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2018 SUMMER CATALOG

INTRODUCTION

The California Jazz Conservatory 4

The Jazzschool 6

ADULT PERFORMANCE ENSEMBLES

Jazz 8

Latin 11

Brazilian 11

World 11

ADULT INSTRUMENTAL CLASSES

Piano and Keyboard 12

Guitar 15

Harmonica 16

Bass 16

Drums and Percussion 16

THEORY, IMPROVISATION, COMPOSITION

Theory and Improvisation 18

Composition 19

ADULT VOCAL CLASSES

Performance 20

Vocal Technique 24

Vocal Mentor Program 25

Vocal Workshops 26

JAZZSCHOOL YOUNG MUSICIANS PROGRAM

Introduction 34

Program Requirements 34

Placement and Audition Requirements 35

CJC Degree Programs 36

Summer Youth Ensembles 38

Fall Quarter Preview 39

WORKSHOPS

Vocal Workshops 26

General Workshops 41

JAZZSCHOOL CAMPS AND INTENSIVES

Summer Camps & Intensives Preview 49

Summer Youth Program 50

High School Jazz Intensive 51

Girls' Jazz & Blues Camp 52

Summer Vocal Intensive 53

Jazzschool Faculty 54

Board and Staff 60

Instructions and Application Form 62

Map 63

How You Can Help 64

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

SUMMER 2018 CATALOG PRODUCTION

Cover Jesse Rimler, illustration

Design Poulson Gluck Design

Editorial Rob Ewing, Laurie Antonioli,

Elizabeth Williams, Paul Fingerote

Photography Chris Hardy, Robin Kempster, Akida Thomas, Grason Littles and others

Photo research Sheryl Lynn Thomas

Printing FolgerGraphics

Contents

1

Welcome to a Jazzschool Summer,

With Over 100 Opportunities for You To Learn, Study, Perform and Enjoy Jazz!

Choose from 16 Adult Performance Ensembles, 38 Classes, 30 Workshops, 35 Concerts and more! Plus a 5-day Intensive Workshop for Vocalists

along with Camps, Classes, Ensembles and Intensives for kids!

Here's a quick guide to what's inside:

If you're looking for... See...

An Application Form Page 62

CJC Concert Series

Adult Performance Ensembles Page 8

Adult Instrumental Classes Page 12

Theory, Improv, Composition Page 18

Adult Vocal Classes Page 20

Vocal Mentor Program Page 25

Young Musician's Program Page 34

CJC Degree Programs Page 36

Workshops Page 41

Jazzschool Camps & Intensives Page 49

Summer Youth Program Page 50

High School Jazz Intensive Page 51

Girls' Jazz & Blues Camp Page 52

Summer Vocal Intensive Page 53

Faculty Page 54

Board and Staff Page 60

Map Page 63

Support Page 64

CJC Donors cjc.edu

Everything Else cjc.edu

New Classes / Workshops new

The Jazzschool Summer 2018

Calendar

2018 Jazzschool

Summer Quarter

July 9 – August 19

School Closure

July 4

Summer Performance

Series

August 20 – 26

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

Rob Ewing, Director, [email protected]

Hurry! Many opportunities fill early, so sign up now! Questions? Call us at 510.845.5373! Want the latest news? Sign up for our E-Newsletter and

monthly Postcard Calendar of Events at cjc.edu.

