technical ability, under-
standing and applying theoretical
concepts to improvisation, and enhanc-
ing live performance skills, in addition
to other jazz-related topics.
Jazzschool Young Musicians Program(Placement audition required)The Jazzschool Young Musicians
Program offers a range of classes for
middle and high school students. Young
Musicians Program ensembles are
available for beginning, intermediate
and advanced instrumentalists. The
program includes small groups focused
on improvisation, and big bands that
delve into style and repertoire. Vocal
performance classes are also available.
Jazzschool Young Musicians Program
ensembles have repeatedly been
honored in the DownBeat Magazine
student music awards and at presti-
gious jazz festivals, both here and
abroad.
Camps and Intensives (Audition required)The Jazzschool offers Camps and Inten-
sives in the spring and summer in one- and
two-week sessions for adult and youth
instrumentalists and vocalists at all levels.
Faculty Jazzschool Classes, Ensembles, Workshops,
Camps, Intensives and other programs are
led by a distinguished faculty of profes-
sional musicians who have played with
some of the music world’s biggest names.
More importantly, our faculty consists of
musicians and vocalists who excel in
education, with a focus on teaching
students not just how to play, but how
to perform, transforming talented musi-
cians into recognized artists.
Enrollment Jazzschool class size is limited and many
classes — available on a first-come, first-
served basis — fill up quickly. We encour-
age you to register early and guarantee
your spot! You can enroll online at cjc.edu
or call 510.845.5373. An application form
also appears on page 63.
TheJazzschoolatCJCistheCaliforniaJazzConservatory'scommunity
musicschool,servingstudentsofallagesandlevelsforover20years.
9
Adult Performance Ensembles
JazzschoolPerformanceEnsembles
delveintoawiderangeofstyles
includingjazz(standards,hard-
bop,post-bop,fusion),Latinjazz,
Brazilian,blues,R&Bandfunk.
Ensemblesareavailablefor
instrumentalistsandvocalists
atthebeginning,intermediate
andadvancedlevels.Groups
rangeinsizefromthetriotothe
bigband.Aplacementaudition
isrequiredforallPerformance
Ensembles.
Auditions
Students are placed in
Performance Ensembles by
audition and requirements
may include playing a selected
jazz standard and sight
reading selected excerpts.
Drummers are asked to play
various grooves and solo;
bassists are asked to play
bass lines.
For more information please
contact Jazzschool Director
Rob Ewing at [email protected] or
510.845.5373 x14.
You can schedule an audition
online at cjc.edu.
JAZZ
BEGINNING JAZZ ENSEMBLEPut theory into practice by learning jazz
standards, while developing improvisation
and ensemble skills. For all instruments.
Prerequisites: knowledge of basic jazz theory and ability to keep time and read music.
Section 1: Mondays 6:30 – 8 pmSection 2: Mondays 8:15 – 9:45 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23Steve Erquiaga • $420
JAZZ STANDARDS FOR GIGS Develop the skills and repertoire needed
for typical jazz gigs through the study
and performance of common jazz styles
including swing, bossa, jazz waltz and
ballads. Instructor covers repertoire,
essential arranging concepts (intros,
endings, etc.), relevant jazz harmony and
tips for soloing. Prerequisites: knowledge of basic jazz theory and ability to keep time and read music. Some previous ensemble experience.
Section 1: Mondays 6:30 – 8 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23
Section 2: Wednesdays 6:30 – 8 pm 1/8 – 3/1 1 (10 weeks)
Performance date: Thursday 3/19
Section 3: Saturdays 10 – 11:30 am
Section 4: Saturdays 11:45 am – 1:15 pm
Section 5: Saturdays 1:30 – 3 pm1/1 1 – 3/14 (10 weeks)
Performance date: Saturday 3/21Glenn Richman • $420
HARD-BOP ENSEMBLEStudy and perform music melding
bebop with R&B, gospel and the blues
as developed by mid-century masters
including Horace Silver, Art Blakey,
Cannonball Adderley, Miles Davis,
Jimmy Smith and others.
Thursdays 6:30 – 8 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19Dave Lefebvre • $420
MUSIC OF THE MASTERSDig into the music of John Coltrane,
Thelonious Monk, Wayne Shorter and
other jazz masters. Learn and internalize
a variety of essential grooves while
developing improvisation skills through
the rehearsal of challenging repertoire.
Section 1: Mondays 8:15 – 9:45 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23
Section 2: Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Performance date: Thursday 3/19Glenn Richman • $420
POST-BOP ENSEMBLEExplore the repertoire of Chick Corea, Joe
Henderson, Wayne Shorter, John Coltrane
and other post-bop jazz composers from
the 1960s to the present. Strong emphasis
placed on group communication and
interaction.
Wednesdays 6:30 – 8 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Steve Erquiaga • $420
MILES DAVIS/WAYNE SHORTER ENSEMBLEExplore the music of Miles Davis and
Wayne Shorter from the mid-60s through
the 80s. Repertoire is drawn from far-
reaching classic albums including Miles Smiles, ESP, Filles de Kilimanjaro, Speak No Evil, Bitches Brew, In a Silent Way,
Native Dancer and Jack Johnson. Strong
emphasis placed on group communication
and interaction.
Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Steve Erquiaga • $420
2020 Winter Quarter / January – March / c jc.edu8
11
ERQUIAGA ENSEMBLE 1 In this Ensemble 1 class, you'll work on
improvising over chord changes, playing
with good time and learn the other skills
needed to perform with other musicians.
Class emphasis is on standard mainstream
styles: blues, standards, swing, bebop,
ballads and bossa novas.
Tuesdays 4:30 – 6 pm1/7 – 3/10 (10 weeks)
Performance date: Monday 3/23Steve Erquiaga • $420
ERQUIAGA ENSEMBLE 2This Ensemble 2 class focuses on
slightly faster tempos and more involved
tunes! Unusual keys, uncommon tune
structures and more complex melodies
are presented along with standard
repertoire. Includes the music of Miles
Davis, Jobim, Art Blakey, Cal Tjader and
many 60s Blue Note–era artists. Original
compositions are encouraged!
Tuesdays 6:30 – 8 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17Steve Erquiaga • $420
PIANO TRIODevelop performance skills in the piano,
bass and drums trio format. Open to four
pianists and one drummer with accom-
paniment provided by a professional
upright bassist.
Section 1: Mondays 5 – 6:30 pm
Section 2: Mondays 6:45 – 8:15 pm
Section 3: Mondays 8:30 – 10 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23Peter Horvath • $420
Section 4: Fridays 1:30 – 3 pm
Section 5: Fridays 3:30 – 5 pm1/10 – 3/13 (10 weeks)
Performance date: Saturday 3/21Ben Stolorow • $420
HIP-HOP JAZZ ENSEMBLEFrom its roots in James Brown and 70s
jazz/soul, through Boom Bap, G-Funk and
J Dilla, we will explore the sample-based
music of Hip-Hop in a live band setting.
For all rhythm section instruments and
horns.
Wednesdays 6:30 – 8 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Steve Hogan • $420
FREE JAZZ ENSEMBLE: THE MUSIC OF CHICAGO AVANT GARDE (1980 – 2010)The Free Jazz Ensemble is designed
for improvising musicians interested in
stretching the boundaries of harmony
and form. Each quarter the ensemble will
focus on the music of a particular master
musician. This fall, rather than focusing on
the work of a particular composer, we’ll
be focusing on a number of artists from
the fertile Chicago Avant Garde scene
of the last several decades.
Thursdays 8:15 – 9:45 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19Jason Levis • $420
BIG BANDThis 19-piece ensemble covers classic and
contemporary repertoire for big band.
Original compositions by ensemble
members are also workshopped and
performed. Full 3-quarter commitment required (fall, winter, spring).
Thursdays 8:15 – 10:15 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19Dave Lefebvre • $290
REGGAE
REGGAE JAZZ ENSEMBLEIn this class we will take well-known
jazz standards and play them…REGGAE
STYLE! Reggae music, despite its relative-
ly simplistic nature, has a great deal of
rhythmic and melodic nuance with an
emphasis on the discipline of groove
playing where each musician locks down
their specific part to create a collective,
ecstatic dance groove. We will learn how
to play reggae (including one-drop,
steppers and rockers styles), rocksteady,
reggae-rock, dub, dancehall and if time
permits, ska. Rhythm section players will
learn how to play proper drumset grooves,
reggae-centric bass lines, the chop
(skank) and bubble (or shuffle), and the
role of hand percussion. Horn and any
other lead instruments will play melodies,
learn reggae-centric backing lines and of
course, incorporate jazz improvisation
over the ensemble grooves. Open to all
instrumentalists including bass, drums,
keyboards, guitar, hand percussion and
horns. No previous reggae experience
necessary.
Tuesdays 8:15 – 9:451/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17Matt Jenson • $420
10
Adult Performance Ensembles Adult Performance Ensembles
2020 Winter Quarter / January – March / c jc.edu
“You have a chance to study and hang a bit with some of the best musicians around. In addition, you get to do it in combo classes — and if you want to play jazz in a group, that's the way to learn how.”
matt jenson
1312
BRAZILIAN
MUSIC OF JOSE NETO newAND THE NETOBAND Brazilian guitarist José Pires de Almeida
Neto currently is musical director/guitarist
for Steve Winwood. His vast musical
history includes recording and touring
with Harry Belafonte, Flora and Airto,
Tania Maria, Paquito D'Rivera, Hugh
Masekela, Herbie Mann and others. His
band the Netoband has been performing
and recording together for over 25 years.
The documentary, “The Man Behind the
White Guitar” is a celebration of his career.
Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Frank Martin • $420
BRAZILIAN ENSEMBLEStudy and perform the classic and
contemporary Brazilian jazz repertoire of
Ivan Lins, Dori Caymmi, Toninho Horta,
Antonio Carlos Jobim and instructor
Marcos Silva. Vocalists welcome! Audition with Marcos Silva is required.
Section 1: Tuesdays 6:15 – 7:45 pm
Section 2: Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17
Section 3: Wednesdays 6:30 – 8 pm
Section 4: Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18
Section 5: Thursdays 1 – 2:30 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19
Marcos Silva • $420
BRAZILIAN CHORO newENSEMBLEFocusing on classic Choro repertoire by
Jacob do Bandolim, Pixinguinha, Ernesto
Nazareth and others, gain experience
playing in the traditional Brazilian ‘Roda
de Choro’ style. All instruments are
welcome. Prerequisites: ability to read charts for rhythm section players, ability to read notation for melody players.
Sundays Noon – 1:30pm1/12 – 3/15 (10 weeks)
Ricardo Peixoto • $420
WORLD
WORLD GROOVE ENSEMBLE: AFRICANThe African Ensemble explores diverse
styles such as Afrobeat, soukous,
highlife, “desert blues,” South African,
Zimbabwean, Afropop, or Ethio-jazz.
Emphasis is placed on listening to each
other, learning the specific rhythms and
how they interact to make the groove,
and understanding the cultural contexts
of the songs. Open to vocalists and
instrumentalists. The African Ensemble
is the winter-term offering in the World
Groove Ensemble series; students may
enroll in any or all of the classes. Materials
and arrangements provided by instructor.
Prerequisites: intermediate instrumental and/or vocal proficiency; ability to read charts and standard notation.
Thursdays 8:15 – 9:45 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19Jennifer Jolly • $420
Adult Performance Ensembles
BLUES
BLUES AND GROOVE ENSEMBLEThe Blues and Groove Ensemble offers
students an opportunity to choose from
a wide array of Blues and R&B, Funk,
Gospel, New Orleans and American Roots
styles to play with other musicians. We
work on getting the best grooves for each
player and improvising solos. One vocalist
welcome per class. Prerequisites: Ability to play basic blues chords and scales in all keys. Familiarity with blues and R&B is recommended.
Section 1: Mondays 8:15 – 9:45 pm1/13 – 3/16 (+ Sat 3/21) (10 weeks) no class 1/20Performance date: Saturday 3/21
Section 2: Saturdays 1:30 – 3 pm1/1 1 – 3/14 (10 weeks)
Performance date: Saturday 3/21
Danny Caron and Anthony Paule • $420
FUNK
FUNK ENSEMBLEFrom James Brown to Prince, Sly and the
Family Stone to Tower of Power, Stevie
Wonder to Earth, Wind & Fire, The Meters
to Herbie Hancock, we get down and
funky in this ensemble. Explore what it
takes to master the complexity of the funk
genre by breaking down the rhythmic
foundation of the groove, the feel, the
“pocket!” For all vocalists, horns and
rhythm section instruments.
Thursdays 8:15 – 9:45 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19 Daniel Lucca Parenti • $420
LATIN
SALSA ENSEMBLE 1Rehearse and perform classic salsa
repertoire including the music of Tito
Puente, Cal Tjader, Eddie Palmieri and
others. Prerequisites: familiarity with and ability to play standard Afro-Caribbean grooves as applied to your instrument.
Tuesdays 6:30 – 8 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17David Belove • $420
SALSA ENSEMBLE 2Rehearse and perform more advanced
salsa repertoire. Vocalists interested in
par ticipating should sign up for Salsa
Singing (see p. 27). The two courses work
together throughout the term developing
a full set of high energy dance music for
performance.
Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17David Belove • $420
marcos silva
Adult Performance Ensembles
2020 Winter Quarter / January – March / c jc.edu
14
PIANO AND KEYBOARDS
PIANO 1 If you've ever wanted to play the piano,
now is your chance! Sign up for Piano 1 and you'll learn how to read music, play scales, perform a piece, play duets,
discover what musical forms and keys
are all about, read a jazz chart and play
ensemble music with fellow students.
No experience necessary. Required
texts: Mastering Music level 1A, Piano Town Lessons Level 1 (available at
the CJC Bookstore).
Saturdays 10 – 11:30 am1/1 1 – 3/14 (10 weeks)
Jeanne Walpole • $420
PIANO 2For those with some experience on keys,
Piano 2 picks up wherever you left off in
your pianistic pursuits and challenges
you to go farther with your musical
endeavors. Ensemble and solo music is
selected to match your own level and
ability on the piano. This class presents
individual guidance as well as group
performance opportunities. Required
text: Bastien Piano for Adults II (available
at the CJC Bookstore). Prerequisites: Piano 1 or equivalent experience.
