the zzschool - California Jazz Conservatory · 2019-08-19 · 9 Adult Performance Ensembles Jazzschool Performance Ensembles delve into a wide range of styles including jazz (standards,

azzschoolthe

at C A L I F O R N I A J A Z Z C O N S E R V A T O R Y

C L A S S E S • W O R K S H O P S • C O N C E R T S

2019 FALL CATALOG

INTRODUCTION

CJC Concert Series 2The California Jazz Conservatory 4The Jazzschool at CJC 6

ADULT PERFORMANCE ENSEMBLES

Jazz 8Funk 12Brazilian 12World 13Latin 13Blues 13

ADULT INSTRUMENTAL CLASSES

Piano and Keyboards 14Guitar 17Bass 19Drums and Percussion 20Saxophone 20

THEORY, IMPROVISATION AND COMPOSITION CLASSES

Theory 21Improvisation 21Composition 21

ADULT VOCAL CLASSES

Technique and Musicianship 22Performance 23 Ensemble Singing 26 Blues 27Latin 27

ADULT VOCAL CLASSES (continued)

Composition 28 Young Singers 28Vocal Mentor Program 29

ADULT VOCAL WORKSHOPS

Vocal Workshops 30

YOUNG MUSICIANS PROGRAM

Introduction 35Program Requirements 35Placement and Audition Requirements 36Large Performance Ensembles 37Small Performance Ensembles 40Voice 41

WORKSHOPS

For all instruments and voice 42

INFORMATION

Monterey Jazz Festival Partnership for Excellence in Jazz Performance and Education 38

Jazzschool Faculty 53Board and Staff 60Instructions and

Application Form 62Map 63Support 64

Contents

1

IMPORTANT INFORMATION

• Fall Performance Series takes place 12/9 – 12/15.

Many opportunities fill early, so sign up now! Visit cjc.edu for current information,

as schedules are subject to change. For the latest news from CJC, sign up for

our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu!

“The California Jazz Conservatory

is an exceptional institution, fostering the next generation

of artists and educators, many on the cutting edge,

performing, composing, teaching and touring

throughout the world.”

Dr.JeffDensonDeanofInstruction,CJC

Dr.JeffDensonisjust

oneofthereasonsthe

CaliforniaJazzConservatory

succeedsintransforming

musiciansintoartists.

Contactustolearnmore.

In a Musician, Out an Artist!

cjc.edu/[email protected]/

510.845.5373

CJC Concerts

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25 Fri 8pm Dann Zinn Band $20

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27 Fri 8pm Steven Bernstein's Millenial Territory Orchestra West $25

7 Sat 8pm Maria Volanté Blue Tango Project $20

6 Fri 8pm SoVoSo $20

10 Tues 7:30pm Jon Hatamiya $20/10 students

28 Sat 8pm Kate McGarry / Keith Ganz $20 w/special guest Julie Wolf

3*��Your�generous�donation�($10�suggested)�will�allow�us�to�continue�to�offer�these�presentations.�

17 Tues 7:30pm Scott Looney $20/10 students

14 Sat 8pm The Jolly Gibsons feat. Jean Fineberg $20

19 Sat 8pm Clairdee $30

8 Sun 4:30pm Blues Vocal Jam Free* 26 Sat 8pm Mary D'Orazi with Marcos Silva $20

In addition to CJC’s Weekend Concert Series featuring an eclectic mix of music on Friday and Saturday nights, we're pleased to present our Way Out West (WOW) Concert Series on Tuesdays @ 7:30 pm (made possible by generous support from Larry Dodge and Carol Shen) and the return of Electric Squeezebox Orchestra (CJC Resident Artists) for their weekly Sunday evening concerts, September 8 through November 24 (except 9/29 and 11/17).

Visit cjc.edu for information and tickets!

18 Fri 8pm "The Last Mambo" — a film by Rita Hargrave $18

27 Sun 4:30pm Vocal Jam Free*

12 Sat 8pm MCH Quartet $20

3 Tues 7:30pm Cory Wright $20/10 students

13 Fri 8pm Jenna & The Charmers $20

20 Fri 8pm Clif Payne & VCB $25 w/special guest Eve Marie Shahoian

21 Sat 8pm Emilio Solla & Bien Sur! $25 Made�possible�by�a�generous�contribution�by�Denny�Abrams


24 Tues 7:30pm Javier Santiago $20/10 students

11 Fri 8pm Amy X Neuburg: "None of Me" — $20 An evening of creative covers

6 Sun 4:30pm Blues Vocal Jam Free*

5 Sat 8pm Kim Nucci $20/15 students

4 Fri 8pm Michael O’Neill Quintet feat. Tony Lindsay $20

1 Fri 8pm Steve Erquiaga, Frank Martin & Dan Parenti Trio $20

2 Sat 8pm Mimi Fox: This Bird Still Flies— $25 An evening of solo artistry

3 Sun 4:30pm Blues Vocal Jam Free*

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8 Fri 8pm Terrie Odabi $20

9 Sat 8pm John Calloway Flute Odyssey $25

15 Fri 8pm Kai Eckhardt Resilience: Old Souls—New Music $20

16 Sat 8pm The Joshua Breakstone Trio feat.�Jeff Chambers and Jason Lewis $25

17 Sun 5:30pm Mike Zilber Big Band CD Release $30/$20 students

22 Fri 8pm Jason Levis "Joseph's Bones" $20

23 Sat 8pm Laurie Antonioli & The American Dreams Band $20


2–9 various days & times Jazzschool Student Performances Free* DE

C

6–8 various days & times CJC Student Performances� Free*

13–14 various days & times CJC Senior Projects $20

22 Sun 4pm TRUMPETSUPERGROUP $28

1 Tues 7:30pm Shoebox Collective $20/10 students

8 Tues 7:30pm Cornelius Boots $20/10 students

15 Tues 7:30pm Mandalaya $20/10 students

22 Tues 7:30pm Rob Sudduth $20/10 students

29 Tues 7:30pm Joel Behrman $20/10 students

5 Tues 7:30pm Flounder $20/10 students

12 Tues 7:30pm Jack Gates $20/10 students

19 Tues 7:30pm Karl Evangelista $20/10 students

KAI ECKHARDT MARY D'ORAZITERRIE ODABI MARCOS SILVA

20 Sun 4:30pm SFEMS — Bolivian Baroque: $25 Sacred Song from the Selva

MIMI FOX

29 Sun 4:30pm "Le Jazz Hot"— Quartet of the Hot Club of San Francisco $20

4 5

The California Jazz Conservatory

The California Jazz Conservatory honors

the contributions of past masters and

promotes artistic innovation, bringing

together a diverse music community to

develop practical skills, acquire artistic

sensibility, realize creative potential and

find artistic voice.

Founded as the Jazzschool in 1997 and

accredited by the National Association of

Schools of Music in 2009, the California

Jazz Conservatory offers two distinct

education programs:

The California Jazz Conservatory, a

postsecondary degree-granting program;

and The Jazzschool at CJC, a non degree-

granting community education program.

• The California Jazz Conservatory offers

the aspiring professional jazz musician

a 4-year Bachelor of Music degree in

Jazz Studies, based on a 100% jazz

relevant curriculum, taught by a faculty

of artists/educators who share a proven

track record of success in transforming

musicians into artists.

Our 2-year Associate of Arts degree in

Jazz Studies offers the same effective

faculty, teaching the same 100% jazz

relevant courses — the first two years of

our Bachelor program — with students

incurring half the cost and half the time

commitment to earn their degree.

• The Jazzschool at CJC offers a

year-round program of Classes,

Workshops, Camps and Intensives for

musicians of all ages and abilities.

The California Jazz Conservatory's CJC Concert Series offers a year-round array

of performances by students and profes-

sionals in our two intimate concert venues,

Rendon Hall and Hardymon Hall.

Our popular Jazzcaffè offers light fare

and a range of beers, wines and other

beverages year-round, while our CJC Bookstore provides a variety of jazz-

related books and merchandise.

Located in the heart of Berkeley's vibrant

Downtown Arts District, the California

Jazz Conservatory campus is easily

accessible by car and public transporta-

tion. The downtown Berkeley BART

station and AC Transit bus stops are

located within a block of campus. Public

parking is available in a nearby garage

and in metered street parking in the

neighborhood.

TheCaliforniaJazzConservatoryistheonlyindependent,

accreditedschoolinAmericacompletelydevoted

tothestudyandperformanceofjazz.

6 76 6

The Jazzschool offers instrumentalists

and vocalists Performance Ensembles/

Classes, as well as Workshops, Camps

and Intensives throughout the year,

including:

* Adult instrumental and vocal

Performance Ensembles/Classes

in fall, winter (10 weeks), spring

(9 weeks), and summer (6 weeks);

* Workshops on weekends throughout

the year;

* Youth instrumental and vocal Perfor–

mance Ensembles in fall, winter, spring

(9 weeks) and summer (6 weeks);

* Youth instrumental and vocal Summer

Camps and Intensives in summer

(1 – 2 weeks);

* Adult instrumental and vocal Camps

and Intensives throughout the year

(1 week).

Instrumental ClassesJazzschool instrumental classes provide

study of a specific instrument in a group

setting. Classes are available for saxophone,

piano/keyboard, guitar, bass and drums/

percussion. Instruction is available for

beginners (covering basic technique and

instrumental skills) and also for more

advanced players (focused on jazz style,

harmony, improvisation and more).

Vocal ClassesJazzschool vocal classes provide an

opportunity for singers at all levels to

improve style and technique in a group

setting. Performance classes are offered

in jazz, Latin, blues, R&B and pop genres.

Beginners, singers returning to music,

and more advanced vocalists can all find

classes appropriate for their interests.

Theory, Improvisation and CompositionThe Jazzschool offers a number of classes

covering areas of theory, improvisation, ear

training, composition and arranging, music

production, music business and more.

6

The Jazzschool at CJC

Ensembles and Classes(Audition�required�for�Ensembles)The Jazzschool offers a wide range

of Performance Ensembles and Classes

for beginning, intermediate and

advanced instrumentalists and vocalists.

Ensembles focus on a wide range of

styles including, but not limited to, jazz,

blues, funk, Afro-Caribbean and South

American music. Classes include

instrumental and vocal technique, music

theory, jazz improvisation and more.

Workshops (No�audition�required)The Jazzschool offers a variety of

Workshops throughout the year,

available in single sessions or as a

series. Workshops are taught by

professional artists/educators and

focus on specific approaches to

strengthening technical ability, under-

standing and applying theoretical

concepts to improvisation, and enhanc-

ing live performance skills, in addition

to other jazz-related topics.

Jazzschool Young Musicians Program(Placement�audition�required)The Jazzschool Young Musicians

Program offers a range of classes for

middle and high school students. Young

Musicians Program ensembles are

available for beginning, intermediate

and advanced instrumentalists. The

program includes small groups focused

on improvisation, and big bands that

delve into style and repertoire. Vocal

performance classes are also available.

Jazzschool Young Musicians Program

ensembles have repeatedly been

honored in the DownBeat�Magazine

student music awards and at presti-

gious jazz festivals, both here and

abroad.

Camps and Intensives (Audition�required)The Jazzschool offers Camps and Inten-

sives in the spring and summer in one- and

two-week sessions for adult and youth

instrumentalists and vocalists at all levels.

Faculty Jazzschool Classes, Ensembles, Workshops,

Camps, Intensives and other programs are

led by a distinguished faculty of profes-

sional musicians who have played with

some of the music world’s biggest names.

More importantly, our faculty consists of

musicians and vocalists who excel in

education, with a focus on teaching

students not just how to play, but how

to perform, transforming talented musi-

cians into recognized artists.

Enrollment Jazzschool class size is limited and many

classes — available on a first-come, first-

served basis — fill up quickly. We encour-

age you to register early and guarantee

your spot! You can enroll online at cjc.edu

or call 510.845.5373. An application form

also appears on page 63.

TheJazzschoolatCJCistheCaliforniaJazzConservatory'scommunity

musicschool,servingstudentsofallagesandlevelsforover20years.

9

Adult Performance Ensembles

JazzschoolPerformanceEnsembles

delveintoawiderangeofstyles

includingjazz(standards,hard-

bop,post-bop,fusion),Latinjazz,

Brazilian,blues,R&Bandfunk.

Ensemblesareavailablefor

instrumentalistsandvocalists

atthebeginning,intermediate

andadvancedlevels.Groups

rangeinsizefromthetriotothe

bigband.Aplacementaudition

isrequiredforallPerformance

Ensembles.

Auditions

Students are placed in

Performance Ensembles by

audition and requirements

may include playing a selected

jazz standard and sight

reading selected excerpts.

Drummers are asked to play

various grooves and solo;

bassists are asked to play

bass lines.

For more information please

contact Jazzschool Director

Rob Ewing at [email protected] or

510.845.5373 x14.

You can schedule an audition

online at cjc.edu.

JAZZ

BEGINNING JAZZ ENSEMBLEPut theory into practice by learning jazz

standards, while developing improvisation

and ensemble skills. For all instruments.

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

Section 1: Mondays 6:30 – 8 pmSection 2: Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks)�no�class�1�1/25Performance date: Monday 12/9Steve Erquiaga • $420

JAZZ STANDARDS FOR GIGS Develop the skills and repertoire needed

for typical jazz gigs through the study

and performance of common jazz styles

including swing, bossa, jazz waltz and

ballads. Instructor covers repertoire,

essential arranging concepts (intros,

endings, etc.), relevant jazz harmony and

tips for soloing. Prerequisites:�knowledge�of�basic�jazz�theory�and�ability�to�keep�time�and�read�music.�Some�previous�ensemble�experience.

Section 1: Mondays 6:30 – 8 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Performance date: Monday 12/9

Section 2: Thursdays 6:30 – 8 pm 9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12

Section 3: Saturdays 10 – 11:30 am

Section 4: Saturdays 11:45 am – 1:15 pm

Section 5: Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Performance date: Saturday 12/14Glenn Richman • $420

HARD-BOP ENSEMBLEStudy and perform music melding

bebop with R&B, gospel and the blues

as developed by mid-century masters

including Horace Silver, Art Blakey,

Cannonball Adderley, Miles Davis,

Jimmy Smith and others.

Thursdays 6:30 – 8 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12Dave Lefebvre • $420

MUSIC OF THE MASTERSDig into the music of John Coltrane,

Thelonious Monk, Wayne Shorter and

other jazz masters. Learn and internalize

a variety of essential grooves while

developing improvisation skills through

the rehearsal of challenging repertoire.

Section 1: Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Performance date: Monday 12/9

Section 2: Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12

Glenn Richman • $420

POST-BOP ENSEMBLEExplore the repertoire of Chick Corea, Joe

Henderson, Wayne Shorter, John Coltrane

and other post-bop jazz composers from

the 1960s to the present. Strong emphasis

placed on group communication and

interaction.

Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Steve Erquiaga • $420

2019 Fall Quarter / September 23 – December 14 / c jc.edu8

“You have a chance to study and hang a bit with some of the best musicians around. In addition, you get to do it in combo classes — and if you want to play jazz in a group, that's the way to learn how.”