Laurie Antonioli, Vocal ProgramChair [email protected]

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

28 Fri 8pm Susan Muscarella Trio $25

17 Fri 8pm Rising Star — Noa Levy $15

29 Sun 4:30pm Jazzschool Youth Concerts Free*

SE

PT

29 Sat 8pm Ian Faquini — Brasileiro $20

9 Sun 4:30pm Blues Vocal Jam Free*

8 Sat 8pm Las Positas College Jazz Showcase $15

15 Sat 8pm The John Santos Quartet $20

EMY TSENG JOHN SANTOSYOUSSEF KHIARI

7 Sat 8pm Rising Star — Shavon Moore $15

14 Sat 8pm Rising Star — Isaiah Harwood $15

27 Fri 8pm High School Jazz Intensive Concert $10

13 Fri 8pm Rising Star — Helen Orzel & Hey Earl $15

20 Fri 8pm Rising Star — Julian Kucera $15

6 Fri 8pm Rising Star — Florio $15

22 Sun 4:30pm Vocal Jam $10

28 Sat 8pm Rising Star — Michael Echaniz $15

JU

LY

17–25 various times Jazzschool Student Performances Free*

21 Sat 8pm Rising Star — Clay Xavier $15

AU

G

3 Fri 6pm Girls’ Camp Concert (at The Freight & Salvage) Free*

HEY EARL SHAVON MOORE IAN FAQUINI

10 Fri 8pm Rising Star — Max Brody $15

11 Sat 8pm Vocal Intensive Student Concert $10

* Your generous donations allow us to offer these free presentations.

CJC ConcertsJoin us for Live Jazz in our Two Intimate Jazz Club Venues! Enjoy concerts by top name jazz artists, faculty members and students in our two intimate jazz club venues: Rendon Hall @ The California Jazz Conservatory and Hardymon Hall @ The Jazzschool.

We feature a weekly showcase by our Resident Artists, Electric Squeezebox Orchestra, every Sunday at 5:30 pm (supported by a generous donation from Larry Dodge and Carol Shen), with a different student group opening every week at 4:30 pm and a jazz jam starting at 7:30! (Concert: $15/$10 Students; Jam free of charge)

Plus “Jazz in the Neighborhood” presents a weekly showcase of local artists every Wednesday at 7:30 pm! ($20/$10 Students)

Check out our website (cjc.edu) for the latest updates!

18 Sat 8pm Rising Star — Zack Shubert $15

19 Sun 4:30pm Jazzschool Youth Summer Concerts Free*

24 Fri 8pm Rising Star — Youssef Khiari $15

25 Sat 8pm Rising Star — William Bohrer $15


7 Fri 8pm The Morchestra $20

14 Fri 8pm Sound Underground $15

21 Fri 8pm Peter & Will Anderson Trio $20

22 Sat 8pm Mordy Ferber Quartet $20


30 Sun 4:30pm SFEMS — Coro Ciconia $20

NOA LEVY

5 Sun 4:30pm Blues Vocal Jam Free*

1 Sun 2pm Whippoorwill Arts presents Festival of Americana Music featuring Keith Little and Molly Tuttle $40

4 Sat 8pm Rising Star — Emy Tseng $15

3

3 Fri 8pm Rising Star — Kevin Goldberg $15

Information and Tickets: cjc.edu/concerts

4 5

The California Jazz Conservatory

The California Jazz Conservatory is

the only independent, accredited

school in America completely

devoted to the study and

performance of jazz.

The California Jazz Conservatory honors

the 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, 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 with optional

concentrations in Brazilian Jazz, North

American Roots Music, and Audio

Production (in partnership with Fantasy

Studios);

Our 2-year Associate of Arts degree in

Jazz Studies offers the same effective

faculty, teaching the same 100% jazz

relevant courses at half the cost and

half the time commitment;

• The Jazzschool offers long-term

Classes, short-term Workshops,

and one- and two-week Camps and

Intensives for youths and adults.

In addition, the California Jazz Conserva-

tory's year-round CJC Concert Series offers

a wide array of performances by students

and professionals in our intimate concert

venues: our new Rendon Hall at the

California Jazz Conservatory (2040

Addison) and our long-established Hardy-

mon Hall at the Jazzschool (2087 Addison)

in which you'll find our popular Jazzcaffè,

offering light fare and a range of beers,

wines and other beverages year-round.

Located in the heart of Berkeley's vibrant

Downtown Arts District, the California

Jazz Conservatory campus is easily

accessible by car and public transportation.