Saturdays 11:45 am – 1:15 pm1/1 1 – 3/14 (10 weeks)
Jeanne Walpole • $420
APPLIED KEYBOARD HARMONY Learn tonic-dominant chord progressions,
basic turnarounds and chord inversions
in all keys, while developing the ability
to play standard tunes using those basic
progressions in leadsheet format. This
course prepares students for Jazz Piano 1
and is recommended for pianists with a
classical background interested in breaking
free of the printed page and learning how
to interpret leadsheets as well as learning
how to improvise. Handouts provided.
Prerequisites: basic keyboard knowledge.
Saturdays 1:30 – 3 pm1/1 1 – 3/14 (10 weeks)
Jeanne Walpole • $420
RHYTHM CHANGES AND new THE BLUES The 12-bar blues (major and minor) and
rhythm changes are among the most
common chord progressions in jazz. This
piano class covers a range of essential
concepts and techniques for improvising
and comping over these progressions.
Suggested prerequisites: Ability to play minor, major and dominant 7th chords in all keys, and some familiarity with improvis-ing over chord changes.
Wednesdays 6:30 – 8 pm1/8 – 3/1 1 (10 weeks)
Frank Martin • $420
JAZZ PIANO 1 Learn to play jazz standards and the
12-bar blues through the study of jazz
chord voicings and improvisation tech-
niques. Required text: Jamey Aebersold Play-along Vol. 54, Maiden Voyage. Prerequi-sites: basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in all keys, ability to read treble and bass clefs.
Mondays 6:30 – 8 pm1/6 – 3/16 (10 weeks) no class 1/20Bob Karty • $420
Adult Instrumental Classes
JAZZ PIANO 2In this continuation of Jazz Piano 1, you'll
learn more advanced chord voicings and
soloing techniques, as well as standard
re-harmonization techniques. Required
text: Jamey Aebersold Play-along Vol. 54, Maiden Voyage and The Jazz Piano Book by Mark Levine. Prerequisites: ability to play 3-note voicings with proper voice leading through a jazz standard (e.g., “All The Things You Are” or similar), ability to improvise on a 12-bar blues in time, playing 3rds and 7ths in the left hand. An audition is required; please call 510-845-5373 to schedule your audition.
Mondays 8:15 – 9:45 pm1/6 – 3/16 (10 weeks) no class 1/20Bob Karty • $420
NEO-SOUL HARMONY& IMPROVISATION FOR KEYBOARDISTSHave you ever wondered how artists like
Erykah Badu, Robert Glasper and Moon-
child write their music? In this class you
will learn how to hear, analyze, improvise
and write your very own neo-soul tunes.
Over the course of 10 weeks, you’ll take a
deep dive into neo-soul/jazz harmony
through a series of ear training exercises,
harmonic analysis methods, improvisation
and chord scale usage techniques and
reharmonization & composition strategies,
ultimately composing your own neo-soul
chord progression or song by the end of
the course. Prerequisites: basic keyboard proficiency and knowledge of chord structures (triads and 7th chords).
Wednesdays 8:15 – 9:45 pm1/15 – 3/1 1 (9 weeks)
Marcelino Quiroz • $380
BEGINNING IMPROV new FOR PIANO PLAYERSPiano players often face unique challenges
in learning to improvise. This class offers a
highly supportive, non-threatening but
well-rounded introduction to improvisation
specifically for keyboardists. You’ll learn
how to play along with simple chord
progressions drawn mostly from blues,
rock/pop, and R&B. You’ll learn “just
enough” pertinent theory, and we’ll do a lot
of playing together. This class is perfect for
players who have felt intimidated by the
thought of improvising or who have
avoided a playing situation because of
nerves about improv. Brand-new impro-
visers and more experienced players are
all equally welcome. Prerequisites: basic instrumental proficiency; ability to read simple standard notation.
Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)
Jennifer Jolly • $420
THE PIANO MAGIC newOF ELTON JOHNIf you love the music of Elton John, you’ll
enjoy learning how he plays and how to
incorporate his brilliant blend of pop, rock,
gospel, and other rootsy styles into your
own playing. Materials provided by instruc-
tor. Prerequisites: familiarity with major, minor, dominant 7th, and minor 7th chords; ability to read basic standard notation.
Tuesdays 6:30 – 8 pm1/7 – 3/10 (10 weeks)
Jennifer Jolly • $420
152020 Winter Quarter / January – March / c jc.edu
16
GUITARBEGINNING GUITARIf you're interested in learning how to
play the guitar, this course will help you
develop a strong foundation in basic skills,
learning the essentials, including tuning
the guitar, finding notes and basic chords
on the fretboard, proper hand positions,
scale fingerings, simple songs, reading
music and more! Your instructor will
answer questions about equipment
selection (guitars, strings, amps, picks,
etc.). Required text: Modern Guitar Method Vol. One, Mel Bay (available at
the CJC Bookstore). Prerequisites: None, for complete beginners! Students must bring a guitar to class.
Saturdays 10 – 11:30 am1/1 1 – 3/14 (10 weeks)
Danny Caron and Anthony Paule • $420
BLUES AND SWING GUITARYou'll learn chord voicings, fingerboard
harmony and single string soloing
techniques, with a variety of styles
covered, from the urban blues of B.B. King
and Albert Collins to the more complex
swing of Charlie Christian and Aaron
“T-Bone” Walker. We'll dive into alternate
chord cycles and rhythm playing, and we'll
work with transcriptions to develop strong
melodic solos. Prerequisites: familiarity with the 12-bar blues progression, ability to play barre chords in several shapes, basic knowledge of the minor pentatonic scale, some picking facility.
Saturdays 11:45 am – 1:15 pm1/1 1 – 3/14 (10 weeks)
Danny Caron and Anthony Paule • $420
JAZZ GUITAR 1If you're a guitarist with a background
in another style and you're interested in
exploring jazz and blues, this course is for
you! You'll gain hands-on experience
playing jazz and blues while learning basic
jazz theory, scales, chords, arpeggios
and songs. You'll have fun while learning
and playing! Prerequisites: two years playing experience, knowledge of major and pentatonic scales and all seventh chords.
Wednesdays 6:30 – 8 pm1/8 – 3/1 1 (10 weeks)
Jeff Massanari • $420
JAZZ GUITAR 2In this fun and fast-paced continuation of
the concepts explored in Jazz Guitar 1,
you'll dive into more complex harmonic
and melodic concepts, scales and chord
voicings, with lots of hands-on playing
time and personal guidance for everyone.
This course is designed for guitarists with
some jazz playing experience looking to
take their playing to the next level.
Prerequisites: Jazz Guitar 1 or equivalent; knowledge of scale and chord theory and some familiarity with jazz repertoire.
Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Jeff Massanari • $420
JAZZ GUITAR COMPINGThis hands-on course provides the
intermediate-to-advanced guitarist
with the tools, concepts and techniques
essential to creative and effective
contemporary comping.
Topics include:
• Comping over straight-ahead, bebop, modal, funk/fusion, ballads, contempo-rary jazz, Brazilian and Afro-Cuban styles of music
• Creative chord voicings — looking at the fingerboard and voicing chords in a more “pianistic” way; quartal harmony (clusters voiced in 4ths) in modal comping; the possibilities of dissonant intervals such as the minor 2nd; slash chords; tritone substitution; and upper-register chord voicings
• Rhythmic anticipation and syncopation: the “right” places to put chords in order to create “forward motion” comping in 3/4, 6/8 and odd meters.
Prerequisites: knowledge of chord/scale theory; ability to play major, dominant and minor seventh chords and the ii–V–I progression in all keys.
Thursdays 8:15 – 9:45 pm1/9 – 3/12 (10 weeks)
Steve Erquiaga • $420
BRAZILIAN GUITARLearn Brazilian music styles including
samba, baião, bossa nova and choro, and
the techniques used to play them. Primary
focus is on learning repertoire, while
developing the following areas: stylistically
appropriate comping rhythms, chord
melody playing, creating solo arrange-
ments, right hand finger-style techniques
and melodic soloing approaches.
Prerequisites: ability to read music notation.
Sundays 2 – 3:30 pm1/12 – 3/15 (10 weeks)
Ricardo Peixoto • $420
MUSIC THEORY AND FRETBOARD KNOWLEDGE FOR GUITARLearn the basics of music theory as applied
to guitar, developing familiarity with the
fretboard through chord, scale and
arpeggio practice. Topics include:
• Overview of chord and scale types
and where they are located
• Chord progressions commonly
used in jazz and related styles
• Comping patterns
• Scale and arpeggio practice
in various positions
• Reading charts and standard
notation (treble clef)
• Transcribing music from recordings
• Basics of melodic improvisation
For students with some playing experience,
knowledge, and facility, who have never
seriously practiced or studied music theory
or the guitar fretboard. Prerequisites: ability to play basic barre chords and some familiarity with playing scales. Students should bring a medium or heavy flat pick and be ready to learn how to use it!
Mondays 6:30 – 8 pm1/13 – 3/23 (10 weeks) no class 1/20Danny Caron • $420
jeff massanari
Adult Instrumental Classes
2020 Winter Quarter / January – March / c jc.edu 17
19
BASSBEGINNING BASSGet off to a strong start learning your
instrument in this class covering the
“bass”ics of what it takes to be an effective
bassist in any genre. From jazz to funk and
everything in between, this class focuses
on topics including right and left-hand
technique, finger dexterity, neck memoriza-
tion, the parts of the bass, theory, reading,
transcription and much more! Perfect for
new musicians as well as seasoned instru-
mentalists with the desire to learn more. Prerequisites: None. Open to all! Students must bring a bass to class.
Thursdays 6:30 – 8 pm1/9 – 3/12 (10 weeks)
Daniel Lucca Parenti • $420
JAZZ BASSLearn a variety of essential techniques
for constructing strong jazz bass lines
on blues, jazz standards in 4/4 and 3/4,
modal tunes, rhythm changes, and ballads.
Techniques for soloing are also covered.
Perform bass lines in class each week with
piano accompaniment provided by the
instructor. Recommended for upright and
electric bassists interested in participating
in the Jazzschool’s ensemble program.
Prerequisites: intermediate technical facility and some ability to read music.
Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)
Glenn Richman • $420
DRUMS AND PERCUSSION
INTERMEDIATE JAZZ newDRUMMINGFor drummers with some familiarity with
jazz and associated styles, this class will
provide insights into how to break through
to the next level. With a deeper under-
standing of groove, dynamics, phrasing,
melody, interaction, and musical context,
one can find greater meaning in their
playing. The class will also highlight a
narrow subset of exercises which are
especially powerful tools for jazz drum-
mers, covering stick/brush technique, full
drum set technique, and rhythmic ear
training.
Wednesdays 6:30 – 8 pm1/8 – 3/1 1 (10 weeks)
Jon Arkin • $420
SAXOPHONEDEVELOPING A GREAT newSAXOPHONE SOUND: POWER, FOCUS, AND FLEXIBILITYThis is a class for saxophonists! This course
will help you develop a great saxophone
sound through tone exercises, an efficient,
relaxed embouchure, and air flow funda-
mentals. It will also explore what makes an
individual saxophone setup work, covering
reeds, mouthpiece, ligatures, horns, and
more. All topics will be put into practice,
playing both ballads and uptempo tunes.
Prerequisites: chromatic, major and minor scale proficiency. Required text: A Com-plete Approach to Sound for the Modern Saxophonist by Ben Britton.
Thursdays 6:30 – 8 pm1/9 – 3/12 (10 weeks)
Tony Peebles • $420
18
Adult Instrumental Classes
2020 Winter Quarter / January – March / c jc.edu
glenn richman
tony peebles
“Great environment for trying new things out — challenging but always supportive and fun.”
21
March 23 – 27, 2020
Monday – Friday 9:30am – 3 pm • Free concert: Friday, March 27, 6 pm
An exciting five-day program in a supportive networking environment. Prerequisite: Some facility on your instrument.
Directed by Jean Fineberg & Ellen Seeling,
with an all-women faculty from the Montclair Women’s Big Band.
Open to women instrumentalists and
vocalists at all levels. Camp includes:
• Jazz Combo
• Blues & Soul Band
• Latin Group
• R&B Choir
• NEW! Reggae Enemble
• Jazz Choir
• New Orleans Ensemble
• Warmup / Master Class
• Theory & Improvisation
• Percussion
• Vocal Skills
• Private Consultation
• Lunchtime Open Jam
WOMEN’S JAZZ & BLUES CAMP
Tuition: $499
Enrollment: Open(closes when full)
Financial Aid: Limitedfundsavailable
Program info: cjc.edu/womenscamp
Email: [email protected]
Phone: 510.758.2200 (Leave a message. We'll call you back.)
Registration: cjc.edu/womensreg
OUR 2019 FACULTY AND STAFF!
VOCALS / PIANO Jennifer Jolly, Rita Lackey, Janice Maxie Reid, Erika Oba
GUITAR Nancy Wenstrom
BASS Ariane Cap
HORNS / LATIN Mad Duran, Jean Fineberg, Marina Garza, Ellen Seeling
DRUMS / PERC Daria Johnson
OPERATIONS Karl Gomez
THEORYINTRODUCTION TO MUSIC THEORYLearn the basic skills needed to begin any
serious study of music. Topics include:
music notation, time signatures, key
signatures, rhythmic training, major scales,
intervals, transposition, chord structure,
harmonic progression, ear training and
an introduction to musical form and
composition. Required text: Practical Theory Complete by Sandy Feldstein
(available at the CJC Bookstore).
Prerequisites: None, open to all instrumentalists and vocalists.
Thursdays 6:30 – 8 pm1/9 – 3/12 (10 weeks)
Jason Levis • $420
IMPROVISATIONBEGINNING JAZZ IMPROVISATIONA friendly, supportive atmosphere in
which to practice the basics of jazz
improvisation. Start with the blues, then
progress to jazz standards, learning
essential scales and chords, playing at
every session, trading licks, learning
patterns and building solos. Ideal for
classical players or anyone aspiring to
jam or perform with a jazz ensemble.
Prerequisites: Facility on an instrument and ability to play all major scales from memory.
Thursdays 6:30 – 8 pm1/9 – 3/12 (10 weeks)
Rob Ewing • $420
INTERMEDIATE JAZZ IMPROVISATIONThis course gives students a strong
foundation in the Great American
Songbook repertoire and the ability
to improvise over chord progressions with
correct notes and good phrasing. Several
compositions from the Great American
Songbook will be used as vehicles to study
basic chord structures, scale structures
and non-diatonic neighboring tones.
