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azzschoolat california jazz conservatory

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C O M M U N I T Y M U S I C S C H O O L

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INTRODUCTION

Overview 2

Support 4

JazzschoolCommunityMusicSchool 6

Introductions&Calendar 8

ADULT PERFORMANCE ENSEMBLES

Jazz 10

Latin 13

Brazilian,Pop 14

Blues,World 15

ADULT INSTRUMENTAL COURSES

Piano&Keyboards 16

Guitar 18

Harmonica 20

Bass 2 1

Drums&Percussion 22

FacultyProfile:DaveLenScott 25

THEORY, IMPROVISATION& COMPOSITION

Theory&Improvisation 24

Composition 24

ADULT VOCAL COURSES

Introduction&Calendar 26

Performance 27

FacultyProfile:SandyCressman 30

Technique&Musicianship 3 1

Composition 32

YoungSingers 32

VocalMentorProgram 33

VocalWorkshops 34

YOUNg MUSICIANS PROgRAM

Introduction&Calendar 4 1

GeneralInformation 42

Placement&Auditions 43

InstrumentalEnsembles 44

VocalCourses 46

wORkSHOPS

Theory&Improv 47

Brazilian 54

PerformanceSkills 54

MusicBusiness 55

Piano 55

Drums&Percussion 58

Saxophone 60

Guitar 6 1

CONCERTS

FallConcertSeries 62

FACULTY

JazzschoolCMSFaculty 64

gIFTS, gRANTS & SCHOLARSHIPS

IndividualGifts 70

Foundations&CorporateGifts 74

Scholarships&GiftsIn-Kind 75

BOARD, STAFF & ENROLLMENT

JazzschoolTrustees&Staff 76

Instructions&Application 78

Note: Course, workshop and concert schedules subject to change. Please visit cjc.edu for the most current information.

FALL 2016 CATALOg PRODUCTION

Design PoulsonGluckDesign

Writing&editing RobEwing,LaurieAntonioli

Photography LincolnAdler,StefanHack, AkidaThomasandothers

Photoresearch SherylLynnThomas

Printing FolgerGraphics

Cover JesseRimler,illustration

Table of Contents

FOR DETAILS, VISIT cjc.edu/round-midnight

OR CONTACT Susan [email protected](510) 845-5373 ext. 12

‘Round Midnight

Campaign

for Expansion Your investment in the future of jazz and in our

$1.2 million campaign for the new facility will be

honored with your name on a note in a sculptural

representation of Monk’s revered composition,

‘Round Midnight , which provides the inspiration

for our campaign. This permanent installation,

to be created by Eclipse Design, will greet students

and audiences on the east wall of Rendon Hall.

Having outgrown its Addison Street home, the CJC is expanding directly across the street, adding 5,550 square feet of classroom, practice room, performance, café, and office space to its Berkeley Arts District campus. Our new, 100-seat performance space, Rendon Hall (named in honor of the project’s lead sponsor, longtime CJC student Kathi Rendon) will be modeled after Minton’s Playhouse, the renowned Harlem nightclub that fostered the development of jazz (and where Thelonious Monk was the first house pianist).

RoundMidAD_6E222_Final_ri.indd 1 2/16/16 11:12 AM

Call 510.845.5373 Enroll online at cjc.edu2 3

OverviewThe California Jazz Conservatory

is an innovative nonprofit organi-

zation dedicated to the study and

performance of jazz — America’s

indigenous art form — and related

styles of music from around the

world. Founded in 1997, the

institution has recently been

granted accreditation by the

National Association of Schools

of Music (NASM), making it the

only accredited, stand-alone

conservatory devoted to jazz

studies in the United States. The

school is located in the heart of

the vibrant Downtown Berkeley

Arts District, home to Berkeley

Rep, the Freight & Salvage and

many other arts organizations.

Hailed as one of the nation’s most

comprehensive schools of jazz

and related styles of music, the

CJC offers instrumentalists and

vocalists of all ages and skill levels

a broad spectrum of performance

ensembles, lectures, workshops

and private instruction. Courses

are designed for the professional

musician, the serious student

and the jazz aficionado seeking

personal enrichment. A multi-

faceted institution, the CJC

comprises several key

components:

CALIFORNIA JAZZ CONSERVATORYTheCaliforniaJazzConservatoryisamusic

schoolofferingtheaspiringprofessional

acomprehensive4-yeardegreeprogram

culminatingintheBachelorofMusicinJazz

Studies.TheCJCprovidesachallenging

curriculumofperformance,jazztheoryand

improvisation,eartraining,composition,

arranging,transcriptionandanalysis,and

musichistorycourses,taughtbyprofes-

sionalartistsandeducators.Coursework

alsoincludesmusicbusiness,music

technologyandfinancialplanning,

thoroughlypreparingstudentsfora

fulfillingcareerintheperformingarts.

JAZZSCHOOL COMMUNITY MUSIC SCHOOL (JCMS)TheJCMSprovidesmusiceducationand

performanceopportunitiesforpeopleof

allagesandlevelsofability.Consisting

ofthe JCMS Adult Music Programand

theJCMS Young Musicians Program,the

JCMSoperatesyear-roundonaquarterly

basisandoffersover100ensembles,

coursesandworkshopstobuildallaspects

ofmusicianship.Studentsareroutinely

featuredinconcertperformances,open

tothepublic.Withaformidablefaculty

ofrenownedmusiciansandeducators,the

JCMSisacornerstoneoftheBayArea’s

thrivingmusicscene.

JCMS ADULT MUSIC PROgRAMTheJazzschoolAdultMusicProgramoffers

life-enrichingopportunitiestolearnabout

andplayjazzandrelatedstylesofmusic

fromthroughouttheworld.Coursesare

availableforbothinstrumentalistsand

vocalists,andeveryonefromyoungadult

toseniorcitizeniswelcome.Instruction

andperformancesoccurprimarilyinlate

afternoons,eveningsandonweekends,

makingtheprogrameasilyaccessibleto

theworkingprofessional.

JCMS YOUNg MUSICIANS PROgRAMTheJazzschoolYoungMusiciansProgram

offersmiddleandhighschoolstudentsof

allskilllevelsawidevarietyofcombos,

bigbandsandvocalperformancecourses

throughouttheentireyear,aswellas

campsduringthesummer.Selectensem-

blesparticipateinnationalcompetitions,

andJazzschoolbandshaveroutinelytaken

topawardsfromDownBeat,theMonterey

NextGenerationJazzFestivalandothers.

wORkSHOPSVisitingartistsandJazzschoolfaculty

leadfascinatingandpracticalworkshops,

typicallyasinglesessionoftwoorthree

hoursinlengthandheldonSaturdays

andSundays.Contentmayfocusonany

specificaspectofjazztheoryorperfor-

mance,suchasplayinginoddtime

signaturesortheartofvocalimprovisa-

tion.Pastworkshopshavebeentaught

byprominentmusiciansfromBobby

McFerrintoDaveLiebman,JanisSiegel,

PeterErskine,SheilaJordan,NguyênLê

andothers.

CONCERTSTheCJCfacilityincludesanintimate

venuewithseatingcapacityof100.

Throughouttheyear,facultyandstudents

performforthepublic,providingareal-

worldincubatorfordevelopingnew

conceptsandgainingaudienceexposure

inthecompetitiveBayAreaenvironment.

High-profileartistshaveperformedat

theschool,includingTerenceBlanchard,

ArtLande,KimNalley,TaylorEigsti,

SachalVasandaniandmanymore.

CJC BOOkSTORETheCJC’sin-houseretailstoreisatreasure

troveofjazz-relatedreadingandlistening

materials.Itprovidesstudents,teachers

andthepublicwithconvenientaccessto

extraordinarybooks,recordings,videos

andaccessories.

JAZZCAFFèLocatedwithintheCJCfacility,the

Jazzcaffèservesupdelectablefare

forstudentsandvisitorstoenjoya

convenientbitetoeat.Achanging

menufeatureshouse-madesoups,salads

andsandwiches,aswellasbeer,wine,

espressoanddesserts.Dropbyfor

agreatmealtomatchthegreatmusic!

TRANSPORTATIONTheCJCiseasilyaccessiblebycarand

publictransportation.Thedowntown

BerkeleyBARTstationandACTransitbus

stopsarewithinablock.Thereisapublic

parkinggaragejustafewstepsawayon

Addison,inadditiontometeredstreet

parkingthroughouttheneighborhood.

outsideoftheirday-to-dayroutines.Studentsfrequentlyremindushowimportanttheschoolistothem,providingenrichmentandjoy.

•workshops,ledbyvisitingartistsandCJCfaculty,allowforintensive,short-termfocusonspecificaspectsofmusictheoryandperformance.OnlytheCJCoffersayear-roundscheduleandsuchanarrayoflearningoptions.

•Hardymon Hall,theCJC’sintimateconcertvenue,holdsyear-round,high-caliberperfor-mancesbyguestartists,facultymembersandstudents,ataffordableprices.

Support for the CJC comes in many forms and is much needed and appreciated. Financial support helps us defray day-to-day expenses, keep fees down, offer scholarships and more. In-kind gifts and volunteerism are other ways to give.

For more information on how to support the CJC, or to make a tax-deductible gift, visit www.cjc.edu and click on the “Support” tab. Or, contact Mary D’Orazi, Development Associate, at [email protected] and 510.845-5373, ext. 19.

(We acknowledge our donors in our quarterly JCMS catalogs and on our website. Current donors are on pages 70 to 75.)

Accredited by the National Association of Schools of Music (NASM), the

California Jazz Conservatory is a unique nonprofit institution, bringing

joy and inspiration to young people and adults of all musical interests

and skill levels. The CJC has served thousands of Bay Area music

students, from the hobbyist to the aspiring professional, and is

a creative environment where there’s something for everyone.

•TheCalifornia Jazz Conservatory’s (CJC) four-year degree programisdesignedtotraintheaspiringprofessionaljazzmusician.TheCJCproudlygraduateditsfirstclasswiththeBachelorofMusicinJazzStudiesin2012.Ourcampuswillexpandtoanearbylocationinfallof2016tohelpaccom-modateourgrowingprograms’studentbodies.Weareworkingsteadilytobuildourreputationasoneofthecountry’stopmusicschools.

•DownBeatmagazineandtheMontereyNextGenerationJazzFestivalroutinelyrecognizetheensemblesinourJazzschool Young Musicians Program (JYMP).Nationalcompetitionsprovidegiftedstudentswiththeopportunitytoperforminadjudicatedsituations,encouragingfurthermusicaldevelopmentandbolsteringconfidence.

•TheJazzschool Community Music School (JCMS)providesadultsofallagesandskilllevelsadynamiclearningenvironmentandexcitingperformanceopportunities.Classesaremostlyintheeveningsandweekends,allowingagreaternumberofworkingadultsachancetopursuetheirloveofmusic

Support the CJC!

4

Enroll online at cjc.edu 7

The Jazzschool Community Music

School (JCMS) is dedicated to the

study and performance of jazz and

related styles of music from around

the world. There are dozens of

exciting and fun options for both

instrumentalists and vocalists of

all ages and skill levels. The JCMS

operates year-round on a quarterly

basis, normally 10 weeks during

the fall and winter, 9 weeks in the

spring and 7 weeks in the summer.

Performance EnsemblesJCMSperformanceensemblesdelve

intoawiderangeofstylesincludingjazz

(standards,hard-bop,post-bop,fusion),

Latinjazz,Brazilian,blues,R&B,funk,pop

andBalkan(easternEuropean).Ensembles

areavailableforinstrumentalistsand

vocalistsatthebeginning,intermediate

andadvancedlevels.Groupsrangeinsize

fromthetriotothebigband.Aplacement

auditionisrequired.

Instrumental CoursesJCMSinstrumentalcoursesprovidestudy

ofaspecificinstrumentinagroupsetting.

Coursesareavailableforsaxophone,

harmonica,piano/keyboard,guitar,bass

anddrums/percussion.Instructionis

availableforbeginners(coveringbasic

techniqueandinstrumentalskills)andalso

formoreadvancedplayers(focusedonjazz

style,harmony,improvisationandmore).

Theory, Improvisation and CompositionTheJCMSoffersmanycoursesinareas

includingtheory,improvisation,ear

training,compositionandarranging,music

production,musicbusinessandmore.

Vocal CoursesJCMSvocalcoursesprovideanopportunity

forsingersatalllevelstoimprovestyleand

techniqueinagroupsetting.Performance

coursesareofferedinjazz,Latin,blues,

R&Bandpopgenres.Completebeginners,

singersreturningtomusic,andmore

advancedvocalistscanallfindcourses

appropriatefortheirinterests.

Jazzschool Young Musicians ProgramTheJYMPoffersarangeofcoursesfor

middleandhighschoolstudents.JYMP

ensemblesareavailableforbeginning,

intermediateandadvancedinstrumental-

ists.Theprogramincludessmallgroups

focusedonimprovisationandbigbands

thatdelveintostyleandrepertoire.Vocal

performancescoursesarealsoavailable.

JYMPensembleshaverepeatedlytaken

DownBeatstudentmusicawardsand

beenhonoredatprestigiousjazzfestivals

intheUSandabroad.Aplacement

auditionisrequired.

workshopsJCMSworkshopsprovideintensive

instructioninasingletwo-orthree-hour

session.LedbyvisitingartistsandJCMS

faculty,workshopstypicallyfocusona

specificaspectofjazz,suchasmusic

transcriptiontechniquesortheartofvocal

accompaniment.Prominentmusicians

includingRichieBeirach,GretchenParlato,

TaylorEigsti,MikeClarkandothershave

taughtpastworkshops. FacultyAdistinguishedfacultyofprofessional

musiciansandeducatorsleadsJCMS

coursesandworkshops.Oureducators

haveplayedwithsomeofthemusic

world’sbiggestnames,includingSting,

PatMetheny,JoeHenderson,RayCharles,

DaveLiebman,CarlosSantana,McCoy

Tyner,PeteEscovedo,DianaKrall,Eddie

Palmieri,HerbieHancock,Branford

Marsalis,JoeyDeFrancesco,Bobby

Hutcherson,JohnMayer,StevieWonder

andcountlessothers.

Enrollment JCMSclasssizeislimitedandmany

coursesareavailableonafirst-come-

first-servedbasis.Weencourageyouto

registerearlyandguaranteeyourspot!

Youcanenrollonlineatcjc.edu orcall

510.845.5373.Anapplicationformalso

appearsonpage79.

Jazzschool Community Music School

66

Call 510.845.5373 Enroll online at cjc.edu8 9

Message from the PresidentDearJCMSStudents,

Iwouldliketotakethisopportunitytowelcomeyou

totheJazzschoolFall2016quarter!

AlongwiththemyriadofinterestingJazzschool

coursesandworkshopsscheduledthisterm,the

CaliforniaJazzConservatory(CJC)offersa4-year

BachelorofMusicdegreeprograminJazzStudiesfor

thoseofyouwhoareaspiringprofessionalsseekingto

completeamusicdegree,orjustwishingtoexpand

yourmusicalhorizonsonapart-timebasis.

TheCJCisnowtheonlyindependent,accredited

musicconservatorydevotedtothestudyand

performanceofjazzandrelatedstylesofmusicinthecountry.Ifyou’reinterestedin

knowingmoreabouttheJazzStudiesdegreeprogram,pleasevisitourwebsiteatcjc. edu

oremailmeatsusan @ cjc. eduformoreinformation.TheCJCacceptsstudentsoneither

afull-orpart-timebasisinbothfallandspringsemesters.Applicationsareavailableonline.

Here’swishingyouallawonderfulFallquarter!

Yoursinjazz,

Greetings!Thankfortakingthetimetolearnabouttheprogramsofferedhereatthe

JazzschoolCommunityMusicSchool,thecommunityeducationcomponent

oftheCaliforniaJazzConservatory.AswemoveintotheFall2016quarter,

I’mpleasedtosharethisoverviewofthecoursesandworkshopswehave

availablethisterm.

Beginningwithourensembleprogram,wehavejazzensemblesrangingfromtwo

sectionsofbeginningjazzensemble,severalsectionsofjazzstandardsforgigs,

andeverythingfromhardboptopostbop,Brazilian,Caribbean,blues,popand

specializedjazzensemblesfocusingonthemusicoficonicinnovatorsFreddie

Hubbard andEric Dolphy.

Movingontoourinstrumentalcourses,we’reofferinggroupclassesinpiano,

guitar,drums,percussion,bassandharmonica.Eachareaofferscoursesfor

beginnersandmoreexperiencedplayers.

Coursesarealsoofferedinmusictheory,improvisationandcomposition.

Numerouscoursesarealsoofferedspecificallyforvocalists(seep.26)and

formiddleschoolandhighschoolmusiciansinouryoungmusiciansprogram

(seep.41)Wealsohaveanumberof

veryspecialonedayorshortterm

workshopsthisfallincludingeventswith

legendarydrummerAlbert “Tootie”

Heath,keyboardistRussell Ferrante

oftheYellowjackets,Joel Harrison

andSpirit House,featuringBrian Blade,

andmanymore.

Pleasereadonforallofthedetails,

anddon’thesitatetocontacttheschool

withanyquestionsyoumayhave

abouttheprogramsavailablethisfall.

RobEwing

Director,Jazzschool

CommunityMusicSchool

rob @ cjc.edu

Introduction & Calendar

FALL 2016 CALENDAR

Jazzschool Community Music School Fall QuarterSeptember19–December4(10weeks)

Ensemble Placement Auditions: Ongoing!Toapply:cjc.edu/ensemble

School Closure: ThanksgivingWeek,November21–27

Fall Performance Series: December5–15

8

SusanMuscarella

PresidentandDeanofInstruction,

CaliforniaJazzConservatory


Adult Performance EnsemblesThe Jazzschool Community Music

School (JCMS) offers numerous

performance ensembles for

beginning, intermediate and

advanced instrumentalists and

vocalists. Students are placed

in ensembles by audition and

requirements may include the

following: playing selected scales;

playing and/or improvising over a

piece of your choice; improvising

over a 12-bar blues or other pieces

provided at the audition; and

sight-reading. Drummers are

asked to play various grooves and

solo; bassists are asked to play

bass lines. For more information

please contact JCMS Director

Rob Ewing at [email protected] or

510.845.5373 x1 4. You can

schedule an audition online

at cjc.edu/ensemble.

JAZZBEgINNINg JAZZ ENSEMBLEPuttheoryintopracticebylearningjazz

standards,whiledevelopingimprovisation

andensembleskills.Forallinstruments.

Prerequisites: knowledge of basic jazz theory and ability to keep time and read music.

Section I: Mondays 6:30 – 8 pm9/19–11/28(10weeks)no class 11/21SteveErquiaga•$395

Section II: Thursdays 6:30 – 8 pm 9/22–12/1(10weeks)no class 11/24RobEwing•$395

JAZZ STANDARDS FOR gIgS Developtheskillsandrepertoireneeded

fortypicaljazzgigsthroughthestudy

andperformanceofcommonjazzstyles

includingswing,bossa,jazzwaltzand

ballads.Instructorcoversrepertoire,

essentialarrangingconcepts(intros,

endings,etc.),relevantjazzharmonyand

tipsforsoloing.Prerequisites: knowledge of basic jazz theory and ability to keep time and read music. Some previous ensemble experience.