11

MILES DAVIS/WAYNE SHORTER ENSEMBLEExplore the music of Miles Davis and

Wayne Shorter from the mid-60s through

the 80s. Repertoire is drawn from far-

reaching classic albums including Miles�Smiles, ESP,�Filles�de�Kilimanjaro, Speak�No�Evil, Bitches�Brew, In�a�Silent�Way,

Native�Dancer and Jack�Johnson. Strong

emphasis placed on group communication

and interaction.

Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Steve Erquiaga • $420

MIKE STERN newENSEMBLE An ensemble focusing on the composi-

tions of jazz/rock guitar icon Mike Stern.

Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Frank Martin • $420

PIANO TRIODevelop performance skills in the piano,

bass and drums trio format. Open to four

pianists and one drummer with accom-

paniment provided by a professional

upright bassist.

Section 1: Mondays 5 – 6:30 pm

Section 2: Mondays 6:45 – 8:15 pm

Section 3: Mondays 8:30 – 10 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Performance date: Monday 12/9Peter Horvath • $420

Section 4: Fridays 1:30 – 3 pm

Section 5: Fridays 3:30 – 5 pm9/27 – 12/6 (10 weeks) no�class�1�1/29Performance date: Friday 12/14Ben Stolorow • $420

HIP-HOP JAZZ ENSEMBLEFrom its roots in James Brown and 70s

jazz/soul, through Boom Bap, G-Funk and

J Dilla, we will explore the sample-based

music of Hip-Hop in a live band setting.

For all rhythm section instruments and

horns.

Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Steve Hogan • $420

FREE JAZZ ENSEMBLE: new THE MUSIC OF CHICAGO AVANT GARDE (1980 – 2010)The Free Jazz Ensemble is designed

for improvising musicians interested in

stretching the boundaries of harmony

and form. Each quarter the ensemble will

focus on the music of a particular master

musician. This fall, rather than focusing on

the work of a particular composer, we’ll be

focusing on a number of artists from the

fertile Chicago Avant Garde scene of the

last several decades.

Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12 Jason Levis • $420

ERQUIAGA ENSEMBLE 1 In this Ensemble 1 class, you'll work on

improvising over chord changes, playing

with good time and learn the other skills

needed to perform with other musicians.

Class emphasis is on standard mainstream

styles: blues, standards, swing, bebop,

ballads and bossa novas.

Tuesdays 4:30 – 6 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Steve Erquiaga • $420

ERQUIAGA ENSEMBLE 2This Ensemble 2 class focuses on

Performance date: Wednesday 12/11

slightly faster tempos and more involved

tunes! Unusual keys, uncommon tune

structures and more complex melodies

are presented along with standard

repertoire. Includes the music of Miles

Davis, Jobim, Art Blakey, Cal Tjader and

many 60s Blue Note–era artists. Original

compositions are encouraged!

Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10

Steve Erquiaga • $420

10

Adult Performance Ensembles Adult Performance Ensembles

peter horvath

2019 Fall Quarter / September 23 – December 14 / c jc.edusteve erquiaga

1312

BIG BANDThis 19-piece ensemble covers classic and

contemporary repertoire for big band.

Original compositions by ensemble

members are also workshopped and

performed. Full�3-quarter�commitment�required�(fall,�winter,�spring).

Thursdays 8:15 – 10:15 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12 Dave Lefebvre • $290

FUNK

FUNK ENSEMBLEFrom James Brown to Prince, Sly and the

Family Stone to Tower of Power, Stevie

Wonder to Earth, Wind & Fire, The Meters

to Herbie Hancock, we get down and

funky in this ensemble. Explore what it

takes to master the complexity of the funk

genre by breaking down the rhythmic

foundation of the groove, the feel, the

“pocket!” For all vocalists, horns and

rhythm section instruments.

Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12 Daniel Lucca Parenti • $420

BRAZILIAN

BRAZILIAN ENSEMBLEStudy and perform the classic and

contemporary Brazilian jazz repertoire of

Ivan Lins, Dori Caymmi, Toninho Horta,

Antonio Carlos Jobim and instructor

Marcos Silva. Vocalists welcome! Audition�with�Marcos�Silva�is�required.�

Section 1: Tuesdays 6:15 – 7:45 pm

Section 2: Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10

Section 3: Wednesdays 6 – 7:30 pm

Section 4: Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11

Section 5: Thursdays 1 – 2:30 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12

Marcos Silva • $420


WORLD

WORLD GROOVE ENSEMBLE: CARIBBEAN & LATIN AMERICANThis ensemble features the irresistibly

deep grooves of Jamaica, Trinidad, Haiti,

Colombia, Brazil, and other Latin Ameri-

can countries. Styles may include calypso/

soca, reggae, ska, cumbia, champeta,

reggaeton, and more. The ensemble may

play songs by classic artists such as

Calypso Rose, The Skatalites, Bob Marley,

Kassav’, and Boukman Eksperyans, as well

as tunes by newer artists such as Monsieur

Periné, Cimafunk, Bixiga 70, Mon Laferte,

and Lakou Mizik. Class members learn the

cultural context and rhythmic structure of

each tune. Emphasis is on developing the

groove, listening, and locking in with each

other. Open to vocalists and all instrumen-

talists. Prerequisites:�intermediate�instrumental�proficiency;�ability�to�read�charts�and�notation.

Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12Jennifer Jolly • $420

LATIN

SALSA ENSEMBLE 1Rehearse and perform classic salsa

repertoire including the music of Tito

Puente, Cal Tjader, Eddie Palmieri and

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

Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10David Belove • $420

SALSA ENSEMBLE 2Rehearse and perform more advanced

salsa repertoire. Vocalists interested in

parti cipating should sign up for Salsa Singing (see p. 27). The two courses work

together throughout the term developing

a full set of high energy dance music for

performance.

Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10David Belove • $420

BLUES

BLUES AND GROOVE ENSEMBLEThe Blues and Groove Ensemble offers

students an opportunity to choose from

a wide array of Blues and R&B, Funk,

Gospel, New Orleans and American Roots

styles to play with other musicians. We

work on getting the best grooves for each

player and improvising solos. One vocalist

welcome per class. Prerequisites:�Ability��to�play�basic�blues�chords�and�scales�in��all�keys.�Familiarity�with�blues�and�R&B�is�recommended.

Section 1: Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Performance date: Saturday 12/14

Section 2: Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�11/28Performance date: Saturday 12/14

Danny Caron and Anthony Paule • $420

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


1514

PIANO AND KEYBOARDS

PIANO 1 If you've ever wanted to play the piano,

now is your chance! Sign up for Piano 1 and you'll learn how to read music, play scales,

perform a piece, play duets, discover what

musical forms and keys are all about, read

a jazz chart and play ensemble music with

fellow students. No experience necessary.

Required texts: Mastering�Music�level�1A,

Piano�Town�Lessons�Level�1 (available at

the CJC Bookstore).

Saturdays 10 – 11:30 am9/28 – 12/7 (10 weeks) no�class�1�1/30Jeanne Walpole • $420

PIANO 2For those with some experience on keys,

Piano 2 picks up wherever you left off in

your pianistic pursuits and challenges you

to go farther with your musical endeavors.

Ensemble and solo music is selected to

match your own level and ability on the

piano. This class presents individual guidance

as well as group performance opportunities.

Required text: Bastien�Piano�for�Adults�II�(available at the CJC Bookstore).�Prerequi-sites:�Piano�1�or�equivalent�experience.�

Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Jeanne Walpole • $420

APPLIED KEYBOARD HARMONY Learn tonic-dominant chord progressions,

basic turnarounds and chord inversions

in all keys, while developing the ability

to play standard tunes using those basic

progressions in leadsheet format. This

course prepares students for Jazz Piano 1 and is recommended for pianists with a

classical background interested in breaking

free of the printed page and learning how

to interpret leadsheets as well as learning

how to improvise. Handouts provided.

Prerequisites:�basic�keyboard�knowledge.

Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Jeanne Walpole • $420

JAZZ PIANO 1 Learn to play jazz standards and the

12-bar blues through the study of jazz

chord voicings and improvisation tech-

niques. Required text: Jamey�Aebersold�Play-along�Vol.�54,�Maiden�Voyage.�Prereq-uisites:�basic�piano�proficiency,�knowledge�of�major�scales,�ability�to�play�root-position�major,�minor,�and�dominant�7th�chords�in��all�keys,�ability�to�read�treble�and�bass�clefs.

Mondays 6:30 – 8 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Bob Karty • $420

bob karty

JAZZ PIANO 2In this continuation of Jazz Piano 1, you'll

learn more advanced chord voicings and

soloing techniques, as well as standard

re-harmonization techniques.�Required

text: Jamey�Aebersold�Play-along�Vol.�54,�Maiden�Voyage�and The�Jazz�Piano�Book�by�Mark�Levine.�Prerequisites:�ability�to�play�3-note�voicings�with�proper�voice�leading�through�a�jazz�standard�(e.g.,�“All�The�Things�You�Are”�or�similar),�ability�to�improvise�on�a�12-bar�blues�in�time,�playing�3rds�and�7ths�in�the�left�hand.�An�audition�is�required;�please�call�510-845-5373�to�schedule�your�audition.

Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Bob Karty • $420

NEO-SOUL HARMONY& IMPROVISATION FOR KEYBOARDISTSHave you ever wondered how artists like

Erykah Badu, Robert Glasper and Moon-

child write their music? In this class you

will learn how to hear, analyze, improvise

and write your very own neo-soul tunes.

Over the course of 10 weeks, you’ll take a

deep dive into neo-soul/jazz harmony

through a series of ear training exercises,

harmonic analysis methods, improvisation

and chord scale usage techniques and

reharmonization & composition strategies,

ultimately composing your own neo-soul

chord progression or song by the end of

the course. Prerequisites:�basic�keyboard�proficiency�and�knowledge�of�chord�structures�(triads�and�7th�chords).�

Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Marcelino Quiroz • $420

GOSPEL PIANOAll keyboardists benefit from a familiarity

with gospel piano. Whether you play jazz,

R&B/soul, funk, or country, your music is

influenced by gospel music. In this class

you’ll learn a thumbnail history of gospel

styles; the most common piano grooves,

song forms, and chord progressions

and substitutions; some classic artists

and songs; and how gospel music is

integrated into secular piano styles.

Materials provided by instructor. Prerequi-sites:�familiarity�with�dominant�and�minor�7th�chords;�ability�to�read�treble�and��bass�clefs.

Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Jennifer Jolly • $420

Adult Instrumental Classes


16 17

THREE TUNES — new A JAZZ PIANO PRACTICUM

Through the process of learning and

improvising on three frequently played

jazz tunes, ranging from simple to more

complex, students will learn to apply

chord voicings (left hand and two-

handed) and improvisation techniques

(including modal and thematic soloing)

in a variety of settings, all while prioritizing

rhythm and melody. For intermediate-

level pianists.

Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Frank Martin • $420

PIANIST’S SURVIVAL GUIDE new SERIES: RHYTHM SECTION SKILLSKeyboardists often serve as members

of the “rhythm section,” the subset of a

band that provides the pulse, groove, and

harmonic underpinnings for the group as

a whole. This role requires specific skills

that solo pianists or “color/texture” key-

boardists may not be familiar with. This

class will develop your ability to: pick out

and hear the specific parts played by the

bass player, guitarist, and drummer; lock in

with the rest of the rhythm section; create

parts that complement the groove without

cluttering things up; and grow your stylistic

vocabulary so that you feel more confident

and appropriate on any given tune. This

class is suitable for players from beginning

through advanced and will draw on

repertoire from a wide variety of genres.

Materials provided by instructor.

Prerequisites:�Familiarity�with�triads��(and�basic�7ths�helpful);�basic�keyboard��and�reading�proficiency.

Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Jennifer Jolly • $420

GUITARBEGINNING GUITARIf you're interested in learning how to

play the guitar, this course will help you

develop a strong foundation in basic skills,

learning the essentials, including tuning

the guitar, finding notes and basic chords

on the fretboard, proper hand positions,

scale fingerings, simple songs, reading

music and more! Your instructor will

answer questions about equipment

selection (guitars, strings, amps, picks,

etc.). Required text: Modern�Guitar�Method��Vol.�One, Mel Bay (available at the CJC

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

Saturdays 10 – 11:30 am9/28 – 12/7 (10 weeks) no�class�1�1/30Danny Caron and Anthony Paule • $420

BLUES AND SWING GUITARYou'll learn chord voicings, fingerboard

harmony and single string soloing

techniques, with a variety of styles

covered, from the urban blues of B.B. King

and Albert Collins to the more complex

swing of Charlie Christian and Aaron

“T-Bone” Walker. We'll dive into alternate

chord cycles and rhythm playing, and we'll

work with transcriptions to develop strong

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

Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Danny Caron and Anthony Paule • $420

JAZZ GUITAR 1If you're a guitarist with a background

in another style and you're interested in

exploring jazz and blues, this course is

for you! You'll gain hands-on experience

playing jazz and blues while learning basic

jazz theory, scales, chords, arpeggios

and songs. You'll have fun while learning

and playing! Prerequisites:�two�years�playing�experience,�knowledge�of�major�and�pentatonic�scales�and�all�seventh�chords.

Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Jeff Massanari • $420

JAZZ GUITAR 2In this fun and fast-paced continuation of

the concepts explored in Jazz Guitar 1,

you'll dive into more complex harmonic

and melodic concepts, scales and chord

voicings, with lots of hands-on playing

time and personal guidance for everyone.

This course is designed for guitarists with

some jazz playing experience looking to

take their playing to the next level.

Prerequisites:�Jazz�Guitar�1�or�equivalent;�knowledge�of�scale�and�chord�theory�and�some�familiarity�with�jazz�repertoire.

Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Jeff Massanari • $420


“ Danny Caron is an excel- lent teacher, especially for beginners. His instruction is clear, concise and ener- getic. Most important, he motivated us to excel and move forward every week. He is the BEST.”


frank martin


1918

JAZZ GUITAR COMPINGThis hands-on course provides the

intermediate-to-advanced guitarist

with the tools, concepts and techniques

essential to creative and effective

contemporary comping.

Topics include:

• Comping over straight-ahead, bebop, modal, funk/fusion, ballads, contempo-rary jazz, Brazilian and Afro-Cuban styles of music

• Creative chord voicings — looking at the fingerboard and voicing chords in a more “pianistic” way; quartal harmony (clusters voiced in 4ths) in modal comping; the possibilities of dissonant intervals such as the minor 2nd; slash chords; tritone substitution; and upper-register chord voicings

• Rhythmic anticipation and syncopation: the “right” places to put chords in order to create “forward motion” comping in 3/4, 6/8 and odd meters.

Prerequisites:�knowledge�of�chord/scale�theory;�ability�to�play�major,�dominant��and�minor�seventh�chords�and�the�ii–V–I�progression�in�all�keys.

Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Steve Erquiaga • $420

BRAZILIAN GUITARLearn Brazilian music styles including

samba, baião, bossa nova and choro, and

the techniques used to play them. Primary

focus is on learning repertoire, while

developing the following areas: stylistically

appropriate comping rhythms, chord

melody playing, creating solo arrange-

ments, right hand finger-style techniques

and melodic soloing approaches.

Prerequisites:�ability�to�read�music�notation.

Sundays 2 – 3:30 pm9/29 – 12/8 (10 weeks) no�class�12/1Ricardo Peixoto • $420


MUSIC THEORY AND FRETBOARD KNOWLEDGE FOR GUITARLearn the basics of music theory as applied

to guitar, developing familiarity with the

fretboard through chord, scale and

arpeggio practice. Topics include:

• Overview of chord and scale types

and where they are located

• Chord progressions commonly

used in jazz and related styles

• Comping patterns

• Scale and arpeggio practice

in various positions

• Reading charts and standard

notation (treble clef)

• Transcribing music from recordings

• Basics of melodic improvisation

For students with some playing experience,

knowledge, and facility, who have never

seriously practiced or studied music theory

or the guitar fretboard. Prerequisites:�ability�to�play�basic�barre�chords�and�some�familiarity�with�playing�scales.�Students�should�bring�a�medium�or�heavy�flat�pick�and�be�ready�to�learn�how�to�use�it!

Mondays 6:30 – 8 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Danny Caron • $420

BASSBEGINNING BASSGet off to a strong start learning your

instrument in this class covering the

“bass”ics of what it takes to be an

effective bassist in any genre. From jazz

to funk and everything in between, this

class focuses on topics including right

and left-hand technique, finger dexterity,

neck memorization, the parts of the bass,

theory, reading, transcription and much

more! Perfect for new musicians as well as

seasoned instrumentalists with the desire

to learn more.�Prerequisites:�None.�Open�to�all!�Students�must�bring�a�bass�to�class.

Thursdays 6:30 – 8 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Daniel Lucca Parenti • $420

JAZZ BASSLearn a variety of essential techniques

for constructing strong jazz bass lines

on blues, jazz standards in 4/4 and 3/4,

modal tunes, rhythm changes, and ballads.

Techniques for soloing are also covered.

Perform bass lines in class each week with

piano accompaniment provided by the

instructor. Recommended for upright and

electric bassists interested in participating

in the Jazzschool’s ensemble program.

Prerequisites:�intermediate�technical�facility�and�some�ability�to�read�music.

Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Glenn Richman • $420


dan parenti


ricardo peixoto

20 21

DRUMS AND PERCUSSION

JAZZ DRUMMINGA hands-on course covering essential skills

for jazz drum set playing. Topics covered

include time and feel, jazz-specific

technique, idiomatic grooves, brush

playing, limb independence exercises,

soloing, song forms, and the drummer's

role within a jazz group. In addition to

written exercises, the class will study

listening examples featuring many of the

pioneers of jazz drumming. Recommended

for all drummers interested in developing

and refining the skills necessary to

become a well-rounded and in-demand

jazz drummer. Prerequisites:�functional�drumset�technique.

Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Jon Arkin • $420

SAXOPHONEBEGINNING SAXOPHONEAn introduction to the saxophone utilizing

simple ensemble arrangements to get a

head start on fingerings, sound production

and reading in a fun and musical way. All

saxophones are welcome! Prerequisites:�none,�for�complete�beginners.�Instructor�consultation�is�required.�Please�call�510.845.5373.

Mondays 6:30 – 8 pm9/23 – 12/2 (9 weeks) no�class�1�1/25Performance date: Monday 12/9Bill Aron • $380

THEORYINTRODUCTION TO MUSIC THEORYLearn the basic skills needed to begin any

serious study of music. Topics include:

music notation, time signatures, key

signatures, rhythmic training, major scales,

intervals, transposition, chord structure,

harmonic progression, ear training and

an introduction to musical form and

composition. Required text: Practical�Theory�Complete by Sandy Feldstein

(available at the CJC Bookstore).

Prerequisites:�None,�open�to�all��instrumentalists�and�vocalists.

Thursdays 6:30 – 8 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Jason Levis • $420

IMPROVISATIONBEGINNING JAZZ IMPROVISATIONA friendly, supportive atmosphere in

which to practice the basics of jazz

improvisation. Start with the blues, then

progress to jazz standards, learning

essential scales and chords, playing at

every session, trading licks, learning

patterns and building solos. Ideal for

classical players or anyone aspiring to

jam or perform with a jazz ensemble.

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

Thursdays 6:30 – 8 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Rob Ewing • $420

INTERMEDIATE JAZZ IMPROVISATIONThis course gives students a strong

foundation in the Great American

Songbook repertoire and the ability

to improvise over chord progressions with

correct notes and good phrasing. Several

compositions from the Great American

Songbook will be used as vehicles to study

basic chord structures, scale structures

and non-diatonic neighboring tones.

Emphasis is placed on utilization of basic

harmonic concepts, thereby turning

exercises into melody. A step-by-step

conceptual approach is used, and with

each new tune, a different concept is

added.

Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Glenn Richman • $420

COMPOSITION

SONGWRITINGExplore melody writing, basic harmony,

more adventurous chord progressions,

song form, rhyme schemes and the

instrumental component of songwriting

— all with the purpose of honing your

unique voice as a composer. Most impor-

tantly, develop two or three songs

to be workshopped and refined in real

time over the course of the term.

Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Rachel Efron • $420

Theory, Improvisation, CompositionAdult Instrumental Classes

jon arkin


22 23

TECHNIQUE ANDMUSICIANSHIP

APPLIED VOCAL TECHNIQUE: BUILDING REPERTOIREThis is a class for singers who want to

expand their repertoire while incorporat-

ing and applying best practices of vocal

technique. Each session will include

warm-ups and exercises designed to

maximize vocal range, flexibility, support,

dynamic control, and intonation. Instructor

will provide charts (in appropriate keys)

that students will select from a list of 100+

jazz standards and classics of rock/soul in

a variety of styles (swing, bossa, bebop,

funk, soul, Latin); students may also bring

their own charts. This class is not a

performance class but rather an opportu-

nity to workshop new material each week

while expanding and improving vocal

technique. Prerequisites:�Beginning�Jazz�Singing�and/or�Vocal�Technique�Essentials.

Thursdays 4:45 – 6:15pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Andrea Claburn • $420

VOCAL TECHNIQUELearn a variety of vocal exercises to

condition, strengthen, and keep your voice

healthy. We will learn about the founda-

tions of breath support and body align-

ment, and use technical exercises to

improve range, intonation, breath manage-

ment, and dynamic control. We will also

discuss how vowel formation, placement

and ability to change tone quality can

support your unique sound as a vocalist,

and directly apply these techniques to

songs you are working on. Applicable to

all contemporary vocal styles. Open to all!

Mondays 6:30 – 8 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Danielle Wertz • $420

MUSICIANSHIP FOR SINGERSThis class covers the essential skills singers

need in order to be confident members of

any ensemble, grounded in theoretical

understanding and embodied knowledge.

Topics covered will include how to read

through a chart, understand key signa-

tures, and communicate feels and tempos,

as well as an introduction to chords,

scales, and modes, sight-reading, and

beginning keyboard exercises.

Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Tatyana Dimitrova • $420

andrea claburn

Adult Vocal Classes

PERFORMANCE jazz

BEGINNING JAZZ SINGINGIn this class, students new to jazz will learn

to create a focused, relaxed, skilled and

authentic performance. The teacher will

introduce basic musicianship concepts as

well as warm-up exercises, understanding

and singing in different grooves, finding

suitable songs, ascertaining the correct key,

understanding the song form, preparing a

leadsheet, and creating a home practice

plan. A pianist joins the class halfway

through the quarter, and students will further

develop the songs by working on sub-text,

interpretation, communicating with the

accompanist, singing in different feels, and

setting up and counting off songs. This class

includes an end-of-quarter performance.

Section 1: Mondays 4:45 – 6:15pm9/23 – 12/2 (10 weeks) no class 11/25

Performance date: Monday 12/9Danielle Wertz • $420

Section 2: Thursdays 6:30 – 8pm9/26 – 12/5 (10 weeks) no class 11/28

Performance date: Thursday 12/12Cecilia Engelhart • $420

INTERMEDIATE JAZZ SINGINGThis class covers a range of jazz vocal

essentials including lyric interpretation,

style, rhythm, and feel. Students explore

improvisation and harmony in depth while

also learning to create their own arrange-

ments. The instructor will suggest

repertoire and help students find interest-

ing songs that are best suited for their

voice and ability. There will be a student

performance at the end of the term. Open

to students who have taken the Beginning Jazz Singing class or have approval from

the Chair or the instructor.

Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12Cecilia Engelhart • $420

FOR THE LOVE OF SINGINGThis popular class has been part of the

Jazzschool curriculum for years. It’s open

to all, from aspiring singers to former

vocalists who took a break to concentrate

on education, career or family, and now

long to return to singing. You’ll work with

a professional accompanist and receive

individual instruction aimed at eliminating

whatever hurdles keep you from singing

the songs you love with joy and confi-

dence. The class will also touch on mic

technique and basic performance skills, so

you’ll be well-prepared to perform a song

or two for the end-of-quarter recital. Music

is available, but you are encouraged to

bring in your own favorites.

Saturdays 10 – 11:30 am9/28 – 12/7 (10 weeks) no�class�1�1/30Performance date: Saturday 12/14Pamela Joy • $420

Forauditionsandmoreinformation

aboutourVocalprogramsplease

[email protected]

LaurieAntonioli,510.845.5373ext21


24

FOR STARTERS — JAZZ & BLUES SINGINGYou used to sing a lot but now find

yourself relegated to the shower and

in-the-car jam sessions. Or, you love to

sing, but feel terribly shy at the idea of

singing in public. Explore and release your

inner rock, jazz or blues vocalist in this

encouraging, safe environment. Designed

to give you confidence through group

singing, while also bolstering your

repertoire with individual song develop-

ment. Accompanist provided. No previous

experience required.

Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Pamela Rose • $420

25

JAZZ VOCAL STYLESFrom Billie Holiday and Sarah Vaughan to

Mark Murphy, Kurt Elling, Gretchen Parlato

and beyond, the various styles of jazz

singing cover a lot of territory. This class

explores several versions of the same jazz

standard as sung by a range of masterful

singers, both classic and contemporary.

Through learning a tune sung by four

master jazz vocalists, students will gain

new ideas to help develop their own

unique style of jazz singing. We will

explore, sing, and absorb the musical and

stylistic devices employed by these great

artists; and then, students will work on

their own songs, using what we have

learned to prepare a piece for the

end-of-quarter student performance.

Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Sandy Cressman • $420

CONTEMPORARY VOCAL STYLES Learn proper vocal technique (vocal

health, maintenance and developing

a practice routine) and apply these

approaches to singing in any style from

jazz to pop, rock, R&B, blues and beyond.

Class topics also include chart writing,

stage presence and microphone tech-

nique. This class culminates in an end-of-

quarter performance. Prerequisites:�none!��Open�to�all.�

Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks) no�class�1�1/25

Performance date: Monday 12/9Amanda Addleman • $420

azure mccall

THE IMPROVISING JAZZ SINGERStructured in a classic master class

format, this supportive, fun and adven-

turous course allows students to bring

in repertoire of their choice including

the Great American Songbook, bebop

and classic jazz tunes. The instructor will

coach vocalists on phrasing, interpreta-

tion, feel, improvisation and working with

a pianist in preparation for the end-of-

quarter student performance. During the

first class, students will learn how to get

their sheet music and songs together in

the proper key and format. Open to all!

Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Azure McCall • $420

LYRIC WRITING — A TOOLBOX FOR CREATIVITYThis course will provide students with

techniques and ideas to guide and inspire

them to produce innovative, original lyrics.

Formatted as a writer’s workshop–style

class, students will do in-class writing and

share their work with their classmates.

Whether you've never written a lyric or

have some experience and are looking for

inspiration and new ideas, it's guaranteed

that you will finish the term with new

material, translating into new repertoire!

Topics include: getting started; rhyming;

collaborating; differentiating between

poetry and lyrics; examining both univer-

sal and personal stories; and looking at

and employing some fun angles, exercises,

and perspectives. Students will write both

in class and outside of class with weekly

assignments. Please bring a notebook and

pens. Handwritten work is highly encour-

aged! Open to all!

California�Jazz�Conservatory�Vocal�Chair,�Laurie�Antonioli,�has�been�writing�and�recording�original�lyrics�for�over�30�years.�From�her�first�release�in�1985,�Soul Eyes,��to�her�2019�release,�The Constant Passage

of Time,�her�collaborations�with�iconic�jazz�composers�have�been�a�trademark�in�her�body�of�work.�She�values�the�craft�of�writing,�as�much�as�original�ideas�or�personal�stories,�and�has�developed�numerous�techniques�to�provoke�creativity�and�new�text.�This�has�informed�her�own�work�and�heightened�her�appreciation�of�the�skillful�lyrics�written�by�others�—�from�the�Great�American�Songbook�to�Joni�Mitchell�and�beyond.

Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks)�no�class�1�1/27Laurie Antonioli • $420


AdultVocalClasses AdultVocalClasses

pamela rose

AdultVocalClasses

26 27

AdultVocalClasses

THE SINGER AND THE SONGAll the best jazz singers are master

musicians and storytellers. This class will

focus on developing our skills as singers,

artists and song interpreters. Topics

include choosing the right song; using

various grooves, tempos and arrange-

ments; learning and memorizing the

melody and lyrics; phrasing; improvisation

skills; communicating with an accompa-

nist; and stage presence. In this supportive

and challenging environment, students

work on these skills and create arrange-

ments for songs, culminating in an

end-of-quarter performance. Weeks 2 and

3 include a professional accompanist,

while the last two classes and performance

include a full trio. For intermediate to

advanced singers. Prerequisites:�consent�of�instructor�—�telephone�consultation�required,�510.845.5373.

Sundays Noon – 3 pm11/3, 10, 17, 24, 12/8

Maye Cavallaro • $495

THE CONTEMPORARY JAZZ SINGER Focus on an array of creative jazz singing

skills including developing a unique

repertoire, communicating with the rhythm

section and creating arrangements on

the spot. Study phrasing, improvisation,

interpretation and work on developing a

personal sound. Rhythm section provided.

You are welcome to bring in songs of your

choice, write original lyrics or use material

provided by the instructor. Prerequisites:�consent�of�instructor�—�telephone�consul-tation�required.�Call�510-845-5373�for�more�information.

Section 1 Tuesdays 6:30 – 8 pm

Section 2 Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks)�no�class�1�1/26Performance date: Tuesday 12/10

Laurie Antonioli • $460

blues

BLUES VOCAL FUNSHOP 1 Feel like singing the blues? Blues is the

most primal, powerful part of your soul and

singing it is more fun than you can possibly

imagine. Students will explore the deep,

authentic singing strategies of great blues

singers from Jimmy Reed to Bonnie Raitt,

while developing blues repertoire. No prior

music experience necessary. Class is open

to both the novice singer looking for a

supportive, fun, instructive course, and to

the more experienced singer looking to gain

insight and control on the bandstand. Each

class is taught by Bay Area's own jazz/blues

diva Pamela Rose and accompanied by

legendary blues guitarist Danny Caron.

Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks)�no�class�1�1/27Performance date: Wednesday 12/11Pamela Rose • $420

BLUES AND GROOVE ENSEMBLEFor�description,�dates�and�times,�see�p.�13

Danny Caron and Anthony Paule • $420

BLUES VOCAL FUNSHOP 2 Great Blues WomenThe fierce, audacious voice of women

in the blues is a fascinating and often

overlooked piece of cultural history.

Instructor Pamela Rose (author of the

show "Blues is a Woman") will take

the students on a journey from before

Ma Rainey through Susan Tedeschi during

this 10-week course. Each student will

master one or two songs while expanding

their vocal chops and band leading skills.

Classes are accompanied by Danny Caron

on guitar, with rhythm section added last

few weeks.�Prerequisites:�Must�have�taken�Blues�Funshop�1�at�least�once,�and�get�permission�from�the�instructor.

Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks)�no�class�1�1/27Performance date: Wednesday 12/11Pamela Rose • $460

latin

SALSA SINGINGLearn the style, rhythm and technique of

salsa vocal music while learning to play

Latin hand-percussion instruments.

Instructor provides instruments like guiro,

maracas and claves to use each week. As

the term progresses, join forces with the

Salsa 2 instrumental ensemble (see page

13) as you work to develop a performance

set. Representative songs include “Tres

Días de Carnaval” (Celia Cruz), “La

Rebelión” (Joe Arroyo) and “Brujería”

(El Gran Combo). Prerequisites:�previous�singing�experience�or�basic�technique�training.�All�songs�are�in�Spanish�but�fluency�is�not�required�to�participate.

Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Edgardo Cambón • $420

ensemble singing

VOCAL JAZZ ENSEMBLESing full vocal ensemble arrangements

recorded by The Manhattan Transfer, The

Hi-Lo’s, Lambert, Hendricks & Ross and

more. Arrangements are hand-tailored to

the ability and interest of the ensemble

members. Repertoire includes a combina-

tion of a cappella and accompanied tunes.

Learn how to learn this music, with a little

bit of added history for fun. Rehearsal

tools are made available (including sound

files with individual parts as well as the

entire arrangement). Male and female

singers of all ages are welcome. Prerequi-sites:�some�vocal�experience�is�necessary,�either�in�choirs�or�solo�voice.

Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Angie Doctor • $420

2019 Fall Quarter / September 23 – December 14 / c jc.eduangie doctor

28 29

AdultVocalClasses

VOCAL MENTOR PROGRAM

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

Work through the process of presenting a full-length, public, professional-level

concert. Candidates work with their mentor over the course of three or four months,

preparing their concert by choosing songs, working out arrangements, deciding on

sequencing, and developing patter and stage presence. Lessons also include making

a budget, hiring and rehearsing musicians and developing a marketing plan.

Candidates will be most successful if they are advanced students who have some

performing experience in classes and workshops or in a professional environment.

A repertoire of 15 to 20 memorized songs in various styles is recommended. This is

a unique opportunity for singers to design a performance that reflects a personalized

artistic vision. Concert dates are available throughout the year.

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

This program also includes:

• A professional sound technician and quality live recording of your performance

• Staff at the door and on-site during the performance

• Guidance in marketing and promotion, including how to prepare publicity materials

• Inclusion in California Jazz Conservatory advertising, marketing and publicity

• A percentage of ticket sales

$850

Contact the Chair of the Vocal Program, Laurie Antonioli, for more information on how to

apply for this program: laurie @ cjc.edu.

CANTA BRASILThis class will explore various genres of

Brazilian songs, including samba, bossa

nova, choro, baião and frevo. We will learn

a song from each genre and its historical

and regional roots. We will study the

unique rhythmic feels and phrasing of each

genre, incorporating some simple percus-

sion instruments while preparing songs for

the end-of-quarter student performance.

Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Sandy Cressman • $420

BRAZILIAN ENSEMBLEFor�description,�dates�and�times,�see�p.�12Marcos Silva • $420

WORLD GROOVE ENSEMBLE: CARIBBEAN & LATIN AMERICANFor�description,�dates�and�times,�see�p.�13Jennifer Jolly • $420

funk

FUNK ENSEMBLEFor�description,�dates�and�times,�see�p.�12Daniel Lucca Parenti • $420

COMPOSITION

SONGWRITINGExplore melody writing, basic harmony,

more adventurous chord progressions,

song form, rhyme schemes and the

instrumental component of songwriting —

all with the purpose of honing your unique

voice as a composer. Most importantly,

develop two or three songs

to be workshopped and refined in real time

over the course of the term.

Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Rachel Efron • $420

YOUNG SINGERS

VOCAL PERFORMANCE FOR TEENS This class explores the essentials of vocal

performance including healthy vocal

technique, repertoire development, and

performance skills. Students are encour-

aged to bring in songs ranging from pop

and R&B to jazz standards and bebop.

The instructor can also recommend music

based on interest and level. Students learn

how to determine a comfortable key for a

song, count off a tune, and communicate

effectively with an accompanist. The class

culminates in a performance showcasing

material developed over the 10-week

session. All levels are welcome, for ages

12 – 18.

Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks)�no�class�1�1/27Performance date: Wednesday 12/11Danielle Wertz • $420

maye cavallaro

Adult Vocal Classes

VOCAL WORKSHOPS

CREATING A NEW PATH THROUGH THE GREAT AMERICAN SONGBOOKwith Kate McGarry and Keith Ganz

Through 15 years of performing and

teaching together, 2-time Grammy

nominees Kate McGarry and Keith Ganz

have created a set of engaging exercises

that make it easier for singers to hear

and navigate chord changes, develop

harmonic and rhythmic independence,

and become fluent in the language of jazz

as used by Ella Fitzgerald, Sarah Vaughan,

and Carmen McRae. You’ll come away with

new tools and a road map for developing

fluency and artistry as a jazz singer.

Sundays, September 15 and 22, 11 am – 4 pm$200 advance, $215 day of workshop

BOOKING YOUR OWN TOUR with Blue Tango Project For�full�description,�see�p.�42Sunday, September 8, Noon – 3 pm$50 advance, $65 day of workshop

AdultVocalCourses

31

AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES — Unsung Gems with Maye Cavallaro

The Great American Songbook is a

collection of tunes written from 1930–1950

and is a vital part of the repertoire of jazz

musicians. There are also many songs

written after 1950 that qualify as stan-

dards. In this workshop we’ll explore the

music of several different composers and

lyricists, and songs written after 1950.

We’ll also listen to how some jazz greats

have interpreted these songs and get

ideas for our own arrangements. Students

will be provided with 10 lead sheets for

songs including practice-backing tracks.

In the final week we’ll work with an

accompanist and sing these songs trying

out our own arrangement ideas. Expect

lots of singing for all 3 weeks!

Sundays, 9/29, 10/6, 10/13, Noon – 3 pm $300 advance, $315 day of workshop

GET DOWN WITH THE CATSwith Faye Carol

Master vocalist and founder of School

of the Getdown, The Dynamic Miss Faye

Carol presents Get Down with the Cats!

Learn songs written and performed by

The Cats: prominent folks in this music

we call jazz, like Thelonious Monk, Benny

Golson, Miles Davis, Abbey Lincoln, Dizzy

Gillespie and more. Study recordings of

vocal interpretations of The Cats' tunes

and bring a song of your choice to

develop. Learn the basics of scat (word-

less vocal improvisation) and listen to

Miss Faye's favorite recorded examples.

Enjoy accompaniment from Miss Faye's

pianist, Joe Warner.

Sunday, September 29, Noon – 4pm$100 advance, $115 day of workshop

kate mcgarry and keith ganz

AdultVocalWorkshops

CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTSwith Lee Brenkman

A workshop in survival skills to help

instrumentalists and singers get the best

results from their sound equipment — from

a single microphone to a complete sound

system — and how to successfully interact

with sound technicians at venues with

sound systems. Learn the tricks of the trade

from Lee Brenkman, one of the Bay Area’s

preeminent sound technicians, to get the

best sound on your gig. Topics covered

include the different types of microphones

and their functions, evaluating equipment

for purchase, and how to set up a small

sound system. Brenkman also addresses

how best to communicate with sound

technicians and making efficient use of

sound check time. This workshop is

attendee-driven — any and all questions

welcome!

Sunday, October 13, 11 am – 1 pm$30 advance, $45 day of workshop

AdultVocalWorkshops

faye carol

30 2019 Fall Quarter / September 23 – December 14 / c jc.edu

AdultVocalWorkshops

INSIDE THE LYRICSwith Ed Reed

Ed Reed has been singing since he was

a child. Now, at the age of 90, he has had

a lot of time to think about music and talk

about it with others! He released his first

recording at the age of 78 and continues

to work on new songs and new projects.

In this workshop, students will sing a

song of their choice with a professional

accompanist. Mr. Reed will guide them

through the art of interpreting a lyric.

Topics include pronunciation, breathing

and phrasing as suggested by the nature

of the lyric, as well as methods of commu-

nicating the story to highlight nuance

and irony. Singers of all levels are

welcome.

Sunday, October 6, Noon – 3pm$75 advance, $90 day of workshop

amy dabalos

ed reed

THE ART OF THE COVER SONGwith Amy Dabalos

Cover songs are everywhere. Audiences

and listeners alike are drawn to music they

recognize, especially when the artist puts

an exciting spin on it. Bridging the gap

between jazz, soul, R&B, and contempo-

rary vocal styles, Bay Area songstress

Amy D. has developed a formula that

works. A successful cover honors the

original song while bringing something

new. In this masterclass, students will

learn the difference between imperson-

ation and interpretation; identifying tools

that make a song one’s own. As a class,

we will listen to a song and reimagine it

in various styles with live accompaniment.

Students should also bring a song and

lead sheet of their choice to work on

individually. Open to all!

Sunday, November 3, Noon – 3 pm$50 advance, $65 day of workshop

THE BUSINESS OF GOOD PROMOTION AND BOOKING GIGS with Lilan Kane

A two-part workshop covering the essentials of creating a press kit, booking successful gigs and more.

Part 1: Creating a Press Kit

• What is a press kit and do you even

need one?

• How do I write a great bio?

• What is networking and why is it

essential?

• How do you brand yourself —

what is branding?

• How important is social media?

Part 2: How to Book a Successful Gig

• Approaching the venue

• Sealing the deal

• Creating your setlist and leading

an effective rehearsal

• Getting people to show up

• How to use that momentum to build

your fan base and online presence

Open to all instrumentalists and vocalists.

Sunday, October, 20 and 27, Noon – 3pm

$100 for both weeks advance purchase,

$115 day of workshop

Lilan�Kane�is�a�professional�vocalist�who�holds�a�degree�in�Music�Business�and�Management�from�Berklee�College�of�Music.�She�worked�and�interned�at�Atlantic�Records,�Jazz�at�Lincoln�Center,�Revive�Music�Group,�Upper�11�Records�&�Manage-ment,�Wide�Hive�Records,�and�ran�her�own�management�company�LK�Management�out�of�NYC.�In�2016,�she�created�and�launched�one�of�the�top�private�event�bands�in�the�San�Francisco�Bay�Area,�Hella�Fitzgerald,�employing�over�100�musicians�and�booking�events�and�musicians�from�SF�to�LA.�As�a�recording�and�performing�artist,�she�has�released�three�albums,�sold-out�local�venues�Yoshi’s�and�SFJAZZ�and�is�preparing�for�an�East�Coast�tour�this�fall.�She�is�passionate�about�educating�musicians�and�artists�on�how�to�under-stand�the�music�business�in�order�to�

further�their�careers.

lilan kane

33

Young Musicians Program

35

ALEXANDER TECHNIQUE FOR MUSICIANS with Laura KleinFor�full�description,�see�p.�46Sunday, October 20, 11 am – 1 pm$30 advance, $45 day of workshop

danielle wertz

34


TheJazzschoolYoungMusicians

Programisayear-round

comprehensivemusiceducation

andperformanceprogram

designedforinstrumentaland

vocalstudentsbetweentheages

of11and18.TheYoungMusicians

Programhasbeenatthecenter

oftheJazzschool’seducational

andartisticgoalssince1997.Its

curriculumprovidesstudents

withtheopportunitytowork

withprofessionaljazzartists

andeducators,strengthening

performanceskills,expanding

knowledgeofjazztheoryand

improvisation,andlearningmore

aboutthefoundationsofjazz

andrelatedstylesofmusic.

Studentsparticipateinafter-school

classesandinmasterclasseswith

nationallyknownjazzartists,as

wellasperforminginvenues

throughouttheSanFrancisco

BayAreaandbeyond.2019 PROGRAM REQUIREMENTS


ensembles require a commitment of three

quarters (fall, winter and spring). Students

unable to commit to a full school year are

still encouraged to audition; however,

priority will be given to those who can

remain in the program for the entire school

year. Students wishing to audition mid-year

will be placed in the program based on

availability of open spots in ensembles and

the student’s ability level. Please note that,

while it is our mission to find a place for

everyone in our Young Musicians Program,

we may not be able to accommodate all

students who apply.


erik jekabson

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

EVERYTHING YOU NEED TO KNOW ABOUT MAKING A LEAD SHEETwith Danielle Wertz

If you've spent any time singing with a pianist

or a full band, chances are you've handed

them some sort of sheet music.

But what happens when the music from your

book or online isn't in your key? What if you

have a clear intro and ending in mind but

that's not part of the lead sheet you've found?

What do you do when there's a whole extra

part for the pianist that a bass player wouldn't

need to see? In this workshop, we will learn

all of the essentials for making a simple, clear,

legible lead sheet. We will talk about what

instrumentalists look for in a helpful lead

sheet and what extra information often gets

in the way of clarity. For this workshop, we

will be making lead sheets by hand, so music

notation software is not required. Please bring

in one piece of music that you would like to

transform to lead sheet format throughout

the workshop. Open to all.

Sunday, October 27, Noon – 3 pm$30 advance, $45 day of workshop

“I loved being at the Jazzschool — seeing other musicians (and aspiring musicians) of all ages, hearing the sounds of jazz wafting through the space.”


36 37

PLACEMENT AND AUDITION REQUIREMENTS FALL 2019

AUDITION MATERIALSEntering musicians are asked to prepare

two skill-level appropriate jazz standards,

improvise over a 12-bar blues (optional) or

rhythm changes (for high school students

only) and sight-read.

HOW TO SCHEDULE AN AUDITION To schedule an audition, please apply

online at: cjc.edu/youth_auditions

After your application is received, you will

be contacted within 1 – 2 weeks with an

audition time. Auditions are scheduled on

a first-come, first-served basis and will be

scheduled at the earliest available time.