Emphasis is placed on utilization of basic
harmonic concepts, thereby turning
exercises into melody. A step-by-step
conceptual approach is used, and with
each new tune, a different concept is
added.
Tuesdays 6:30 – 8 pm1/7 – 3/10 (10 weeks)
Glenn Richman • $420
COMPOSITION
SONGWRITINGExplore melody writing, basic harmony,
more adventurous chord progressions,
song form, rhyme schemes and the
instrumental component of songwriting
— all with the purpose of honing your
unique voice as a composer. Most impor-
tantly, develop two or three songs
to be workshopped and refined in real
time over the course of the term.
Thursdays 6:30 – 8 pm1/9 – 3/12 (10 weeks)
Rachel Efron • $420
Theory, Improvisation, Composition
2020 Winter Quarter / January – March / c jc.edu
Adult Vocal Classes
2322
TECHNIQUE ANDMUSICIANSHIP
APPLIED VOCAL TECHNIQUE: BUILDING REPERTOIREThis is a class for singers who want to
expand their repertoire while incorporat-
ing and applying best practices of vocal
technique. Each session will include
warm-ups and exercises designed to
maximize vocal range, flexibility, support,
dynamic control, and intonation. Instructor
will provide charts (in appropriate keys)
that students will select from a list of 100+
jazz standards and classics of rock/soul in
a variety of styles (swing, bossa, bebop,
funk, soul, Latin); students may also bring
their own charts. This class is not a
performance class but rather an opportu-
nity to workshop new material each week
while expanding and improving vocal
technique. Prerequisites: Beginning Jazz Singing and/or Vocal Technique Essentials.
Thursdays 4:45 – 6:15 pm1/9 – 3/12 (10 weeks)
Andrea Claburn • $420
VOCAL TECHNIQUELearn a variety of vocal exercises to
condition, strengthen, and keep your voice
healthy. We will learn about the founda-
tions of breath support and body align-
ment, and use technical exercises to
improve range, intonation, breath manage-
ment, and dynamic control. We will also
discuss how vowel formation, placement
and ability to change tone quality can
support your unique sound as a vocalist,
and directly apply these techniques to
songs you are working on. Applicable to
all contemporary vocal styles. Open to all!
Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Danielle Wertz • $420
VOCAL TECHNIQUE FOR JAZZ SINGERSJazz singers need a technique that
will allow them to express their vocal
interpretations and promote the health
and longevity of their voices. Sandy
Cressman's Vocal Technique combines
principles of Bel Canto, Flow Phonation,
breathing and support, vocal health
connected with ear training for jazz
singing. Students will learn warmup and
voice-building exercises and how to apply
them to their songs.
Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)
Sandy Cressman • $420
Adult Vocal Classes
Forauditionsandmoreinformation
aboutourVocalprogramsplease
LaurieAntonioli,510.845.5373ext21
MINDFUL SINGINGIn this ear training class, students will
work on refining intonation and vocal
technique while developing their natural
voice and musical ear through deep
listening and rigorous vocal exercises of
scales, intervals, patterns, and phrases. In
addition, the class will explore scales and
modes commonly used in jazz and modal
improvisation by using the principles of
classical Indian music. Prerequisites: None, open to all, no sight-reading required. Be prepared to sing!
Saturdays 10 – 11:30 am1/11 – 3/14 (10 weeks)
Tatyana Dimitrova • $420
PERFORMANCE jazz
FOR STARTERS — JAZZ & BLUES SINGINGYou used to sing a lot but now find
yourself relegated to the shower and
in-the-car jam sessions. Or, you love to
sing, but feel terribly shy at the idea of
singing in public. Explore and release your
inner rock, jazz or blues vocalist in this
encouraging, safe environment. Designed
to give you confidence through group
singing, while also bolstering your
repertoire with individual song develop-
ment. Accompanist provided. No previous
experience required.
Wednesdays 4:45 – 6:15 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Pamela Rose • $420
BEGINNING JAZZ SINGINGIn this class, students new to jazz will learn
to create a focused, relaxed, skilled and
authentic performance. The teacher will
introduce basic musicianship concepts as
well as warm-up exercises, understanding
and singing in different grooves, finding
suitable songs, ascertaining the correct
key, understanding the song form,
preparing a leadsheet, and creating a
home practice plan. A pianist joins the
class halfway through the quarter, and
students will further develop the songs
by working on sub-text, interpretation,
communicating with the accompanist,
singing in different feels, and setting up
and counting off songs. This class includes
an end-of-quarter performance.
Mondays 6:30 – 8 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23Danielle Wertz • $420
2020 Winter Quarter / January – March / c jc.edu
tatyana dimitrova
24
IMPROVISATION AND THE GREAT AMERICAN SONGBOOKA Modern Singer’s Tool Kit for Getting Inside StandardsStudents will learn to identify and utilize
musical devices common to the language
of jazz. Using both lyrics and scat
syllables, participants will come away
with clear tools for developing musical
fluency when improvising on a standard.
Students should have songs they'd like to
work on and clear charts/leadsheets in
the proper key.
Wednesdays 6:30 – 8 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Kate McGarry with Keith Ganz • $420
2020 Winter Quarter / January – March / c jc.edu 25
INTERMEDIATE JAZZ SINGINGThis class covers a range of jazz vocal
essentials including lyric interpretation,
style, rhythm, and feel. Students explore
improvisation and harmony in depth while
also learning to create their own arrange-
ments. The instructor will suggest
repertoire and help students find interest-
ing songs that are best suited for their
voice and ability. There will be a student
performance at the end of the term. Open
to students who have taken the Beginning
Jazz Singing class or have approval from
the Chair or the instructor.
Thursdays 6:30 – 8pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19Cecilia Engelhart • $420
WORKING WITH A RHYTHM SECTIONWithout experience, it's almost impossible
to learn how to direct a band, count off
tunes or create on-the-bandstand arrange-
ments. In this class, students learn the
essentials of band-leading and ensemble
playing: listening, interaction and collabo-
ration. Please bring 2 or 3 songs to work
on during the 10-week session. The
instructor will also suggest repertoire.
Prerequisites: Some performance experience.
Thursdays 8:15 – 9:45 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19Cecilia Engelhart • $420
THE CONTEMPORARY JAZZ SINGER Focus on an array of creative jazz singing
skills including developing a unique
repertoire, communicating with the
rhythm section and creating arrangements
on the spot. Study phrasing, improvisation,
interpretation and work on developing a
personal sound. Rhythm section provided.
You are welcome to bring in songs of your
choice, write original lyrics or use material
provided by the instructor. Prerequisites: consent of instructor — telephone consultation required. Contact Laurie: [email protected] or call 510-845-5373 for more information.
Section 1 Tuesdays 6:30 – 8 pm
Section 2 Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17
Laurie Antonioli • $460
THE SWINGING JAZZ SINGERStructured in a classic master class
format, this supportive, fun and adven-
turous course allows students to bring
in repertoire of their choice including
the Great American Songbook, bebop
and classic jazz tunes. The instructor will
coach vocalists on phrasing, interpreta-
tion, feel, improvisation and working with
a pianist in preparation for the end-of-
quarter student performance. During the
first class, students will learn how to get
their sheet music and songs together in
the proper key and format. Open to all!
Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Azure McCall • $420
THE ART OF THE DUOThe duo format offers unmatched
expressive and improvisational freedom
for a jazz vocalist. Focus on duo-enhanc-
ing skills including rhythmic and harmonic
independence, connecting and interact-
ing with the accompanist, arranging for
duo, and creating a dynamic and varied
duo program. Learn to take advantage of
the intimacy, spaciousness and fluidity
of the duo format and gain experience
singing with a renowned accompanist.
You are welcome to bring in songs of
your choice.
Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Keith Ganz • $420
AdultVocalClasses
kate mcgarry and keith ganz
AdultVocalClasses
26
CONTEMPORARY VOCAL STYLES Learn proper vocal technique (vocal
health, maintenance and developing
a practice routine) and apply these
approaches to singing in any style from
jazz to pop, rock, R&B, blues and beyond.
Class topics also include chart writing,
stage presence and microphone tech-
nique. This class culminates in an end-of-
quarter performance. Prerequisites: none! Open to all.
Mondays 8:15 – 9:45 pm1/6 – 3/16 (10 weeks) no class 1/20
Performance date: Monday 3/23Amanda Addleman • $420
THE ART OF JAZZ SINGING WITH A TRIOWorking with other musicians requires a
singer to be able to provide clear direction
and leadership. Counting off and setting
up a groove, providing signals, being able
to listen and respond to the music-these
are the keys to a successful performance.
In this supportive and challenging environ-
ment, students work on these skills, as well
as song styling, arranging and interpreta-
tion. Weeks 2 and 3 include a professional
accompanist, while the last two classes
and performance include a full trio. For
intermediate singers. Prerequisites: consent of instructor-telephone consulta-tion required.
Sundays Noon – 3 pm5 Sundays: February 16, 23 &
March 1, 8, & 15
Performance date: Tuesday 3/17Maye Cavallaro • $495
27
BRAZILIAN ENSEMBLEFor full description, see page 12
Section 1: Tuesdays 6:15 – 7:45 pm
Section 2: Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17
Section 3: Wednesdays 6:30 – 8 pm
Section 4: Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18
Section 5: Thursdays 1 – 2:30 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19
Marcos Silva • $420
FUNK ENSEMBLEFrom James Brown to Prince, Sly and the
Family Stone to Tower of Power, Stevie
Wonder to Earth, Wind & Fire, The Meters
to Herbie Hancock, we get down and
funky in this ensemble. Explore what it
takes to master the complexity of the funk
genre by breaking down the rhythmic
foundation of the groove, the feel, the
“pocket!” For all vocalists, horns and
rhythm section instruments.
Thursdays 8:15 – 9:45 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19Daniel Lucca Parenti • $420
SALSA SINGINGLearn the style, rhythm and technique of
salsa vocal music while learning to play
Latin hand-percussion instruments.
Instructor provides instruments like guiro,
maracas and claves to use each week. As
the term progresses, join forces with the
Salsa 2 instrumental Ensemble (see page
13) as you work to develop a performance
set. Representative songs include “Tres
Días de Carnaval” (Celia Cruz), “La
Rebelión” (Joe Arroyo) and “Brujería”
(El Gran Combo). Prerequisites: previous singing experience or basic technique training. All songs are in Spanish but fluency is not required to participate.
Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17Edgardo Cambón • $420
ensemble singing
VOCAL JAZZ ENSEMBLESing full vocal ensemble arrangements
recorded by The Manhattan Transfer, The
Hi-Lo’s, Lambert, Hendricks & Ross and
more. Arrangements are hand-tailored to
the ability and interest of the ensemble
members. Repertoire includes a combina-
tion of a cappella and accompanied tunes.
Learn how to learn this music, with a little
bit of added history for fun. Rehearsal
tools are made available (including sound
files with individual parts as well as the
entire arrangement). Male and female
singers of all ages are welcome. Prerequi-sites: some vocal experience is necessary, either in choirs or solo voice.
Tuesdays 6:30 – 8 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17Angie Doctor • $420
WORLD GROOVE ENSEMBLE: AFRICANThe African Ensemble explores diverse
styles such as Afrobeat, soukous, highlife,
“desert blues,” South African, Zimbabwe-
an, Afropop, or Ethio-jazz. Emphasis is
placed on listening to each other, learning
the specific rhythms and how they interact
to make the groove, and understanding
the cultural contexts of the songs. Open to
vocalists and instrumentalists. The African
Ensemble is the winter-term offering in
the World Groove Ensemble series;
students may enroll in any or all of the
classes. Materials and arrangements
provided by instructor. Prerequisites: intermediate instrumental proficiency; ability to read charts and notation.
Thursdays 8:15 – 9:45 pm1/9 – 3/12 (10 weeks)
Performance date: Thursday 3/19Jennifer Jolly • $420
AdultVocalClassesAdultVocalClasses
AdultVocalClassesAdultVocalClasses
29
“This school is truly a blessing. You aren’t just taught by professional teachers who play music, you’re taught by profes- sional musicians who teach!”
blues
BLUES VOCAL FUNSHOP 1 Feel like singing the blues? Blues is the
most primal, powerful part of your soul
and singing it is more fun than you can
possibly imagine. Students will explore the
deep, authentic singing strategies of great
blues singers from Jimmy Reed to Bonnie
Raitt, while developing blues repertoire.
No prior music experience necessary.
Class is open to both the novice singer
looking for a supportive, fun, instructive
course, and to the more experienced
singer looking to gain insight and control
on the bandstand. Each class is taught by
Bay Area's own jazz/blues diva Pamela
Rose and accompanied by legendary
blues guitarist Danny Caron.
Wednesdays 6:30 – 8 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Pamela Rose • $420
BLUES VOCAL FUNSHOP 2 Music of Etta JamesWe’ll celebrate and analyze one of the
most authentic singers of all time! Each
student will master at least one Etta
James song, with a focus on her superb
blues and R & B songs, while delving into
Etta's soulful, heartwrenching vocal
approach. (Some basic charts provided,
but students will transpose or bring in
additional charts if necessary.) Classes to
be accompanied by guitarist Danny Caron,
and last 2 classes will add rhythm section
(bass and drums). Prerequisites: Blues Vocal Funshop 1 and/or permission from instructor.
Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Pamela Rose • $460
BLUES AND GROOVE ENSEMBLEFor description, dates and times, see p. 13
Danny Caron and Anthony Paule • $420
latin
MARIACHI AND BOLERO new VOCAL PERFORMANCELearn to sing 5 or 6 new songs in mariachi
and romantic bolero tradition culminating
with an end-of-quarter performance.
Students will work on Mexican Spanish
lyric diction, in addition to history, sound,
interpretation, and style from Hispanic
song expert, Dr. Juanita Ulloa. Open to all
— no previous Spanish necessary.
Saturdays 1:30 – 3 pm1/1 1 – 3/14 (10 weeks)
Performance date: Saturday 3/21Juanita Ulloa • $420
CANTA BRASILThis class will explore various genres of
Brazilian songs, including samba, bossa
nova, choro, baião and frevo. We will learn
a song from each genre and its historical
and regional roots. We will study the
unique rhythmic feels and phrasing of
each genre, incorporating some simple
percussion instruments while preparing
songs for the end-of-quarter student
performance.