Section I: Thursdays 6:30 – 8 pm9/22–12/1(10weeks)no class 11/24

Section II: Saturdays 10 – 11:30 am

Section III: Saturdays 11:45 am – 1:15 pm

Section IV: Saturdays 1:30 – 3 pm9/24–12/3(10weeks)no class 11/26GlennRichman•$395

DAVE SCOTT JAZZ ENSEMBLEAsmalljazzensemble(rhythmsection

andhorns)focusingonstandardsandjazz

tuneswithcustomarrangementsbythe

instructor.

Thursdays 4:45 – 6:15 pm9/22–12/1(10weeks)no class 11/24DaveLenScott•$395

HARD-BOP ENSEMBLEStudyandperformmusicmeldingbebop

withR&B,gospelandthebluesas

developedbymid-centurymasters

includingHoraceSilver,ArtBlakey,

CannonballAdderley,MilesDavis,Jimmy

Smithandothers.

Thursdays 6:30 – 8 pm9/22–12/1(10weeks)no class 11/24DaveLeFebvre•$395

MUSIC OF THE MASTERSDigintothemusicofJohnColtrane,

TheloniousMonk,WayneShorterand

otherjazzmasters.Learnandinternalize

avarietyofessentialgrooveswhile

developingimprovisationskillsthrough

therehearsalofchallengingrepertoire.

Section I: Mondays 8:15 – 9:45 pm9/19–11/28(10weeks)no class 11/21

Section II: Thursdays 8:15 – 9:45 pm9/22–12/1(10weeks)no class 11/24GlennRichman•$395

POST-BOP ENSEMBLEExploretherepertoireofChickCorea,Joe

Henderson,WayneShorter,JohnColtrane

andotherpost-bopjazzcomposersfrom

the1960stothepresent.Strongemphasis

placedongroupcommunicationand

interaction.

wednesdays 6:30 – 8 pm9/21–11/30(10weeks)no class 11/23SteveErquiaga•$395

Glenn Richman's Jazz Standards class is a great way to combine real jazz tunes and combo performance. His attention to detail and the great educator in him allows all performers to blend and make fantastic music! — Rafael Rodriguez

10 Call 510.845.5373

glenn richman


PIANO TRIODevelopperformanceskillsinthepiano,

bassanddrumstrioformat.Opentofour

pianistsandonedrummerwithaccompa-

nimentprovidedbyaprofessionalupright

bassist.

Section I: Mondays 5 – 6:30 pm

Section II: Mondays 6:45 – 8:15 pm

Section III: Mondays 8:30 – 10 pm9/19–11/28(10weeks)no class 11/21PeterHorvath•$425

Section IV: Fridays 1:30 – 3 pm

Section V: Fridays 3:30 – 5 pm9/23–12/2(10weeks)no class 11/25DebbiePoryes•$425

gUITAR TRIOFocusongroupinteractionanddynamics,

soloing,compingforbasssolos,trading

withadrummer,buildingrepertoireand

moreintheguitar,bassanddrumstrio

format.Opentofiveguitarists,onebassist

andonedrummer.

Mondays 8:15 – 9:45 pm9/19–11/28(10weeks)no class 11/21SteveErquiaga•$395

BIg BAND19-pieceensemblecoveringclassicand

contemporaryrepertoireforbigband.

Originalcompositionsbyensemble

membersarealsoworkshoppedand

performed.Full3-quartercommitment

required(fall,winter,spring).

Thursdays 8:15 – 10:15 pm9/22–12/1(10weeks)no class 11/24DaveLeFebvre•$285

MILES DAVIS/wAYNE SHORTER ENSEMBLEExplorethemusicofMilesDavisand

WayneShorterfromthemid60sthrough

the80s.Repertoireisdrawnfromfar-

reachingclassicalbumsincludingMiles Smiles,ESP, Filles de Kilimanjaro,Speak No Evil,Bitches Brew,In a Silent Way,

Native DancerandJack Johnson.Strong

emphasisplacedongroupcommunication

andinteraction.

wednesdays 8:15 – 9:45 pm9/21–11/30(10weeks)no class 11/23SteveErquiaga•$395

FREDDIE HUBBARD new ENSEMBLEAchallengingensemblefocusingon

thepostboprepertoireoftheinnovative

andinfluentialtrumpeterandcomposer

FreddieHubbard.

wednesdays 8:15 – 9:45 pm9/21–11/30(10weeks)no class 11/23FrankMartin•$395

FREE JAZZ ENSEMBLE: new THE MUSIC OF ERIC DOLPHYTheFreeJazzEnsembleisdesignedfor

improvisingmusiciansinterestedin

stretchingtheboundariesofharmonyand

form.Eachquartertheensemblewillfocus

onthemusicofaparticularmaster

musician.Thisfall,wewillfocusonthe

musicofsaxophonistandcomposer

EricDolphy.

Thursdays 8:15 – 9:45 pm9/22–12/1(10weeks)no class 11/24JasonLevis•$395

ERQUIAgA ENSEMBLE I Workonimprovisingoverchordchanges,

playingwithgoodtimeandotherskills

neededtoperformwithothers.Emphasis

onstandardmainstreamstyles:blues,

standards,swing,bebop,balladsand

bossanovas.

Tuesdays 4:30 – 6 pm9/20–11/29(10weeks)no class 11/22SteveErquiaga•$395

ERQUIAgA ENSEMBLE IISlightlyfastertemposandmoreinvolved

tunes!Unusualkeys,uncommontune

structuresandmorecomplexmelodiesare

presentedalongwithstandardrepertoire.

MusicofMilesDavis,Jobim,ArtBlakey,

CalTjaderandmany60sBlueNote–era

artists.Originalcompositionsencouraged.

Tuesdays 6:30 – 8 pm9/20–11/29(10weeks)no class 11/22SteveErquiaga•$395

LATINSALSA ENSEMBLE IRehearseandperformclassicsalsareper-

toireincludingthemusicofTitoPuente,

CalTjader,EddiePalmieriandothers.

Prerequisites: familiarity with and ability to play standard Afro-Caribbean grooves as applied to your instrument.

Tuesdays 6:30 – 8 pm9/20–11/29(10weeks)no class 11/22DavidBelove•$395

SALSA ENSEMBLE IIRehearseandperformmoreadvancedsalsa

repertoire.Vocalistsinterestedinparticipat-

ingshouldsignupforSalsaSinging(see

p.31).Thetwocoursesworktogether

throughoutthetermdevelopingafullsetof

highenergydancemusicforperformance.

Tuesdays 8:15 – 9:45 pm9/20–11/29(10weeks)no class 11/22DavidBelove•$395

VENEZUELAN MUSIC new ENSEMBLE 360Exploretraditionalandcontemporary

Venezuelanmusicstyles,withaparticular

focusonAfro-Venezuelanrepertoire.

ExcitingrhythmsincludingCalypso,Joropo

andGolpedeTamborwillbecovered.The

ensemblewillculminateinaperformanceat

theJazzschoolinHardymonHall!Opento

allinstruments:percussion(congas,hand

percussion),Venezuelancuatros,vocals,

woodwindandbrassinstruments,piano,

bass,anddrumset.Highlyrecommended

forstudentswhohavetakentheAfro-

VenezuelanpercussionandVenezuelan

cuatroclasseswithJackieRagointhepast.

Prerequisites: Intermediate to advanced players with the ability to play standard grooves as applied to your instrument.

Tuesdays 8:15 – 9:45 pm9/20–11/29(10weeks)no class 11/22JackieRago•$395

Adult Performance Ensembles Adult Performance Ensembles

12 Call 510.845.5373

Debbie Poryes is such a gifted player and teacher. Her passion is contagious.— Anonymous

15

BRAZILIANBRAZILIAN ENSEMBLEStudyandperformtheclassicand

contemporaryBrazilianjazzrepertoireof

IvanLins,DoriCaymmi,ToninhoHorta,

AntonioCarlosJobimandinstructor

MarcosSilva.Vocalistswelcome!Audition with Marcos Silva is required.

Section I: Tuesdays 6:15 – 7:45 pm

Section II: Tuesdays 8:15 – 9:45 pm9/20–11/29(10weeks)no class 11/22

Section III: wednesdays 6:30 – 8 pm

Section IV: wednesdays 8:15 – 9:45 pm9/21–11/30(10weeks)no class 11/23

Section V: Thursdays 1 – 2:30 pm9/22–12/1(10weeks)no class 11/24

Section VI: Fridays 12 – 1:30 pm9/23–12/2(10weeks)no class 11/25

MarcosSilva•$395

POPPOP ENSEMBLE FOR gIggINg MUSICIANSAnoverviewofessentialtunesfortoday’s

dancegigs.Rangingfromclassicsongs

byStevieWonder,AlGreenandAretha

Franklintocontemporarypartyhitsby

DaftPunk,Pharrell,KatyPerryandothers.

Rhythmsectionplayerslearntonavigate

real-worldgigscenariossuchaslearning

tunesbyearandworkingwithlyricsheets.

Alltuneshavecompletehornarrange-

mentsandlotsofsolospaceforeveryone!

Open to alto, tenor and baritone saxo-phones, trumpet, trombone, piano, keyboards, guitar, bass, drums, percussion and up to four vocalists.

Thursdays 6:30 – 8 pm9/22–12/1(10weeks)no class 11/24RichArmstrong•$395

BLUESBLUES AND gROOVE ENSEMBLELearntoplaythebluesandblues-related

styles.Emphasisonthegrooveasfound

onrecordingsofCharlieChristian,T-Bone

Walker,AlbertCollins,JackMcDuff,Louis

Jordanandother“jump”bluesandNew

Orleansmasters.Prerequisite: knowledge of 12-bar blues.

Saturdays 1:30 – 3 pm9/24–12/3(10weeks)no class 11/26

DannyCaron&AnthonyPaule•$395

WORLDBALkAN AND ROMANI (gYPSY) ENSEMBLEExploreBalkanandRomanimusic

traditionspopularizedbyBulgaria’sIvo

Papasov,Turkey’sBurhanÖçaland

Serbia’sBobanMarkovicandGoran

Bregovic.Allinstrumentswelcome.

Thursdays 8:15 – 9:45 pm9/22–12/1(10weeks)no class 11/24RumenShopov•$395

wORLD gROOVE ENSEMBLE: CARIBBEAN ENSEMBLETheCaribbeanEnsemblefeaturesthe

irresistiblydeepgroovesofTrinidad,

Jamaica,andotherislandsoftheWest

Indies.Stylesmayincludecalypso,soca,

reggae,ska,zouk,biguine,andmoreby

artistssuchasLordKitchener,Calypso

Rose,TheSkatalites,BobMarley,Malavoi,

Kassav,andothers.Opentoallhornsand

winds,vocals,drums,percussion,bass,

guitar,steeldrum,violin,andkeyboards.

Thisensembleisoneofthreeconsecutive

coursescomprisingtheWorldGroove

Ensemble;studentsmayenrollinanyone

orallthree.Prerequisites: intermediate instrumental proficiency, ability to read charts and notation.

Thursdays 8:15 – 9:45 pm9/22–12/1(10weeks)no class 11/24JenniferJolly•$395

Adult Performance Ensembles

Marcos Silva could play and demonstrate what was needed on EVERY instrument in the

ensemble. It was challenging but worth it.

— Nick koutsoukis

14 Call 510.845.5373

marcos silva

Adult Performance Ensembles

I thoroughly enjoyed it. It was my first time playing with a bassist and drummer and it was a wonderful learning experience for me.— Anonymous

Enroll online at cjc.edu


APPLIED kEYBOARD HARMONY Learntonic-dominantchordprogressions,

basicturnaroundsandchordinversions

inallkeys,developingtheabilityto

playstandardtunesusingthosebasic

progressions,inleadsheetformat.Prepares

studentsfortheJazz Piano Icourseandis

recommendedforpianistswithaclassical

backgroundinterestedinlearninghowto

interpretleadsheetsandimprovise.

Handoutsprovided.Prerequisite: basic keyboard knowledge.

Saturdays 1:30 – 3 pm9/24–12/3(10weeks)no class 11/26JeanneWalpole•$395

JAZZ PIANO I Learntoplayjazzstandardsandthe12-bar

bluesthroughthestudyofjazzchord

voicingsandimprovisationtechniques.

Prerequisites: 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.

Section I: Mondays 6:30 – 8 pm9/19–11/28(10weeks)no class 11/21BobKarty•$395

Section II: Thursdays 6:30 – 8 pm9/22–12/1(10weeks)no class 11/24SteveBlum•$395

JAZZ PIANO IIAcontinuationofJazz Piano I.Learn

moreadvancedchordvoicingsand

soloingtechniques.Standardreharmoniza-

tiontechniquesarealsopresented.

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. Audition required. Call 510-845-5373 to schedule an audition.

Mondays 8:15 – 9:45 pm9/19–11/28(10weeks)no class 11/21BobKarty•$395

LEFTY — THE LEFT HANDDevelopjazzpianotechniquesfortheleft

hand.Workontertian(3rds),quartal

(4ths)andquintal(5ths)voicings;blues

andrhythmchanges;andwalkingbass

lines.Improvisation,ostinatosforsoloing

andsomestridepianotechniquesarealso

covered.Righthandsarewelcome,but

onlyasobservers!Prerequisites: ability to play major, minor, and dominant 7th chords in all keys, knowledge of jazz harmony.

wednesdays 6:30 – 8 pm9/21–11/30(10weeks)no class 11/23FrankMartin•$395

BLUES PIANO & new THE TOP TEN TUNESThislivelycourseoffersawell-rounded

introductiontobluespianothroughthe

studyoftheTopTenTuneseveryblues

pianoplayerneedstoknow.Basslines,

right-handlicks,introsandendings,

12-and8-barforms,improvisation,and

accompanimentgroovesarecovered.

Stylesincludeearlypianoblues,Chicago,

boogie-woogie,jumpblues,jazz-blues,

earlyrock‘n’roll,andatasteofNew

Orleans.Studentseachpickanartistto

studyingreaterdepth.Materialsprovided

byinstructor.Prerequisites: Basic profi-ciency in reading and playing hands together, familiarity with major and minor chords and with major scales.

Tuesdays 6:30 – 8 pm9/20–11/29(10weeks)no class 11/22JenniferJolly•$395

Adult Instrumental Courses


PIANO & KEYBOARDSPIANO I Doyouwishyouhadlearnedtoplaythe

pianowhenyouwereakid?Wishnomore!

It’snottoolate!SignupforPianoIand

learntodeciphermusicalnotation,playa

scale,performapieceofmusic,playduets,

findoutaboutmusicalformsandkeys,read

ajazzchart,andplayensemblemusicwith

fellowstudents.Startonapaththatleads

toBach,Mozart,Chopin,Ellington,Evans

andbeyond.Noexperiencenecessary.

ConcurrentenrollmentintheIntroduction

toMusicTheorycourseissuggested.

Requiredtexts:Mastering Piano Method 1A,

Mastering Theory 1A,JanetVogt(available

attheCJCBookstore).

Saturdays 10 – 11:30 am9/24–12/3(10weeks)no class 11/26KatherineWestine•$395

PIANO IIThiscoursewillgetyourchopsupand

runningbypresentingmusicthatdemands

andrewardsyourabilities.PianoIIpicks

upwhereveryouleftoffinyourkeyboard

pursuitsandchallengesyoutogofarther

inanydirectionyoudesire.Ensembleand

solomusicischosenforyourownlevel

andabilityonthepiano.Thisclasspresents

individualguidanceaswellasgroup

performanceopportunities.Requiredtext:

Bastien Piano for Adults II (availableat

theCJCBookstore). Prerequisites: Piano I or equivalent.

Saturdays 11:45 am – 1:15 pm9/24–12/3(10weeks)no class 11/26KatherineWestine•$395

You have a real gem in Jennifer Jolly!! ! ! — Brenda Paddon

16 Call 510.845.5373

18 Call 510.845.5373

LATIN AMERICAN AND new CARIBBEAN PIANO IThisnewhands-oncourseprovidesan

introductiontotherichLatinAmerican

andCaribbeanpianotradition.Students

willplayexcerptsofclassicearlytunesby

influentialpianistsandcomposersfrom

Cuba,PuertoRico,Trinidad,Brazil,

Jamaica,Mexico,Argentina,andother

countries.Stylesincludecontradanza,

danza,calypso,tango,waltz,maxixe,

choro,andmore.Studentswillexpand

theirrhythmicskillsandvocabularywhile

buildingastrongfoundationforfurther

studyofCuban,salsa,Caribbean,orBrazil-

ianmusic. Prerequisites: Intermediate reading of standard keyboard notation. Materials provided by instructor.

Tuesdays 8:15 – 9:45 pm9/20–11/29(10weeks)no class 11/22JenniferJolly•$395

GUITARBEgINNINg gUITARDevelopastrongfoundationinbasic

guitarskills.Learntheessentials,including

tuningtheguitar,findingnotesandbasic

chordsonthefretboard,properhand

positions,scalefingerings,simplesongs,

readingmusicandmore!Instructorcan

alsoanswerquestionsaboutequipment

selection(guitars,strings,amps,picks,

etc.).Requiredtext:Modern Guitar Method Vol. One, Mel Bay(availableattheCJC

Bookstore).Prerequisites: None, for complete beginners! Students must bring a guitar to class.

Saturdays 10 – 11:30 am9/24–12/3(10weeks)no class 11/26DannyCaron&AnthonyPaule•$395

JAZZ gUITAR IGainhands-onexperienceplayingjazz

andblueswhilelearningbasicjazztheory,

scales,chords,arpeggiosandsongs.

Thisisagreatcourseforguitaristswith

abackgroundinanotherstyleinterested

inexploringjazzandbluesstyleand

repertoirewhilehavingfunplaying.

Requiredtext:Graduated Soloing: The Mimi Fox Guitar MethodbyMimiFox

(availableattheCJCBookstore).

Prerequisites: two years playing experi-ence, knowledge of major and pentatonic scales and all seventh chords.

wednesdays 6:30 – 8 pm9/21–11/30(10weeks)no class 11/23JeffMassanari•$395

JAZZ gUITAR IIAfunandfastpacedcontinuationofthe

conceptsexploredinJazzGuitarI.Dive

intomorecomplexharmonicandmelodic

concepts,scalesandchordvoicings.Lots

ofhands-onplayingtimeforeveryone

andpersonalguidance.Thiscourseis

designedforguitaristswithsomejazz

playingexperiencelookingtotaketheir

playingtothenextlevel.Requiredtext:

Guitar Arpeggio Studies on Jazz Stan-dardsbyMimiFox(availableattheCJC

Bookstore).Prerequisites: Jazz Guitar I or equivalent; knowledge of scale and chord theory and some familiarity with jazz repertoire.

wednesdays 8:15 – 9:45 pm9/21–11/30(10weeks)no class 11/23JeffMassanari•$395

BLUES AND SwINg gUITARLearnchordvoicings,fingerboard

harmonyandsinglestringsoloing

techniques.Avarietyofstylesarecovered,

fromtheurbanbluesofB.B.Kingand

AlbertCollinstothemorecomplexswing

ofCharlieChristianandAaron“T-Bone”

Walker.Diveintoalternatechordcycles

andrhythmplaying.Workwithtranscrip-

tionstodevelopstrongmelodicsolos.