Students will be contacted with placement

information following the audition.

AUDITION DATESStudio Band August 17 – 18, 2019

Small Ensembles and Advanced High School Jazz Workshops August 24 – 25, 2019

AUDITION BY VIDEO (OPTIONAL) Students have the option of submitting an

online video audition rather than scheduling

an in-person audition. Students submitting

their audition online are still required to fill

out an online application at cjc.edu/youth_ auditions. On the application form, please

select video submission. Please note: online

video submissions are not available for the

Studio Band or Advanced High School

Jazz Workshops.

INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS

• Student should be clearly visible

and audible on the video.

• Perform two skill-level appropriate

jazz standards. Please state the name

of each piece before you play it.

• Download one of the two improvisation

tracks at cjc.edu/youth_auditions

for the improvisation portion of your

audition. Two choruses required.

• On the video, it is important that your

playing is heard louder than anything

else, including any accompanying tracks.

PIANO AND GUITAR PLAYERS Follow the above instructions with only

one change: after improvising, please

demonstrate comping/voicings on a

blues or rhythm changes.

DRUMMERSPlease demonstrate the following styles:

• swing, bossa nova, funk/rock

• Demonstrate each style at various

tempos (i.e., slow, medium, fast)

• On each style/tempo please “trade

fours” with yourself (4 bars of time,

4 bars of solo, etc.)

• Play at least 16 bars of each example

After you have completed your video,

upload your audition to YouTube and title

the video with your name (Example: John

Smith Jazzschool Audition). You should make

this a private video (unless you don’t mind it

being available to the public). Once the video

is uploaded, send a link to erik @cjc.edu. You may also upload the video to a private

website and email a link. Please do not

email audition videos as attachments.

For more information about the Jazzschool

Young Musicians Program placement process,

please visit cjc.edu/youth_auditions or

contact Program Director, Erik Jekabson,

[email protected] or 510.845.5373.

INSTRUMENTAL ENSEMBLES

High school and middle school

jazz ensembles are offered

Monday through Thursday in the

late afternoon and early evening

and during the day on Saturday.

While we make every effort to

accommodate scheduling requests,

specific placements are based on

the results of an audition.

large performance ensembles

STUDIO BANDDevelop technique, knowledge of jazz

style and an ability to improvise through

standard and contemporary big band

repertoire. This highly-selective ensemble

performs frequently and participates in

competitions throughout the U.S. The

Studio Band has played at Yoshi’s and

Savanna Jazz, as well as jazz festivals

in California, New York, Seattle, Idaho,

the Vienne Jazz Festival in France and the

Montreux Jazz Festival in Switzerland. Full

school year commitment is required.

Instrumentation: 5 saxes, 5 trumpets, 5

trombones, guitar, piano, bass and drums.

Mondays 6:30 – 8 pm9/23 – 12/2 (10 weeks) no class 1 1/25Dave Eshelman • $230

Please note that all ensemble

prices on pages 37 – 41 are

priced for the quarter.

dave eshelman

38 39


38 39

The Monterey Jazz Festival — California Jazz ConservatoryPartnership for Excellence

in Jazz Performance and Education

The California Jazz Conservatory is pleased to announce a new

“Partnership for Excellence in Jazz Performance and Education”

with The Monterey Jazz Festival ! We’re joining forces to form

a new long-term, collaborative program designed to

share our strengths, in pursuit of our mutual mission

to support and promote the art form of jazz.

The newly designated affiliation is a continuation of

the successful three-year relationship, established in 2017,

between CJC and MJF’s Next Generation Jazz Festival.

In addition to sharing our faculty knowledge and expertise,

the new partnership will share programs, marketing

and facilities on a long-term basis, as well

as providing year-round performance

opportunities for both organizations.

We welcome our new partners and we look forward to

working together with The Monterey Jazz Festival —

to the long-term benefit of jazz performance

and jazz education!

The California Jazz Conservatory is pleased to announce:

The Monterey Jazz Festival — California Jazz ConservatoryPartnership for Excellence

in Jazz Performance and Education

The California Jazz Conservatory is joining forces with the

Monterey Jazz Festival to form a long-term, collaborative effort

“The Monterey Jazz Festival-California Jazz Conservatory

Partnership for Excellence in Jazz Performance and Education.”

This new partnership is designed to utilize the two organizations’

respective strengths in pursuit of their shared mission to

support and promote the jazz art form.

A continuation of the successful three-year sponsorship

established in 2017, to support the annual Monterey Jazz Festival’s

Next Generation Jazz Festival, the two organizations will share

faculty and facilities, develop mutually beneficial marketing

initiatives and provide one another with performance

opportunities year-round.

The California Jazz Conservatory warmly welcomes this

new partnership and looks forward to working together with

the Monterey Jazz Festival to forward the performance

and education of America’s treasured art form, jazz.

38

The California Jazz Conservatory is pleased to announce:


40 41

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.

Participate in various competitions and

festivals.

Section 1: Mondays 4:45 – 6:15 pm9/23 – 12/2 (10 weeks) no class 1 1/25Michael Zilber • $420

Section 2: Mondays 4:45 – 6:15 pm9/23 – 12/2 (10 weeks) no class 1 1/25Colin Hogan • $420

MIDDLE SCHOOL JAZZ ENSEMBLE Learn to play jazz and improvise while

covering a wide repertoire from John

Coltrane, Sonny Rollins, Eddie Harris and

other jazz masters.

Section 1: Mondays 4:45 – 6:15 pm9/23 – 12/2 (10 weeks) no class 1 1/25Colin Hogan • $420

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

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

Section 4: Saturdays 11:45 am– 1:15 pm9/28 – 12/7 (10 weeks) no class 1 1/30Isaac Narell • $420

HIGH SCHOOL JAZZ ENSEMBLE Gain a greater understanding of jazz

theory and develop improvisation skills

through the study and performance of

challenging jazz repertoire.

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

Section 2: Mondays 6:30 – 8 pm 9/23 – 12/2 (10 weeks) no class 1 1/25Colin Hogan • $420



Section 3: Tuesdays 4:45 – 6:15 pm 9/18 – 11/27 (10 weeks) no class 11/20Charles Hamilton • $420

Section 4: Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks) no class 11/27Rob Ewing • $420

Section 5: Wednesdays 6:30 – 8 pm9/25– 12/4 (10 weeks) no class 11/27Rob Ewing • $420

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

Section 7: Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no class 1 1/30Colin Hogan • $420

Section 8: Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no class 1 1/30Darren Johnston • $420

HIGH SCHOOL FUNK ENSEMBLELearn the classic funk hits of James Brown,

Sly Stone and others. Vocalists and horns

welcome! Music is learned by ear. (Also open

to advanced middle-school musicians.)

Section 1: Saturdays 10 – 11:30 amSection 2: Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no class 1 1/30Jon Monahan • $420

VOICE

VOCAL PERFORMANCE FOR TEENSDelve into songs as a means of storytelling

while simultaneously developing a personal

connection to a lyric. All styles of music are

welcome and students are encouraged to

bring in songs of their choice. The instructor

can also suggest repertoire suitable for

individual students. Build vocal technique

through a variety of warm-up, ear-training

and musicianship exercises.

Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks) no class 11/27Danielle Wertz • $420

erika oba

4342

Workshops

BOOKING YOUR OWN TOUR with Blue Tango Project

It’s the dream of every musician to go out

on tour, connect with fans, conquer hearts

and souls and live the adventures that will

embellish the rest of our lives. Music was

meant to move but, as many find, the

obstacles to touring can become over-

whelming.

The Blue Tango Project — the soulful duo

comprised of Argentine Latin Grammy-

nominee María Volonté and harmonica

player Kevin Carrel Footer — shares the

nuts and bolts of the approach that has

kept them on the road for much of the

past 10 years and taken them from Boise

to Caracas to Kosovo and seen them

freely mix travel in chauffeured embassy

limousines with sleeping in Wal-Mart

parking lots.

Discover why you don’t have to be famous

to tour the world with your music but you

do have to be focused and smart and find

your niche. Learn why the first thing to

leave behind for successful touring is

your ego.

BILL EVANS — HIS LIFE AND MUSICwith Dave Thompson

An in-depth look at legendary jazz pianist

Bill Evans’ life and music. The workshop

will focus both on Bill’s compositions and

his harmonically rich approach to jazz

standards, with a hands-on approach to

provide clear insight into his composi-

tional talent and his remarkable ability

to create such profound harmonic and

melodic beauty. The workshop will also

take a probing look into Bill’s personal

life, with material gathered from many

of Bill’s contemporaries, friends, family

and colleagues. Dave Thompson has

spent time with, and has had conversa-

tions with many of the people intimately

involved with Bill during his life and career,

including Bill’s widow, Nenette Evans, and

Laurie Verchomin, with whom Bill lived

the last year of his life. Participants will be

provided extensive written materials as

a complement to the workshop.

Saturday, September 28, 3:15 – 5:15 pm$30 advance, $45 day of workshop

CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTSwith Lee Brenkman

A workshop in survival skills to help

instrumentalists and singers get the best

results from their sound equipment —

from a single microphone to a complete

sound system — and how to successfully

interact with sound technicians at venues

with sound systems. Learn the tricks of the

trade from Lee Brenkman, one of the Bay

Area’s preeminent sound technicians, to

get the best sound on your gig. Topics

covered include the different types of

microphones and their functions, evaluat-

ing equipment for purchase, and how to

set up a small sound system. Brenkman

also addresses how best to communicate

with sound technicians and making

efficient use of sound check time. This

workshop is attendee-driven — any and

all questions welcome!


JAZZ VOCAL WORKSHOP — AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES — Unsung Gems with Maye CavallaroFor full description, see p. 30Sundays, 9/29, 10/6, 10/13, Noon – 3 pm $300 advance, $315 day of workshop

JAZZ VOCAL WORKSHOP — INSIDE THE LYRICSwith Ed ReedFor full description, see p. 32Sunday, October 6, Noon – 3pm$75 advance, $90 day of workshop

Workshops

blue tango project

We don’t have all the answers, but we

have found a way that works for us and

has kept the adventure full of joy. Join us

for a 3-hour workshop where we will share

concrete advice (and some colorful

anecdotes) to help you take your music

where it wants to go.

Sunday, September 8, Noon – 3 pm$50 advance, $65 day of workshop

JAZZ VOCAL WORKSHOP — CREATING A NEW PATH THROUGH THE GREAT AMERICAN SONGBOOKwith Kate McGarry and Keith GanzFor full description, see p. 30Sundays, September 15 and 22, 11 am – 4 pm$200 advance, $215 day of workshop

JAZZ VOCAL WORKSHOP —GET DOWN WITH THE CATSwith Faye CarolFor full description, see p. 31

Sunday, September 29, Noon – 4 pm$100 advance, $115 day of workshop


44 45

HOW TO TALK TO DRUMMERSwith Alan Hall

Have you ever wondered, “What exactly

is a mambo groove?” or “What do I want

from the drummer exactly?” The drummer’s

role is slightly different than other players

in that we are expected to come up with

parts that often aren’t actually written

down anywhere. If we’re lucky enough to

get a lead sheet, we may come up with the

right groove for the person in charge of the

gig, but we might not. We are often given

vague directions like “It’s a Latin groove” or

“It’s a funk groove,” as opposed to a more

specific, “It’s a 3-2, 6/8 folkloric bembe

groove” or “It’s a half-time feel, straight 1/16

note type funk groove.”

Now’s your chance to freely ask questions

and hear and record examples of different

grooves performed and described by a

versatile professional drummer. Join

veteran drummer Alan Hall in this free-

wheeling and enlightening unlocking of

the often un-fathomable drummer’s mind.

Sunday, October 6, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

DIFFERENT SHADES OF JAZZ DRUMMINGwith Alan Hall

An exploration of the many different

schools of jazz drumming, from dixieland

to bebop to fusion to modal jazz to ECM to

odd times. What factors distinguish these

schools of playing from each other? We

look into many aspects of jazz drumming

including: cymbal tone and variation,

pattern vs. non-pattern based approaches,

floating time, broken time, ECM, hard bop

and early fusion versus contemporary

fusion. We will listen to and work through a

number of examples covering the range of

current approaches to jazz drumming.

Sunday, October 6, 2 – 4 pm$30 advance, $45 day of workshop

Workshops Workshops

BOOGIE WOOGIE WORKSHOP: WEST COAST BOOGIE — Pete Johnson and Hadda Brookswith Wendy DeWitt

Pete Johnson and Hadda Brooks both

recorded for the Bihari Brothers’ Modern

Records label in Los Angeles in the late

40s, after the initial popularity of Boogie

Woogie (triggered by the Spirituals to

Swing Carnegie Hall Concert, and lengthy

run of Pete, Albert Ammons and Meade Lux

Lewis at New York’s Café Society) began to

fade. We’ll look at two versions of “Swingin’

the Boogie.” Both Johnson and Brooks

recorded tunes with that title and both

have ended up being attributed to Hadda

Brooks. We’ll learn the left hand patterns,

right hand phrases, tricks on how to put

the hands together, and dissect the licks

and styles of each artist to fuel your own

improvisation. Participants will receive a

complete transcription. Recommended for

intermediate and above. Bring a recording

device, notebook, and writing implement.


dave meder

LIBERATING THE PIANIST’S LEFT HAND: Exercises for Coordinated Improvisation with Dave Meder

For countless students of jazz piano,

mastering the left hand remains one of

the most difficult and elusive aspects

of practice. How do you obtain a basic

left-hand technique? With so many

different styles, how do you practice them

or better yet, where do you start? This

workshop shows you a unified, singular

method for coordinating your left hand

with your right hand, giving you a set of

tools to practice a variety of left hand

styles, from the Harlem stride style of

Fats Waller and James P. Johnson, to the

Freddie Green style left hand of Erroll

Garner, to the contrapuntal left hand

techniques of Brad Mehldau and Fred

Hersch, and everything else in-between.

Through group exercises, you will also

develop a functional method for using the

left hand to interact with a rhythm section.

Even for non-pianists, this workshop will

help establish a broader rhythmic vocabu-

lary in your own improvisations.

Sunday, October 13, 11:30 am – 1:30 pm

$30 advance, $45 day of workshop

THE ART OF THE JAZZ DRUM SOLOwith Jon Arkin

This workshop, open to drummers of all

levels, will explore many aspects of drum

soloing in a jazz context. For beginners,

several basic concepts will be introduced,

such as the drummer’s role & responsi-

bility during a solo, understanding song

forms, trading, and solo vocabulary.

Intermediate & advanced topics will focus

on melodic approaches, thematic develop-

ment, dynamics & time feel, and the

ultimate goal of transcending technique

to be able to express one’s musical voice

without distraction. Listening examples

will be provided, featuring the soloing

approaches of some of the most histori-

cally influential jazz drummers.


“ Jon Arkin’s use of language, and his ability to explain otherwise elusive jazz drumming concepts is as dynamic as his voice on the drum set... He is a guru...”