Tuesdays 6:30 – 8 pm1/7 – 3/10 (10 weeks)
Performance date: Tuesday 3/17Sandy Cressman • $420
COMPOSITION
SONGWRITINGExplore melody writing, basic harmony,
more adventurous chord progressions,
song form, rhyme schemes and the
instrumental component of songwriting
— all with the purpose of honing your
unique voice as a composer. Most
importantly, develop two or three songs
to be workshopped and refined in real
time over the course of the term.
Thursdays 6:30 – 8 pm1/9 – 3/12 (10 weeks)
Rachel Efron • $420
YOUNG SINGERS
VOCAL PERFORMANCE FOR TEENS This class explores the essentials of vocal
performance including healthy vocal
technique, repertoire development, and
performance skills. Students are encour-
aged to bring in songs ranging from pop
and R&B to jazz standards and bebop.
The instructor can also recommend music
based on interest and level. Students learn
how to determine a comfortable key for a
song, count off a tune, and communicate
effectively with an accompanist. The class
culminates in a performance showcasing
material developed over the 10-week
session. All levels are welcome, for ages
12 – 18.
Wednesdays 4:45 – 6:15 pm1/8 – 3/1 1 (10 weeks)
Performance date: Wednesday 3/18Danielle Wertz • $420
28 2020 Winter Quarter / January – March / c jc.edu
AdultVocalClasses
VocalWorkshops
3130
VOCAL MENTOR PROGRAM
CENTER STAGE — A Mentored Program for Concert Development with Maye Cavallaro and Laurie Antonioli
This program also includes:
• A professional sound technician and
quality live recording of your performance
• Staff at the door and on-site during the
performance
• Guidance in marketing and promotion,
including how to prepare publicity
materials
• Inclusion in California Jazz Conservatory
advertising, marketing and publicity
• A percentage of ticket sales
$850
Contact the Chair of the Vocal Program,
Laurie Antonioli, for more information on
how to apply for this program:
laurie @ cjc.edu.
“ The Vocal Mentor Program with Maye Cavallaro gave me all the tools I needed to launch myself as a regularly gigging professional jazz singer. She covers everything: marketing, hiring and rehearsing the band, selecting material, developing arrangements, organizing set lists, wardrobe, stage pres-ence and more — it is a very broad education. Having an experienced, supportive, friendly professional to guide me through the process was an invaluably helpful experi-ence. It requires a lot of time, effort and dedication, but if you want your singing to make the quantum leap from performing at open mics and recitals to owning the stage for an entire show, there’s nothing better out there.”
Work through the process of presenting
a full-length, public, professional-level
concert. Candidates work with their
mentor over the course of three or four
months, preparing their concert by
choosing songs, working out arrange-
ments, deciding on sequencing, and
developing patter and stage presence.
Lessons also include making a budget,
hiring and rehearsing musicians and
developing a marketing plan.
Candidates will be most successful if they
are advanced students who have some
performing experience in classes and
workshops or in a professional environ-
ment. A repertoire of 15 to 20 memorized
songs in various styles is recommended.
This is a unique opportunity for singers to
design a performance that reflects a
personalized artistic vision. Concert dates
are available throughout the year.
VOCAL WORKSHOPS
AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES The Music of Harry Warren “At Last”with Maye Cavallaro
Harry Warren (born Salvatore Antonio Guaragna), was an American composer and lyricist.
Warren was the first major American songwriter to write primarily for film. He was
nominated for the Academy Award for Best Song eleven times and won three Oscars for
composing “Lullaby of Broadway,” “You’ll Never Know” and “On the Atchison, Topeka and
the Santa Fe.” He wrote the music for the first blockbuster film musical, 42nd Street,
choreographed by Busby Berkeley, with whom he would collaborate on many musical
films. Over a career spanning four decades, Warren wrote more than 800 songs. Other
well-known Warren hits included “I Only Have Eyes for You,” “Jeepers Creepers,”
“That’s Amore,” “There Will Never Be Another You,” “The More I See You,” “At Last”
and “Chattanooga Choo Choo” (the last of which was the first gold record in history).
In this workshop we’ll explore and sing the music of Harry Warren. We’ll also listen to how
some jazz greats have interpreted these songs and get ideas for our own arrangements.
Students are provided with 10 leadsheets for songs including practice-backing tracks. In
the final week we’ll work with an accompanist and sing these songs trying out our own
arrangement ideas. Open to singers and instrumentalists. All levels welcome.
3 Sundays, Jan 12, 19 & 26, Noon – 3 pm$300 advance, $315 day of workshop
AdultVocalCourses
maye cavallaro
2020 Winter Quarter / January – March / c jc.edu
33
VOCAL JAZZ DEEP DIVEwith Kitty Margolis
An exclusive opportunity to spend quality
time diving deep into the art of vocal jazz
with one of today’s most exciting singers.
Margolis, whose award-winning recordings
have earned her Top Ten airplay and an
international fan-base, is well known for
her inspiring and humorous teaching style.
At CJC, she will share concepts, technique,
and individualized feedback to stimulate
improvisational fluency and develop
artistic vision. An accompanist will be on
hand. Come ready to sing and leave with
enhanced understanding, refreshed
creativity and brand new chops. Partici-
pants should be prepared to sing 2 or 3
standard songs from memory. Please
bring charts/leadsheets for each selection
(including chords and melody) in the
singer’s key. 3 copies of each chart.
Limited to 10 intermediate-to-advanced
level vocalists.
Sunday, January 12, Noon – 3 pm$100 advance, $115 day of workshop
ARRANGING FOR SINGERS IN A DUO SETTINGwith Susana Pineda
A vocal/instrumental duo presents many
opportunities for creative approaches and
arrangements. In this workshop, singers
will learn a variety of techniques from
composed intros, soli sections and
background lines to looping, spoken word,
effects, and extended vocal techniques.
Students should bring one or two songs of
any style to work on in class. Open to all.
Sunday, January 26, Noon – 3 pm$50 advance, $65 day of workshop
FROM TRADITIONAL IRISH AIRS TO GAELIC JAZZ: THE JOURNEY OF IRISH SONGwith Melanie O’Reilly
Join Irish vocalist Melanie O’Reilly for an
introductory journey into the rich and
diverse Irish vocal tradition, which enjoys
a prominent place in world music today.
Songs of celebration, laments, lullabies,
lilting (mouth music), and sean-nós
(old-style) will be demonstrated, exploring
many subjects and themes. The roots of
the Irish song tradition are traced from the
17th century to Irish American traditional
songs, to contemporary times, with new
fusion genres — such as the Afro-Celt
Sound System, Celtic fusion, the folk-world
songs of Kila, and O’Reilly’s own Gaelic
jazz interpretations. Students will have the
opportunity to sing examples from the
Irish tradition and will be encouraged to
sing in Gaelic (to be learned phonetically),
as well as English. Some songs will be
unaccompanied, as in the Irish tradition.
This is a workshop that will be fun as well
as informative!
Sunday, February 16, Noon – 3 pm$50 advance, $65 day of workshop
susana pineda
FEELS & GROOVES with Masha Campagne
Contemporary jazz singers like Dianne
Reeves, Kurt Elling and Jane Monheit have
inspired us with their unmistakable jazz
phrasing fusing a conversational delivery
with rhythmic and melodic improvisation.
They also continue to push the musical
envelope by incorporating a variety of
rhythmic textures & time signatures into
their singing. From medium to fast swing,
ballad to bossa & blues this workshop will
expand your knowledge of how to effec-
tively use a variety of time feels and grooves
to create fresh new arrangements on the
spot. Students should bring a lead sheet for
a song of their choice to work on individually
with live accompaniment. All levels welcome!
Sunday, February 9, Noon – 3 pm$50 advance, $65 day of workshopkitty margolis
melanie o'reilly
masha campagne
VocalWorkshops
32
VocalWorkshops
andrea wolper
INTRO TO FREE IMPROVISATIONwith Andrea Wolper
Experience the joy of flying without a net in this introduction to free improvisation.
Drawing on what we already know about song form, sound, melody, harmony,
rhythm, and creative expression, we’ll find our way into spontaneous music-making.
Expect to expand your musical vocabulary and expressive tools, to find links
between songs and spontaneous composition and, perhaps most importantly,
to rediscover the exhilaration of free expression. Open to all vocalists and
instrumentalists. Some singing/playing experience necessary.
Sunday, March 29, Noon – 3 pm$50 advance, $65 day of workshop
Young Musicians Program
TheJazzschoolYoungMusicians
Programisayear-round
comprehensivemusiceducation
andperformanceprogram
designedforinstrumentaland
vocalstudentsbetweentheages
of11and18.TheYoungMusicians
Programhasbeenatthecenter
oftheJazzschool’seducational
andartisticgoalssince1997.Its
curriculumprovidesstudents
withtheopportunitytowork
withprofessionaljazzartists
andeducators,strengthening
performanceskills,expanding
knowledgeofjazztheoryand
improvisation,andlearningmore
aboutthefoundationsofjazz
andrelatedstylesofmusic.
Studentsparticipateinafter-school
classesandinmasterclasseswith
nationallyknownjazzartists,as
wellasperforminginvenues
throughouttheSanFrancisco
BayAreaandbeyond.2020 PROGRAM REQUIREMENTS
Jazzschool Young Musicians Program
ensembles require a commitment of three
quarters (fall, winter and spring). Students
unable to commit to a full school year are
still encouraged to audition; however,
priority will be given to those who can
remain in the program for the entire school
year. Students wishing to audition mid-year
will be placed in the program based on
availability of open spots in ensembles and
the student’s ability level. Please note that,
while it is our mission to find a place for
everyone in our Young Musicians Program,
we may not be able to accommodate all
students who apply.
Jazzschool Young Musicians Program
erik jekabson
“It’s the only place that I know of that offers such high level jazz ensembles for middle and high school students. Last year, my school music program was not challenging enough for me. I loved being involved!”
VocalWorkshops
3534
Young Musicians Program
36 37
PLACEMENT AND AUDITION REQUIREMENTS WINTER 2020
AUDITION MATERIALSEntering musicians are asked to prepare
two skill-level appropriate jazz standards,
improvise over a 12-bar blues (optional) or
rhythm changes (for high school students
only) and sight-read.
HOW TO SCHEDULE AN AUDITION To schedule an audition, please apply
online at: cjc.edu/youth_auditions
After your application is received, you will
be contacted within 1 – 2 weeks with an
audition time. Auditions are scheduled on
a first-come, first-served basis and will be
scheduled at the earliest available time.
Students will be contacted with placement
information following the audition.
AUDITION DATESStudio Band/Advanced High School Jazz Workshops Closed
Middle and High School Small Ensembles Ongoing
AUDITION BY VIDEO (OPTIONAL) Students have the option of submitting an
online video audition rather than scheduling
an in-person audition. Students submitting
their audition online are still required to fill
out an online application at cjc.edu/youth_ auditions. On the application form, please
select video submission. Please note: online
video submissions are not available for the
Studio Band or Advanced High School
Jazz Workshops.
INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS
• Student should be clearly visible
and audible on the video.
• Perform two skill-level appropriate
jazz standards. Please state the name
of each piece before you play it.
• Download one of the two improvisation
tracks at cjc.edu/youth_auditions
for the improvisation portion of your
audition. Two choruses required.
• On the video, it is important that your
playing is heard louder than anything
else, including any accompanying tracks.
PIANO AND GUITAR PLAYERS Follow the above instructions with only
one change: after improvising, please
demonstrate comping/voicings on a
blues or rhythm changes.
DRUMMERSPlease demonstrate the following styles:
• swing, bossa nova, funk/rock
• Demonstrate each style at various
tempos (i.e., slow, medium, fast)
• On each style/tempo please “trade
fours” with yourself (4 bars of time,
4 bars of solo, etc.)
• Play at least 16 bars of each example
After you have completed your video,
upload your audition to YouTube and title
the video with your name (Example: John
Smith Jazzschool Audition). You should make
this a private video (unless you don’t mind it
being available to the public). Once the video
is uploaded, send a link to erik @cjc.edu. You may also upload the video to a private
website and email a link. Please do not
email audition videos as attachments.
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.
INSTRUMENTAL ENSEMBLES
High school and middle school
jazz ensembles are offered
Monday through Thursday in the
late afternoon and early evening
and during the day on Saturday.
While we make every effort to
accommodate scheduling requests,
specific placements are based on
the results of an audition.
large performance ensembles
STUDIO BANDDevelop technique, knowledge of jazz
style and an ability to improvise through
standard and contemporary big band
repertoire. This highly-selective ensemble
performs frequently and participates in
competitions throughout the U.S. The
Studio Band has played at Yoshi’s and
Savanna Jazz, as well as jazz festivals
in California, New York, Seattle, Idaho,
the Vienne Jazz Festival in France and
the Montreux Jazz Festival in Switzerland.
Full school year commitment is required.
Instrumentation: 5 saxes, 5 trumpets, 5
trombones, guitar, piano, bass and drums.
Mondays 6:30 – 8 pm1/6 – 3/16 (10 weeks) no class 1/20Dave Eshelman • $230
Please note that all ensemble
prices on pages 37 – 41 are
priced for the quarter.
dave eshelman
2020 Winter Quarter / January – March / c jc.edu
The California Jazz Conservatory Master of Music in Jazz Studies
The California Jazz Conservatory Master of Music in Jazz Studies
is a two-year, 60-credit degree program for the 21st century
jazz composer-performer taught by preeminent resident and
visiting artists-educators.
The program is structured around the small ensemble, providing
the professional-level jazz musician with a creative platform
to both compose and perform original work.
To apply, please visit www.cjc.edu/apply
A Master’s Degree for the 21st Century Composer-Performer
2087 Addison Street, Berkeley CA 94704(510) 845-5373 cjc.edu
Young Musicians Program
40 41
small performance ensembles
ADVANCED HIGH SCHOOL JAZZ WORKSHOP 1 AND 2Explore the post-bop harmonic, melodic,
rhythmic and formal innovations of
Coltrane, Shorter, Corea, Hancock,
Brecker and others in this multiple
DownBeat award-winning ensemble.
For advanced-level high school student
players, competent in the bebop language.
Participate in various competitions and
festivals.
Workshop 1: Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Michael Zilber • $420
Workshop 2: Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Erik Jekabson • $420
HIGH SCHOOL JAZZ ENSEMBLE Gain a greater understanding of jazz
theory and develop improvisation skills
through the study and performance of
challenging jazz repertoire.