Prerequisites: familiarity with the 12-bar blues progression, ability to play bar chords in several shapes, basic knowledge of the minor pentatonic scale, some picking facility.

Saturdays 11:45 am – 1:15 pm9/24–12/3(10weeks)no class 11/26DannyCaron&AnthonyPaule•$395

BRAZILIAN gUITARLearnBrazilianmusicstylesincluding

samba,baião,bossanovaandchoro,and

thetechniquesusedtoplaythem.Primary

focusisonlearningrepertoire,while

developingthefollowingareas:stylistically

appropriatecompingrhythms,chord

melodyplaying,creatingsoloarrange-

ments,righthandfinger-styletechniques

andmelodicsoloingapproaches.

Prerequisites: ability to read music notation.

Sundays 2 – 3:30 pm9/25–12/4(10weeks)no class 11/27RicardoPeixoto•$395


19



jeff massanari

Enroll online at cjc.edu20 21Call 510.845.5373

MUSIC THEORY AND FRETBOARD kNOwLEDgE FOR gUITAR Learnthebasicsofmusictheoryas

appliedtoguitar,developingfamiliarity

withthefretboardthroughchord,scale

andarpeggiopractice.Topicsinclude:

•Overviewofchordandscaletypes

andwheretheyarelocated

•Chordprogressionscommonly

usedinjazzandrelatedstyles

•Compingpatterns

•Scaleandarpeggiopractice

invariouspositions

•Readingchartsandstandard

notation(trebleclef)

•Transcribingmusicfromrecordings

•Basicsofmelodicimprovisation

Forstudentswithsomeplayingexperi-

ence,knowledgeandfacility,butwho

haveneverseriouslypracticedorstudied

musictheoryortheguitarfretboard.

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 8:15 – 9:45 pm9/19–11/28(10weeks)no class 11/21 DannyCaron•$395

JAZZ gUITAR COMPINgThishands-oncourseprovidestheinterme-

diatetoadvancedguitaristwithtools,

conceptsandtechniquesessentialto

creativeandeffectivecontemporary

comping.Topicsinclude:

•compingoverstraight-ahead,bebop,

modal,funk/fusion,ballads,contemporary

jazz,BrazilianandAfro-Cuban

stylesofmusic

•creativechordvoicings—lookingat

thefingerboardandvoicingchordsin

amore“pianistic”way;quartalharmony

(clustersvoicedin4ths)inmodal

comping;thepossibilitiesofdissonant

intervalssuchastheminor2nd;slash

chords;tritonesubstitution;andupper-

registerchordvoicings

•rhythmicanticipationandsyncopation:

the“right”placestoputchords,inorder

tocreate“forwardmotion”;compingin

3/4,6/8andoddmeters.

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 pm9/22–12/1(10weeks)no class 11/24SteveErquiaga•$395

HARMONICABEgINNINg DIATONIC HARMONICADiatonicharmonicaisthesmallharmonica

usedinblues,rock,folkandevenjazz.

Learnhowtoholdtheinstrument,breathe

effectively,playchordsandsinglenotes

andbendnotes.Learnsongformssuchas

12-barbluesand3-chordfolk,rockand

countrytunes.Requiredtext:Harmonica for Dummies, second edition.Prerequisite: Bring a 10-hole diatonic harmonica in the key of C (contact [email protected] for info).

Saturdays 10 – 11:30 am9/24–12/3(10weeks)no class 11/26WinslowYerxa•$395

BASSBASS ILearnthefundamentalsofbasstech-nique,applicabletoallstylesofmusic.

Topicsinclude:

•Tuning

•Gettingagoodsound

•Leftandrighthandtechnique

•Familiaritywiththefingerboard

•Musicreadingfundamentals

•Introductiontowalkingbasslines

•Equipment(basses,strings,amps)

Opentoelectricanduprightbassists.

Requiredtext:New Method for the Double Bass, Simandl (availableattheCJC

Bookstore).Prerequisites: none. Students must bring a bass to class.

Thursdays 4:45 – 6:15 pm9/22–12/1(10weeks)no class 11/24GlennRichman•$395

BASS IIAcontinuationofBass I,foruprightand

electricbass.Topicsinclude:

•Increasedfamiliaritywiththe

fingerboard

•Moreadvancedreadingexercises

•Rhythmicconceptsincludingswing

feelandanticipation

•Bluesandjazzstandards

•Basicsofsoloingoverchordchanges

Requiredtext:New Method for the Double Bass, Simandl(availableattheCJC

Bookstore).Prerequisites: Bass I or equivalent. Some ability to read music.

Tuesdays 6:30 – 8 pm9/20–11/29(10weeks)no class 11/22GlennRichman•$395


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

— Anonymous


BASS III — JAZZ BASSAcontinuationofBass II,forupright

andelectricbass.Learnavarietyof

essentialtechniquesforconstructing

strongjazzbasslinesonblues,jazz

standardsin4/4and3/4,modaltunes,

rhythmchanges,andballads.Techniques

forsoloingarealsocovered.Perform

basslinesinclasseachweekwithpiano

accompanimentprovidedbytheinstructor.

Recommendedforuprightandelectric

bassistsinterestedinparticipatinginthe

Jazzschool’sensembleprogram.Required

text:New Method for the Double Bass, Simandl (availableattheCJCBookstore).

Prerequisites: Bass II or equivalent. Some ability to read music.

Tuesdays 8:15 – 9:45 pm9/20–11/29(10weeks)no class 11/22GlennRichman•$395


DRUMS & PERCUSSION

BEgINNINg DRUM SETLearntoplaythedrumset!Essential

stickingtechniques,rudiments,4-limb

coordination,rhythmreadingandavariety

ofgroovesandfillsarecovered.Required

text:Learn to Play the Drumset, Pete Magadini(availableattheCJCBookstore).

Prerequisites: None, but bring a pair of drumsticks!Drums,cymbalsandpractice

padsareprovidedforclassuse.

Mondays 6:30 – 8 pm9/19–11/28(10weeks)no class 11/21JoeBagale•$395

THE COMPLETE JAZZ new DRUMMERAnin-depthlookatthemusicaltools,

knowledgeandskillsneededforbecoming

asolidjazzdrummer.Wewilllookatjazz

comping,soloing,chartsandleadsheets,

songform,musicality,styles,andbrushes.

Wewillalsolookatimportanttunesthat

drummersinparticularshouldknow.

Prerequisites: Intermediate technical facility on drum set.

Tuesdays 6:30 – 8 pm9/20–11/29(10weeks)no class 11/22AlanHall•$395

CLASSIC gROOVES new REVISITED Learntoplayclassicpop,rock,funkand

r&bdrumgroovesrecordedbyartistslike

TheBeatles,LedZeppelin,TheDoors,

Nirvana,TheMeters,JamesBrownand

PaulSimon,andthenlearnhowto

transformthemintheprocessofdevelop-

ingyourownsoundasawell-rounded

drummer,thoroughlyversedinthegreat

groovesdevelopedbymasterdrummers

includingRingoStarr,JohnBonham,Keith

Moon,BernardPurdie,ClydeStubblefield,

SteveGaddandothers. Prerequisites: Intermediate technical ability on drum set.

Mondays 8:15 – 9:45 pm9/19–11/28(10weeks)no class 11/21JoeBagale•$395

BRAZILIAN DRUM SETLearnthesignaturedrumsetgroovesof

contemporaryBrazilianmusicincluding

samba,baião,bossanovaandchoro,

andthetechniquesusedtoplaythem.

EmphasisongaininganauthenticBrazilian

soundandfeel.Highlyrecommendedfor

drummersinterestedinjoiningoneofthe

Jazzschool’sBrazilianensembles!Prerequi-sites: functional drum set technique.

Fridays 10 – 11:30 am9/23–12/2(10weeks)no class 11/25MarcosSilva•$395

Adult Instrumental Courses Adult Instrumental Courses

FOCUS ON DRUM SET new INDEPENDENCEDoingagoodjobasadrummerrequires

astrongfoundationoffour-limbindepen-

dence.Inthisclasswewilllookatnumer-

ouswaystoimproveyourindependence

inavarietyofstyles.Youwillalsolearnto

developyourownindependenceexercises

andshapeyourownpersonalmusical

voice.Prerequisites: Intermediate technical facility on drum set.

Tuesdays 8:15 – 9:45 pm9/20–11/29(10weeks)no class 11/22AlanHall•$395

LATIN PERCUSSIONDevelopasolidfoundationoneachof

theprimaryLatinpercussioninstruments.

Learneffectivetechniqueoncongas,

bongos,timbales,bellsandauxiliary

instrumentswhilestudyingmanyofthe

Latingroovestypicalofson,salsa,and

Latinjazz.Soloingtechniques,typical

breaks,songformsandhistorical

informationarealsodiscussed.

Prerequisites: None, open to all.

wednesdays 6:30 – 8 pm9/21–11/30(10weeks)no class 11/23OmarLedezma•$395

LATIN PERCUSSION II newAcontinuationoftheLatinPercussionI

courseforthosewhoarealreadyfamiliar

withthefundamentalsofLatinpercussion

rhythmsandtechniques.Intermediate

level.Lotsofhands-onpracticetimeand

clearexplanationofhowallofthevarious

instrumentsworktogetherinsalsabands

andotherLatinmusicensembles.

wednesdays 8:15 – 9:45 pm9/21–11/30(10weeks)no class 11/23OmarLedezma•$395

joe bagale

22 Call 510.845.5373

omar ledezma

24

THEORY & IMPROV INTRODUCTION TO MUSIC THEORYLearnthebasicskillsneededtobeginany

seriousstudyofmusic.Topicsinclude:

musicnotation,timesignatures,key

signatures,rhythmictraining,majorscales,

intervals,transposition,chordstructure,

harmonicprogression,eartrainingand

anintroductiontomusicalformand

composition.Requiredtexts:Practical Theory CompletebySandyFeldstein,

andJazz Improvisation: A Pocket Guide

byDanHaerle(availableattheCJC

Bookstore).Prerequisites: None, open to all instrumentalists and vocalists.

Thursdays 8:15 – 9:45 pm9/22–12/1(10weeks)no class 11/24DaveLenScott•$395

BEgINNINg JAZZ IMPROVISATIONAfriendly,supportiveatmospherein

whichtopracticethebasicsofjazz

improvisation.Startwiththebluesthen

progresstojazzstandards,learning

essentialscalesandchords,playingat

everysession,tradinglicks,learning

patternsandbuildingsolos.Idealfor

classicalplayersoranyoneaspiringto

jamorperformwithajazzensemble.

Vocalistswelcome!Requiredtext: Jazz Improvisation: A Pocket Guide byDan

Haerle(availableattheCJCBookstore).

Prerequisites: Facility on an instrument and ability to play all major scales from memory.

Thursdays 6:30 – 8 pm9/22–12/1(10weeks)no class 11/24DaveLenScott•$395

INTERMEDIATE JAZZ IMPROVISATIONAspiringjazzmusiciansoftenstillhave

troubleplayingcorrectnotesintheirsolos.

Thepurposeofthiscourseistogive

students,throughspecificdrillexercises,

theabilitytoplaytherightnoteswith

goodrhythmicphrasingintheirsolos.

SeveralcompositionsfromtheGreat

AmericanSongbookareusedasvehicles

tostudybasicchordstructures,scale

structuresandnon-diatonicneighboring

tones.Emphasisisplacedonutilization

ofbasicharmonicconcepts,thereby

turningexercisesintomelody.Astep-by-

stepconceptualapproachisused.With

eachnewtuneadifferentconceptis

added.Emphasisisalsoplacedonthe

developmentofrhythmic2,4and8bar

phrasing.Theultimategoalofthisclassis

toprovidestudentswithastrongfounda-

tionintheGreatAmericanSongbook

repertoireandtheabilitytoimprovise

overchordprogressionswithcorrect

notesandgoodphrasing.

Mondays 6:30 – 8 pm9/19–11/28(10weeks)no class 11/21GlennRichman•$395

COMPOSITION & ARRANGINGSONgwRITINgExploremelodywriting,basicharmony,

moreadventurouschordprogressions,

songform,rhymeschemesandthe

instrumentalcomponentofsongwriting

—allwiththepurposeofhoningyour

uniquevoiceasacomposer.Most

importantly,developtwoorthreesongs

tobeworkshoppedandrefinedinreal

timeoverthecourseoftheterm.

Tuesdays 2 – 3:30 pm9/20–11/29(10weeks)no class 11/22RachelEfron•$395

25

FACULTY PROFILE Dave Len ScottDave Len Scott grew up in Ann

Arbor, Michigan. He studied

trumpet at the University of

Michigan under Armando ghitalla,

former principal trumpet of the

Boston Symphony Orchestra.

Earning a degree in Instrumental

Music Education, and after teach-

ing high school band, he then

became the trumpet Teaching

Assistant for Bill Pfund at the

University of Northern Colorado,

completing a Master’s degree in

1990. His professional career

began as lead trumpet and fea-

tured soloist in the New glenn

Miller Orchestra. Dave has toured

with Boz Scaggs as a keyboardist

and trumpeter, and earned two

grammy nominations recording

with Rosemary Clooney. He has

performed with the San Francisco

Symphony Orchestra, and leads the

band TRUMPETSUPERgROUP.

How did you first get started in music?WhenIwasoldenoughtocrawlonto

thepianobench,thatiswhereIwas

mostofthetime.

what classes are you teaching at the Jazzschool?BeginningJazzImprovisationandIntro

toMusicTheory.

what do you hope students will gain from their experience at the Jazzschool?Ihopetheirlivesareenrichedbythis

endlessplaygroundwecalljazz

improvisation!

what is your favorite part of teaching students?Meetingnewpeople,andexperiencing

theexcitementthattheyhaveabout

learningjazz!

Theory, Improvisation and Composition

Call 510.845.5373

26 27

Adult Vocal CoursesAdult Vocal CoursesThe-ory, Im-

Greetings!Theworkshopopportunitiesavailablethisfallare

reallyexciting.Forsongandlyricwritingwe’vegot

threeexpertsintheirfield:Lorraine Feather,Mark

winklerandStephanie Bruce—allverydifferentin

theirstylesandapproach,andeachhavingdevel-

opedauniquebodyofwork.TherearetwoBrazilian

workshopswithopportunitiestosing,firstwith

masterpianistOtmaro Ruiz,coachedbyCatina

DeLuna,andthenwithrisingstarguitarist Ian

Faquini,coachedby Paula Santoro. kat Parraand

Murray Lowhaveagreatworkshopfocusingon

ethnicrootsasawaytodevelopauniquerepertoire

reflectingyourheritage,andJudy wexlertellsyou

everythingyouneedtoknowtomakeaCD.Most

oftheseartistsarealsodoingconcertsandmany

ofthemarefromoutoftown—catchthemwhile

theyarehere!

Notablefull-termcoursesincludeMonkforVocalistswithAndrea Claburn,thereturnof

Sandy Cressman’sBossaNovaforJazzSingersandVocalImprovisationwithCarl Oser.

Maye Cavallaro,Pamela RoseandIcontinuewithourongoingclasses.Manyhaveongoing

studentsbutthere’salwaysroomfornewstudentstojoin.Raz kennedywillbeteachingtwo

weekend-longworkshopintensivesthisquarter.Wearealsopleasedtooffernumerous

techniqueclassesinadditiontoclassesfocusingonsalsasinging,pop,teenvocalsandmore.

[email protected].

Seeyousoon!

LaurieAntonioli

Chair,VocalProgram

FALL 2016 CALENDAR


Student Consultations: [email protected]



IntroductionAdult Vocal Courses

BEgINNINg JAZZ SINgINgTheobjectiveinthisclassistohelpthe

singercreateafocused,relaxed,skilled,

anduniqueperformance.We’llworkon

basicmusicianshipstartingwithwarm-up

exercises,improvisationskills,understand-

ingandsingingindifferent“grooves,”

findingnewsongsthatsuitus,ascertain-

ingthecorrectkey,understandingthe

songform,preparingaleadsheet,and

makingpracticetracks.We’llbejoined

midwaybyaprofessionalpianisttofurther

developthesongswe’vechosenby

workingonsub-text,songinterpretation,

communicatingourintentionstoan

accompanist,singingindifferent“feels”

includingrubato,andsettingupand

countingoffsongs.Thisclassincludesan

endofsemesterperformance.Thisisa

supportive,andstructuredenvironment

forstudentswithaburningdesiretosing!

Mondays 4:45 – 6:15 pm9/19–11/28(10weeks)no class 11/21MayeCavallaro•$425

PERFORMANCE

jazz

FOR THE LOVE OF SINgINgLearnbreathingandvocaltechniquesto

beappliedtosongsofyourchoice,while

makingfriendswiththemicrophoneand

learningbasicperformanceskills.This

courseisparticularlysuitedforthosewho

mayhavetemporarilyputasidetheir

vocaldreamsduetoeducation,career

orfamilyobligations.Opentoall.

Saturdays 10 – 11:30 am9/24–12/3(10weeks)no class 11/26KyraGordon•$425

FOR STARTERS — JAZZ & BLUES SINgINgYouusedtosingalotbutnowfind

yourselfrelegatedtotheshowerand

in-the-carjamsessions.Or—youlove

tosing—butfeelterriblyshyattheidea

ofsinginginpublic.Exploreandrelease

yourinnerrock,jazzorbluesvocalist

inthisencouraging,safeenvironment.

Designedtogiveyouconfidencethrough

groupsinging,whilealsobolstering

yourrepertoirewithindividualsong

development.Accompanistprovided.

Nopreviousexperiencerequired.

wednesdays 4:45 – 6:15 pm9/21–11/30(10weeks)no class 11/23PamelaRose•$425

Adult Vocal Courses

Maye is very prepared, organized and the musicians she brings in are excellent and wonderful to work with.— Catherine Stern


28 29Call 510.845.5373 Enroll online at cjc.edu

Adult Vocal CoursesAdult Vocal Courses

THE CONTEMPORARY JAZZ SINgER Focusonanarrayofcreativejazzsinging

skillsincludingdevelopingaunique

repertoire,communicatingwiththe

rhythmsectionandcreatingarrange-

mentsonthespot.Studyphrasing,

improvisation,interpretationandworkon

developingapersonalsound.Rhythm

sectionprovided.Youarewelcometo

bringinsongsofyourchoice,write

originallyricsorusematerialprovidedby

theinstructor.Prerequisites: consent of instructor — telephone consultation required. Call 510-845-5373 for more information.