4746

THE BUSINESS OF GOOD PROMOTION AND BOOKING GIGS with Lilan Kane

A two-part workshop covering the essentials of creating a press kit, booking successful gigs and more.

Part 1: Creating a Press Kit

• What is a press kit and do you even

need one?

• How do I write a great bio?

• What is networking and why is it

essential?

• How do you brand yourself —

what is branding?

• How important is social media?

Part 2: How to Book a Successful Gig

• Approaching the venue

• Sealing the deal

• Creating your setlist and leading

an effective rehearsal

• Getting people to show up

• How to use that momentum to build

your fan base and online presence

Open to all instrumentalists and vocalists.

Sunday, October, 20 and 27, Noon – 3pm$100 for both weeks advance purchase,

$115 day of workshop

Lilan Kane is a professional vocalist who holds a degree in Music Business and Management from Berklee College of Music. She worked and interned at Atlantic Records, Jazz at Lincoln Center, Revive Music Group, Upper 11 Records & Manage-ment, Wide Hive Records, and ran her own management company LK Management out of NYC. In 2016, she created and launched one of the top private event bands in the San Francisco Bay Area, Hella Fitzgerald, employing over 100 musicians and booking events and musicians from SF to LA. As a recording and performing artist, she has released three albums, sold-out local venues Yoshi’s and SFJAZZ and is preparing for an East Coast tour this fall. She is passionate about educating musicians and artists on how to under-stand the music business in order to further their careers.

ALEXANDER TECHNIQUE FOR MUSICIANS with Laura Klein

Playing an instrument or singing is a

complex process involving not just hands,

embouchure or voice, but your whole self.

Habits of tension and misuse can hinder

free musical expression. The Alexander

Technique is a powerful tool for preventing

injuries, improving overall ease, and

increasing poise in performance. This

method is taught at performing arts

institutions all over the world, and it can

be applied to any activity. In this introduc-

tory workshop, select participants will

receive demonstration hands-on work

with their instrument. Musicians of all

levels, from beginners to professionals,

are welcome.


CHORO — FROM TRADITIONAL TO MODERN with Duo Violão

Guitarists Rogério Souza (one of the

foremost representatives of the music of

Rio de Janeiro and pioneer of the Choro

Novo style and arranger for a widely used

choro songbook, Choro book Vol. 1) and

Edinho Gerber (a multi-cultural and

genre-crossing artist) have performed

together over the last five years as Duo

Violão, developing a truly unique sound

and approach to performing the music of

their home country. 2019 marks the

release of their first album, A História do Choro, where the duo joins forces with

Ami Molinelli, an American pandeiro player

and percussionist, to create Duo Violão + 1.

Their in-depth and interactive workshop,

developed over many years and presented

at numerous universities, covers the

rhythms and musical genres that helped

Choro become the greatest art form from

Brazil. From the pre-choro style, Lundu,

through Tango-Habanera, Polka, Maxixe

lilan kane

and culminating with Modern Choro

and Choro-Samba, the group traces the

evolution of the music in a clear and

effective way while giving a real sense of

its cultural impact and musical reverbera-

tions it created throughout the world.

Sunday, October 20, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

THE JAZZ PIANO STYLE OF WYNTON KELLYwith Omree Gal-Oz

In this workshop we’ll explore the vocabu-

lary of pianist Wynton Kelly — one of the

most well-known hard bop pianists and

sought-after accompanist for artists from

the mid-50s until the late 60s. First, we’ll

take a look at his voicings and then his

lines playing — specifically over the blues,

Autumn Leaves, and other standards.

The playing concepts considered in this

workshop will be highly applicable to

playing in a regular combo setting.


Workshops


Edinho Gerber and Rogério Souza

48 49

JAZZ GUITAR MASTER CLASSwith Steve Cardenas

Veteran New York-based guitarist Steve

Cardenas has enjoyed a career of creative

associations with many leading artists in

modern jazz as a member of the Paul

Motian Electric Bebop Band, Charlie

Haden Liberation Music Orchestra, the

Steve Swallow Quintet, and Joey Baron‘s

Killer Joey. Steve is currently a member of

Ben Allison and Think Free, John Patitucci

Electric Guitar Quartet, Jon Cowherd

Mercy Project and Adam Nussbaum Lead

Belly Project. He has toured extensively

throughout Europe, North and South

America, and Asia, performing at interna-

tional music festivals, theaters and clubs.

Steve also leads his own trio and has

released four recordings as a leader.

All jazz guitarists are invited to attend this

special master class where Cardenas will

share his approach to jazz guitar, working

with attendees on jazz standards and

other vehicles for improvisation in a duo

format.

Saturday, November 2, 3:15 – 5:15 pm$30 advance, $45 day of workshop

ben allison

RELEASING YOUR OWN ALBUM with Ben Allison

Called “one of today’s best young jazz

musicians” by the Boston Globe and

a “visionary composer, adventurous

improviser, and strong organizational force

on the New York City jazz scene” by

JazzTimes, Ben Allison has released 13

albums, all of which showcase Ben’s

forward-thinking vision as a bassist,

composer, arranger, producer and mixing

engineer, as well as his hands-on approach

to his craft. In this workshop, Ben will

share his approach to releasing an album.

Topics covered include: What is a record

label?; record production essentials;

distribution; marketing and ownership.

Supplemental hand-outs will be provided.

Saturday, November 2, 3:15 – 5:15 pm$30 advance, $45 day of workshop

steve cardenas

THE PIANO MAGIC OF DR. JOHNwith Jennifer Jolly

Dr. John was one of our great national

treasures: a pianist, singer, composer, and

keeper of the New Orleans cultural flame.

His music synthesized styles ranging from

the Great American songbook to Professor

Longhair. This workshop will demystify

and break down his playing into bite-sized

pieces that you can incorporate into your

own music. Handouts will include transcrip-

tions, listening guides, and suggestions for

further study. Prerequisites: basic piano proficiency and reading, familiarity with major and minor chords. Materials provided by instructor.

Jennifer Jolly teaches keyboard classes and ensembles (Caribbean/Latin American, African, New Orleans, mini malist, and improv) at The Jazzschool, clinics, camps, after-school programs, and her private studio. She currently performs with Pamela Rose’s “Blues is a Woman,” Jennifer Jolly & Friends, The Jolly Gibsons, Kotoja, Zulu Spear, Big B & His Snake Oil Saviors, The Bait & Switch Blues Band, Tom Rigney & Flambeau (sub), Chelle! and Friends (guest), and several other Bay Area groups. She accompanies choruses, churches, and musical theater productions on keyboards,

voice, melodica, and congas.

Sunday, November 3, 11:30 am – 1:30 pm

$30 advance, $45 day of workshop

jennifer jolly

JAZZ VOCAL WORKSHOP — EVERYTHING YOU NEED TO KNOW ABOUT MAKING A LEAD SHEETwith Danielle WertzFor full description, see p. 34Sunday, October 27, Noon – 3 pm$30 advance, $45 day of workshop

VOCAL WORKSHOP — THE ART OF THE COVER SONGwith Amy DabalosFor full description, see p. 32Sunday, November 3, Noon – 3 pm$50 advance, $65 day of workshop

Workshops

“Ms. Jolly is an exceptionally gifted teacher. Her love of the music is obvious and contagious. I would study anything she taught. ”


larry vuckovich

CELEBRATING THE LEGACY OF BRAZILIAN MUSICwith Larry Vuckovich

Master jazz pianist Larry Vuckovich had

the fortune of becoming acquainted with

the early forms of Brazilian music from

before the bossa nova movement came

on the scene. In the mid-50s, Larry was

introduced to the recordings of Laurindo

Almeida, who played a major role in the

pre–bossa nova movement and later

continued the Brazilian influence that

resulted in what became known as bossa

nova. Almeida knew and performed the

music of two important Brazilian jazz

masters: guitarist Garoto, and pianist

Radames Gnattali. Brazilian master

guitarist Garoto came to the United States

in the 40s with the vocalist/dancer

Carmen Miranda. After performances with

her in New York, Garoto would play late at

night at venues that attracted such greats

as Duke Ellington and Art Tatum, who

became his regular followers.

They were highly impressed by Garoto’s

virtuosity and were moved by this new

form of modern Brazilian music. Both

Garoto and Gnattali were ahead of their

time by combining modern jazz elements

with Brazilian ethnic music and creating

something fresh that paved the way for

the later bossa nova movement. Also in

the mid 50s, Larry became familiar with

Laurindo Almeida’s revolutionary recording

on Pacific Jazz — Brazilliance, that featured

alto saxophonist Bud Shank. This recording

anticipated the Bossa Nova movement that

came a few years later. The famous film

Black Orpheus in the later 50s introduced

compositions by Jobim and Luis Bonfa.

Larry will cover the origins of Brazilian

music from slavery to choro forms including

renowned composer Pixinguinha, one of

the most famous in the choro area, whose

original composition Carinhoso is one of

the most loved. This will be followed by the

new inventions of Garoto and Gnattali and

on to the bossa nova movement. This is a

first-time presentation at the CJC of this

great Brazilian legacy covering in detail all

the important steps of the music from

Brazil. Don’t miss this special presentation!

Sunday, November 10, Noon – 3 pm$30 advance, $45 day of workshop

50 2019 Fall Quarter / September 23 – December 14 / c jc.edu

BEYOND THE BLUES SCALEwith Anton Schwartz

Designed for players accustomed to using

a single scale for each song they impro-

vise over, this interactive workshop

introduces participants to the rich

experience of improvising over changing

harmony. The leap from jamming over a

chord or a blues scale to playing meaning-

fully over moving chords can be over-

whelming; this workshop breaks it down

through progressive exercises that allow

students to HEAR and FEEL the changes

of harmony, paving the way for students

to play over chord changes as a natural

expression of emotion rather than an

intellectual exercise. Participants learn to

improvise over a 12-bar blues like a jazz

musician, bringing out the unique sound

of each part of the blues form, rather than

treating it all as an undifferentiated whole.

Prerequisites: knowledge of major and minor scales and facility on a melodic instrument. Bring your instrument.

Sunday, November 10, 11 am – 4 pm$75 advance, $90 day of workshop

BLUES, I GOT RHYTHM AND THE DYNAMICS OF EXPRESSIONwith Joshua Breakstone

In this workshop, we’ll take a close look

at and play through several different

variations on the blues form including a

range of interesting twists. We’ll also look

at the “I Got Rhythm” progression and

explore and play through several varia-

tions on this ubiquitous form. Through it

all, we’ll discuss the hows and whys of

musical expression — phrasing, the use

of space, using and balancing a range of

note values. We’ll experiment with these

elements, each of which is so essential to

the dynamics of musical expression and

we’ll tie them into everything we’ll be

doing throughout the course of the

workshop. For all instruments.

Sunday, November 17, 11 am – 1 pm$30 advance, $45 day of workshop

joshua breakstone

Workshops

51anton schwartz

53

Jazzschool Faculty

Amanda Addleman (voice) B.M. Performance from Berklee College of Music. Student of Mili Bermejo-Greenspan, Ken Cervenka, Greg Hopkins, Maggie Scott, Lee Strawn & Tierney Sutton. Professional musician with past residencies at The Palace Hotel, Savanna Jazz Club and more. Vocal Program Director at Sir Francis Drake High School and private music educator and clinician.

Laurie Antonioli (voice) Studied at Mt. Hood College and Cal State Long Beach. Chair, Vocal Program, California Jazz Conservatory. Professor and Director of Vocal Jazz Department, Kug U., Graz, Austria. Private studies with Joe Henderson and Mark Murphy. Origin Records recording artist; Nabel Records recording artist; performed and recorded with George Cables, Bobby McFerrin, Richie Beirach, Pony Poindexter, Joe Bonner; bandleader of the American Dreams Band; led international group Foreign Affair; lyricist for Richie Beirach; co-creator of the Pauer— Antonioli Songbook. www.laurieantonioli.com

Jon Arkin (drums)B.M. in Jazz Performance, University of Miami School of Music (now Frost School of Music); has performed internationally with a wide variety of musicians including Lee Konitz, Gene Perla, Grady Tate, Ira Sullivan, Cuong Vu, Dayna Stephens, Taylor Eigsti, Julian Lage, Wil Blades, Vusi Mahlasela, Meklit Hadero, Karl Denson, Stew, Fareed Haque, and many others; longtime member of groups led by Nathan Clevenger, Ian Carey, Adam Shulman, Matthew Charles Heulitt; performs in various configurations with his self-designed electro- acoustic setup, including with the Schimscheimer Family Trio, Jordan Glenn, Rob Ewing, Kasey Knudsen, and Ben Goldberg; has taught classes/lessons/workshops at the CJC/JCMS, Stanford Jazz Workshop, UC Berkeley, Sonoma State U, Humboldt State U, and many other schools around the U.S. and Europe. www.jonarkin.net

Bill Aron (saxophone) M.M. in Performance, SF State; B.A. in Music UC Berkeley. Professional musician and music educator for 46 years; specializing in classical saxophone playing with the San Francisco Saxophone Quartet and San Francisco Symphony among others.

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 Conserva-tory of Music. Recorded or performed with Pete Escovedo, John Santos and The Machete Ensemble, Danilo Perez, Tito Puente, Francisco Aguabella, Rebeca Mauleon, Ray Obiedo, Marcos Silva, Joe Henderson, Max Roach, Blue Mitchell, Eddie Harris, Mark Levine, Pat Metheny, Larry Coryell and Zakir Hussain.

Edgardo Cambón (percussion, voice) Bandleader for 26 years of the renowned salsa band “Edgardo & Candela.” Toured throughout South America, Europe, and Africa since 1986. LP (Latin Percussion Co.) endorser. Performed or recorded with Jesús “Chucho” Valdés (Irakere), Eddie Palmieri, Carlos Santana, José Luis “Changuito” Quintana, Orestes Vilató, Salsa Romántica Stars Jerry Rivera and Eddie Santiago, Keith Terry and “Crosspulse,” Omar Sosa, Jeff Narell, Andy Narell, Sovosó (formerly Bobby McFerrin’s “Voicestra”) Mike Spiro, Karl Perazzo and Rebeca Mauleón. www.musicandela.com

laurie antonioli

2019 Fall Quarter / September 23 – December 14 / c jc.edu52

HOW TO PRACTICEwith Mimi Fox

A step-by-step system for organizing

practice time by covering the three

essential musical building blocks: melody,

harmony, and rhythm. Using songs as

the template we will cover application of

scales, arpeggios, chord voicings, rhythmic

concepts, and more to learn tunes in depth,

expand repertoire, and maximize/enhance

practice time. Open to all instrumentalists.

Sunday, November 17, 2 – 4 pm$30 advance, $45 day of workshop

mimi fox

Workshops

HOT CLUB JAZZ GUITARwith Paul Mehling

This workshop focuses on various aspects

of hot club-style jazz guitar in the tradition

of the legendary Django Reinhardt. Topics

include rhythm, picking, scales, arpeggios,

chords, soloing, and more. One-on-one

evaluation is available to all attendees,

with a directed jam at the conclusion of

the workshop (time permitting). Bring

your instrument, recording device (or

paper and pencil) and questions!