Section 1: Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Colin Hogan • $420
Section 2: Mondays 4:45 – 6:15 pm 1/6 – 3/16 (10 weeks) no class 1/20Raffi Garabedian • $420
Section 3: Tuesdays 4:45 – 6:15 pm 1/7 – 3/10 (10 weeks)
Charles Hamilton • $420
Section 4: Tuesdays 4:45 – 6:15 pm1/7 – 3/10 (10 weeks)
Nora Stanley • $420
Section 5: Wednesdays 4:45 – 6:15 pm1/8 – 3/11 (10 weeks)
Rob Ewing • $420
Section 6: Thursdays 4:45 – 6:15 pm 1/9 – 3/12 (10 weeks)
Colin Hogan • $420
Section 7: Saturdays 11:45 am – 1:15 pm1/11 – 3/14 (10 weeks)
Colin Hogan • $420
Section 8: Saturdays 11:45 am – 1:15 pm1/11 – 3/14 (10 weeks)
Isaac Narell • $420
Young Musicians Program
2020 Winter Quarter / January – March / c jc.edu
MIDDLE SCHOOL JAZZ ENSEMBLE Learn to play jazz and improvise while
covering a wide repertoire from John
Coltrane, Sonny Rollins, Eddie Harris and
other jazz masters.
Section 1: Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Raffi Garabedian • $420
Section 2: Wednesdays 4:45 – 6:15 pm 1/8 – 3/11 (10 weeks)
Scott Thompson • $420
Section 3: Thursdays 4:45 – 6:15 pm 1/9 – 3/12 (10 weeks)
Nora Stanley • $420
Section 4: Saturdays 11:45 am – 1:15 pm1/11 – 3/14 (10 weeks)
Joe Hartnett • $420
HIGH SCHOOL FUNK ENSEMBLELearn the classic funk hits of James Brown,
Sly Stone and others. Vocalists and horns
welcome! Music is learned by ear. (Also open
to advanced middle-school musicians.)
Section 1: Saturdays 10 – 11:30 amSection 2: Saturdays 11:45 am – 1:15 pm1/11 – 3/14 (10 weeks)
Jon Monahan • $420
VOICE
VOCAL PERFORMANCE FOR TEENSDelve into songs as a means of storytelling
while simultaneously developing a personal
connection to a lyric. All styles of music are
welcome and students are encouraged to
bring in songs of their choice. The instructor
can also suggest repertoire suitable for
individual students. Build vocal technique
through a variety of warm-up, ear-training
and musicianship exercises.
Wednesdays 4:45 – 6:15 pm1/8 – 3/11 (10 weeks)
Danielle Wertz • $420
erika oba
43
SUMMER 2020 PREVIEWJAZZSCHOOL SUMMER CAMPS & INTENSIVESIt’s time to start planning for summer 2020! We pride ourselves on offering some of the Bay Area’s most exciting summer jazz programs, for students who want to spend a week (or two) honing their skills in a focused environment.
Summer Programs for Young Musicians• Jazzschool Summer Youth Program June 22 – 26 and July 27 – 31, 2020 Two 5-day sessions for instrumentalists entering grades 7 – 10
• High School Jazz Intensive July 6 – 10, 2020 A weeklong session for advanced high school jazz instrumentalists, directed by Dr. Michael Zilber
• Girls’ Jazz & Blues Camp August 3 – 7, 2020 A weeklong program for singers and instrumentalists
Summer Programs for Adults• Jazz Piano Intensive June 15 – 19, 2020
• Jazz Saxophone Intensive June 29 – July 3, 2020
• Jazzschool Guitar Intensive August 10 – 14, 2020
• Jazzschool Vocal Intensive August 10 – 15, 2020
A weeklong session for jazz vocalists, directed by Laurie Antonioli
with artist-in-residence Theo Beckmann
42
Workshops
IMPROVISING ON JAZZ STANDARDS SERIES
This series of hands-on workshops,
directed by some of the Bay Area’s top
jazz improvisers, is designed to provide
players with a range of techniques for
improvising on jazz standards. Get some
new tools for your improvisational toolkit
and gain a variety of perspectives on jazz
improvisation from each of these wonder-
ful musicians. Each session will be directed
by a different instructor and focus on a
particular jazz standard, including plenty
of in-class playing time and Q & A. These
workshops are open to all.
Suggested prerequisites for those who will play during the session: facility on an instrument and knowledge of jazz theory.
WAVEwith Anton SchwartzSunday, January 19, 11:30 am – 1:30 pm
ALL THE THINGS YOU AREwith Charlie GurkeSunday, January 26, 11:30 am – 1:30 pm
BUT NOT FOR MEwith Henry HungSunday, February 2, 11:30 am – 1:30 pm
CHEROKEEwith Kasey Knudsen Sunday, February 16, 11:30 am – 1:30 pm
Each workshop: $30 advance,
$45 day of workshop
44
THE FUNDAMENTALS OF IMPROVISATIONwith Ron Jackson
The workshop is based on the Barry Harris System of Improvisation (bebop-based)
combined with guitarist Ron Jackson’s extensive experience teaching improvisation to
students of all abilities. The goal of the workshop is to start improvising, using real jazz
phrases (not blues phrases but bebop), on: “Jazz Blues,” “Rhythm Changes” and a jazz
standard (“I’ll Remember April”). By the end of the workshop you should be able to play
jazz licks or phrases on any tune and develop confidence in this system of improvisation.
Instructor will demonstrate with a jazz trio. Everyone must bring their instruments and
play during the workshop. You will also have the opportunity to play with the trio and
receive personal feedback. For guitarists in attendance, instructor will recommend
specific ways to practice your scales and phrases on the fingerboard.
Sponsored by the Gardenia Society.
Sunday, January 12, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
VOCAL JAZZ DEEP DIVEwith Kitty Margolis
For full description, see p. 32
Sunday, January 12, 12 Noon – 3 pm
$100 advance, $115 day of workshop
Workshops
AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES The Music Of Harry Warren “At Last”With Maye Cavallaro
Harry Warren (born Salvatore Antonio Guaragna), was an American composer
and lyricist. Warren was the first major American songwriter to write primarily
for film. He was nominated for the Academy Award for Best Song eleven times
and won three Oscars for composing “Lullaby of Broadway,” “You’ll Never
Know” and “On the Atchison, Topeka and the Santa Fe.” He wrote the music
for the first blockbuster film musical, 42nd Street, choreographed by Busby
Berkeley, with whom he would collaborate on many musical films. Over a career
spanning four decades, Warren wrote more than 800 songs. Other well-known
Warren hits included “I Only Have Eyes for You,” “Jeepers Creepers,” “That’s
Amore,” “There Will Never Be Another You,” “The More I See You,” “At Last”
and “Chattanooga Choo Choo” (the last of which was the first gold record in
history). In this workshop we’ll explore and sing the music of Harry Warren.
We’ll also listen to how some jazz greats have interpreted these songs and get
ideas for our own arrangements. Students are provided with 10 leadsheets for
songs including practice-backing tracks. In the final week we’ll work with an
accompanist and sing these songs trying out our own arrangement ideas.
Open to singers and instrumentalists. All levels welcome.
3 Sundays, Jan 12, 19 & 26, Noon – 3 pm$300 advance, $315 day of workshop
ron jackson
maye cavallaro
Workshops
2020 Winter Quarter / January – March / c jc.edu 45
4746
REHARMONIZING JAZZ STANDARDS USING MELODIC AND HARMONIC MINOR HARMONYwith John Stowell
Master guitarist and improviser John
Stowell leads a workshop on reharmoniza-
tion techniques applied both to composi-
tion and improvisation, integrating
concepts developed from an in-depth
exploration of melodic and harmonic
minor harmony. Prerequisites: knowledge of jazz harmony suggested.
Sunday, January 26, 2 – 4 pm$30 advance, $45 day of workshop
ARRANGING FOR SINGERS IN A DUO SETTINGwith Susana Pineda
A vocal/instrumental duo presents many
opportunities for creative approaches
and arrangements. In this workshop,
singers will learn a variety of techniques
from composed intros, soli sections and
background lines to looping, spoken word,
effects, and extended vocal techniques.
Students should bring one or two songs of
any style to work on in class. Open to all.
Sunday, January 26, Noon – 3 pm $50 advance, $65 day of workshop
THE GENIUS OF WES MONTGOMERYwith Mimi Fox
This workshop is designed to acquaint
students with the style and techniques of
legendary jazz guitarist Wes Montgomery,
through the performance of transcriptions,
close listening and instructor demonstra-
tions. Prerequisites: intermediate to advanced facility on guitar.
Saturday, February 1, 3:15 – 5:15 pm$30 advance, $45 day of workshop
john stowell
Workshops
SUS CHORDS with Anton Schwartz
A deep look at the use of “sus” chords in contemporary jazz and related styles. Topics include: traditional versus modern use, sus-flat-9, sus-add-3, relation to II-V-I progressions and techniques for improvisation. Prerequisites: basic knowledge of music theory.
Saturday, January 18, 3:15 – 5:15 pm$30 advance, $45 day of workshop
ALTERED DOMINANT AND DOMINANT 13(b9) CHORDS with Anton Schwartz
These two chords provide rich colors that are essential to the palette of intermediate and
advanced jazz players. This workshop takes a deep look at the chords and their accompa-
nying scales, examining how each is constructed, why they are constructed that way and
how they may be used to maximal effect. Their sounds are contrasted within the context
of jazz (e.g. when should one be used rather than the other?) by listening to examples of
their use. Additional topics include: different types of outness and lydian dominant, the
sister of the altered sound. This workshop is appropriate for students with little prior
exposure to the subject, as well as students familiar with melodic minor and diminished
harmony who wish to deepen their understanding. Prerequisites: an understanding of basic theory and the mixolydian & diminished scales.
Sunday, January 19, 2 – 4 pm$30 advance, $45 day of workshop
anton schwartz
2020 Winter Quarter / January – March / c jc.edu
mimi fox
48 492020 Winter Quarter / January – March / c jc.edu
HOT CLUB JAZZ GUITARwith Paul Mehling
This workshop focuses on various aspects
of hot club-style jazz guitar in the
tradition of the legendary Django
Reinhardt. Topics include rhythm, picking,
scales, arpeggios, chords, soloing, and
more. One-on-one evaluation is available
to all attendees, with a directed jam at
the conclusion of the workshop (time
permitting). Bring your instrument,
recording device (or paper and pencil)
and questions!
Sunday, February 2, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
Workshops
THE METRONOME IS YOUR FRIENDwith Paul Mehling
Returning with his popular workshop for
musicians and singers of all levels, Mehling
demonstrates a range of practice tech-
niques making creative use of the metro-
nome. Improve your productivity and
increase your musicianship! Open to all.
Sunday, February 2, 2 – 4 pm$30 advance, $45 day of workshop
FEELS & GROOVES with Masha Campagne
For full description, see p. 33
Sunday, February 9, Noon – 3 pm$50 advance, $65 day of workshop
FROM TRADITIONAL IRISH AIRS TO GAELIC JAZZ: The Journey of Irish Songwith Melanie O’Reilly
For full description, see p. 33
Sunday, February 16, Noon – 3 pm$50 advance, $65 day of workshop
BOOGIE WOOGIE PIANO with Wendy DeWitt
Join us in a deep dive into Albert Ammons
and Pete Johnson, two of the greats of
boogie woogie and where Jerry Lee and
those who followed got their inspiration
from. We’ll explore licks and the technique
necessary for smooth execution, breaks,
intros and endings. Be ready to flesh out
your improvisations with lots of new
material. We’ll also cover how to create
dynamics, develop themes, and keep your
playing interesting with the many tools
available to pull in your listener’s ear.
Recording is invited. Bring a notebook.
Recommended level: Advanced beginner
and beyond.
Sunday, February 16, 2 – 4 pm$30 advance, $45 day of workshop
wendy dewitt
TURNING SCALES, PATTERNS & RHYTHMIC IDEAS INTO MUSICwith Dan Zemelman
Learn how to transform your playing using
many different scales and patterns in
various rhythmic contexts. We will explore
how to turn these ‘everyday’ musical tasks
into satisfying melodic ideas. Develop a
fresh and musical approach to practicing
scales. For all instruments.
Sunday, February 23, 11:30 am – 1:30 pm $30 advance, $45 day of workshop
MELODIC & HARMONIC PRINCIPLES ON THE PIANO — FROM INSIDE TO OUTSIDE AND BACKwith Dan Zemelman
Have you ever wondered how to get that
certain ‘sound’ on the piano? How do you
go from basic chords and melodic ideas to
more interesting and harmonically diverse
ones? We’ll cover a vast range of material
that will help expand your palette and give
you tools for creating new and more
diverse choices on the piano.
Sunday, February 23, 2 – 4 pm
$30 advance, $45 day of workshop
dan zemelman
paul mehling
“This place is the best. I love it and we’re all SO lucky that the Jazzschool exists.”
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INTRO TO FREE IMPROVISATIONwith Andrea Wolper
Experience the joy of flying without a net
in this introduction to free improvisation.
Drawing on what we already know about
song form, sound, melody, harmony,
rhythm, and creative expression, we’ll find
our way into spontaneous music-making.
Expect to expand your musical vocabulary
and expressive tools, to find links between
songs and spontaneous composition and,
perhaps most importantly, to rediscover
the exhilaration of free expression. Open
to all vocalists and instrumentalists. Some
singing/playing experience necessary.
Sunday, March 29, Noon – 3 pm$50 advance, $65 day of workshop
greg abate
Workshops
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andrea wolper
ELEMENTS OF JAZZ IMPROVISATIONwith Greg Abate
Saxophonist Greg Abate shares his
approach to jazz improvisation. Emphasis
on the concept of improvising in “slow
motion” which he thinks of as songwriting,
as a way to improvise melodically without
resorting to licks or patterns. Recom-
mended for all players looking to develop
a fresh and musical approach to improvis-
ing over jazz standards and related
repertoire.
Sponsored by Conn-Selmer.
Saturday, March 14, 3:15 - 5:15 pm$30 advance, $45 day of workshop
POPULAR MUSIC HARMONYwith Jeff Gardner
This workshop provides a solid foundation
for learning the fundamental elements of
most styles of modern music. These
include cadences, harmonic sequences
and cycles, pedal points, superimposed
triads and seventh chords, and analysis
of jazz standards using these concepts.