Section I wednesdays 6:30 – 8 pm

Section II wednesdays 8:15 – 9:45 pm9/21–11/30(10weeks)no class 11/23LaurieAntonioli•$455

MONk FOR VOCALISTS newAjazzvocalcoursedevotedtothemusic

ofpianistandcomposerTheloniousMonk,

exploringMonk’ssongs,bothfamiliarand

obscure,throughlistening,study,and

performance.Eachsingerwillselect

songstolearn,rehearsewithaccompani-

ment,andultimatelyperforminfrontofa

liveaudienceattheendoftheterm.The

instructorwillprovidecharts(withlyrics)

intheappropriatekey,andaprofessional

pianistwilljointheclassinweek4.This

coursealsoexploresthelifeandtimesof

TheloniousMonkandhisclosestcollabo-

ratorstoilluminateandcontextualizehis

musicwithinthecontinuumof20th

centuryjazz.

Thursdays 6:30 – 8 pm9/22–12/1(10weeks)no class 11/24AndreaClaburn•$425

andrea claburn

CONTEMPORARY VOCAL STYLESExplorejazz,pop,rock,r&bandother

popularvocalgenres.Learntoapply

propervocaltechniquetoanystyleof

singing.Basicchartwritingandstage

presencearealsocovered.Opentoall.

Mondays 8:15 – 9:45 pm9/19–11/28(10weeks)no class 11/21AmandaAddleman•$425

blues

BLUES VOCAL FUNSHOP I Feellikesingingtheblues?Bluesisthe

mostprimal,powerfulpartofyoursoul

andsingingitismorefunthanyoucan

possiblyimagine.Studentswillexplorethe

deep,authenticsingingstrategiesofgreat

bluessingersfromJimmyReedtoBonnie

Raitt,whiledevelopingbluesrepertoire.

Nopriormusicexperiencenecessary.

Classisopentoboththenovicesinger

lookingforasupportive,fun,instructive

course,andtothemoreexperienced

singerlookingtogaininsightandcontrol

onthebandstand.Eachclassistaughtby

BayArea'sownjazz/bluesdivaPamela

Roseandaccompaniedbylegendary

bluesguitaristDannyCaron.

wednesdays 6:30 – 8 pm9/21–11/30(10weeks)no class 11/23PamelaRose•$425

BLUES VOCAL FUNSHOP II — Music Of Etta JamesWe’llcelebrateandanalyzeoneofthe

mostauthenticsingersofalltime!Each

studentwillmasteratleastoneEtta

Jamessong,withafocusonhersuperb

bluesandR&Bsongs,whiledelvinginto

Etta'ssoulful,heartwrenchingvocal

approach.(Somebasicchartsprovided,

butstudentswilltransposeorbringin

additionalchartsifnecessary.)Classesto

beaccompaniedbyguitaristDannyCaron,

andlast2classeswilladdrhythmsection

(bassanddrums).Prerequisites: Blues Vocal Funshop I and/or permission frominstructor.

wednesdays 8:15 – 9:45 pm9/21–11/30(10weeks)no class 11/23PamelaRose•$455

VOCAL JAZZ ENSEMBLESingmusicfromTheManhattanTransfer,

TheHi-Lo’s,Lambert,HendricksandRoss

andmore.Arrangementsarehand-tailored

totheabilityandinterestoftheensemble

members.Repertoireincludesacombina-

tionofacappellaandaccompaniedtunes.

Learnhowtolearnthismusic,withalittle

bitofaddedhistoryforfun.Rehearsal

toolsaremadeavailable(includingsound

fileswithindividualpartsaswellasthe

entirearrangement).Maleandfemale

singersofallagesarewelcome.

Prerequisites: some vocal experience is necessary, either in choirs or solo voice.

Mondays 6:30 – 8 pm9/19–11/28(10weeks)no class 11/21AngieDoctor•$425

pop

POP SINgINg Workonsingingleadandbackground

vocalsinapopmusiccontext.Asignature

songisselectedforeachsingerbased

ontheirvoice,thenbackgroundvocals

areworkedout,chordedandpolishedfor

eachsong.Singwithbackingtracksand/

oracousticguitar.Allpopstylescovered.

Songsaretaughtbyearwithanemphasis

onphrasing.

Thursdays 4:45 – 6:15 pm9/22–12/1(10weeks)no class 11/24RichArmstrong•$395

31

Adult Vocal Courses

BOSSA NOVA FOR JAZZ SINgERSAfascinatingcourseexploringtheroots

ofBrazilianbossanovaandsamba.

InstructorSandyCressmanteachessingers

thesignaturerhythmicgroovesofBrazilian

musicasafoundationforeffective

interpretationofstandardandnot-so-stan-

dardbossanovas.Vocalphrasingand

Portuguesepronunciationarecovered(in

additiontoafewcarefullychosenEnglish

translations).Livepianoorguitaraccompa-

nimentisprovidedeachweekandthe

courseconcludeswithaperformance.

Tuesdays 6:30 – 8 pm9/20–11/29(10weeks)no class 11/22SandyCressman•$425

TECHNIqUE & MUSICIANSHIP

VOCAL TECHNIQUE ESSENTIALSLearnaselectseriesofvocalexercises

toconditionandstrengthenyourvoice.

Range,intonation,breathmanagement,

balancingvocalregisters,bodyalignment,

vowelformationanddynamicsareall

enhancedthroughtechnicalexercises

applicabletosongsinanystyle.

Prerequisites: None, open to all!

Section I: Tuesdays 4:45 – 6:15 pm9/20–11/29(10weeks)no class 11/22SandyCressman•$395

Section II: Thursdays 11:45 am – 1:15 pm9/22–12/1(10weeks)no class 11/24JoycePricco•$395

Section III: Thursdays 4:45 – 6:15 pm9/22–12/1(10weeks)no class 11/24AndreaClaburn•$395

latin

SALSA SINgINgLearnthestyle,rhythmandtechnique

ofsalsavocalmusicwhilelearningto

playLatinhandpercussioninstruments.

Instructorprovidesinstrumentslikeguiro,

maracasandclavestouseeachweek.

Asthetermprogresses,joinforceswith

theSalsaIIinstrumentalensemble(see

page13)asyouworktodevelopa

performanceset.Representativesongs

include“TresDíasdeCarnaval”(Celia

Cruz),“LaRebelión”(JoeArroyo)and

“Brujería”(ElGranCombo).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 pm9/20–11/29(10weeks)no class 11/22EdgardoCambon•$395

FACULTY PROFILE Sandy CressmanBorn in New York and raised in the Bay

Area, Sandy Cressman began her

career recording and performing with

the Vocal Jazz group “Pastiche, ”with

whom she recorded several CDs and

toured the U.S. and Japan. In the late

1990's, she followed her passion for

Brazilian jazz, and formed her group

“Homenagem Brasileira.” Sandy

recorded two CDs with Homenagem

Brasileira, and has toured the US,

Europe and Brazil performing with her

group and collaborating with other

Brazilian and Brazilophile musicians.

Recently, Sandy performed as a special

guest of SpokFrevo Orquestra on the

Main Stage of Carnaval in Recife,

Brazil. In early 2017, Sandy will release

a new CD of all original Brazilian music

composed in collaboration with a

number of talented Brazilian musi-

cians, recorded in Brazil and in the U.S.

Throughout her career, Sandy has

studied various methods of vocal

technique, in order to improve as a

vocalist and teacher. She created her

own vocal technique, ConnectedVoice,

which fuses voice development and

ear training for jazz singers.

when and how did you begin

your career as a (vocal) teacher?

Whileworkinginthevocalgroup

"Pastiche,"Iwasinvitedtoteach

privatelessonsandgroupvocal

harmonyclassesatBlueBearSchool

ofMusicinSanFrancisco.

what’s your teaching philosophy?

Iliketokeeplearningandexploringnew

conceptsinordertocontinuetogrowas

asinger,sothatImaintainaleveloffresh

excitementaboutthematerialI'm

teaching.Itreateachstudentasan

individual—Idon'tfeelthatthereisany

"onesizefitsall"approachtoteaching.

Everystudenthastheiruniquestrengths

andneeds,andItrytoadaptthewayI

presentconceptstoeachstudentto

supporttheirlearning.

what class(es) are you teaching

at the Jazzschool?

IwillbeteachingBossaNovaforJazz

SingersandConnectedVoiceTechnique,

andIamanadjunctprofessorinthe

Conservatoryprogram,teachingprivate

lessonsinthedegreeprogram.

what do you hope students

will gain from their experience

at the Jazzschool?

Ihopethatstudentswillliterallyand

figurativelyfindtheirmusicalvoice

throughtheirstudyattheJazzschool.

Ihopethattheywillgainskillsthathelp

themtoachievetheirmusicalgoals,

whateverthosegoalsare.

what is your favorite part

of teaching students?

Twothings:Iloveseeing/hearingthe

passionignitedinastudentbyasong

ormusicianIhavesharedwiththem,

andIlovehearingthegrowthand

confidenceinstudentsinthecourse

ofaquarter-longclass.

sandy cressman

30 Call 510.845.5373 Enroll online at cjc.edu


Adult Vocal Courses

VOCAL IMPROVISATION Learnthebasicsofvocaljazzimprovisa-

tionstartingwiththe12barbluesand

othersongformsastimepermits.

Warm-upexercisesfocusingonvocal

productionandhealthysingingwillalso

addressjazzharmonythroughthesinging

ofessentialscalesandchords.We’ll

practice“scatsinging”whilelearning

bebopsongs,andlearntocreatesolos

and“tradefours”throughthedevelop-

mentofideasandmotifs.Studentswill

workonimprovisingtogetherand

individuallyinclass.Duringthefinalclass,

we’llalsoworkoninteractingwithalive

accompanist.Opentoall.

Thursdays 8:15 – 9:45pm9/22–12/1(10weeks)noclass11/24

CarlOser•$395

COMPOSITIONSONgwRITINg Exploremelodywriting,basicharmony,

moreadventurouschordprogressions,

songform,rhymeschemesandthe

instrumentalcomponentofsongwriting

—allwiththepurposeofhoningyour

uniquevoiceasacomposer.Most

importantly,developtwoorthreesongs

tobeworkshoppedandrefinedinreal

timeoverthecourseoftheterm.

Tuesdays 2 – 3:30 pm9/20–11/29(10weeks)no class 11/22RachelEfron•$395

YOUNG SINGERS

VOCAL PERFORMANCE FOR TEENSDelveintosongsasameansofstorytell-

ingwhilesimultaneouslydevelopinga

personalconnectiontoalyric.Allstylesof

musicarewelcomeandstudentsareen-

couragedtobringinsongsoftheirchoice.

Theinstructorcanalsosuggestrepertoire

suitableforindividualstudents.Buildvocal

techniquethroughavarietyofwarm-up,

ear-trainingandmusicianshipexercises.

wednesdays, 4:45 – 6:15 pm9/21–11/30(10weeks)no class 11/23KyraGordon•$395

Adult Vocal Courses

VOCAL MENTOR PROGRAM

CENTER STAgE — A Mentored Program for Concert Developmentwith Maye Cavallaro and

Laurie Antonioli

Workthroughtheprocessofpresenting

afull-length,public,professional-level

concert.Candidatesworkwiththeir

mentoroverthecourseofthreeorfour

months,preparingtheirconcertby

choosingsongs,workingoutarrange-

ments,decidingonsequencing,and

developingpatterandstagepresence.

Lessonsalsoincludemakingabudget,

hiringandrehearsingmusiciansanddevelopingamarketingplan.

Candidateswillbemostsuccessfuliftheyareadvancedstudentswhohavesome

performingexperienceinclassesandworkshopsorinaprofessionalenvironment.

Arepertoireof15to20memorizedsongsinvariousstylesisrecommended.Thisis

auniqueopportunityforsingerstodesignaperformancethatreflectsapersonalized

artisticvision.Concertdatesareavailablethroughouttheyear.

Thisprogramalsoincludes:

•Aprofessionalsoundtechnicianandqualityliverecordingofyourperformance

•Staffatthedoorandon-siteduringtheperformance

•Guidanceinmarketingandpromotion,

includinghowtopreparepublicity

materials

•InclusioninCaliforniaJazzConservatory

advertising,marketingandpublicity

•Apercentageofthedoor/ticketsales

$850

ContacttheChairoftheVocalProgram,

LaurieAntonioliformoreinformation

onhowtoapplyforthisprogram:

laurie @ cjc.edu

laurie antonioli

maye cavallaro

rachel efron

33

35

Adult Vocal CoursesAdult Vocal Courses

VOCAL WORKSHOPS

Ridgeway Arts Presents: IT’S ALL RELATIVE: Singing with Harmonic Context in Mindwith Tammy SchefferSingingcanbethemostdirectformof

musicalexpression,allowingthesingerto

communicatewiththelistenerinan

intuitiveway.Butareweassingersreally

asfreeaswethink?Whileinstrumentalists

relyontheknowledgeoftheirinstruments

andonmusictheorytoexpressthem-

selvesfluently,singersrelyontheirears.

Howdowedevelopourearsinawaythat

increasesourfreedomofexpressionand

musicalvocabulary?

Throughaseriesofdemonstrationsand

exercises,wewilldeepenourunderstand-

ingoftheconnectionbetweenmelodyand

harmony.Participantswillbeencouraged

tosingthroughouttheworkshop,bothas

agroupandindividually.Wewillexplore

theideaofcontextinmusicfromthe

mostbasicleveltoadvanced,moving

throughsingingdifferentmodesand

chordprogressions.Singerswillalsobe

introducedtopracticingwithelectronics

andalooper.

Vocalist and composer Tammy Scheffer has been a creative voice in NYC’s vibrant jazz scene for almost a decade. Most recently she released a new EP with Morning Bound, an adventurous jazz-rock trio that was hailed by the Chicago Tribune as “innovative, provocative and alluring.” She is also the leader of the Tammy Scheffer Sextet, whose album “Wake Up, Fall Asleep” was hand-picked by renowned saxophonist Greg Osby for his own label, Inner Circle Music.

Saturday, September 3, Noon – 3 pm $50advance,$65dayofworkshop

Adult Vocal Courses

MAkINg AND MARkETINg YOUR CD with Judy wexler

Sunday, September 18, Noon – 3 pm Formoreinformation,seep.55.

SAxES AND SINgERS — AND OTHER HORNS with Noel Jewkes featuring kay kostopoulos

Saturday, September 24, Noon – 2 pmFormoreinformation,seep.48.

PLAYINg FOR SINgERSwith Mike greensill with wesla whitfield

Sunday, October 16, Noon – 3 pmFormoreinformation,seep.57.

tammy scheffer


SONg INTERPRETATION: A Complete Vocal Technique Perspectivewith Raz kennedy and Ole Rasmus Møller PremiereBayAreavocalcoach,Raz

KennedyandcelebratedDanishactor,

singer,andeducator,OleRasmusMøller

presentauniqueCompleteVocalTech-

nique-basedmasterclassexploringthe

topicofsonginterpretation.Thiscurriculum

isinspiredbythetheoriesofConstantin

Stanislawskij,SanfordMeisner,andDavid

Brunetti,featuringastreamlined10-step

modeltoeffectivelyembodyacharacter.

Additionally,wewillexaminetheprinciples

ofrhythmandphrasingtoenhancea

singer’sstorytellingabilityinperformance.

Attendeesshouldbringsongsoftheir

choosingtoworkshop.Thefocuswillbe

onthemeaningbehindlyricsandhowthey

arecommunicated,approachingsongsas

iftheyweremonologues.Eachsingerwill

comeawaywithsurefiremethodstoaccess

interpretation,adeeperunderstandingof

thecloserelationshipbetweenactingand

singing,andanarrayofsimpletechniques

toreachtheirperformancegoals.

Saturday and Sunday, October 8 and 9, 10 am – 4 pm and 11 am – 4 pmAuditors:$125 • Participants:$150

COMPLETE VOCAL TECHNIQUEFor Every Singer: The 5 Mythswith Raz kennedyPremiereBayAreavocalcoach,Raz

Kennedywillprovideexplanationsand

practicaltoolstoassistsingerswithsome

ofthecommonchallengesmanysingers

confront.Dispellingthe“5CommonMyths”

givessingersaperspectiveinaddressing

mostchallenges.

Attendeesshouldbringsongsoftheir

choosingtotheworkshop.Together,the

studentandteacherwillexploremethods

ofdecodingaproblemandlearningways

tosolveit.Eachparticipantwillcomeaway

withsurefiremethodstoaccessadeeper

understandingofvoicemechanicsandan

arrayofsimpletechniquestoovercome

theirsingingchallenges.

5 COMMON MYTHS ABOUT SINgINgUsingthefundamentalsoftheComplete

VocalTechniquemethod,thefollowing

frequentlydebatedtopicswillbe

addressed:

Myth #1: Somepeoplearetonedeaf,

othersarenot.

Myth #2: Onlysomesingerscanachieve

volumewithoutharmingtheirinstrument.

Myth #3:Therearethree“registers”inthe

vocalrange—chest,middle,andhead.

Myth #4:Onlysomesingerscandeliver

passionateandsoulfulperformances.

Myth #5: Usingvocaleffectswillhurt

yourvoice.

Raz Kennedy has been performing and recording in the San Francisco Bay Area for 40 years. His performance credits include Bobby McFerrin’s Voicestra, June Watanabe Performance Ensemble, Rebeca Mauleon and Bob Ostertag. Recording and live credits include Narada Michael Walden, Al Jarreau and Whitney Houston.

Saturday and Sunday, November 12 and 13, 10 am – 4 pm and 11 am – 4 pmAuditors:$125 • Participants:$150

raz kennedy

34 Call 510.845.5373

37

Adult Vocal Courses

36

Adult Vocal Courses

The JCMS is pleased to offer two Brazilian Vocal Master Classes this fall. In each master class, singers will have the opportunity to sing with a masterful accompanist and receive guidance and sugges-tions from an accomplished vocalist. Topics covered include song interpretation, pronuncia-tion, feel, Brazilian rhythms, arranging and performance. Open to students of all levels.

BRAZILIAN VOCAL MASTER CLASS Iwith Paula Santoro and Ian Faquini

Saturday, October 1, Noon – 3 pm$100advance,$115dayofworkshop

A graduate of the California Jazz Conservatory, Ian Faquini has become one of the most unique and respected guitarists specializing in Brazilian music in the San Francisco Bay Area, demonstrating rare chordal technique and a special delicate touch on very difficult pieces. His last few summers have been spent in Brazil, where he has performed and studied with some of that country's greatest guitarists, including Marcus Tardelli, Guinga, and others. Ian recently joined the faculty at the California Jazz Conservatory and is a long time faculty member of California Brazil Camp.