Sunday, November 24, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

THE METRONOME IS YOUR FRIENDwith Paul Mehling

Returning with his popular workshop for

musicians and singers of all levels, Mehling

demonstrates a range of practice tech-

niques making creative use of the metro-

nome. Improve your productivity and

increase your musicianship! Open to all.

Sunday, November 24, 2 – 4 pm$30 advance, $45 day of workshop

paul mehling

54 55

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; B.A. (High Honors, Humanities) University of California at Berkeley. Co-bandleader, Andrea Claburn/Jua Howard Group. Studied vocal technique and performance with Sandy Cressman, Laurie Antonioli, Raz Kennedy, Maye Cavallaro. www.andreaclaburn.com

Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Featured artist with Ray Obiedo’s Mistura Fina and Jai Uttal’s Pagan Love Orchestra. Studio vocalist for Latin and world jazz styles, recently featured on Bossa Nova Dreams with Akira Tana, Branford Marsalis and Arturo Sandoval. Heard on a wide variety of commercials and soundtracks. www.cressmanmusic.com

Tatyana Dimitrova (voice)Bachelor in Jazz Studies and Vocal Jazz Perfor-mance at CJC in process. Jazz teachers are Laurie Antonioli, Theo Bleckmann, Dann Zinn, Jeff Denson, Sandy Cressman, Maye Cavallaro, Raz Kennedy. Also studies with Indian vocalist Ranjana Gathak at the Ali Akbar College of Music as well as workshops with Pandit Uday Bhawalkar, Pandit Nyrmalya Alam Khan. Studied Sound and Music as Healing Arts program at CIIS in San Francisco. She currently studies Yoga of the Voice and Nada Yoga Teacher Training Program under the mentorship of Silvia Nakkach at Vox Mundi Project. Tatyana also studies with Rumen Sali Shopov on her native Bulgarian repertoire of traditional songs.

Angie Doctor (voice) Studied at Foothill College and Gonzaga University (B.A. Music Performance) with Phil Mattson (Foothill and Gonzaga), Terry Summa (Foothill), Tim Smith (Gonzaga). Founding member of the Grammy-nominated PM Singers with Phil Mattson. Performing and recording artist, studio singer, Vocal Jazz adjudicator and clinician, jazz and pop solo coach. Artist-in-residence at Ruth Asawa San Francisco School of the Arts High School, Vocal Jazz Choir. Performed with Bobby McFerrin, Don Shelton, The Hi-Lo’s, Barbara Morrison, The Manhattans, Heatwave, Deneice Williams, Barbara Lewis, GQ, Gene Chandler, Eddie Holman, Barbara Mason, Billy Paul. Founding member and lead singer for Clockwork, currently the Girl in The Bobs.

Jazzschool FacultyJazzschool Faculty

Rachel Efron (songwriting) B.A., Harvard U. (extensive coursework in both writing and music). Studied jazz piano with faculty at Berklee College of Music. Released three albums of original music and toured on both coasts. Bandleader of Rachel Efron Ensemble, which has performed locally at such venues as Yoshi’s, The Plush Room, The Independent, Freight & Salvage and Cafe Du Nord. www.rachelefron.com

Cecilia Engelhart (voice)Education: San Francisco Conservatory, Mannes College of Music. Has performed/recorded with a wide range of artists including: Ruben Blades, Theo Bleckmann, Willie Colon, Santi Debriano, Paquito D’Rivera, Rinde Eckert, Tania Libertad, Meredith Monk, Oscar Castro Neves, Mario Rivera, Michael Spiro, Keith Terry, Tamba Trio, Wayne Wallace etc. As composer and arranger with “Tanaora,” “Free Dive” and “Trio 3.” Classical performance includes SF Symphony Chorus,“Conjunto Nuevo Mundo” early music ensemble.

Steve Erquiaga (guitar)National and international recording and perform-ing artist; performed at Montreux Jazz Festival, Berlin Jazz Festival, North Sea Jazz Festival; performed with Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, David Byrne, Turtle Island String Quartet, Paulo Bellinati, Andy Narell, and Paul McCandless; founder, leader, Trio Paradiso; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.

Dave Eshelman (trombone)From 1984 to 2007, Dave Eshelman served as Director of Jazz Studies at California State University, East Bay (formerly Cal State Hayward). Eshelman has performed extensively with many jazz groups in the Bay Area and has worked as a featured soloist in the big bands of Ray Brown, Joe Henderson, Tito Puente and Gerald Wilson. Various artists across the United States and Europe — such as Joe Henderson, Don Ellis, Bill Watrous, and Stan Kenton, the Swedish Radio Orchestra and the Airmen of Note — have performed his composi-tions and arrangements.

Rob Ewing (trombone) Jazzschool Director. Jazzschool Summer Youth Program Director. B.A., Naropa U.; 2 years, Berklee College of Music. Leader of Disappear Incompletely — The Radiohead Project. Performances with STS9, Marcus Shelby Orchestra, Vinny Golia, Latin Giants of Jazz, Ray Vega, Wayne Wallace, Graham Connah, Joe Bagale, The Barr Brothers, Les Gwan Jupons, John Schott’s Typical Orchestra, Jazz Mafia Symphony, Oakland Active Orchestra, Half of Half, Leslie Helpert, Rebecca Griffin, Naytronix.

Mimi Fox (guitar)International recording/performing artist and five-time DownBeat Magazine International Critics Poll winner. Performed throughout Europe, Asia, the Caribbean and Australia. Festivals include Montreal, Monterey, Guinness Cork, Perth and North Wales International Jazz Guitar Festival. Adjunct professor of Jazz Studies at NYU; guest clinician/artist in residence at Alaska Jazz Workshop, Britt Music Festival, Brubeck Institute, Yale U., CalArts, Cornish College of the Arts, U. of Oregon, USC and Berklee College of Music; featured artist on Marian McPartland’s Piano Jazz on NPR; featured artist, Kennedy Center. Performed with Joey De Francesco, Charlie Byrd, Kenny Burrell, Branford Marsalis, David Sanchez, Stanley Jordan and countless others. www.mimifoxguitar.com

Raffi Garabedian (saxophone)B.F.A. in Jazz Performance, The New School, NYC. Performs with Brass Magic, Raffi Garabedian Blues Band, and many others. Studies with Dann Zinn, Dayna Stephens, Mark Turner, Tony Malaby, Chris Cheek, Ben Street, & Bill McHenry.

Charles Hamilton (trombone)Leader of the Berkeley High School Jazz Ensemble for 28 years. Has performed with Joe Henderson, Fred Berry, Karlton Hester, Khalil Shaheed, Marcus Shelby, and Babatunde Lea. Created the San Francisco Bay Jazz Band; at the invitation of the US State Department, he took them to Asia twice (Vietnam and China). Recently released “Charles Hamilton and Beyond: Mr Hamudah,” for Global Recording Artists. Currently directing the UC Santa Cruz Big Band. Received the National Foundation for the Advancement of the Arts “Distinguished Teacher in the Arts” Award.

raffi garabedian


Jazzschool Faculty

danny caron

Jazzschool Faculty

56 57

Jazzschool Faculty

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 Conservatory of Music, Budapest, Hungary; Vienna Conservatory of Music. Performed, toured, recorded with Victor Bailey Group, Bobby Hutcherson, Joe Henderson, Lalah Hathaway, Oakland Symphony, Bob Sheppard, Bennie Maupin, Richie Cole, Ray Obiedo, Lenny White, Randy Brecker, Marcus Miller, Bob Mintzer, Pee Wee Ellis, Arturo Sandoval, arranged and recorded for Aretha Franklin. www.peterhorvath.com

Erik Jekabson (trumpet) M.A. in Composition, SF Conservatory of Music; B. Mus. in Trumpet, Oberlin Conservatory of Music. Toured with John Mayer, Illinois Jacquet and Galactic, and has composed for film and dance projects. Released several albums as a leader. www.erikjekabson.com

Darren Johnston (trumpet)B.A. jazz performance — Cincinnati Conservatory of Music, M.A. composition — Mills College. Adjunct trumpet/jazz professor at UC Berkeley, private instructor at SF Community Music Center, Stanford Jazz Workshop. Performed/recorded with Fred Frith, Marcus Shelby, Myra Melford, ROVA Saxophone Quartet, Meklit Hadero, and many others. Has led United Brassworker’s Front, Nice Guy Trio, Darren Johnston Quintet (featuring Ben Goldberg and Sheldon Brown), Trans-Global People’s Chorus, Broken Shadows, and others.

Jennifer Jolly (keyboards) B.A. UC Berkeley. Keyboards and melodica, multi-instrumentalist, vocalist, composer/arranger, bandleader. Specialist in Americana, blues/R&B, New Orleans, rock’n’roll, Caribbean, and African roots music. Founder of Jennifer Jolly & Friends, co-founder of and composer for The Jolly Gibsons. Additional current projects include Pamela Rose’s touring theatrical concert “Blues is a Woman,” Zulu Spear, Kotoja, Tom Rigney & Flambeau (sub), Chelle! and Friends (guest), Bait & Switch Blues Band, Big B and His Snake Oil Saviors, The Party Monsters, The Linwood Chorus (accompanist), and the Creekside Community Church Worship Band. Previous credits include Phil Lesh, The Broken Angels, Hot Links, Barbara Dane, Rusty Zinn, two dozen theatrical productions, and numerous reggae, blues/New Orleans, singer/songwriter, and country bands; twenty-plus recording credits. Faculty instructor at The Jazzschool, Cazadero Family Camp, Jazzschool Women’s Jazz and Blues Camp, after-school programs, workshops, and private studio.

Pamela Joy (voice)Performed and recorded with some of the West Coast’s finest jazz musicians including pianists Mike Greensill, Art Khu, Ken Muir, John Mackay, Dana Atherton and Dr. Dee Spencer; bass players John Wiitala, Ruth Davies, Daniel Fabricant, Ron Belcher, Paul Breslin and Peter Barshay; guitarist Mimi Fox; and drummer Vince Lateano. San Francisco Bay Area Cabaret Competition Finalist and was invited to perform in the San Francisco Invitational Musicians’ Showcase Vocalist Series and The Jazzschool’s Emerging Artists Series.

pamela joy

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. ww.frankmartinproductions.com

Jeff Massanari (guitar) Four years performance and composition coursework at Berklee College of Music. Performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Appeared at the Umbria Jazz Festival, Beijing Conservatory, Davies Symphony Hall, Stern Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz Festival, San Jose Jazz Festival and Theatre Works. Taught at UC Berkeley, The Jazzschool, Redwood High, Bruce Forman’s Jazzmaster series, Jazz Camp West and Blue Bear School of Music.

Azure McCall (voice) Hawaii’s first lady of jazz is a multi-award winning vocalist. She is heir to the vocal tradition of Sarah Vaughan, Carmen McRae and Ella Fitzgerald. Her warmth and sense of humor fuel every interpreta-tion. After releasing her first CD, Body and Soul, she was asked by the great bassist Ray Brown to be his vocalist on tour. Of course, she accepted, beginning an incredible jazz journey — school was in! Soon after, Azure became the first singer to work with Freddie Hubbard’s band. Additional collaborators include Frank Morgan, Tennyson Stephens, Joe Lovano, Geoffrey Keezer, Curtis Lundy, Dizzy Gillespie and many more. In 2008, President Barack Obama asked her to perform at his pre-election party. “That’s why he won,” Azure says (smiling). Azure became the ‘jazz diva’ for Celebrity and Royal Caribbean Cruises. She has traveled to more than 50 countries.

Jon Monahan (guitar) Studied at SFSU School of Music, B.S. in Physiology from UC San Diego. Performance credits include Stevie Wonder, Roy Ayers, Mary Wilson, Lyrics Born, Gift of Gab, Digital Underground, Qbert, Fantastic Negrito, Jack Johnson, Rogue Wave, with performances at the Monterey, Montreal, Newport, Playboy and Kathmandu Jazz Festivals, and on TV at Jimmy Kimmel Live.

Lilan Kane (voice)B.M. Music Business and Management, Berklee College of Music (voice principal); faculty San Domenico School (Chorus, Rock Band, Songwriting); Founder of Own The Mic Summer Singing Camp; private vocal coach 12 years; Bandleader of Hella Fitzgerald; recording and performing artist; Featured performer at New Orleans French Quarter Festival, Fillmore Jazz Festival, Novato Art & Wine Festival, San Jose Winter Jazz Fest, Great American Music Hall, Sweetwater Music Hall, The Mint LA, the Whisky A Go-Go, among others. She has opened for Hall & Oates, Sharon Jones, Trombone Shorty, and Morgan James. www.lilankane.com

Bob Karty (piano) B.A., Biology, Reed College. Pianist, composer, recording engineer, producer. Performs with Ray Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Conjunto Karabalí (led by Michael Spiro & Santana percussionist Karl Perazzo). Founding member of Orquesta La Moderna Tradición, one of the few authentic charanga orchestras outside of Cuba, with whom he performed for over 15 years and recorded three albums. www.bobkarty.comin Europe, China, Japan, Mexico and Thailand.

Dave Le Febvre (saxophone) Recipient of an NEA Grant for Jazz Education. Dave has recorded 6 albums as a bandleader and has performed at many Bay Area Jazz Festivals and in Europe. Musicians who have recorded or performed in Dave’s group include Billy Childs, John Patitucci, Clay Jenkins, Dave Crigger, Eddie Marshall, Seward McCain and many others. Dave’s big band compositions have been performed by Freddie Hubbard, Richie Cole, and the BBC Big Band. www.jazzwest.com/davelefebvre

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


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Jazzschool Faculty

Susan Muscarella (piano)B.A. in Music Composition, UC Berkeley. Ph.D. candidate in Musicology, University of Évora, Portugal. Founder and Executive Director, California Jazz Conservatory, f/k/a Jazzschool Inc.; President and Dean of Instruction, California Jazz Conservatory. Director, UC Jazz Ensembles program 1984 – 89; composer, arranger and recording artist; performances at major clubs and festivals including Yoshi’s, Keystone Korner, Great American Music Hall and the Lighthouse, and Monterey, Berkeley and Concord Jazz Festivals; featured on Marian McPartland’s Piano Jazz on NPR; recipient of a 2008 “A Team” Award from the Jazz Journalists Association; member of the Board of Directors, Chamber Music America.

Isaac Narell (saxophone) B.F.A. from California Institute of the Arts. Performed with Karim Ziad, The WDR Big Band, Mokhtar Samba, Afia Mala, Thierry Fanfant, Andy Narell, Josh Jones, Jeff Narell, Jenna Mammina, Silvestre Martinez, Alfred Ladzekpo, Miguelito Martinez, The Southwest Michigan Symphony Orchestra, The Pacific Mambo Orchestra and The Electric Squeezebox Orchestra. Isaac has written arrangements for The Bordeaux Symphony Orchestra, The University of Trinidad and Tobago, The Metropole Orkest, Mizikopeyi Big Band and The Southwest Michigan Symphony Orchestra.