Compositional exercises will be presented
to help the student assimilate the material
quickly and thoroughly in a creative
manner. These will tie in concepts such as
chord scales, line writing, approach notes,
and passing tones. The workshop will be
structured on three different levels —
beginning, intermediate, and advanced.
The first module will present piano
exercises relevant not only to apprentice
jazz and pop pianists, but to other
instrumentalists who wish to have a
command of the piano for composing,
arranging, and accompanying. The
advanced level will deal with all the above
elements and include Coltrane Changes,
polytonal cadences, non-traditional key
centers, polymodality and high level
compositional strategies.
Sunday, March 15, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
STRETCHING THE ENVELOPEwith Jeff Gardner
This workshop presents concepts drawn
from 20th century “classical” music as a
mine of ideas for jazz and contemporary
improvisation and composition. Topics
include: uncommon combinations of
added tones, polytonality, non-diatonic
bass tones (slash chords on the border of
polytonality), pandiatonicism and much
more. Students will work through a series
of composition exercises based on
different parameters of contemporary
music, mixed with forms and techniques
associated with jazz. For all instruments.
Sunday, March 15, 2 – 4 pm$30 advance, $45 day of workshop
jeff gardner
2020 Winter Quarter / January – March / c jc.edu
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Jazzschool Faculty
Amanda Addleman (voice) B.M. Performance from Berklee College of Music. Student of Mili Bermejo-Greenspan, Ken Cervenka, Greg Hopkins, Maggie Scott, Lee Strawn & Tierney Sutton. Professional musician with past residencies at The Palace Hotel, Savanna Jazz Club and more. Vocal Program Director at Sir Francis Drake High School and private music educator and clinician.
Laurie Antonioli (voice) Studied at Mt. Hood College and Cal State Long Beach. Chair, Vocal Program, California Jazz Conservatory. Professor and Director of Vocal Jazz Department, Kug U., Graz, Austria. Private studies with Joe Henderson and Mark Murphy. Origin Records recording artist; Nabel Records recording artist; performed and recorded with George Cables, Bobby McFerrin, Richie Beirach, Pony Poindexter, Joe Bonner; bandleader of the American Dreams Band; led international group Foreign Affair; lyricist for Richie Beirach; co-creator of the Pauer— Antonioli Songbook. www.laurieantonioli.com
Jon Arkin (drums)B.M. in Jazz Performance, University of Miami School of Music (now Frost School of Music); has performed internationally with a wide variety of musicians including Lee Konitz, Gene Perla, Grady Tate, Ira Sullivan, Cuong Vu, Dayna Stephens, Taylor Eigsti, Julian Lage, Wil Blades, Vusi Mahlasela, Meklit Hadero, Karl Denson, Stew, Fareed Haque, 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- acoustic setup, including with the Schimscheimer Family Trio, Jordan Glenn, Rob Ewing, Kasey Knudsen, and Ben Goldberg; has taught classes/lessons/workshops at the CJC/JCMS, Stanford Jazz Workshop, UC Berkeley, Sonoma State U, Humboldt State U, and many other schools around the U.S. and Europe. www.jonarkin.net
Bill Aron (saxophone) M.M. in Performance, SF State; B.A. in Music UC Berkeley. Professional musician and music educator for 46 years; specializing in classical saxophone playing with the San Francisco Saxophone Quartet and San Francisco Symphony among others.
David Belove (bass) Studied at SF State and San Francisco Conserva-tory of Music. Recorded or performed with Pete Escovedo, John Santos and The Machete Ensemble, Danilo Perez, Tito Puente, Francisco Aguabella, Rebeca Mauleon, Ray Obiedo, Marcos Silva, Joe Henderson, Max Roach, Blue Mitchell, Eddie Harris, Mark Levine, Pat Metheny, Larry Coryell and Zakir Hussain.
Edgardo Cambón (percussion, voice) Bandleader for 26 years of the renowned salsa band “Edgardo & Candela.” Toured throughout South America, Europe, and Africa since 1986. LP (Latin Percussion Co.) endorser. Performed or recorded with Jesús “Chucho” Valdés (Irakere), Eddie Palmieri, Carlos Santana, José Luis “Changuito” Quintana, Orestes Vilató, Salsa Romántica Stars Jerry Rivera and Eddie Santiago, Keith Terry and “Crosspulse,” Omar Sosa, Jeff Narell, Andy Narell, Sovosó (formerly Bobby McFerrin’s “Voicestra”) Mike Spiro, Karl Perazzo and Rebeca Mauleón. www.musicandela.com
Danny Caron (guitar) B.A. in English and Music, Oberlin College and Conservatory; graduate of Howard Roberts Program, Guitar Institute of Technology, Los Angeles. Best known for being music director and guitarist for the legendary pianist and vocalist Charles Brown until his death in 2000. He has played and recorded with Van Morrison, Bonnie Raitt, Dr. John, Clifton Chenier, Donald Fagan, Hadda Brooks, Red Callender, and many others. www.dannycaron.com
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laurie antonioli
Maye Cavallaro (voice) Advanced degree in Education, UC Santa Barbara; B.A. in English Lit, UC Santa Barbara. Fellow NY Cabaret Symposium; faculty, Blue Bear School of Music; private coaching, 25 years; producer, 8 recordings; bandleader, recording artist; awarded Best of the Year in Jazz by the San Francisco Chronicle; visiting clinician, St. John’s U.; graphic artist, web designer. www.teachingjazz.com
Andrea Claburn (voice)B.Mus. (in progress), California Jazz Conservatory; B.A. (High Honors, Humanities) University of California at Berkeley. Co-bandleader, Andrea Claburn/Jua Howard Group. Studied vocal technique and performance with Sandy Cressman, Laurie Antonioli, Raz Kennedy, Maye Cavallaro. www.andreaclaburn.com
Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Featured artist with Ray Obiedo’s Mistura Fina and Jai Uttal’s Pagan Love Orchestra. Studio vocalist for Latin and world jazz styles, recently featured on Bossa Nova Dreams with Akira Tana, Branford Marsalis and Arturo Sandoval. Heard on a wide variety of commercials and soundtracks. www.cressmanmusic.com
Tatyana Dimitrova (voice)Bachelor in Jazz Studies and Vocal Jazz Perfor-mance at CJC in process. Jazz teachers are Laurie Antonioli, Theo Bleckmann, Dann Zinn, Jeff Denson, Sandy Cressman, Maye Cavallaro, Raz Kennedy. Also studies with Indian vocalist Ranjana Gathak at the Ali Akbar College of Music as well as workshops with Pandit Uday Bhawalkar, Pandit Nyrmalya Alam Khan. Studied Sound and Music as Healing Arts program at CIIS in San Francisco. She currently studies Yoga of the Voice and Nada Yoga Teacher Training Program under the mentorship of Silvia Nakkach at Vox Mundi Project. Tatyana also studies with Rumen Sali Shopov on her native Bulgarian repertoire of traditional songs.
Angie Doctor (voice) Studied at Foothill College and Gonzaga University (B.A. Music Performance) with Phil Mattson (Foothill and Gonzaga), Terry Summa (Foothill), Tim Smith (Gonzaga). Founding member of the Grammy-nominated PM Singers with Phil Mattson. Performing and recording artist, studio singer, Vocal Jazz adjudicator and clinician, jazz and pop solo coach. Artist-in-residence at Ruth Asawa San Francisco School of the Arts High School, Vocal Jazz Choir. Performed with Bobby McFerrin, Don Shelton, The Hi-Lo’s, Barbara Morrison, The Manhattans, Heatwave, Deneice Williams, Barbara Lewis, GQ, Gene Chandler, Eddie Holman, Barbara Mason, Billy Paul. Founding member and lead singer for Clockwork, currently the Girl in The Bobs.
Rachel Efron (songwriting) B.A., Harvard U. (extensive coursework in both writing and music). Studied jazz piano with faculty at Berklee College of Music. Released three albums of original music and toured on both coasts. Bandleader of Rachel Efron Ensemble, which has performed locally at such venues as Yoshi’s, The Plush Room, The Independent, Freight & Salvage and Cafe Du Nord. www.rachelefron.com
Cecilia Engelhart (voice)Education: San Francisco Conservatory, Mannes College of Music. Has performed/recorded with a wide range of artists including: Ruben Blades, Theo Bleckmann, Willie Colon, Santi Debriano, Paquito D’Rivera, Rinde Eckert, Tania Libertad, Meredith Monk, Oscar Castro Neves, Mario Rivera, Michael Spiro, Keith Terry, Tamba Trio, Wayne Wallace etc. As composer and arranger with “Tanaora,” “Free Dive” and “Trio 3.” Classical performance includes SF Symphony Chorus,“Conjunto Nuevo Mundo” early music ensemble.
Steve Erquiaga (guitar)National and international recording and perform-ing artist; performed at Montreux Jazz Festival, Berlin Jazz Festival, North Sea Jazz Festival; performed with Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, David Byrne, Turtle Island String Quartet, Paulo Bellinati, Andy Narell, and Paul McCandless; founder, leader, Trio Paradiso; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.
2020 Winter Quarter / January – March / c jc.edu
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Jazzschool FacultyJazzschool FacultyJazzschool Faculty
raffi garabedian
Dave Eshelman (trombone)From 1984 to 2007, Dave Eshelman served as Director of Jazz Studies at California State University, East Bay (formerly Cal State Hayward). Eshelman has performed extensively with many jazz groups in the Bay Area and has worked as a featured soloist in the big bands of Ray Brown, Joe Henderson, Tito Puente and Gerald Wilson. Various artists across the United States and Europe — such as Joe Henderson, Don Ellis, Bill Watrous, and Stan Kenton, the Swedish Radio Orchestra and the Airmen of Note — have performed his composi-tions and arrangements.
Rob Ewing (trombone) Jazzschool Director. Jazzschool Summer Youth Program Director. B.A., Naropa U.; 2 years, Berklee College of Music. Leader of Disappear Incompletely— The Radiohead Project. Performances with STS9, Marcus Shelby Orchestra, Vinny Golia, Latin Giants of Jazz, Ray Vega, Wayne Wallace, Graham Connah, Joe Bagale, The Barr Brothers, Les Gwan Jupons, John Schott’s Typical Orchestra, Jazz Mafia Symphony, Oakland Active Orchestra, Half of Half, Leslie Helpert, Rebecca Griffin, Naytronix.
Mimi Fox (guitar)International recording/performing artist and five-time DownBeat Magazine International Critics Poll winner. Performed throughout Europe, Asia, the Caribbean and Australia. Festivals include Montreal, Monterey, Guinness Cork, Perth and North Wales International Jazz Guitar Festival. Adjunct professor of Jazz Studies at NYU; guest clinician/artist in residence at Alaska Jazz Workshop, Britt Music Festival, Brubeck Institute, Yale U., CalArts, Cornish College of the Arts, U. of Oregon, USC and Berklee College of Music; featured artist on Marian McPartland’s Piano Jazz on NPR; featured artist, Kennedy Center. Performed with Joey De Francesco, Charlie Byrd, Kenny Burrell, Branford Marsalis, David Sanchez, Stanley Jordan and countless others. www.mimifoxguitar.com
Keith Ganz (guitar)B.A. from UNC-Chapel Hill. 2018 GRAMMY nominee. Toured as accompanist for Harry Connick, Jr., Kurt Elling, Luciana Souza, Tierney Sutton, Gretchen Parlato, Jo Lawry, Peter Eldridge, Moss. 15 years as Guitarist/Musical Director/Arranger/Producer for Kate McGarry producing 6 critically acclaimed recordings with two GRAMMY nominations. 11 years in NYC, worked with Chris Potter, Christian McBride, Fred Hersch, Greg Hutchinson, Victor Lewis, Aaron Goldberg, Joel Frahm, Gary Versace, Kendrick Scott, Aaron Parks, Bruce Barth, Ben Monder, Steve Cardenas. Masterclasses at Berklee, Eastman, Jazz at Lincoln Center, McGill, CalArts, Graz.
Raffi Garabedian (saxophone)B.F.A. in Jazz Performance, The New School, NYC. Performs with Brass Magic, Raffi Garabedian Blues Band, and many others. Studies with Dann Zinn, Dayna Stephens, Mark Turner, Tony Malaby, Chris Cheek, Ben Street, & Bill McHenry.
Charles Hamilton (trombone)Leader of the Berkeley High School Jazz Ensemble for 28 years. Has performed with Joe Henderson, Fred Berry, Karlton Hester, Khalil Shaheed, Marcus Shelby, and Babatunde Lea. Created the San Francisco Bay Jazz Band; at the invitation of the US State Department, he took them to Asia twice (Vietnam and China). Recently released “Charles Hamilton and Beyond: Mr Hamudah,” for Global Recording Artists. Currently directing the UC Santa Cruz Big Band. Received the National Foundation for the Advancement of the Arts “Distinguished Teacher in the Arts” Award.
Joe Hartnett (Saxophone)B.F.A. Jazz Performance, New School University, NYC. Studied with Dave Glasser, Jon Gordon, and Tony Malaby. Have performed with Brass Magic, Zongo Junction, and many others at such venues as SFJAZZ, The Kennedy Center, and Irving Plaza.
Colin Hogan (piano)B.A. Cal State East Bay. Performances with James Moody, Peter Erskine, Bob Brookmeyer, Roy Ayers, Maria Schneider and hip hop luminaries such as Too $hort, DJ QBert, Dan the Automator, and Lyrics Born. Performed with electric bass revolutionary Larry Graham of Sly and the Family Stone at the 2004 California Music Awards. Pianist and featured soloist on accordion with the Tommy Igoe Big Band in its first-ever weekly residency at Yoshi’s San Francisco. Currently involved in various projects including hip hop/R&B group Dynamic, jazz/groove/experimental collective the Jazz Mafia, international cafe music group Trio Zincalo and jazz/funk/fusion band The Hogan Bros., with brothers Steve and Julian.
Steve Hogan (bass guitar, vocal percussion)B.A. UC Berkeley. Multi-Instrumentalist. Toured/performed/recorded with Goapele, Zion I, The Coup, Will Bernard, Hugh Masekela, Dave Chappelle, DJ Fuze, Thomas Pridgen, Ambrose Akinmusire, Raul Midón, Chuchito Valdez, Roberto Carcassés, Balawan, Faye Carol, Tuck & Patti, Linda Tillery, Keith Terry, Gamelan Sekar Jaya. Performed at Kennedy Center, SFJazz, Stern Grove, Hollywood Bowl, The Fillmore, Bali Arts Festival, Gunung Jazz Festival (Java). Founding member of Bay Area groups O-Maya, AguaLibre, Slammin All Body Band. Currently performs locally with Josh Jones Latin Ensemble, Keith Terry’s Free Dive, and primary project fusion group The Hogan Brothers, with brothers Colin and Julian.