With a career spanning more than twenty years, Paula Santoro has shared the stage and studio with some of Brazil’s most notable musicians including Chico Buarque, Edu Lobo, Milton Nascimento, Guinga, Yamandú Costa, Toninho Horta, Joyce and Jaques Morelenbaum. She has toured through-out the US, India and Europe and appeared on "Later … with Jools Holland." With a degree in Speech Therapy and years of vocal training, recording and touring, Paula also has a busy career in education with on-going students in Europe, the United States and Brazil.

ian faquini

paula santoro

BRAZILIAN VOCAL MASTER CLASS IIwith Catina DeLuna and Otmaro Ruiz

Sunday, October 16, Noon – 3 pm$100advance,$115dayofworkshop

Brazilian pianist, vocalist, composer and voice actress Catina DeLuna has enjoyed a success-ful and varied musical career since beginning to play the piano and sing at a young age. After completing a B.A. in Brazilian Popular Music at the prestigious UNICAMP University in São Paulo, she founded two award winning groups: the vocal group Arirê, in which she was responsible for arranging, playing piano, and singing, and the group Serenata Brasileira, playing classic Brazilian songs from the 1920’s and 30’s, in full authentic costume and style. Catina currently has two independently released CDs available, Na Era de Ouro, from Serenata Brasileira, and Brazilian Accent, her solo debut featuring classic Bossa Nova standards.

Born in Caracas, Venezuela, Otmaro Ruiz began his musical studies at the age of eight with intensive training in classical guitar, organ, piano and music theory. He culminated his academic training at California Institute of the Arts, receiving a master’s degree in jazz performance and ascending to the upper echelon of musicians in Los Angeles including Alex Acuña, Justo Almario and Abraham Laboriel. He has performed in virtually every major international jazz festival and with such varied artists as Dianne Reeves, Frank Morgan, Red Halloway, Gino Vannelli, Arturo Sandoval, Tito Puente, John McLaughlin, Frank Gambale, Alain Caron, Robben Ford, Jimmy Haslip and Vinnie Colaiuta.

catina deluna and otmaro ruiz

Adult Vocal Courses

SONGWRITING WORKSHOPS

LYRICS I’VE wRITTEN, LYRICS I’VE LOVED with Lorraine FeatherOneofthequestionslyricistandjazzsinger

LorraineFeatherisaskedmostoftenin

interviewsis:“Whatcomesfirst,themusicor

thelyrics?”Heransweris“Yes.”Lorrainehas

workedextensivelyasalyricist-for-hire,and

morerecentlyhasconcentratedonherown

soloprojectsasavocalist.Thefirstfewof

theseinvolvedlyricizationsofpreviously

instrumentalcompositionswrittenbyjazz

greatssuchasDukeEllingtonandFats

Waller.Thealbumsshehasreleasedsince

2010havebeencollectionsofsongswritten

“fromscratch”withcontemporaryjazz

composers.Inthisworkshop,shewill

explorethedifferencebetweenthesetwo

disciplines,andanalyzesomeofthelyrics

thathaveinspiredheralongtheway.

Lorraine Feather has co-written songs for other artists, TV and film, receiving five Emmy nominations as a lyricist. She has co-written and produced eleven solo albums, earning five Grammy nominations. She is the daughter of the late jazz critic Leonard Feather, and the goddaughter of Billie Holiday.


CRAFTINg gREAT SONgS: A Songwriters workshopwith Mark winklerAfunandinformativeworkshopforthe

noviceaswellasthemoreexperienced

songwriterwithaspecialemphasison

lyricwriting.TheclassstartswithMark's

“Top5TipsforWritingSongs”whichserve

asthetemplateforthewholeday.Then,

we’lltalkaboutform,rhymingandthe

differentdevicesthatsongwritersneed

tocreateacompellingsong,allthewhile

playingexamplesfromthesongbooks

ofsuchwritersasGershwin,Porter(Both

GregoryandCole!)andReneMarie,

amongmanyothers.Thisisalldonein

asafe,encouragingenvironment.Each

studentisgivendifferentexercisesto

becompletedinclassaswellasones

thatcanbetakenwiththem.

Mark Winkler is a platinum award winning singer/lyricist who has had over 250 of his songs recorded and/or sung by such artists as Dianne Reeves, Randy Crawford, Bob Dorough, Jackie Ryan, Dee Dee Bridgewater, Lea DeLaria, Kenny Rankin and Britain’s Claire Martin. He also has charted high on the Jazz Week charts with his last 4 vocal releases. He was also included as a 2015 “Rising Star” Male Jazz Vocalist in Downbeat Magazine. As an educator he has been teaching lyric writing “Crafting Great Lyrics: A Song–writers Workshop” at UCLA extension for 10 years and at the Los Angeles School of Songwriting. He writes columns for Music Connection magazine and does interviews and reviews for LA Jazz Scene.


lorraine feather

39Enroll online at cjc.edu

Adult Vocal Courses

SONgwRITINg: True Storieswith Stephanie BruceUncoverandexplorethevariouselements

ofasong:melody,rhythm,harmonyand

form.Startingwiththelyricsasan

inspirationalsourcetoaccessanddevelop

ideas,thefirsthalfoftheworkshopwill

followanoutlinethatcanbeaneffective

waytogetstartedwritingasong.During

thesecondhalfoftheworkshop,students

maypresenttheirownworksinprogress

and/orcompletedsongs.Theinstructor

willsharetoolsforovercomingfeeling

stuckandwillsuggestmusicaleditsthat

canmakeagoodsongevenbetter.

Studentswhoaccompanythemselves

arewelcometodosoonguitarorpiano.

Inallcases,pleasebringachart(melody,

chords,lyrics,andform)sotheinstructor

canseethesongandalsoaccompanyon

pianoasneeded.Ifstudentsonlyhave

lyricsoramelody,theyshouldbringthat

aswell.

Stephanie Bruce is a singer, songwriter, arranger, and teacher, who has been making music in a variety of styles for over four decades. She has studied with notable instructors Joni Metcalf, Allaudin Matthieu, and Mark Levine. Her three CDs feature her original songs, and inventive arrangements of familiar material. She has performed in many concert venues with some of the best Bay Area musicians presenting her well crafted material. Teaching singers for over 30 years (including 10 years at the Jazzschool) has been a creative highlight in an active and prolific musical life.


mark winkler

stephanie bruce

38 Call 510.845.5373

40

wHAT SETS YOU APART?Using Your Heritage to grow and Expand Your Repertoirewith kat Parra and Murray LowVocalmusicianandcomposerKatParra

hasminedtherichhistoryofSephardic

musictobringanewslanttoherrepertoire

ofLatinandWorldJazz.Whatisyour

heritage?Whatsongsdidyoulearnfrom

yourparents/grandparentsthatyoumight

beabletoincorporateintoyourrepertoire

tocreateastorythatisuniquelyyours

andthathelpssetyouapartfromother

singers?Katwillshareherjourneyof

discoveringtheancientmusicofthe

SephardicJewsandhowshe,alongwith

hermusicdirector/pianist,MurrayLow,

developedafreshapproachtoher

repertoire.Shewillalsodiscussthe

differentgrantandawardopportunities

availabletomusiciansandsingerswho

exploretheseuniqueapproaches.Singers

andinstrumentalistsalikearewelcometo

attendthisworkshopandareencouraged

tobringinafolksongfromtheirheritage

sowecanexplorevariouswaystointerpret

themusicinthejazzidiom.KatandMurray

willalsodemonstratehowtheyevolvedthe

musicoftheSephardicJewstobemore

accessibletoawideraudienceandwill

explorehowyoucancreateanewpath

withyourownculturalstory.

Sunday, November 20, Noon – 3 pm$50advance,$65dayofworkshop

Vocalist Kat Parra has released five critically acclaimed CDs. She earned the designation “Best Latin Jazz Vocalist of 2010 and 2008” by Latin Jazz Corner, and received a 2008 nomination for “Latin Jazz Album of the Year” from the Jazz Journal-ists Association. In addition to singing fluently in English, Spanish and Portuguese, Parra has the rare ability to sing in the dying language of Ladino, or Judeo- Espanyol, which enables her to interpret Sephardic music (Music of the Spanish Jews) faithfully.

Murray Low has been playing, composing, arranging, recording and teaching profes-sionally for over thirty years. His fluency in all forms of jazz and its blending with other idioms has led to a multi-faceted career spanning a wide variety of musical con-texts. He is or has been the regular pianist with several top Bay Area ensembles including Wayne Wallace’s Latin Jazz Quintet, John Calloway’s Diaspora and others.

Call 510.845.5373 Enroll online at cjc.edu

Adult Vocal Courses

murray low

kat parra

Dear JYMP students and parents,Fallishere,andnow’sthetimeforaspiring

youngmusicianstojoinanensemble

attheJazzschool!

Wehavegreatfaculty(kasey knudsen,

Colin Hogan,Rob Ewing,Charles Hamilton,

Erika Oba,Joe Bagale,Mike Zilber,

Dave Eshelmanandmyself)who’vebeen

teachinghereforyearsandloveworking

withthenextgeneration.

Playinginajazzensemblerequiresfocus,

creativity,cooperationanddedication

andisalsoalotoffun!Whetheryou’re

newtoimprovising,areexperiencedand

interestedinjoiningoneofouraward-

winningadvancedensemblestotake

yourplayingtothenextlevel,orlooking

forwardtojammingoutinafunkensemble,

wehopeyou’llsignupforanauditionand

comebepartoftheJazzschoolYoung

MusiciansCommunity.

ErikJekabson

Director,JazzschoolYoungMusiciansProgram

FALL 2016 CALENDAR

Introduction


Ensemble Placement Auditions: seep.43fordetails



41

Young Musicians ProgramYoung Musicians Program


Jazzschool Young Musicians ProgramThe Jazzschool Young Musicians

Program is a year-round compre-

hensive music education and

performance program designed

for instrumental and vocal

students between the ages of

11 and 18. The Young Musicians

Program has been at the center

of the Jazzschool’s educational

and artistic goals since 1997.

Its curriculum provides students

with the opportunity to work

with professional jazz artists

and educators, strengthening

performance skills, expanding

knowledge of jazz theory and

improvisation, and learning

more about the foundations of

jazz and related styles of music.

Students participate in after-

school classes, master classes

with nationally known jazz

artists, and are featured in public

performances in venues through-

out the San Francisco Bay Area

and beyond.2016 Program requirements

YMP 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 we may not be able to

accommodate all students but it is our

mission to find a place for everyone if

at all possible.

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

PLaceMent & audItIon RequIReMents – FaLL 2016

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

fill out an application 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 Dates August 15 – 16 — Studio Band

August 22 – 23 — Middle & High School

August 22 – 23 — Advanced High School

Jazz Workshop

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 (see above).

On the application form, please select live

audition or 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

JYMP placement process, please

visit cjc.edu/youth_auditions or

contact us at erik @ cjc.edu and

510.845.5373.

Young Musicians Program

44


Call 510.845.5373Call 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. Note: all

prices listed are per quarter.

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

records at Fantasy Studios, performs

frequently and participates in competi-

tions 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 pm9/19 – 11/28 (10 weeks) no class 11/21 Dave Eshelman • $225

small performance ensembles

aDVanceD HigH scHool Jazz worksHoP Explore 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.

Record at Fantasy Studios and participate

in various competitions and festivals.

section i: mondays 4:45 – 6:15 pm9/19 – 11/28 (10 weeks) no class 11/21 Michael Zilber • $395

section ii: mondays 4:45 – 6:15 pm9/19 – 11/28 (10 weeks) no class 11/21 Erik Jekabson • $395

45

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 i: mondays 6:30 – 8 pm 9/19 – 11/28 (10 weeks) no class 11/21 Colin Hogan • $395

section ii: tuesdays 4:45 – 6:15 pm 9/20 – 11/29 (10 weeks) no class 11/22Colin Hogan • $395

section iii: tuesdays 4:45 – 6:15 pm 9/20 – 11/29 (10 weeks) no class 11/22Charles Hamilton • $395

section iV: tuesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Kasey Knudsen • $395

section V: tuesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Colin Hogan • $395

section Vi: wednesdays 4:45 – 6:15 pm9/21 – 11/30 (10 weeks) no class 11/23Rob Ewing • $395

section Vii: wednesdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Rob Ewing • $395

section Viii: thursdays 4:45 – 6:15 pm 9/22 – 12/1 (10 weeks) no class 11/24Colin Hogan • $395

section iX: saturdays 11:45 am – 1:15 pm9/24 – 12/3 (10 weeks) no class 11/26Colin Hogan • $395

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 i: mondays 4:45 – 6:15 pm9/19 – 11/28 (10 weeks) no class 11/21 Kasey Knudsen • $395

section ii: tuesdays 4:45 – 6:15 pm 9/20 – 11/29 (10 weeks) no class 11/22Kasey Knudsen • $395

section iii: wednesdays 4:45 – 6:15 pm 9/21 – 11/30 (10 weeks) no class 11/23Kasey Knudsen • $395

section iV: thursdays 4:45 – 6:15 pm 9/22 – 12/1 (10 weeks) no class 11/24Kasey Knudsen • $395

section V: thursdays 4:45 – 6:15 pm 9/22 – 12/1 (10 weeks) no class 11/24Erika Oba • $395

45Enroll online at cjc.edu

kasey knudsen

Kasey Knudsen has a real knack for teaching at a level that’s comfortable for everyone in the class. Great to have professionals that can not only play at a very high level, but teach very professionally as well. — curtis uejo


46 47Call 510.845.5373

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.)

saturdays 10 – 11:30 am9/24 – 12/3 (10 weeks) no class 11/26Joe Bagale • $395

VoIceVocal 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 pm9/21 – 11/30 (10 weeks) no class 11/23Kyra Gordon • $395

kyra gordon

mehmet polat trio

Workshops

theoRY & IMPRoVIsatIon

meloDic & Harmonic minor Harmony & reHarmonization of Jazz stanDarDswith John stowellModes of the melodic and harmonic

minor and triad substitutions are clearly

explained/demonstrated in the context

of developing an extended harmonic

vocabulary. Students get hands-on

experience locating new sounds and with

ear training in the context of specific

sounds/chords and progressions/songs.

Please bring a guitar and note paper. A

40-page pdf file with workshop material

will be emailed to all participants.

Prerequisites: intermediate to advanced level recommended.

Portland-based guitarist John Stowell has 35 years of international playing and teaching experience and has recorded/performed with Milt Jackson, Lionel Hampton, Art Farmer, and many others. He has also published several instructional books and videos.

sunday, september 4, 11 am – 1 pm$30 advance, $45 day of the workshop

bringing togetHer euroPe, africa anD tHe east with mehmet Polat trioAn accomplished oud player and composer,

Mehmet Polat combines various musical

genres from Africa to India, Persia to the

Balkans, contemporary to jazz, with his

Alevi spiritual, Anatolian folk and Ottoman

classical music background. After many

years of research, he has developed his

own technique to advance beyond the

limitations of his traditional instrument,

allowing him to play more advanced and

modern pieces. He has also designed an oud

with two extra bass strings to broaden the

range and function of his instrument.

During this workshop, the trio will share

the melodic and rhythmic diversity of the

musical styles they have mastered ranging

from Turkish makams and Ottoman classical

repertory to grooves from the Middle East,

Africa and beyond. Instrumentalists and

vocalists are welcome. For all levels.

Featuring Mehmet Polat (Turkey) — oud and compositions; Victor Sams (Dutch Antilles) — ngoni and percussion and Pelin Basar (Turkey) — ney.

sunday, september 4, noon – 2 pm$30 advance, $45 day of the workshop


saXes anD singers — anD otHer Hornswith noel Jewkes featuring kay kostopoulos What is the special dialogue that makes

magic on the bandstand between the horn

player and the vocalist? In this hands-on

workshop, master reed player Noel Jewkes

guides students in an exploration of the

collaborative process between singers and

horn players. He will play examples of

successful pairings such as Billie Holiday

and Lester Young, Stan Getz and Astrud

Gilberto, Houston Person and Etta Jones,

and Denise Perrier and Houston Person.

Students learn the art of the fill, the use

of silence, adaptation to unusual keys,

complimenting the singer, development of

solo sequences, intros and outros, trading

fours and scatting. Intermediate level

recommended. Auditors welcome.

Noel Jewkes is one of the premier saxo-phone players in Northern California. He has worked in the San Francisco Bay Area for over 35 years, and has recorded with John Hendricks, Wesla Whitfield, Mary Stallings, Paula West, Mike Greensill, Lavay Smith, Bill Bell, Mimi Fox, Graham Bruce, Bobbe Norris, Larry Dunlap, Larry Vuckovich, Pat Yankee and Jerry Hahn, as well as his own ensembles.

Kay Kostopoulos has performed and/or recorded with many San Francisco Bay Area treasures including Grant Levin, Larry Vuckovich, Si Perkoff, Benny Watson, Denny Berthiume, Larry Chinn & Rebecca Mauleon, Bill Douglass, Ruth Davies and many more.

saturday, september 24, noon – 2 pm$30 advance, $45 day of workshop

tHe imProViser’s seminarwith clark suprynowiczClark Suprynowicz, founder of the long-

running Berkeley Jazz Workshop, returns

for his popular 3-week seminar explaining

how to improvise with a lead-sheet using

real-world examples from solos by John

Coltrane and others. It departs from the

approach of “see this chord, play this scale”

and gets into the actual vocabulary of jazz

in a way that is easily understood and

accessible. Visiting musicians demonstrate

some of the approaches under discussion,

and students listen to audio recordings. No

need to bring instruments to this seminar.

Discussion topics include:

• How to play on standards.

• What it means to “play in a key.”

• How to recognize the key you’re in, even

if it’s not obvious.

• How playing in a key, rather than from

chord-to-chord, is part of the jazz

tradition.

• How to get chord-specific in the places

that it matters.

• Using melody and melodic ideas to free

up your approach.

• How to practice so this all gets more

intuitive and fun.

Clark Suprynowicz is a San Francisco Bay Area composer. Following residencies in recent years with the Berkeley Symphony and the Berkeley Opera, Clark had three large works premiered in 2011 – 2012: The opera Caliban Dreams (with writer / performer Amanda Moody, featuring tenor John Duykers) in a Berkeley Opera production; Tectonic, a commission from the Mill Valley Philharmonic, featuring readings by poet Jane Hirshfield, and Machine, a new opera with writer / director Mark Streshinsky, which premiered at the Crucible, in Oakland, in January 2012. He is also the founder of the long-running Berkeley Jazz Workshop.

sunday, october 9, 16, 23, 2 – 4 pm$100 advance, $115 day of workshop

48

finDing tHe global grooVewith aspada feat. george brooks, sax; kai eckhardt, bass; osam ezzeldin, keys, selvaganesh Vinayakram, percussionStep inside the global groove with the four

world-renowned musicians of ASPADA as

they discuss strategies for incorporating

rhythmic and melodic elements of Indian

classical music into a contemporary vision

of global jazz. Participants will gain an

overview of raga and tala as the band

performs and then examines the structures

that underlie the music. Players and

listeners are encouraged to attend. Instru-

mentalists should have a good working

knowledge of modes and scales and a

willingness to explore.