Erika Oba (piano, flute)M.A. in Music Composition, Mills College, B.M. in Jazz Piano Performance, Oberlin Conservatory. Composer, pianist/flutist, and educator based in the East Bay. Member of the Montclair Women’s Big Band, electro-jazz duo Rice Kings, Ends Meat’ Catastrophe Jazz Ensemble, and the Oba/Bastian duo. Erikaoba.com

Daniel Lucca Parenti (bass) Performance experience with many jazz legends including Rosemary Clooney, Michael Brecker, and Lionel Hampton. Has released six full-length original albums under his own name. Has performed with many well-known Bay Area artists including Tommy Igoe, Billy Johnson (Santana), Frank Martin (Narada Michael Walden), Joel Smith (Walter Hawkins) and Lorn Leber (Jerry Garcia Band).

Anthony Paule (guitar) A.A. Degree from CCSF. Has toured and/or recorded with Maria Muldaur, Boz Skaggs, Charlie Musselwhite, Barbara Lynn, Earl King, Big Jay McNeely, Johnny Adams and many others. Released three solo albums, “Big Guitar” and “Hiding In Plain Sight” and “You Don’t Know Nothing” the latter with soul singer Frank Bey. Has performed at festivals including Monterey Jazz, Umbria Jazz, San Francisco Blues, Mississippi Valley Blues, Du Maurier Jazz, Waterfront Blues, S.F. Jazz, Atlanta Olympic Games. www.anthonypaule.com

Clif Payne (voice)Evershift recording artist, international concert vocalist, and vocal coach, studied with David Baker at Indiana University and Speech Level Singing vocal technique with Chip Hand and Rober Burnley in LA. Recording projects include a collaboration with former Kurt Elling music director Laurence Hobgood. His debut solo album — Welcome To My World — was released In 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors, Harvey Mason.

Ricardo Peixoto (guitar) Native of Rio de Janeiro, graduated from Berklee College of Music, studied with Pat Metheny. Also studied classical guitar with George Sakellariou at SF Conservatory. Adventure Music recording artist, composer, arranger, has performed nationally and internationally with Claudia Villela, Terra Sul, Carlos Oliveira, Airto, Flora Purim, Guinga, Dori Caymmi, Bud Shank, Dom Um Romão, Claudio Roditi.

Marcelino Quiroz (piano) B.M. Film Scoring (’04), Berklee College of Music (piano principal), studied jazz piano performance with Joanne Brackeen; MRQ Productions, principal film composer/audio editor; Professional Musician, performing on piano, synth and Hammond B-3 regularly in the SF Bay Area in a variety of genres, including: jazz, funk, neo-soul, R&B, reggae and more; Private Piano Instructor/Certified K-6 Educator, 14 years experience teaching music theory to groups and individuals, ranging from beginner children to advanced-level adults; Musical Director/Bandleader, Mango Kingz (island reggae) and The Mars Express (neo-soul/cosmic gospel).

Jazzschool Faculty

Glenn Richman (bass) Mannes School of Music (1 yr); Berklee College of Music (2 yrs). Advisor, Jazzschool Bass Program; student of Buster Williams, George Mraz and Mike Longo; performed with Bobby Hutcherson, Jon Hendricks, Dave Liebman, Chet Baker, Benny Green, Dakota Staton, Chris Connor, Tom Harrell, Eddie Henderson, John Hicks, Mike Clark, Jack Wilkins, Billy Hart, Larry Willis, George Coleman and Mickey Roker; faculty, Brubeck Institute, UC Berkeley and Chabot College. www.glennrichman.com

Pamela Rose (voice) B.A., UC Berkeley. Jazz and blues vocalist, songwriter, recording artist. Recent performances include Monterey Jazz Festival, SFJAZZ, Grammy Foundation, Copenhagen Jazz Festival, Cal Performances. Featured on NPR’s “All Things Considered.” Her latest project “Wild Women of Song” (highlighting the work of women jazz and blues songwriters) has Rose touring, speaking and performing at universities and performing arts centers nation-wide, and resulted in the publication of a book on the topic. www.pamelarose.com

Marcos Silva (piano) Adviser, CJC Brazilian Program. National and international performing and recording artist, composer, arranger, producer, educator; performed with Leny Andrade, Emilio Santiago, Marcio Montarroyos, Jon Lucien, Claudio Roditi; Music Director, arranger, keyboards for Flora Purim, Airto, Toninho Horta, Paquito D’Rivera, Bud Shank, Ricardo Silveira, Dori Caymmi, Nana Caymmi, Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Silva and Intersection. www.marcossilva.com

Ben Stolorow (piano) B.A. in Music, UC Berkeley; Recipient, Hertz Traveling Fellowship from Berkeley to study jazz piano privately and at the Manhattan School of Music; studied in New York with Fred Hersch, Stanley Cowell, James Williams, and David Hazeltine; performed with Akira Tana, Craig Handy, Lorca Hart, Nasheet Waits, Danya Stephens, Andrew Speight, Vince Lateano, Bob Kenmotsu, Noel Jewkes, Michael O’Neill, and vocalist Kenny Washington; Also studied classical piano and the Taubman Technique. www.benstolorow.com

Jeanne Walpole (piano) M.A. in Music Theory, San Francisco State U.; M.A. Studies in Piano Manhattan School of Music; B.A., Smith College: studied with Dick Hindman 1990–2003; Pianist, Nordstrom.

Danielle Wertz (voice)B.M. in Studio Music and Jazz Vocal Performance, University of Miami’s Frost School of Music. Student of Dr. Kate Reid, John Hart, Craig Carothers and Dann Zinn. Former Jazz Vocal Director for youth jazz education program, Virginia Music Adventures. Clinician at Duke Ellington School of the Arts and Sonoma State University. 2015 Thelonious Monk International Jazz Vocals Competition Semi- Finalist, 2017 Ella Fitzgerald Competition runner-up, Inaugural Washington Women in Jazz Young Artist Competition Winner. Performed or recorded with Shelly Berg, Jamie Oehlers, Tal Cohen, CyrilleAimee, Bruce Hornsby and Gretchen Parlato. daniellewertz.com

Michael Zilber (saxophone) Ph.D. in Composition, NYU; M.M. in Composition, Tufts U.; B.Mus. in Composition, New England Conservatory. Currently co-leads a quartet with guitar great John Stowell, and is completing a recording project in New York with Mike Clark, James Genus and Rachel Z. Co-led a group with drumming legend Steve Smith for 8 years. Has performed, toured or recorded with everyone from Dave Liebman to Dizzy Gillespie, including Miroslav Vitous, Bob Berg, Eddie Henderson, Fareed Haque, Geoffrey Keezer, Donald Harrison, John Handy, Dave Douglas, Barry Finnerty, Bruce Barth, and Clarence Penn. www.michaelzilber.com

michael zilber


6160

Board and Staff


PROGRAM STAFF

Susan Muscarella

President and Dean of Instruction

Rob Ewing

Director, Jazzschool

Laurie Antonioli

Chair, CJC Vocal Program

Director, Jazzschool Vocal Program

Erik Jekabson

Director, Jazzschool Young

Musicians Program

Jayn Pettingill

Head Librarian

ADMINISTRATIVE STAFF

Bill AronBusiness Manager

Karen ShepherdDirector of Financial Aid

Jesse RimlerRegistrar and Custodian of Records

Zach MondlickDirector of Recruitment

Elizabeth M. WilliamsDirector of Philanthropy

Mary D’OraziDirector of Concert Programming, Philanthropy Associate

Paul FingeroteMarketing and Public Relations Director

Sheryl Lynn ThomasDigital Marketing Manager

Sheldon AlexanderMarketing Assistant

Julie BirchData Manager, Systems Administrator

Kim Nucci IT Systems Administrator, Technical Projects Director

Max Hodes Operations Director

Omree Gal-Oz, Michael Golds, Sam Priven, Alex Shapiro-Romano, Tom WeeksOperations Staff

Tatyana DimitrovaHouse Manager

Lee BrenkmanSound Technician

Robert SoperPiano Technician

Poulson Gluck DesignGraphic Design

Chris Hardy, Mike Melnyk Photographers

FALL 2019 CATALOG PRODUCTION

Cover Jesse Rimler, illustration

Design Poulson Gluck Design

Editorial Rob Ewing, Paul Fingerote, Elizabeth Williams

Photography Tatyana Dimitrova, Chris Hardy, Robin Kempster, Grason Littles, Hali McGrath, Mike Melnyk, Akida Thomas, and others

Photo Research Sheryl Lynn Thomas

Printing FolgerGraphics

Susan Muscarella, President and Dean of Instruction [email protected]

Rob Ewing, Director, [email protected]

Laurie Antonioli, Vocal ProgramChair [email protected]

Erik Jekabson, Director, Jazzschool Young Musicians [email protected]

BOARD OF DIRECTORS

Tyler Johnston, Chairman

Susan Brand, Vice Chairman

Richard A. Lyons, Secretary

Neil Rudolph, Treasurer

Steve Baker

Gordon Brooks

Clifford Brown, Jr.

Charles Charnas

James Ellis

Jerry Fiddler

Erle Flad

Rita Hargrave

John Moss

Susan Muscarella

Gregg Perloff

Jerry Povse

Jim Reynolds

M. David Sherrill

Eric Siegel

Judy Walters

Kevin Whitman

DIRECTORS EMERITUS

Denny Abrams

Sherie Friedlander

Sy Grossman

Vaughan Johnson

James J. Keefe

Bert Lubin

Larry Marcus

Ernie Mieger

Amy Orton

John Papini

Walter Riley

Danny Scher

Michael Zaninovich

ADVISORY BOARD

Anthony Brown

Tom Carr

Carole Davis

Paula Forney

Benny Green

Charles Hamilton

Stacey Hoffman

Mark Levine

Jason Olaine

Patricia Phillips

David Ring

Jayne Sanchez

Chuck Sher

Merrilee Trost

Wayne Wallace

Peter Williams

62 Call 510.845.537362 Call 510.845.5373

Instructions and Application

Enroll online at cjc.edu or call 510.845.5373

Please read instructions on facing page before completing application form.

Name (print) ____________________________ ____________________________________________

Address __________________________________________________________________________ Street City/State Zip

Home phone ( ___ ) _____________________ Work phone ( ____ ) ______________________

Cell phone ( ___ ) ________________________ Email __________________________________

Instrumentalist — list instrument(s) played and years studied/performed:

_____________________( ) _____________________( ) _________________________( )

Vocalist — years studied/performed: ____ new student ____ returning student

I will enroll in (list by class title; see class listings):

1. _____________________________________ 2. _____________________________________

3. _____________________________________ 4. ______________________________________

How did you hear about the Jazzschool? _____________________________________________

For courses requiring audition or consultations, please call the Jazzschool prior to submitting your application at 510.845.5373

Please enclose full tuition for all courses. Note: Enrollment cannot be guaranteed without full payment.

Charge my tuition to: ____ VISA ____ MasterCard ____ Discover

Card #_____________________________________________________ Exp. date _____________

3-digit security code ___________

Signature of cardholder ____________________________________________________________

Name as It appears on card _________________________________________________________

San Pablo Ave

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College Ave

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Channing

Durant

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Addison

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580/80

CALIFORNIA JAZZ CONSERVATORY: 2087 AND 2040 ADDISON STREET, JUST WEST OF SHATTUCK AVENUE, IN BERKELEY

Shattuck Ave

62 63

University Avenue

2087& 2040

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To enroll in the Jazzschool

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 63 and submit it along with full

tuition. Students may register online,

by phone (510.845.5373), mail, fax

(510.841.5373) or in person. Enrollment

is on a first-come, first-served basis

and cannot be guaranteed without full payment. Students applying for

courses that are full may be placed

on a waiting list. The Jazzschool

accepts checks (made payable to

California Jazz Conservatory), cash,

VISA, MasterCard or Discover.

Payment plans are available.

To register in courses requiring a consultation or audition please

call at 510.845.5373 for assistance

with placement.

PERFORMANCE ENSEMBLESAdmission is based on a confidential,

friendly 20-minute placement audition

to determine where students are best

suited to play or sing. Placement auditions

address students’ overall musicality,

technical ability, stylistic preference(s)

and availability.

Please fill out the online

ensemble application form

at cjc.edu/ensemble or call

the Jazzschool to schedule

an appointment (510.845.5373).

Please note: With the exception of the

Fall Quarter, students previously enrolled

in a performance ensemble have the

option of re-enrolling in that same course

again on a consecutive quarterly basis

within the academic year without having

to re-audition. New students wishing to

enroll in a performance ensemble in

winter, spring and/or summer quarters

must schedule a placement audition

or telephone consultation and will be

accepted on a parts-available basis.

JAZZSCHOOL FACULTY AND COURSE SCHEDULESGiven the vagaries of performing, lectur-

ing and travel incurred by our Faculty

members, Jazzschool courses, classes,

workshops and schedules are subject to

change. If this occurs, we will make every

effort to provide our students with an

optimal educational experience and

accommodate any changes caused by

unforeseen circumstances.

REFUND POLICYCourse and ensemble tuition includes a

$50 non-refundable deposit. Requests to

drop must be received in writing within 48

hours of the first class meeting to qualify

for a refund; please visit the main office or

e-mail [email protected] to request a refund.

Refunds for remaining tuition are not

possible after the 48-hour drop deadline.

$100 per week of camp and intensive

tuition is non-refundable; the remainder

is refundable only until 30 days prior

to the start of the program. Tuition for

workshops is non-refundable. No excep-

tions please! Please note: Refunds may

take up to 30 days to process. Please visit

cjc.edu/policies for more information.

64

Support a Unique Endeavor!

It’s not often one has the opportunity to support a truly

unique endeavor — the California Jazz Conservatory —

America’s only independent, accredited music school

dedicated solely to the study and performance of jazz.

This unique institution encompasses:

• California Jazz Conservatory, a degree-granting program

for aspiring professional musicians

• Jazzschool, a community music school for all ages

and levels

• Workshops, Classes, Camps and Intensives for adults

and youth

• Concerts showcasing students, faculty and visiting artists

Many individuals have supported this unique endeavor; join

them by making a gift to The CJC Fund, the Conservatory’s

annual fund. A gift to The CJC Fund can be made by credit

card or check:

• Telephone Mary D’Orazi, Philanthropy Associate, at

510.845.5373 x 19, to make a secure credit card donation

or

• Mail a check, payable to California Jazz Conservatory,

Inc., to 2087 Addison Street, Berkeley, CA 94704

Good News: A gift to The CJC Fund can be enhanced by

structuring it as a recurring gift, made by credit card, and/or

by having it be matched by your employer.

Thank you!

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Documents

the zzschool - California Jazz Conservatory · 2019-08-19 · 9 Adult Performance Ensembles Jazzschool Performance Ensembles delve into a wide range of styles including jazz (standards,