Peter Horvath (piano) M.A., Berklee College of Music; Bèla Bartôk Conservatory of Music, Budapest, Hungary; Vienna Conservatory of Music. Performed, toured, recorded with Victor Bailey Group, Bobby Hutcherson, Joe Henderson, Lalah Hathaway, Oakland Symphony, Bob Sheppard, Bennie Maupin, Richie Cole, Ray Obiedo, Lenny White, Randy Brecker, Marcus Miller, Bob Mintzer, Pee Wee Ellis, Arturo Sandoval, arranged and recorded for Aretha Franklin. www.peterhorvath.com
Erik Jekabson (trumpet) M.A. in Composition, SF Conservatory of Music; B. Mus. in Trumpet, Oberlin Conservatory of Music. Toured with John Mayer, Illinois Jacquet and Galactic, and has composed for film and dance projects. Released several albums as a leader. www.erikjekabson.com
Matt Jenson (keyboards) M.M. Jazz Studies and Composition — New England Conservatory of Music. Studied with Geri Allen, Ran Blake, Dave Holland and later, Eddie Palmieri. Berklee College of Music piano faculty (19 yrs) teaching studio piano lessons, Hammond organ lab, Afro-Cuban piano lab and “The Music and Life of Bob Marley” class/ensemble which he has also presented at the Jazzschool, Jazz Camp West and at Steel Grass Ranch on the island of Kaua’i. Performed, recorded and worked with Johnny Adams, Ronnie Earl, Mighty Sam McClain, Julien Kasper, Cyril Lance, Rita Marley, Judy Mowatt, Chinna Smith, Tuff Lion and currently touring with the Bay Area reggae-jazz-fusion band Groundation. Received the prestigious Newbury Comics Fellowship award (associated with Berklee College of Music) producing a full-on reggae educational platform entitled, “The Art of Reggae.” Co-leader of “Inside Reggae,” a yearly experiential trip to Kingston, JA. As a composer/arranger, recording artist and singer, Matt leads his all-original reggae band, “The Liquid Revolution,” and co-produced the reggae-Afro Cuban fusion group, “Rebel Tumbao.”www.mattjenson.com www.liquidrevoloution.net
Darren Johnston (trumpet)B.A. jazz performance — Cincinnati Conservatory of Music, M.A. composition — Mills College. Adjunct trumpet/jazz professor at UC Berkeley, private instructor at SF Community Music Center, Stanford Jazz Workshop. Performed/recorded with Fred Frith, Marcus Shelby, Myra Melford, ROVA Saxophone Quartet, Meklit Hadero, and many others. Has led United Brassworker’s Front, Nice Guy Trio, Darren Johnston Quintet (featuring Ben Goldberg and Sheldon Brown), Trans-Global People’s Chorus, Broken Shadows, and others.
Jennifer Jolly (keyboards) B.A. UC Berkeley. Keyboards and melodica, multi-instrumentalist, vocalist, composer/arranger, bandleader. Specialist in Americana, blues/R&B, New Orleans, rock’n’roll, Caribbean, and African roots music. Founder of Jennifer Jolly & Friends, co-founder of and composer for The Jolly Gibsons. Additional current projects include Pamela Rose’s touring theatrical concert “Blues is a Woman,” Zulu Spear, Kotoja, Tom Rigney & Flambeau (sub), Chelle! and Friends (guest), Bait & Switch Blues Band, Big B and His Snake Oil Saviors, The Party Monsters, The Linwood Chorus (accompanist), and the Creekside Community Church Worship Band. Previous credits include Phil Lesh, The Broken Angels, Hot Links, Barbara Dane, Rusty Zinn, two dozen theatrical productions, and numerous reggae, blues/New Orleans, singer/songwriter, and country bands; twenty-plus recording credits. Faculty instructor at The Jazzschool, Cazadero Family Camp, Jazzschool Women’s Jazz and Blues Camp, after-school programs, workshops, and private studio.
2020 Winter Quarter / January – March / c jc.edu
Jazzschool Faculty
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Jazzschool Faculty
Bob Karty (piano) B.A., Biology, Reed College. Pianist, composer, recording engineer, producer. Performs with Ray Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Conjunto Karabalí (led by Michael Spiro & Santana percussionist Karl Perazzo). Founding member of Orquesta La Moderna Tradición, one of the few authentic charanga orchestras outside of Cuba, with whom he performed for over 15 years and recorded three albums. www.bobkarty.comin Europe, China, Japan, Mexico and Thailand.
Dave Le Febvre (saxophone) Recipient of an NEA Grant for Jazz Education. Dave has recorded 6 albums as a bandleader and has performed at many Bay Area Jazz Festivals and in Europe. Musicians who have recorded or performed in Dave’s group include Billy Childs, John Patitucci, Clay Jenkins, Dave Crigger, Eddie Marshall, Seward McCain and many others. Dave’s big band compositions have been performed by Freddie Hubbard, Richie Cole, and the BBC Big Band. www.jazzwest.com/davelefebvre
Susan Muscarella (piano)B.A. in Music Composition, UC Berkeley. Ph.D. candidate in Musicology, University of Évora, Portugal. Founder and Executive Director, California Jazz Conservatory, f/k/a Jazzschool Inc.; President and Dean of Instruction, California Jazz Conserva-tory. Director, UC Jazz Ensembles program 1984 – 89; composer, arranger and recording artist; performances at major clubs and festivals including Yoshi’s, Keystone Korner, Great American Music Hall and the Lighthouse, and Monterey, Berkeley and Concord Jazz Festivals; featured on Marian McPartland’s Piano Jazz on NPR; recipient of a 2008 “A Team” Award from the Jazz Journalists Association; member of the Board of Directors, Chamber Music America.
Isaac Narell (saxophone) B.F.A. from California Institute of the Arts. Performed with Karim Ziad, The WDR Big Band, Mokhtar Samba, Afia Mala, Thierry Fanfant, Andy Narell, Josh Jones, Jeff Narell, Jenna Mammina, Silvestre Martinez, Alfred Ladzekpo, Miguelito Martinez, The Southwest Michigan Symphony Orchestra, The Pacific Mambo Orchestra and The Electric Squeezebox Orchestra. Isaac has written arrangements for The Bordeaux Symphony Orchestra, The University of Trinidad and Tobago, The Metropole Orkest, Mizikopeyi Big Band and The Southwest Michigan Symphony Orchestra.
Erika Oba (piano, flute)M.A. in Music Composition, Mills College, B.M. in Jazz Piano Performance, Oberlin Conservatory. Composer, pianist/flutist, and educator based in the East Bay. Member of the Montclair Women’s Big Band, electro- jazz duo Rice Kings, Ends Meat’ Catastrophe Jazz Ensemble, and the Oba/Bastian duo. Erikaoba.com
Daniel Lucca Parenti (bass) Performance experience with many jazz legends including Rosemary Clooney, Michael Brecker, and Lionel Hampton. Has released six full-length original albums under his own name. Has performed with many well-known Bay Area artists including Tommy Igoe, Billy Johnson (Santana), Frank Martin (Narada Michael Walden), Joel Smith (Walter Hawkins) and Lorn Leber (Jerry Garcia Band).
Anthony Paule (guitar) A.A. Degree from CCSF. Has toured and/or recorded with Maria Muldaur, Boz Skaggs, Charlie Musselwhite, Barbara Lynn, Earl King, Big Jay McNeely, Johnny Adams and many others. Released three solo albums, “Big Guitar” and “Hiding In Plain Sight” and “You Don’t Know Nothing” the latter with soul singer Frank Bey. Has performed at festivals including Monterey Jazz, Umbria Jazz, San Francisco Blues, Mississippi Valley Blues, Du Maurier Jazz, Waterfront Blues, S.F. Jazz, Atlanta Olympic Games. www.anthonypaule.com
Kate McGarry (voice) B.M. Afro-American Music & Jazz Studies UMass Amherst, professors included Archie Shepp, Max Roach, Dr. Billy Taylor, Dr Hoarce Boyer, Afro-Am Studies classes with James Baldwin, and Cornel West. 7 Critically acclaimed recordings as a leader with Palmetto, and Sunnyside Records. Grammy nominations (2008, 2018) Best Jazz Vocal Recording. 2016 Downbeat Critics Poll winner — Rising Female Vocalist. Performances, recording and/or collaborations with Fred Hersch, Maria Schneider, John Hollenbeck, Billy Childs, Kurt Elling, Luciana Souza, Theo Bleckmann and Tony Award winner Jason Robert Brown. 3 years as a Jazz Ambassador for U.S. State Department and Jazz at Lincoln Center teaching and performing in China Mongolia, South America and Eastern Europe. 15 years functional voice training with Level 3 certification in Somatic Voice Work™ The LoVetri Method. Performances with Marion McPartland on Piano Jazz, NPR’s Jazz Set with Dee Dee Bridgewater, All Things Considered, Jazz Faculty positions at NEC, Manhattan School of Music, Assistant Director of Music Courses SYDA Foundation, NY, Clinics, masterclasses and performances given worldwide.
Jon Monahan (guitar) Studied at SFSU School of Music, B.S. in Physiology from UC San Diego. Performance credits include Stevie Wonder, Roy Ayers, Mary Wilson, Lyrics Born, Gift of Gab, Digital Underground, Qbert, Fantastic Negrito, Jack Johnson, Rogue Wave, with performances at the Monterey, Montreal, Newport, Playboy and Kathmandu Jazz Festivals, and on TV at Jimmy Kimmel Live.
Jason Levis (percussion) Ph.D. and M.A. in Composition, UC Berkeley; B.A. in Music, Naropa University. Two-time Meet the Composer award recipient; Eisner Prize for Music winner; Outstanding Graduate Student Instructor (UC Berkeley); Interaktion Festival finalist (Berlin), drummer and composer Jason Levis has led and been a collaborator in numerous jazz, improvised music, and chamber ensembles in the San Francisco Bay Area and Berlin, Germany. These include the Heftpistole Chamber Ensemble; duo B.; Married Couple; DRY; live dub-reggae ensemble Joseph’s Bones; the Echo Chamber Ensemble; most recently the Berlin Boom Orchestra, and many more. www.jasonlevismusic.com
Frank Martin (piano, keyboards)Music Director for Narada Michael Walden, Patti Austin, Angela Bofill; Carnegie Hall appearances with Sting, James Taylor, Elton John; Record producer/arranger for Al Jarreau, Turtle Island String Quartet, Joey DeFrancesco, Mimi Fox, Mary Jenson, Molly Holm, Deuce, Tuck & Patti, Karen Blixt; performed/recorded with John McLaughlin, Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Larry Coryell, Herbie Hancock, Stanley Jordan, Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, UC Berkeley Jazz Ensembles. www.frankmartinproductions.com
Jeff Massanari (guitar) Four years performance and composition coursework at Berklee College of Music. Performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Appeared at the Umbria Jazz Festival, Beijing Conservatory, Davies Symphony Hall, Stern Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz Festival, San Jose Jazz Festival and Theatre Works. Taught at UC Berkeley, The Jazzschool, Redwood High, Bruce Forman’s Jazzmaster series, Jazz Camp West and Blue Bear School of Music.
Azure McCall (voice) Hawaii’s first lady of jazz is a multi-award winning vocalist. She is heir to the vocal tradition of Sarah Vaughan, Carmen McRae and Ella Fitzgerald. Her warmth and sense of humor fuel every interpreta-tion. After releasing her first CD, Body and Soul, she was asked by the great bassist Ray Brown to be his vocalist on tour. Of course, she accepted, beginning an incredible jazz journey — school was in! Soon after, Azure became the first singer to work with Freddie Hubbard’s band. Additional collaborators include Frank Morgan, Tennyson Stephens, Joe Lovano, Geoffrey Keezer, Curtis Lundy, Dizzy Gillespie and many more. In 2008, President Barack Obama asked her to perform at his pre-election party. “That’s why he won,” Azure says (smiling). Azure became the ‘jazz diva’ for Celebrity and Royal Caribbean Cruises. She has traveled to more than 50 countries.
jon monahan
azure mccall
2020 Winter Quarter / January – March / c jc.edu
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Jazzschool Faculty
Clif Payne (voice)Evershift recording artist, international concert vocalist, and vocal coach, studied with David Baker at Indiana University and Speech Level Singing vocal technique with Chip Hand and Rober Burnley in LA. Recording projects include a collaboration with former Kurt Elling music director Laurence Hobgood. His debut solo album — Welcome To My World — was released In 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors, Harvey Mason.
Tony Peebles (saxophone)M.M. Jazz Performance (Saxophone), University of the Arts in Philadelphia; B.A. Music (Theory), University of Pennsylvania. Featured soloist on Grammy-winning album PMO by Pacific Mambo Orchestra. Performed with Fred Wesley, Lenny Williams, Tommy Igoe, Karl Perazzo, Kenny Washington, John Lee Hooker Jr., Doc Severinson. Toured Europe, Africa, South America, and Australia with reggae legend Don Carlos and New Zealand’s Katchafire.
Ricardo Peixoto (guitar) Native of Rio de Janeiro, graduated from Berklee College of Music, studied with Pat Metheny. Also studied classical guitar with George Sakellariou at SF Conservatory. Adventure Music recording artist, composer, arranger, has performed nationally and internationally with Claudia Villela, Terra Sul, Carlos Oliveira, Airto, Flora Purim, Guinga, Dori Caymmi, Bud Shank, Dom Um Romão, Claudio Roditi.
Marcelino Quiroz (piano) B.M. Film Scoring (’04), Berklee College of Music (piano principal), studied jazz piano performance with Joanne Brackeen; MRQ Productions, principal film composer/audio editor; Professional Musician, performing on piano, synth and Hammond B-3 regularly in the SF Bay Area in a variety of genres, including: jazz, funk, neo-soul, R&B, reggae and more; Private Piano Instructor/Certified K-6 Educator, 14 years experience teaching music theory to groups and individuals, ranging from beginner children to advanced-level adults; Musical Director/Bandleader, Mango Kingz (island reggae) and The Mars Express (neo-soul/cosmic gospel).