Saxophonist George Brooks founded the seminal Indian fusion groups Summit, Bombay Jazz, the Raga Bop Trio and Elements. He has collaborated extensively with composer Terry Riley and has per-formed and recorded with genre defining artists Etta James, Anthony Braxton, Jaki Byard, Talvin Singh, poet Michael McClure, and Ray Manzarek (of the Doors).

Bassist Kai Eckhardt garnered worldwide recognition performing with the John

McLaughlin Trio. The trio, consisting of Kai, John and Indian percussion phenomenon, Trilok Gurtu, recorded “Live at the Royal Festival Hall” which still stands as a high watermark in global fusion. Kai has devel-oped a remarkable facility with African and Indian rhythmic cycles, combining these global rhythms with his love of funk.

Percussionist Selvaganesh Vinayakram was born in Chennai to Grammy-winner T.H. “Vikku” Vinayakram, a legendary musician and founding member of Shakti. He is known to audiences around the world as the astonishing kanjeera player in John McLaughlin’s “Remember Shakti.” For his work with ASPADA, Selva has created a hybrid drum kit incorporating traditional Indian percussion with cymbals and kick drum.

Keyboardist Osam Ezzeldin was born in Cairo, Egypt and grew up immersed in the music of North Africa. In 2006 Osam was awarded US citizenship as an artist of extraordinary ability. He soon joined Kai Eckhardt’s Zeitgeist and George Brooks’ Summit and has performed at all the major festivals and jazz clubs in northern California.

sunday, october 9, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

aspada

Workshops

50

Jazz imProVisation anD comPosition worksHoP with Joel Harrison and spirit House feat. cuong Vu (trumpet), Paul Hanson (bassoon), Jeff Denson (bass) and brian blade (drums)Joel Harrison and his all-star group discuss

and demonstrate effective strategies for

composing and improvising in the new jazz

landscape. How to be a great sideman, an

original soloist, how to find your own sound

as an “of the moment” writer and inspire

your players and how to survive as a

bandleader and/or musican-for-hire in the

ever-changing modern landscape.

Guitarist and bandleader Joel Harrison was named a Guggenheim Fellow in 2010 and is a two-time winner of the Jazz Composer’s Alliance Composi-tion Competition. He has released 17 CDs since 1995 as a leader and has appeared on the “Rising Star” Downbeat Magazine poll for many years.

Trumpeter Cuong Vu has lent his talents to a wide range of artists including Pat Metheny, Laurie Anderson, David Bowie, Dave Douglas, Myra Melford, Cibo Matto, and Mitchell Froom. He recently released the new album Cuong Vu Trio Meets Pat Metheny, featuring Stomu Takeishi and Ted Poor.

From his roots as an award-winning classical bassoonist and jazz saxophonist, Paul Hanson has sought to expand the lexicon of the bassoon while creating a unique musical voice. As a jazz/fusion bassoonist, Paul has recorded and/or performed with Bela Fleck and the Fleck-tones, Wayne Shorter, Miguel Zenon, Peter Erskine, Billy Childs, and countless others.

Bassist Jeff Denson is a full professor at the California Jazz Conservatory and has recorded 10 albums as leader/co-leader and over a dozen more as a featured sideman — four with Lee Konitz. Over the past 15 years, he has shared the bandstand with an impressive and diverse array of musicians including Anthony Davis, Mark Dresser, Joe Lovano, Jane Ira Bloom, Kenny Werner, Dave Douglas, Bob Moses, Giacomo Gates, Howard Alden and many more.

Brian Blade is one of the most respected drummers of his generation having worked extensively with Joshua Redman, Kenny Garrett, Chick Corea, Bill Frisell, his own Fellowship Band, and countless others.

saturday, october 15, 3:30 – 5 pm$20 general admission

to swing or not to swing!with larry VuckovichMaster jazz pianist Larry Vuckovich shares

the key concept of eighth-note phrasing,

going back to the swing era, and on

through the bebop and post bop eras.

Charlie Parker, the originator of the bebop

style in jazz, learned from Lester Young’s

concept of loose and relaxed phrasing and

brought the sophistication of eighth-note

phrasing to its height. Dizzy and Bud

Powell added their own elements, inspired

by Bird and influenced a number of

instrumental masters, including Dexter

Gordon, Sonny Stitt, Miles Davis, Sonny

Rollins and more. Understanding eighth-

note phrasing as exemplified by these

masters is key to whether a musician

swings or not!

Larry Vuckovich will demonstrate examples

at the piano and play original recordings of

the masters. Besides jazz lovers who come

to Larry’s workshops and love learning

about jazz history, this workshop is highly

recommended to musicians on all instru-

ments because the learning process of this

art form is never ending — there is always

room for more knowledge. Come to the

workshop and improve your swing!

Larry Vuckovich gained first-hand knowl-edge from performances or recordings with many of the jazz greats including Dexter Gordon, Charles McPherson, Charlie Haden, Tom Harrell, Bobby Hutcherson, Tony Bennett, Joe Williams, Jon Hendricks, Bobby McFerrin, Billy Higgins, Philly Joe Jones and Elvin Jones. Larry has been associated with several piano icons, such as Bud Powell, Red Garland, Bill Evans, Barry Harris, Tommy Flanagan, McCoy Tyner, Chick Corea and as the only student of Vince Guaraldi.

sunday, october 30, noon – 3 pm$30 advance, $45 day of workshop

Playing tHrougH cHangeswith Jeff massanariGuitarist Jeff Massanari presents a range

of elements useful for playing through

chord changes on jazz standards and

other tunes. Topics include scales,

arpeggios, approach patterns, riffs,

rhythmic variation and other essential

tools for confidently improvising over

chord changes. Prerequisites: knowledge of jazz theory.

Jeff Massanari is a Bay Area-based guitarist who has studied at Berklee College of Music and performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Read more at jeffmassanari.com.

sunday, november 13, 2 – 4 pm$30 purchase, $45 day of workshop

Workshops

51

Workshops

larry vuckovich


brian blade

joel harrison


Adult Vocal Courses

Practicing betterwith anton schwartzMusical mastery requires a lot of time. So

let’s not waste any more time practicing

the wrong way. In recent years, psycho-

logical experiments on skill acquisition

have given a lot of new results about how

to most efficiently develop memories and

skills that last. Some of the results are

quite powerful and counterintuitive. In

this workshop we explore a number of

findings and their concrete application

to how we should practice.

Saxophonist Anton Schwartz has won critical acclaim for each of five albums released since 1998. He has performed across the country in major venues from the Monterey Jazz Festival to Yoshi’s, SFJAZZ, Blues Alley and the Blue Note in New York. See Anton’s bio at antonjazz.com.

sunday, october 23, 11 am – 1 pm$30 advance, $45 day of workshop

Jazz tHeory comPletewith mark levineAuthor of The Jazz Theory Book, one of

the world’s most widely used jazz theory

texts, Mark Levine boils it all down to a

single two-hour workshop! From the II-V-I

progression all the way through advanced

harmonic techniques, scale theory and

reharmonization. Bring music manuscript

paper and a pencil.

Mark Levine is the author of The Jazz

Piano Book, The Jazz Theory Book, and The Drop 2 Book. He has performed with Woody Shaw, Mongo Santamaria, Joe Henderson, Willie Bobo, Bobby Hutcherson, Freddie Hubbard, Cal Tjader, Wallace Roney, Tito Puente, Milt Jackson, David Liebman and many others.

sunday, December 4, 11 am – 1 pm$30 advance, $45 day of workshop

Practicing imProVisation: a creative and compositional approach with Darren JohnstonTogether we will work through one

approach to a two-hour practice session.

We will explore the purpose of a “warm

up” by beginning with the practice of

internalizing the molecules of melody

while focusing on sound, blend, and

relaxation. We will play a few musical

games, or exercises to help develop audio

memory, pitch recognition, and thematic

development, and conclude with an

exploration of approaches we can take

in developing more flow and freedom

over a jazz standard. Prerequisites: some instrumental facility and knowledge of jazz harmony.

Since settling in San Francisco in 1997, Canada-born trumpeter/composer/song–writer Darren Johnston has collaborated and recorded with an extremely diverse cross-section of artists. His interests rotate around composing instrumental music, writing songs, and performing all styles of jazz, experimental and purely improvised music, as well as traditional music of the Balkans, Greece, Macedonia, Turkey, and the Arab world. These interests have coalesced into his primary ensemble of late, Darren Johnston’s Broken Shadows. He has performed and/or recorded with luminaries such as Fred Frith, ROVA Sax Quartet, Myra Melford, Ben Goldberg, Matt Wilson, Mark Dresser, Marshall Allen, Marcus Shelby, and others.

sunday, november 20, 2 – 4 pm$30 advance, $45 day of workshop

Workshops

monk, buD et al — studying and Playing the compositions of the Piano giants with Joshua breakstoneGuitarist Joshua Breakstone has made

recordings entirely dedicated to the

compositions of both pianists Thelonious

Monk and Bud Powell. His new recording,

“88”, is a dedication to pianists old and

new and consists entirely of compositions

by pianists. In this workshop the focus will

be on the compositions of piano players-

from Bud to Monk to Elmo Hope, Barry

Harris, Sonny Clark, Cedar Walton, Lennie

Tristano, and more. There will be numer-

ous hand-outs of great tunes for you to

consider and take home. We’ll compare

and contrast compositional approaches,

consider what it means to take a piano

piece, reduce it for guitar (or other

instruments), and make that piece our

own. This will be a playing and improv

workshop, so be sure to bring your

instrument! A super way to expand your

repertoire and develop your improvisa-

tional skills! Two hours of serious fun!

Open to all levels, all instruments.

With 19 recordings as a leader with such jazz legends as Kenny Barron, Barry Harris, Tommy Flanagan, Pepper Adams, Jimmy Knepper, Jack McDuff, Mickey Roker, and Al Harewood, Joshua Breakstone has established himself as one of the major jazz guitarists of our day. He is also the author of Jazz Etudes: Studies for the

Beginning Improviser, a standard text at many colleges and universities, and has both performed and presented workshops throughout the world.

saturday, november 19, 3:15 – 5:15 pm$30 advance $45 day of workshop

Workshops

darren johnston

53

54 55

BRazILIan

cHoro anD samba worksHoPwith Duo Violão brasil feat. rogerio souza and edinho gerberThis lively workshop for all instruments

will address style, rhythm, phrasing, and

repertoire from Brazilian composers

including Pixinguinha, Jacob do Bandolim,

and Ernesto Nazareth. Please bring your

instrument! Open to all.

Duo Violão Brasil is the result of guitarists Rogério Souza and Edinho Gerber’s reverence for Brazilian guitar, the “violão”, and their desire to explore and expand the musical possibilities of putting two “violões” together. With repertoire from composers like Pixinguinha, Baden Powell, and Tom Jobim, the duo navigates effort-lessly through the many styles of 20th century Brazilian popular music while showcasing original works and inventive arrangements.

saturday, september 10, 1 – 3 pm$30 advance, $45 day of workshop

PeRFoRMance sKILLs gigging in tHe real worlD: the singer-songwriter rhythm section Player with andrew lionWhether you’ve just graduated from your

jazz conservatory program, or took that

walking bass class, you need a gig…any

gig! Andrew Lion (bass), joined by Rick

Munoz (drums), will take a practical look

at the politics of working with singer-

songwriters. Through sharing real world

anecdotes and musical demonstrations,

students will be exposed to techniques on

preparing charts, working with unique

personalities, and bringing their best

performances and contributions to

singer-songwriter employers. An emphasis

will be on working with band leader talent

levels that can range from amateur to

polished professional. Prerequisites: a basic understanding of diatonic harmony and general knowledge of rhythm notation and song forms will be helpful.

Andrew Lion (California Jazz Conservatory alumnus) and Rick Munoz have performed and recorded as bass and drums respec-tively in a variety of settings such as pop, rock, jazz, R&B, blues, country, and singer-songwriter — many together as a section unit. Performances include venues from Yoshi’s to The Fillmore and a set on ABC’s Late Night Television, Jimmy Kimmel Show! Andrew recently released a full-length studio recording with his jazz and indie rock inspired 7-Piece music collective, Negative Press Project.

sunday, september 18, 11 am – 1 pm$20 general admission

MusIc BusInessmaking anD marketing your cDwith Judy wexlerYou’re making a CD because you’re an artist

who wants to share your vision. You’re

ready to invest a lot of time, energy, heart

and soul… and money… in your project, and

you want to make sure it gets the maximum

possible exposure. The fact is, making and

distributing a CD is both an artistic venture

and a business. YOUR MARKETING PLAN

BEGINS THE MOMENT YOU COMMIT TO

MAKING A NEW CD. In this seminar, we

explore the CD business from soup to nuts

and the choices you can make right from

the start to make sure your project is

successful. We’ll discuss topics like budget-

ing, choosing a repertoire that’s both

artistically and commercially viable, working

with a producer, the benefits and draw-

backs of using a record label, the ins and

outs of publicity and radio promotion,

social media marketing, and much more.

Judy Wexler has headlined jazz festivals and major clubs nationally and internationally. She has released four CDs which have all topped the national jazz radio charts as well as garnering critical acclaim in Downbeat, and a profile on NPR. Judy has also parlayed her success and knowledge of the music industry into a respected public relations and marketing company, Mouthpiece Music.

sunday, september 18, noon – 3 pm$50 advance, $65 day of workshop

PIano boogie woogie anD blues Piano with wendy DewittAn in-depth dive into the styles and licks of

the masters of boogie woogie and blues.

Learn some of the trademark sounds of

Albert Ammons, Pete Johnson, Otis Spann,

Meade Lux Lewis and Memphis Slim. These

are the greats that Jerry Lee Lewis, Chuck

Leavell, Christine McVie, Dr. John and Nicky

Hopkins listened to in creating rock and roll

piano. With a solid understanding of these

roots you’ll have a better grounded path to

playing more easily by ear and improvising

your own jams. Class requires intermediate piano skills. Bring a recording device and a notebook. Advanced beginners are welcome if willing to adapt to a faster pace.

Wendy DeWitt, christened a Queen of Boogie Woogie by legendary artist Hadda Brooks, is an international performer. Her latest CD is on radio around the world, and she has performed with Hank Ballard, Otis Rush, and represented The Golden Gate Blues Society at the International Blues Challenge in Memphis, TN.

sunday, september 18, 2 – 4 pm$30 advance, $45 day of the workshop

Workshops Workshops

Enroll online at cjc.eduCall 510.845.5373

judy wexler

wendy dewitt

rogerio souza


Jazz Piano masterclass with russell ferrante

A very special hands-on master class with Yellowjackets pianist Russell Ferrante. Advanced concepts covered with particular emphasis on voice leading.

Limited to 10 pianists!

Russell Ferrante’s performing and recording credits include the Yellowjackets,

Jimmy Witherspoon, Jim Pepper, Joe Farrell, Al Jarreau, Robben Ford,

GRP Big Band, Take 6 and Ernie Watts, to name a few.

sunday, october 2, 11:30 am – 1:30pm$75 advance purchase, $90 day of workshop

Playing for singerswith mike greensill with wesla whitfieldMike Greensill, with special guest vocalist

Wesla Whitfield, will discuss and demon-

strate the art of the vocal accompanist

based on his new book Playing For Singers

published by Sher Music. The workshop will

offer secrets about “out of tempo” accom-

paniment techniques, various harmonic

options, how to “comp” behind a vocalist

while also exploring the concept of “less is

more.” Accompanists often find themselves

in the role of musical arranger/director. The

ability to quickly whip up a professional,

easy to read chart, is an essential skill.

Time permitting there will be some basic

information on small group arranging,

how to run a rehearsal, organize a show,

and conduct from the piano with no hands!

This workshop will address the challenges

of accompaniment from the point of view

of the solo pianist, the piano/bass duo

and the piano trio. Vocalists are encouraged

to attend. It’s essential for a singer to know

what they want and how to ask for it.

Open to all!.

Mike Greensill is well-known as the musical director to acclaimed vocalist Wesla Whitfield. They have recorded over twenty albums and work regularly throughout the country. Mike can also be heard playing jazz with his trio in many Bay Area venues.

“Greensill is an accompanist in the great tradition of Jimmy Rowles and Ellis Larkins. It’s worth twice the price of admission just to hear him!”— Terry Teachout, NY Daily News

sunday, october 16, noon – 3 pm$50 advance, $65 day of the workshop

Jazz, flamenco anD beyonDwith alex condePianist Alex Conde leads this 2-part

guided tour behind the scenes of his

acclaimed album, “Descarga for Monk,”

named one of the best albums of 2015 by

DownBeat and All About Jazz. Alex will

play tracks from the album and demon-

strate and discuss the variety of piano

styles heard on the album, from flamenco,

to afro-Cuban, straight-ahead jazz and

more. Other possible discussion topics

include jazz arranging ideas and develop-

ing improvisation skills. Open to pianists

and non-pianists!

Alex Conde is a vibrant and visionary jazz and flamenco pianist, composer and music educator living in San Francisco. He is a graduate in classical music from the Jose Iturbi Conservatory of Music and in jazz piano from el Liceu de Barcelona. Conde has been in the US for the last ten years and began his tenure here after winning a scholarship to attend the prestigious Berklee College of Music in Boston. While pursuing this degree (2009) in jazz perfor-mance at Berklee, he received the Jazz Revelation Award. He has studied jazz with luminaries such as Chano Domínguez, George Garzone, Joe Lovano, Danilo Pérez, Dave Santoro, Maria Schneider, Wayne Shorter and Esperanza Spalding.

sunday, november 6 and 13, 2 – 4 pm$60 advance, $75 day of workshop

wHat sets you aPart?using your Heritage to grow and expand your repertoirewith kat Parra and murray low

sunday, november 20, noon – 3 pmFor more information, see p. 40.

Workshops Workshops

russell ferrante

58 59Call 510.845.5373

Workshops WorkshopsWorkshops

dRuMs Jazz Drumming master class with albert “tootie” Heath

A very special master class with legendary jazz drummer Albert “Tootie” Heath!

Limited to 10 participants!

Master drummer Albert “Tootie” Heath (born May 31, 1935) first recorded in 1957 with

John Coltrane. From 1958 to 1974 he worked with, among others, J. J. Johnson, Wes

Montgomery, Art Farmer and Benny Golson’s Jazztet, Cedar Walton, Bobby Timmons,

Kenny Drew, Sonny Rollins, Dexter Gordon, Johnny Griffin, Herbie Hancock, Friedrich

Gulda, Nina Simone, and Yusef Lateef. In 1975, he and his brothers, saxophonist Jimmy

and bassist Percy, formed the Heath Brothers. He has remained active as a performer and

educator and recently released “Tootie’s Tempo,” a trio album with pianist Ethan Iverson

and bassist Ben Street.

saturday, september 24, 3:15 – 5:15 pm$75 advance, $90 day of workshop

DeVeloPing a Jazz Vocabulary — Jazz Drumming workshop with Hamir atwalDrummer Hamir Atwal provides insight

into developing jazz vocabulary, exploring

musical concepts as applied to the

drumset from the bebop era to the present

day. Topics include: supporting and

interacting with other instruments in a

musical context; time/feel, form, free form/

improvisation and resolution points;

transcription ideas; and the history of some

important jazz figures who developed

different approaches to keeping time and

soloing on the drumset.

A graduate of Berklee College of Music, Hamir has been an active educator/clinician at the Peabody Institute, Oberlin Conserva-tory, the Stanford Jazz Workshop, and the California Institute of the Arts. Hamir is an active endorser of DREAM Cymbals and has played and/or recorded with Joe Lovano, Michael Formanek, Bill Laswell and Ben Goldberg.

sunday, september 25, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

traDes anyone? with alan HallTrading fours, eights and choruses with

band mates can be one of the most

rewarding and exciting moments on the

bandstand. In this workshop we’ll discuss

and practice different strategies, listen

to examples, and check out some

transcriptions. You’ll leave full of ideas

and approaches you can use for a lifetime.

Long-time Jazzschool faculty member Alan Hall has performed extensively in a wide range of styles with many top artists. He is also the author of Internalization, an innovative jazz drumming method book.

saturday, october 22, 11 am – 1 pm$30 advance, $45 day of workshop

HybriD Drum setswith brian riceDrummer/percussionist Brian Rice will set

up and demonstrate several hybrid drum

sets, incorporating the cajón and other

percussion instruments useful for various

Brazilian styles and beyond. Get ideas for

developing your own hybrid set, based on

the music you play and instruments you

have and learn some helpful techniques

and independence exercises.

Brian is a highly acclaimed performer, educator and recording artist adept at numerous musical styles ranging from classical and jazz, to Latin, Afro-Cuban and Brazilian, to contemporary and experimen-tal music. Brian currently performs with Mike Marshall and Choro Famoso, Wake the Dead, Cascada de Flores, Michael Smolens and Bal du Kor and One World Music.

sunday, october 23, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

focus: tHe Drumset set-uPwith alan HallIf we’re not comfortable on the drum set,

then we can’t play relaxed. If we can’t play

relaxed, we won’t play musically. Having

trouble figuring out your best set-up? Let’s

dig into this overlooked aspect of drum set

playing. We’ll discuss issues like pedal

tension, angles and distances in our set-up,

and address anatomical/physical factors.

saturday, november 19, 11 am – 1 pm$30 advance, $45 day of workshop


albert “tootie” heath

60 Enroll online at cjc.edu

Workshops

tHe art of brusH Playingwith Jon arkinBrushes are among the most effective and

essential tools available for drummers when

playing in an acoustic jazz context. This

workshop provides an overview of brush

techniques and concepts, including basic

time patterns, variations, accents, textural

possibilities, articulation and finger control.

Additional areas of discussion include the

ways that brushes can open one’s playing

up to new ideas, dynamics and interactive

possibilities. Open to all drummers, as well

as any musician interested in learning basic

time playing with brushes.

Jon Arkin is an in-demand drummer on the Bay Area jazz scene and is highly regarded for his sense of feel, touch and creativityin jazz and other contexts. He routinely receives high praise as an educator from students taking his “Musical Drummer” course at the Jazzschool.

sunday, november 6, 2 – 4 pm$30 advance, $45 day of workshop

saXoPhone making tHe saXoPHone swingwith anton schwartzThis workshop for woodwind players

explores how to make your phrases swing

from a technical standpoint. Anton

Schwartz presents different flavors of

swinging, from down and dirty to light and

nimble, and considers the various tools used

to create them: rhythmic variation, accents,

articulations and inflections. Participants

listen to recorded examples and live

demonstrations, and apply the ideas on

their instruments. Appropriate for saxo-

phonists, flutists and clarinetists. Bring your

instrument (optional but encouraged).

saturday, october 22, 2:30 – 5 pm$40 advance, $55 day of workshop

saXoPHone emboucHure DeVeloPment anD Practicing witH Drones with James mahoneA stable, relaxed embouchure is the key to

getting the most out of your saxophone

playing. The first hour of this workshop will

focus on ways to build and strengthen the

embouchure:

1. Working with the mouthpiece alone

2. Utilizing long tone and overtone

exercises to build stability and flexibility

3. “Singing” into the horn

Hour two will be devoted to exploring

different ways to utilize drones in practice:

1. Ear training

2. Playing scales and arpeggios

3. “Modal” improvising with drones

Saxophonist James Mahone first developed an international reputation recording and touring with Black Note (Columbia and Impulse!) in the mid ’90s. Since that time he has performed alongside many great jazz musicians including Wynton Marsalis, Billy Higgins, Josh Redman and countless others. Since recently relocating to the Bay Area after several years in Japan, he has become an in-demand sideman working with Akira Tana, Marcus Shelby, Dr. Mitch Butler and others.

sunday, september 25, 11 am – 1 pm$30 advance, $45 day of workshop

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the Jazzschool has really helped my playing. I can’t recommend it enough. the school is a great value! You can’t go wrong. — michael menduno

GuItaR beginning bossa noVa guitarwith ian faquiniThis workshop covers basic guitar chord

shapes and progressions common in

Brazilian music by examining the songs of

great composers such as Antonio Carlos

Jobim, Vinicius de Moraes, Baden Powell,

Dorival Caymmi and others. The instructor

also demonstrates essential Brazilian

rhythms including bossa nova, samba,

baiao, frevo, and toada. Prerequisites: Students should have some experience with basic chords and an interest in Brazilian music.

sunday, september 18, 2 – 4 pm$30 advance, $45 day of workshop

solo Jazz guitarwith Jeff massanariIn this workshop, we’ll look at a variety

of useful arranging techniques that will

improve your ability to combine melody

with chords for a complete solo guitar

sound. From drop 2 and drop 3 voicings

to some more sophisticated ideas you will

leave with practical ideas for creating new

solo guitar arrangements.

Bay Area-based guitarist Jeff Massanari studied at Berklee College of Music and has performed with Mark Inouye (San Francisco Symphony), Akira Tana, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier to name a few.

sunday, october 2, 2 – 4 pm$30 advance, $45 day of workshop

intermeDiate bossa noVa guitar with ian faquiniIn this workshop for guitarists familiar with

the basics of Bossa Nova style, Ian Faquini

will share approaches to solo guitar and

chord melody, covering voice leading,

counterpoint, arrangement techniques,

harmony, and ways to make sure the song

and melody are clearly conveyed to the

listener.

A graduate of the California Jazz Conser-vatory, Ian Faquini has become one of the most unique and respected guitarists specializing in Brazilian music in the San Francisco Bay Area, demonstrating rare chordal technique and a special delicate touch on very difficult pieces. His last few summers have been spent in Brazil, where he has performed and studied with some of that country’s greatest guitarists, includ-ing Marcus Tardelli, Guinga, and others. Ian recently joined the faculty at the California Jazz Conservatory and is a long time faculty member of California Brazil Camp.

saturday, october 29, 11 am – 1 pm$30 advance, $45 day of workshop

james mahone

Call 510.845.5373

Fall 2016 concert seriesCheck out what’s happening in our intimate

100-seat venue — national stars, faculty-led

groups and students.

info & tickets at cjc.edu

14 fri 8pm tiffany austin $15

25 sun 4:30pm cJc benefit concert $15

2 sun 4:30pm lJt trio with kathy blackburn and mad Duran $12

8 sat 8pm sandy cressman and Homenagem brasileira $15

24 sat 8pm amy X neuburg $15

25 sun 7pm Vocal Jam session $10

1 sat 8pm lorraine feather and russ ferrante $15

2 sun 7pm blues Vocal Jam $10

30 fri 8pm ian faquini and Paula santoro cD release $18

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19 sat 8pm kat Parra latin world ensemble $15


20 sun 4:30pm sfems — les Violettes $20

5–15 various Jazzschool community music school Free times student Performances

12 sat 8pm Jennifer Jolly $15

13 sun 4:30pm alex conde $20

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6 sun 4:30pm matt slocum trio with Dayna stephens & steve cotter $18

5 sat 8pm Dick Hindman $15

6 sun 7pm blues Vocal Jam $10

11 fri 8pm Jason levis with Joseph’s bones $15

4 fri 8pm michael zaninovich $15

30 sun 4:30pm lyle link $15


23 sun 4:30pm tony lindsay $18

28 fri 8pm tito gonzalez $15

29 sat 8pm maya kronfeld $12

TITO GONZALEZ WESLA WHITFIELD TAMMY HALLJASON LEVISMEHMET POLAT TRIO

3 sat 8pm ridgeway arts Presents tammy scheffer $18

10 sat 8pm wesla whitfield with mike greensill $15

16 fri 8pm tammy Hall $18

18 sun 4:30pm Justin rock $15

4 sun 4:30pm mehmet Polat trio $18

9 fri 8pm masaru koga $15

11 sun 4:30pm sfems – new esterhazy quartet $20

2 fri 8pm Jazz and Poetry (amos white and Dillon Vado) $15

17 sat 8pm Judy wexler $18

23 fri 8pm noel Jewkes $15

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18 sat 8pm ruthie Price $15

7 fri 8pm rent romus’ life’s blood ensemble $15

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15 sat 8pm Howard wiley $15 9–11 various california Jazz conservatory $10 16–17 times student Performances

2–4 various times Jazzschool young musicians’ Program Free

21 fri 8pm Jeff Denson quartet — concentric circles cD release $18

22 sat 8pm mark winkler $15

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18 sun 4:30pm trumpetsupergroup $15

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65Call 510.845.5373

JCMS Faculty

64

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.A. in Jazz Performance, U. of Miami. Faculty, Stanford Jazz Workshop. Performance credits include Ira Sullivan, Grady Tate, Taylor Eigsti, Vusi Mahlasela, Dayna Stephens, Julian Lage, Meklit Hadero, Stew & TNP, Gene Perla. Festival and venue highlights include Yoshi’s, Montreal Jazz Festival, IAJE Convention, Healdsburg Jazz Festival, North Beach Jazz Festival, High Sierra Music Festival, Sleep Train Pavilion. www.jonarkin.net

rich armstrong (trumpet, voice)B.A. Trumpet Performance SF State, Trumpet Performance Studies, SF Conservatory of Music. Recordings and performances with Jody Watley, Jennifer Holliday, Connie Francis, Petula Clarke, Ledisi, Lyrics Born, Blackalicious, the Coup, Tower of Power, Ozomatli, Hot House Flowers, Bruce Springsteen, Josh Groban. Extensive touring with Michelle Shocked, Boz Scaggs and Cold Blood.

Joe bagale (drums) Eastman School of Music (1.5 years) currently lead vocalist, keyboardist, guitarist with Mickey Hart Band. Leads Joe Bagale band, performs with Jazz Mafia, Hot Einstein, Disappear Incompletely. www.joebagale.com

David belove (bass) Studied at SF State and San Francisco Conservatory 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.

steve blum (piano)B.M. CSU Long Beach, M.F.A. California Institute of the Arts. Performer, composer, music director and educator. Student of David Roitstein, Alfred Ladzekpo, Joe LaBarbera, Wadada Leo Smith, Larry Koonse, and Charlie Haden. Recorded and/ or performed with Vinny Golia, Tony Clifton, Blockrad, A Giraffe, Keen Inkling, Steve Blum’s Keyboarchestra, Disappear Incompletely, See-Saw Trio, and more.

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

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; BA (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

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 and Salvage and Cafe Du Nord. www.rachelefron.com

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.

JCMS Faculty

rich armstrong

angie doctor


JcMs Faculty

67

JCMS Faculty

66

JCMS Faculty

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 compositions and arrangements.

rob ewing (trombone) Jazzschool Community Music School 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. www.robewingmusic.com

kyra gordon (voice) B.Mus. California Jazz Conservatory. Vocalist/ B.Mus. in Jazz Vocal Performance, California Jazz Conservatory. Spent a year performing in Paris, France, at Les Carveau Des Oubliettes and The One Way. Performed with Martha High, Boney Fields, Lucky Peterson, Kenny Neal, and Vernon Bush with Taj Mahal. Soundtrack vocals for feature films “Owned” and “Bert.” Vocalist/keyboards with improvised hip-hop collective The Freeze, performing the Bay Area’s hit show “Mortified.”

alan Hall (drums) Advisor, Drum Program. Former assistant professor at Berklee College of Music; adjunct faculty at UC Berkeley; clinician; author; performed with Ernie Watts, Paul McCandless, Eddie Harris, Bruce Wilamson, Art Lande, Tom Coster, Kit Walker, Rebecca Parris, Kai Eckhardt, Stuart Hamm; artist endorsement with Zildjian Cymbals, Vic Firth Sticks, Aquarian Accessories. www.jazzdrumming.com.

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.

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.

Peter Horvath (piano) M.A., Berklee College of Music; Bèla Bartôk Conserva-tory of Music, Budapest, Hungary; Vienna Conserva-tory 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

Jennifer Jolly (keyboards) Performer, educator, session musician, composer, Performer, educator, choral/musical theater accompanist. Specialist in American roots styles (New Orleans & Louisiana, blues, boogie-woogie, country), funk, R&B, and Caribbean and African music. Currently performing with Kotoja, Zulu Spear, Big B & His Snakeoil Saviors, The Jolly Gibsons, and several other Bay Area groups. Frequent guest performer with Tom Rigney & Flambeau. Previous performance credits include Phil Lesh (Grateful Dead), Barbara Dane, Hot Links. Faculty instructor at Cazadero Family Camp since 1999. B.A., UC Berkeley.

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.com

raz kennedy (voice)A founding member of Bobby McFerrin’s Voicestra, Raz Kennedy is best known for coaching many Bay Area and internationally known artists including Adam Duritz of Counting Crows, Narada Michael Walden (producer for Whitney, Aretha and Mariah), Los Tigres Del Norte, Hilary Duff, Lynn Asher, Spencer Day, Jasmine Guy, members of Metallica, Lavay Smith, James Nash of the Waybacks, Pollyanna Bush and many others!

kasey knudsen (saxophone) B.A. Berklee, faculty member at Sonoma State U., Stanford Jazz Workshop, Lafayette Summer Music Jazz Workshop. Performs with her own sextet, The Holly Martins, The Knudsen-Arkin-Coleman Trio, has toured the world with Tune-Yards and can be seen performing with such bay area luminaries as Ben Goldberg, Fred Frith, Graham Connah, Adam Shulman, Ian Carey and more. www.kaseyknudsen.com

omar ledezma Jr. (percussion, voice) Diploma, Performance, Berklee College of Music 2003. B.S., Law School, Santa Maria University, Caracas, Venezuela 1995. Active local performer, teacher, GRAMMY nominee and world class musician. Toured with renowned artists in USA, Europe, the Caribbean and South America. Has participated in more than 35 recordings, DVDs and books. PEARL PERCUSSION Artist. www.omarledezmajr.com

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

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

jennifer jolly

frank martin

Call 510.845.5373 Enroll online at cjc.edu

68

JCMS Faculty

69

JCMS Faculty

Joyce Pricco (voice) M.M. in Music Education, Boston University; B.M. in Music Education, San Francisco State University; Certificate of Completion in Multimedia Studies, Diablo Valley College. Classroom and private instructor since 1978. Performed professionally in the Bay Area since 1980 ranging from classical to popular singing styles — opera, oratorio and musical theater to jazz, gospel, and pop. Professor at Diablo Valley College in Pleasant Hill, CA, faculty at Bradley School of Music in Lafayette, CA, music director at St. Michael and All Angels Episcopal Church in Concord, CA, private voice and piano instruction at Pricco Studios.

Jackie rago (percussion)B.A. music and arts institute of SF, artistic and musical director of the Venezuelan Music Project and a founding member of the VNote Ensemble (formerly The Snake Trio) bands which she travels and performs with in an ongoing basis. She was also a founding member of Altazor (Nueva Canción ensemble), Wild Mango (world beat music), Keith Terry & Crosspulse (world percussion) and Trio Altamira (contemporary Latin American music). www.jackelinerago.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.

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, the Mara Performance Collective, Ends Meat’ Catastrophe Jazz Ensemble, and the Oba/Bastian duo.

carl oser (voice) Magna cum laude graduate of the USC Thornton School of Music (BA Jazz Voice). Studies with Russell Ferrante, John Daversa, and Peter Horvath. Former visiting professor, Universidad San Francisco de Quito (Quito, Ecuador). www.CarlOserMusic.com

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

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.