Glenn Richman (bass) Mannes School of Music (1 yr); Berklee College of Music (2 yrs). Advisor, Jazzschool Bass Program; student of Buster Williams, George Mraz and Mike Longo; performed with Bobby Hutcherson, Jon Hendricks, Dave Liebman, Chet Baker, Benny Green, Dakota Staton, Chris Connor, Tom Harrell, Eddie Henderson, John Hicks, Mike Clark, Jack Wilkins, Billy Hart, Larry Willis, George Coleman and Mickey Roker; faculty, Brubeck Institute, UC Berkeley and Chabot College. www.glennrichman.com
Pamela Rose (voice) B.A., UC Berkeley. Jazz and blues vocalist, songwriter, recording artist. Recent performances include Monterey Jazz Festival, SFJAZZ, Grammy Foundation, Copenhagen Jazz Festival, Cal Performances. Featured on NPR’s “All Things Considered.” Her latest project “Wild Women of Song” (highlighting the work of women jazz and blues songwriters) has Rose touring, speaking and performing at universities and performing arts centers nation-wide, and resulted in the publication of a book on the topic. www.pamelarose.com
Marcos Silva (piano) Adviser, CJC Brazilian Program. National and international performing and recording artist, composer, arranger, producer, educator; performed with Leny Andrade, Emilio Santiago, Marcio Montarroyos, Jon Lucien, Claudio Roditi; Music Director, arranger, keyboards for Flora Purim, Airto, Toninho Horta, Paquito D’Rivera, Bud Shank, Ricardo Silveira, Dori Caymmi, Nana Caymmi, Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Silva and Intersection. www.marcossilva.com
Jazzschool Faculty
Nora Stanley (saxophone)Nora Stanley holds a B.M. in Jazz Studies and a B.A. in Latin American Studies from Oberlin College and Conservatory where she was a student of Gary Bartz, Eddie Henderson, Billy Hart and Dan Wall. She has performed/recorded with luminaries such as Ambrose Akinmusire, Eddie Henderson, Dayna Stephens, Chucho Valdes and Jerry Gonzalez and has had the opportunity to play and study abroad in Cuba, Spain and Brazil.
Ben Stolorow (piano) B.A. in Music, UC Berkeley; Recipient, Hertz Traveling Fellowship from Berkeley to study jazz piano privately and at the Manhattan School of Music; studied in New York with Fred Hersch, Stanley Cowell, James Williams, and David Hazeltine; performed with Akira Tana, Craig Handy, Lorca Hart, Nasheet Waits, Danya Stephens, Andrew Speight, Vince Lateano, Bob Kenmotsu, Noel Jewkes, Michael O’Neill, and vocalist Kenny Washington; Also studied classical piano and the Taubman Technique. www.benstolorow.com
Scott Thompson (bass) B.M. in Performance, California Jazz Conservatory (Berkeley, CA). Teaches regularly at the California Brazil Camp, Jazz Camp West, and Lafayette Summer Music Workshop. Tours nationally and internationally as a bassist with Chico Pinheiro, including teaching workshops in Teresina (Brazil), Helsinki (Finland) and San Diego. Performance/Recording credits also include: Cesar Carmago Mariano, Toninho Horta, Marcos Silva, Helio Alvez, Kiko Freitas, Too $hort, Edu Ribeiro, Marcio Bahia, E-40, Josh Jones, Marcos Suzano, The Hieroglyphics, Thiago Rabello, Debora Gurgel, Dani Gurgel, Mark Levine, The Souls of Mischief, Jovino Santos Neto.
Juanita Ulloa (voice)Juanita Ulloa has spent over 3 decades sharing unparalleled knowledge in Mexican song and many Spanish speaking vocal traditions, both folkloric and classical. Featured soloist at international Olympic & major events, festivals, concerts, masterclasses, and Latin Pops symphonies. Recorded six Mexican CDs, six-time winner of Festival de la canción latinoamericana, has won regional NATS, Disney and Parent’s Choice awards. In 2018 she published 3 volumes of Mexican Art Song (www.classicalvocalrep.com). Has published on the Mariachi Voice in SYWTS World Music and with Oxford (2020). Holds music degrees from Yale University, UC Berkeley, & D.A. in vocal performance from the University of No. Colorado. www.juanitamusic.com www.voicetrainerdr.com
Jeanne Walpole (piano) M.A. in Music Theory, San Francisco State U.; M.A. Studies in Piano Manhattan School of Music; B.A., Smith College: studied with Dick Hindman 1990–2003; Pianist, Nordstrom.
Danielle Wertz (voice)B.M. in Studio Music and Jazz Vocal Performance, University of Miami’s Frost School of Music. Student of Dr. Kate Reid, John Hart, Craig Carothers and Dann Zinn. Former Jazz Vocal Director for youth jazz education program, Virginia Music Adventures. Clinician at Duke Ellington School of the Arts and Sonoma State University. 2015 Thelonious Monk International Jazz Vocals Competition Semi- Finalist, 2017 Ella Fitzgerald Competition runner-up, Inaugural Washington Women in Jazz Young Artist Competition Winner. Performed or recorded with Shelly Berg, Jamie Oehlers, Tal Cohen, CyrilleAimee, Bruce Hornsby and Gretchen Parlato. daniellewertz.com
Michael Zilber (saxophone) Ph.D. in Composition, NYU; M.M. in Composition, Tufts U.; B.Mus. in Composition, New England Conservatory. Currently co-leads a quartet with guitar great John Stowell, and is completing a recording project in New York with Mike Clark, James Genus and Rachel Z. Co-led a group with drumming legend Steve Smith for 8 years. Has performed, toured or recorded with everyone from Dave Liebman to Dizzy Gillespie, including Miroslav Vitous, Bob Berg, Eddie Henderson, Fareed Haque, Geoffrey Keezer, Donald Harrison, John Handy, Dave Douglas, Barry Finnerty, Bruce Barth, and Clarence Penn. www.michaelzilber.com
2020 Winter Quarter / January – March / c jc.edu
marcelino quirozjuanita ulloa
6160
Board and Staff
2020 Winter Quarter / January – March / c jc.edu
PROGRAM STAFF
Susan MuscarellaPresident, California Jazz Conservatory (CJC)
Jeff DensonDean of Instruction, CJC
Rob EwingDirector, Jazzschool
Laurie AntonioliChair, CJC Vocal Program Director, Jazzschool Vocal Program
Erik JekabsonDirector, Jazzschool Young Musicians Program
Jayn PettingillHead Librarian
Scott LathamRecruiting Director, CJC Japan
Keiko ShinozakiAdministrative Assistant, CJC Japan
ADMINISTRATIVE STAFF
Bill Aron and Debra SteinemanBusiness Managers
Jesse RimlerRegistrar and Custodian of Records
Zach MondlickDirector of Recruitment
Elizabeth M. WilliamsDirector of Philanthropy
Mary D’OraziDirector of Concert Programming Philanthropy Associate
Karen ShepherdDirector of Financial Aid
Julie BirchData Manager; Systems Administrator
Paul FingeroteMarketing and Public Relations Director
Jonathan PoretzMarketing Associate
Sheryl Lynn ThomasDigital Marketing Manager
Max HodesOperations Director
Kim NucciIT Systems Administrator, Technical Projects Director
Sheldon Alexander, Michael Golds, Jonathan Poretz, Alex Shapiro-RomanoOperations Staff
Tatyana DimitrovaHouse Manager
Tom WeeksOperations and House Manager
Lee BrenkmanSound Technician
Robert SoperPiano Technician
Poulson Gluck DesignGraphic Design
Chris Hardy, Mike MelnykOfficial Photographers
WINTER 2020 CATALOG PRODUCTION
Cover Jesse Rimler, illustration
Design Poulson Gluck Design
Editorial Rob Ewing, Paul Fingerote, Elizabeth Williams
Photography Thanks to Chris Hardy, Mike Melnyk, Jane Higgins and others for their jazz photography.
Printing FolgerGraphics
Susan Muscarella, President [email protected]
Rob Ewing, Director, [email protected]
Laurie Antonioli, Vocal ProgramChair [email protected]
Erik Jekabson, Director, Jazzschool Young Musicians [email protected]
BOARD OF DIRECTORS
Tyler Johnston, Chairman
Susan Brand, Vice Chairman
Richard A. Lyons, Secretary
Neil Rudolph, Treasurer
Steve Baker
Gordon Brooks
Clifford Brown, Jr.
Charles Charnas
James Ellis
Jerry Fiddler
Erle Flad
Rita Hargrave
John Moss
Susan Muscarella
Gregg Perloff
Jerry Povse
Jim Reynolds
M. David Sherrill
Eric Siegel
Judy Walters
Kevin Whitman
DIRECTORS EMERITUS
Denny Abrams
Sherie Friedlander
Sy Grossman
Vaughan Johnson
James J. Keefe
Bert Lubin
Larry Marcus
Ernie Mieger
Amy Orton
John Papini
Walter Riley
Danny Scher
Michael Zaninovich
ADVISORY BOARD
Anthony Brown
Tom Carr
Carole Davis
Paula Forney
Benny Green
Charles Hamilton
Stacey Hoffman
Mark Levine
Jason Olaine
Patricia Phillips
David Ring
Jayne Sanchez
Chuck Sher
Merrilee Trost
Wayne Wallace
Peter Williams
62 Call 510.845.537362 Call 510.845.5373
Instructions and Application
Enroll online at cjc.edu or call 510.845.5373
Please read instructions on facing page before completing application form.
Name (print) ____________________________ ____________________________________________
Address __________________________________________________________________________ Street City/State Zip
Home phone ( ___ ) _____________________ Work phone ( ____ ) ______________________
Cell phone ( ___ ) ________________________ Email __________________________________
Instrumentalist — list instrument(s) played and years studied/performed:
_____________________( ) _____________________( ) _________________________( )
Vocalist — years studied/performed: ____ new student ____ returning student
I will enroll in (list by class title; see class listings):
1. _____________________________________ 2. _____________________________________
3. _____________________________________ 4. ______________________________________
How did you hear about the Jazzschool? _____________________________________________
For courses requiring audition or consultations, please call the Jazzschool prior to submitting your application at 510.845.5373
Please enclose full tuition for all courses. Note: Enrollment cannot be guaranteed without full payment.
Charge my tuition to: ____ VISA ____ MasterCard ____ Discover
Card #_____________________________________________________ Exp. date _____________
3-digit security code ___________
Signature of cardholder ____________________________________________________________
Name as It appears on card _________________________________________________________
San Pablo Ave
Fulton
Ashby
College Ave
580
W
SN
E
Telegraph Ave
BART
Sacramento
Channing
Durant
Allston
Center
Addison
24
Bancroft
Kittredge
UC Campus
580/80
CALIFORNIA JAZZ CONSERVATORY: 2087 AND 2040 ADDISON STREET, JUST WEST OF SHATTUCK AVENUE, IN BERKELEY
Shattuck Ave
62 63
University Avenue
2087& 2040
P
To enroll in the Jazzschool
Winter Quarter, please read
these important instructions!
For courses that don’t require an audition or consultation, sign up online
at cjc.edu or complete the application
on page 63 and submit it along with full
tuition. Students may register online,
by phone (510.845.5373), mail, fax
(510.841.5373) or in person. Enrollment
is on a first-come, first-served basis
and cannot be guaranteed without full payment. Students applying for
courses that are full may be placed
on a waiting list. The Jazzschool
accepts checks (made payable to
California Jazz Conservatory), cash,
VISA, MasterCard or Discover.
Payment plans are available.
To register in courses requiring a consultation or audition please
call at 510.845.5373 for assistance
with placement.
PERFORMANCE ENSEMBLESAdmission is based on a confidential,
friendly 20-minute placement audition
to determine where students are best
suited to play or sing. Placement auditions
address students’ overall musicality,
technical ability, stylistic preference(s)
and availability.
Please fill out the online
ensemble application form
at cjc.edu/ensemble or call
the Jazzschool to schedule
an appointment (510.845.5373).
Please note: With the exception of the
Fall Quarter, students previously enrolled
in a performance ensemble have the
option of re-enrolling in that same course
again on a consecutive quarterly basis
within the academic year without having
to re-audition. New students wishing to
enroll in a performance ensemble in
winter, spring and/or summer quarters
must schedule a placement audition
or telephone consultation and will be
accepted on a parts-available basis.
JAZZSCHOOL FACULTY AND COURSE SCHEDULESGiven the vagaries of performing, lectur-
ing and travel incurred by our Faculty
members, Jazzschool courses, classes,
workshops and schedules are subject to
change. If this occurs, we will make every
effort to provide our students with an
optimal educational experience and
accommodate any changes caused by
unforeseen circumstances.
REFUND POLICYCourse and ensemble tuition includes a
$50 non-refundable deposit. Requests to
drop must be received in writing within 48
hours of the first class meeting to qualify
for a refund; please visit the main office or
e-mail [email protected] to request a refund.
Refunds for remaining tuition are not
possible after the 48-hour drop deadline.
$100 per week of camp and intensive
tuition is non-refundable; the remainder
is refundable only until 30 days prior
to the start of the program. Tuition for
workshops is non-refundable. No excep-
tions please! Please note: Refunds may
take up to 30 days to process. Please visit
cjc.edu/policies for more information.
64
Support a Unique Endeavor!
It’s not often one has the opportunity to support a truly
unique endeavor — the California Jazz Conservatory —
America’s only independent, accredited music school
dedicated solely to the study and performance of jazz.
This unique institution encompasses:
• California Jazz Conservatory, a degree-granting program
for aspiring professional musicians
• Jazzschool, a community music school for all ages
and levels
• Workshops, Classes, Camps and Intensives for adults
and youth
• Concerts showcasing students, faculty and visiting artists
Many individuals have supported this unique endeavor; join
them by making a gift to The CJC Fund, the Conservatory’s
annual fund, which supports new ventures on an ongoing
basis. A gift to The CJC Fund can be made by credit card or
check:
• Telephone Mary D’Orazi, Philanthropy Associate, at
510.845.5373 x 19, to make a secure credit card donation
or
• Mail a check, payable to California Jazz Conservatory,
Inc., to 2087 Addison Street, Berkeley, CA 94704
Good News: A gift to The CJC Fund can be enhanced by
structuring it as a recurring gift, made by credit card, and/or
by having it be matched by your employer.
Thank you!
2087
Add
ison
Stre
etBe
rkel
ey C
A 94
704
510.
845.
5373
info
@ cj
c.edu
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