Debbie Poryes (piano) National and international performing artist including Yoshi’s, Healdsburg Jazz Festival, Bim House and Concertgebouw in Amsterdam, New Morning in Paris, Quasimodo in Berlin, released several albums as a leader, studied at UC Berkeley and Hilversum Conserva-tory in the Netherlands: has a teaching credential in Jazz Studies, Netherlands; was a tenured faculty member for 7 years in 2 Dutch music conservatories, Hilversum and Arnhem; toured with John Clayton Big Band; 30 years private instruction in jazz piano and jazz/classical theory. www.debbieporyes.com

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

Dave scott (trumpet) M.A. in Trumpet Performance, U. of Northern Colorado; B.A. in Instrumental Music, U. of Michigan. National performing and recording artist, jazz, classical idioms. Performs with: Glide Memorial Church Change Band; Brass Monkey Brass Band; TRUMPETSUPERGROUP (founder); Dave Scott Jazz Quartet. Currently adjunct faculty at: Sonoma State University (Instructor of Trumpet); Berkeley City College (Humanities Dept Jazz History); and San Francisco State University (Brass Methods, Jazz Arranging). www.davescott.org

rumen shopov (percussion) A Turkish Rom (“Gypsy”) from Bulgaria, Rumen Shopov is a multi-instrumentalist, bandleader, singer, dancer, and recording artist specializing in traditional and contemporary Balkan and Romani music. Rumen has performed and taught Balkan and Romani music throughout Eastern and Western Europe and North and South America. He has performed alongside Balkan music legends Yuri Yunakov, Teodossi Spassov, Ismail Lumanovski, and many others. www.eefc.org/Shopov.shtml

marcos silva (piano) Adviser, Brazilian Program. National and interna-tional 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

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.

katherine westine (piano) Post-graduate studies in Early Music, Norddeutsche Orgelakademie, Bremen, Germany; M.A. in Organ Performance, Lone Mountain College, San Francisco; B.A. in Music History, U. of Washington, Seattle. Co-producer, Florio Street Concerts.

winslow yerxa (harmonica) Author of Harmonica for Dummies, advice columnist at Bluesharmonica.com, and president of the Society for the Preservation and Advancement of the Harmonica. Over 30 years experience in a wide variety of styles. Performs with SF Harmonica Ensemble and Tuula Tossavainen. www.winslowyerxa.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

jackie ragoricardo peixoto

Enroll online at cjc.eduCall 510.845.5373

Individual Gifts

70 Call 510.845.5373 Enroll online at cjc.edu 71

Individual Gifts

sustaining benefactors ($50,000 anD aboVe)

Edward & Camille Penhoet

Director’s circle ($25,000 – $49,999)

Anonymous (2)

J. Tyler & Melanie Johnston

Michael & Ann Parker

benefactors circle ($10,000 – $24,999)

Jamey Aebersold

Susan & Jeffrey Brand

Sy & Bonnie Grossman

Bannus & Cecily Hudson

Donn Logan & Marcy Li Wong

Jennifer Maxwell

Gregg Perloff of Another Planet Entertainment

Neil Rudolph & Susan Cluff

Murray & Helen Sibley

Patrons circle ($5,000 – $9,999)

Anonymous

Mary Ford & Rob Lewis

Jeffrey Goodby

Rita Hargrave

Jim & Ruth Reynolds

the california Jazz conservatory wishes to thank the following individuals for their generous support, enabling us to offer

comprehensive, high quality educational programs. (Gifts received from July 1, 2015 through June 30, 2016)

2015 – 2016 Individual GiftssPonsors circle ($1,000 – $4,999)

frienDs circle ($500 – $999)

Anonymous (5)

Steven & Denise Baker

Cindy Canup

Charles & Margaret Charnas

June Cheit

Leslie Crary & Andrew Stoloff

Lois De Domenico

Jacquelin & Sheafe Ewing

Sherie Friedlander

Chip Isaac III

Barbara Ivins & John Hughes

Eric & Simone Lang

Hoil Lee

Evan Liu

Bertram Lubin & Vivian Scharlach

Larry & Corinne Marcus

Bob & Sue Mertens

Ivan, Maris & Harry Meyerson

Ernie Mieger

Deborah O’Grady & John Adams

John S. Osterweis

Angela Palermo

Jim & Ruth Reynolds –

in memory of Sy Grossman

Linda Rostoker

Ruth Shapiro

Jennifer & Michael Thyen

Michael Yovino-Young & Alison Teeman

Anonymous

Manuela Albuquerque &

Christopher McKenzie

Kathy Blackburn & Dan Sidbury

Donald Briggs

Daniel Callaway & Karen Laws

Jonathan & Jennifer Catlett

Yanek Chiu – in memory

of Sy Grossman

Patti Cole - in memory of Sy Grossman

Sandy & Jeff Cressman

Eva & Martin Ewing

Mary Fettig

David & Lucia Gill

Sakiko Kono

Nick Lamb & Family

Josh Novic

John & Barbara Papini

Mary Paradiso

Susanna Maria Porte

Chris & Lori Potter

Mark Priven

Pamela Rose

Madeline Sheron

Laura Steinman & Willem Villet

Theresa Walker-Mullings

Katherine Westine & George Davis II

Sheila Wishek

Evie & Gordon Wozniak

Individual Gifts

72

Individual Gifts Individual Gifts

frienDs circle ($250 – $499)Anonymous

Demetrios Agretelis

Bill & Rosie Aron

Debra & Arthur Bakal

Margie Baker

Jennifer Burroughs &

Michael Rowe – in memory

of Sy Grossman

Thomas & Marcie

Charlesworth

Jean Marie Circiello

Lawrence E. Crooks

Michael Darby & Toni Martin

Kyle Davy & Karen Yencich

Richard Dingman

Lori & Michael Ferguson

George & Ann Gaebler

Catherine Hartshorn &

Richard Buxbaum

Rex Hesner &

Susan Torrence

Christopher Johnson

Mark & Sherralyn Klein

Tienne Lee

Masako & Francisco Leon

Laura Mahanes &

Steven Weissman

Helen M. Marcus and

David J. Williamson Fund

Merideth & Tom Marschak

Hugh Njemanze

Jim Pickrell &

Carolyn Woolley

Debbie Poryes

Stephane Prunet

David & Mary Ramos

Debra Resnik

Carl Resnikoff

Ralph Rodriguez

José Romero

Jonathan Schiele &

Christina Nypaver

Tomas Schoenberg - in

honor of Arabelle Schoenberg

Beth Ann & Michael Ward

Mark & Jessica Zitter

frienDs circle ($100 – $249)Anonymous (2)

Paul & Judy Allrich

Hans & June Andersen

Richard & Nancy Anderson

Dave Backenstoe

Ted Bakowsky

Judith Berger

Ralph & Gail Bernstein – in

memory of Sy Grossman

John Dobby Boe

Arlene Boyd

Jeffrey Briss

Gretchen Brosius

Cherilyn Brunetti &

Daniel Levine

Bert & Lois Carelli

Shanna Carlson

Mike Charlasch & Hélène Côté

Larry Chinn – in memory

of Buddy Barnhill

Norris Clement &

Diane Bessell

Maria A. Cordell

Larry Cruz

Karen Dabrusin

John Degele

Jim Dunbar

Matthew Fabela

Ann Farrell

Fred & Sue Fischer

Robert Freeman

Richard Fregulia., Jr.

Marjorie Gelb &

Mark Aaronson

Phyllis Goldsmith, John Link

& Eli Goldlink

Mario Guarneri

Roy Halliday – in memory

of Sy Grossman

Patty Hammond

Brad Haywood

Curt Hill

Adrienne Hirt &

Jeffrey Rodman

Catherine Hogan

Steve & Angelita Holland

Kathleen Holliday

Steven Horowitz

John Houghton

Angharad Jones

Paul Kagawa

Christina Kellogg

Daniel & Amy Knight

R. & L. Korsan

Joel Kreisberg &

Wendy Buffett

Robert Lanz

Philip Lieb

Michael Lucey

Daryl Lura & Susan Sasaki

Tim Lynch

Susan Marinoff &

Thomas Schrag

Christopher Martinez

Toni Mayer & Alan Lazere

Karen & Paul McArdle

Greg McCall

Bill & Suzanne McLean

Christopher Meehan

Michael Meehan

Nancy Merritt

Tony Miceli

Ruth & Ronald Miguel

George Miller

Zach Mondlick &

Susana Pineda

Bob Murphy

Jeffrey Neighbor

Bu Nygrens

Esti Ollerman, Cindy Bandur,

Rob & Pat Cook Rosenberg,

Eric & Ellen Schnur – in

memory of Sy Grossman

Mario Pola

Stephen Pope

Norman Postone

Jerry Povse

Jon Rantzman

Barb Reynolds

Mike Rissi

Barry Robertson

Irwin Ross – in memory

of Sy Grossman

Mary Anne Schissel

Thom & Betty Seaton - in

honor of Michael & Ann Parker

Bryan Seet

The Seidlitz/Orenstein Family

Eric Siegel

Rae Ann Stahl

John and Yee-wan Stevens -

in memory of Sy Grossman

Jan Stevens

Jill Suttie & Don Arbitblit

Leslie Tchaikovsky

David Vliet

Jeanne Walpole

Barry Warren & Tom Brougham

George & Sandy Wieland

Yehudit

Greg & Kiyomi Yim

Gary Zellerbach

Jamie Zimmerman


Randy Barnett

Erin Barrite

Kathleen Barrows

Jacque Bibeau

Joshua Bleier

David Bonaccorso

Gloria Bowles

Tammy Button

Allan & Jennifer Daly

Marilyn Day

Ellen Florey

Douglas Fong

Karen Frick

Vicki Friedberg

Vinaya Gokarn

Deborah Gordon - in honor

of Eileen Hansen

Gina Harris

Margaret Henderson

Leslie Heyden

Jim & Maddie Hogan

Allen Hopkins

Hallie Hughes

Jarrell Irvin

Jane Kagon

Katharine Kates

Aaron Kaufmann

Emily Klion & George Brooks

Bob Knight

Doug MacKenzie

Gautam Makani

Christopher Michel

Lambros Paraschos

James Paxson

Ray G. Perman

Mike & Kim Schulist

Karen Severo

Bob Sharman

Tom Silva

Neal Snyder

James & Donna Storey

Patrice Valdivieso

Don Veca

Robin Washington

Henry Weinstein

Kara Wright &

James Lawrence


Michael Bachmann

Lisa Bailey

Julie Balot – in

memory of Gene Balot

Mara Bathiany

Thomas Bergman

John Bergman

Linda Blachman

Fred Booke

Michael Burles

Christine Burrill

Karen Buttwinick

Judith & Burton Calder

Wade Cartwright

Philip Casey

Leslie Clot

Digne de Lenea

Steve DeMello

Ben Deovlet

John di Bene

Ben Eiseman

Lorraine Curtis Eleccion

Scott Elia

Michelle Eliker

Susan Fadlety

Rebecca Faiola

Robin Ferguson

Erle Flad

Bonnie Fraenza

Geroncio Galicia

Brad Gallien

Gerard Family

Jamie Goddard

Elizabeth Gould

Jennifer Gustafson

Ian Halifax

Kathie Hammond

David Hodul & Angelica Stacy

Barry Honore

Sue Horn

Florence Hultgren - in memory

of Helen Sibley

Betty Ishida

Carolynn Kimura

David Kittams

Gerhart Kneissl

Matthew Kolaczkowski

Patt Kudo

Paul Linden

Craig London

Lisa Lum

Richard Maldonado

Frances Martin

Lucia Massoni

Sean McCleary

Andrew Michaelis

Teddy Milder

Joe Mumm

Tom Nicastro

Thomas O’Leary

Dan Poff

Julia Pombo

Leverett Pope

Timothy Quayle

Mary Reynolds

Kristine Rivera

Linda Shapiro

Tina Smelser

Jeanne Smith

Julia Smith

Tom Spalding

Karla Spormann & Brian Kirby

Gyula Sziraczky

Arthur Tashiro

Peter Thorner

Doug Traub

Terrell Tucker

Amy Ukena

Edelle Vartan - in memory

of Sy Grossman

Fred Weed

Cameron White

Janis Workman

Min Yan

Sonny Zanchetta

Jan Zeleski

73Call 510.845.5373

74

Director’s circle ($50,000 – $99,999)

The William and Flora Hewlett Foundation

benefactors circle ($10,000 – $49,999)

The Bernard Osher Foundation

Koret Foundation

The Whitman Family Foundation

The William Ellis Robinson Foundation

Patrons circle ($5,000 – $9,999)

City of Berkeley

Zalec Familian & Lilian Levinson Foundation

sPonsors circle ($1,000 – $4,999)

Bill Graham Supporting Foundation

Fleishhacker Foundation

frienDs circle ($100 – $999)Golden Pacific Home Loans Inc.

Marshall Kirk McKusick & Eric P. Allman Foundation

Schwab Family Fund

Silvergate Investment Group

Gifts from Foundations, corporations, and Government agencies

75

the california Jazz conservatory wishes to thank the following foundations, corporations and government agencies for their generous support, enabling

us to offer comprehensive, high quality educational programs. (Gifts received from July 1, 2015 through June 30, 2016)

Anonymous (2)

Peter B. Allen

The Blankenship Family – in

memory of Clarence Joseph and

Eleanor Mai Blankenship

Lee Brenkman

Andrea Claburn

Brent Donaldson

Chris Gilmer

Paul Janoff

Jazzcaffè

Ellen Kim & Tim Anderson

Todd Lorenz

Carol Maga

Dean & Joanne Muench

Laura Murra

Pandora Media

Poulson Gluck Design

David & Mary Ramos

Carl Resnikoff

John Rosenberg

Drew Sibley

Eric Siegel

Michael Yovino-Young &

Alison Teeman

Valentino Zegna Baruffa

Gifts, Grants & Scholarships

gifts in kinD: July 1, 2015 – June 30, 2016

Gifts, Grants & Scholarships

Martha Egan KeepnewsDavid Vliet

scholarship Funds(Gifts received from July 1, 2015 through June 30, 2016)

tHe angelo J. montesano scHolarsHiP funDThis scholarship fund has been established in memory of beloved Bay Area jazz aficionado Angelo J. Montesano.

black youtH scHolarsHiP funDThis scholarship fund has been established by Kim Nalley, San Francisco Bay Area jazz and blues performing and recording artist, to forward the music education of deserving Black youth.

bob ParlocHa scHolarsHiP funDThis scholarship fund was created in honor of Bob Parlocha, former KJAZ and WFMT radio announcer, jazz historian and tenor saxophonist. Funds support the Young Musicians Program.

buD sPangler scHolarsHiP funDThis scholarship fund was created to pay tribute to our dear friend Bud Spangler, revered Bay Area jazz drummer, recording/concert producer and radio announcer.

Dick conte Jazz Piano scHolarsHiP funDThis fund was established in honor of noted Bay Area jazz pianist and radio luminary Dick Conte.

eDDie marsHall scHolarsHiP funDNamed in honor of legendary Bay Area drum-mer Eddie Marshall, this scholarship is awarded to deserving drummers of all ages and levels based on a combination of merit and need.

girls’ anD women’s camPs scHolarsHiP funDThis scholarship fund was established in memory of cherished guitarist and longtime Jazzschool student Barbara Fitzpatrick to offset the cost of tuition for Girls’ and Women’s Jazz and Blues Camps.

orrin keePnews memorial scHolarsHiP funDThis scholarship, honoring legendary record producer Orrin Keepnews, provides financial support for deserving CJC students.

Friends of Angelo (2016 Memorial Concert)Joanne MontesanoKenneth & Debra Montesano

Susan Sharfman Valerie Stoll SchwimmerEmily Tincher - in memory of Russ TincherDiane L. Wyatt

AnonymousGail BowerJohn FishKatharine FlynnLawrence GreenMarcia HodgesCarmen IannacconeJoel KarpEric LecaLewis Petrinovich

William PowersMasako ReynoldsTim & Heidi SandersSteven & Margaret SmithElise Thomas & Paul RadosevichAngela WesleyPaul WheelerDiane Williford

John Dale

AnonymousRose HealyKathleen Lawton & Dick ConteArt LazanoffSandra Marlowe - in memory of Dorothy Martin

Anonymous (5)Simone BrumisKay EskenaziNancy Geimer & Chris VanceJudy & James GillivanGirls’ Camp FamiliesJessica GonzalezJennifer JollyNicola Muscettola

Jayne NicholsMarilyn O’TooleKathleen RyanSusan SasakiRuth ShapiroStudents Rock FoundationDanielle & Gary WohlWomen’s Camp Families

AnonymousBayard & Nancy Allmond

Vince Lateano & Madeline Eastman

Stephen MasseyGerald PearlmanMichele Seville


trustees & staffBoaRd oF dIRectoRs

Susan Brand, Chairman

Tyler Johnston, Vice Chairman

Richard A. Lyons, Secretary

Neil Rudolph, Treasurer

Clifford Brown, Jr.

Charles Charnas

James Ellis

Jerry Fiddler

Rita Hargrave

Bertram Lubin

Susan Muscarella

Gregg Perloff

Jim Reynolds

M. David Sherrill

Kevin Whitman

Michael Yovino-Young

Michael Zaninovich

DIRECTORS EMERITUS

Denny Abrams

Sherie Friedlander

Sy Grossman

Vaughan Johnson

James J. Keefe

Larry Marcus

Ernie Mieger

Amy Orton

John Papini

Walter Riley

Danny Scher

ADVISORY BOARD

Tom Carr

Carole Davis

Paula Forney

Benny Green

Charles Hamilton

Richard Hindman

Stacey Hoffman

Mark Levine

Jason Olaine

Patricia Phillips

David Ring

Jayne Sanchez

Chuck Sher

Merrilee Trost

Wayne Wallace

Peter Williams

76 Call 510.845.5373

PROGRAM STAFF

Susan MuscarellaPresident and Dean of Instruction California Jazz Conservatory (CJC)

Rob EwingDirector, Jazzschool Community Music School

Laurie AntonioliChair, CJC Vocal ProgramDirector, Jazzschool Community Music School Vocal Program

Erik JekabsonDirector, Jazzschool Young Musicians Program

ADMINISTRATIVE STAFF

Dean MuenchDirector of Operations

Bill AronBusiness Manager

Jesse RimlerRegistrar and Custodian of Records, California Jazz Conservatory

Karen ShepherdDirector of Financial Aid California Jazz Conservatory

Joshua BirchData Manager; Systems Administrator

Sheryl Lynn ThomasMarketing Director

Max BrodyMarketing Assistant

Hollis AshbyCommunications Consultant

Mary D’OraziDevelopment Associate

Lauren AdamsDevelopment Consultant

Erika ObaProgram Coordinator

Alejandra Carrasco-Zanini, Eli Goldlink, Aaron Hipschman, Zachary Mondlick, Susana Pineda Operations Staff

Lee BrenkmanSound Technician

Robert Soper

Piano Technician

susan muscarella, erik jekabson,laurie antonioli, rob ewing

Instructions and applicationTo enroll in the JCMS Fall

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 79 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 JCMS 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 the JCMS 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.

Jcms faculty anD course scHeDulesGiven prestigious national and interna-

tional performance and/or lecture

opportunities that arise, Jazzschool

faculty, course offerings and/or class

schedules may be subject to change.

The Jazzschool makes every effort to

provide its students with the optimal

educational experience possible under

these or any other circumstances at

all times.

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.

78 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 P

24

Bancroft

Kittredge

UC Campus

580/80

2087

CALIFORNIA JAZZ CONSERVATORY: 2087 ADDISON ST. (ENTRANCE JUST WEST OF SHATTUCK) 79

Shattuck Ave

University Avenue

cJc Bookstore

a unique collection of offerings for. . .

musicians students teachers collectors

510.845.5373 ext. 1 1bookstore @ cjc.edu

Real Books Sher New Real Book, Volume 1, 2, 3Sher Real Easy Book, Volume 1, 2, 3Real Book, Volume 1, 2, 3 Vocal Real Book, Volume 1 and 2Standards Real BookLatin Real BookBest of Sher Music Real BooksAll-Jazz Real Book“Mini” and CD-ROM Real Books

Jazz education & MethodsJazz Piano Book, Mark LevineGraduated Soloing, Mimi FoxThe Evolving Bassist, Rufus ReidThree Note Voicings, Randy VincentPlay-A-Longs, Jamey Aebersold

theoRy & iMpRovisation texts

scales, patteRns & exeRcises

Books — RaRe, FiRst editionsMusic is My Mistress, Duke EllingtonTonight at Noon, Sue Graham MingusGood Morning Blues, Count BasieBird Lives!, Ross Russell

Books — new & usedThe Jazz Ear, Ben Ratliff Lush Life, David HajduMoving to Higher Ground, Wynton MarsalisThelonious Monk, Robin D. G. Kelley

poetRy, histoRy & cRiticisM

cds & dvdsBay Area Jazz Archives SeriesLarge selection of Fantasy, Riverside, Prestige — new and old stockFaculty, clinicians, and local artists

photogRaphy & Fine aRt

Mark LevineHal CrookDan Haerle

David BakerJoseph Viola Bill Dobbins

Jerry CokerDavid Liebman

Oliver NelsonNicolas Slonimsky

Al YoungIshmael ReedWhitney BalliettAshley Kahn

Leonard FeatherGary GiddinsEileen Southern

James KnoxLee Tanner

Jim StipovichDavid Belove

YOUR DRUMS, YOUR SOUND.

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