The downtown Berkeley BART station and

AC Transit bus stops are located within a

block of campus. Public parking is available

in nearby garages, in addition to metered

street parking available throughout the

neighborhood.

6 766

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

of long-term 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

short-term 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, understanding and

applying theoretical concepts to

improvisation, and enhancing 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

prestigious 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 musicians

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 62.

The Jazzschool is the California

Jazz Conservatory's community

music school, serving students of

all ages and levels for over 20 years.

The Jazzschool offers instrumentalists

and vocalists long-term Performance

Ensembles/Classes, as well as short-term

Workshops, Camps and Intensives

throughout the year, including:

* Adult instrumental and vocal

Performance Ensembles/Classes in

fall, winter and spring (10 weeks),

and summer (6 weeks);

* Short-term Workshops on weekends

throughout the year;

* Youth instrumental and vocal Perfor–

mance Ensembles in fall, winter, spring

(10 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,

harmonica, 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

2018 Summer Quarter / July 9 – August 19 / cjc.edu

98

Adult Performance Ensembles

Jazzschool Performance Ensembles

delve into a wide range of styles

including jazz (standards, hard

bop, post-bop, fusion), Latin jazz,

Brazilian, blues, R&B and funk.

Ensembles are available for

instrumentalists and vocalists

at the beginning, intermediate

and advanced levels. Groups

range in size from the trio to the

big band. A placement audition

is required for all Performance

Ensembles.

AuditionsStudents are placed in Performance

Ensembles by audition and require–

ments may include the following:

Playing selected scales; playing and/

or improvising over a piece of your

choice; improvising over a 12-bar

blues or other pieces provided at

the audition; and sight-reading.

Drummers are asked to play various

grooves and solo; bassists are

asked to play bass lines. For more

information please contact 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 pm7/9 – 8/13 (6 weeks)

Steve Erquiaga • $280

Section 3: Thursdays 6:30 – 8 pm 7/12 – 8/16 (6 weeks)

Rob Ewing • $280

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: Tuesdays 6:30 – 8 pm7/10 – 8/14 (6 weeks)

Section 2: Thursdays 6:30 – 8 pm7/12 – 8/16 (6 weeks)

Section 3: Saturdays 10 – 11:30 am

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

Section 5: Saturdays 1:30 – 3 pm7/14 – 8/18 (6 weeks)

Glenn Richman • $280

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 pm7/12 – 8/16 (6 weeks)

Dave Lefebvre • $280

SOUL JAZZ ENSEMBLEAn intermediate ensemble that delves into

the groove-based repertoire of Lee

Morgan, Cannonball Adderley, Eddie

Harris, George Benson and others. Starting

in the mid-60s, these musicians combined

the popular vocabulary of funk, boogaloo

and bossa nova with stripped-down

harmonic progressions drawn from gospel

and the blues — linking them together

with memorable instrumental melodies.

Repertoire includes “The Sidewinder”

(Lee Morgan), “Mercy, Mercy, Mercy” (Joe

Zawinul) and “Listen Here” (Eddie Harris).

Thursdays 8:15 – 9:45 pm7/12 – 8/16 (6 weeks)

Dave Lefebvre • $280

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 pm7/9 – 8/13 (6 weeks)

Section 2: Thursdays 8:15 – 9:45 pm7/12 – 8/16 (6 weeks)


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 pm7/11 – 8/15 (6 weeks)


CHARLIE PARKER ENSEMBLE This ensemble focuses on the bop-era

defining compositions and style of Charlie

Parker, one of the most influential jazz

saxophonists and improvisers. The instructor

also provides insight into some of the

characteristic improvisational approaches of

Charlie Parker and other bebop innovators.


Kasey Knudsen • $280


1110

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 pm7/10 – 8/14 (6 weeks)

David Belove • $280

SALSA ENSEMBLE 2Rehearse and perform more advanced

salsa repertoire. Vocalists interested in

participating should sign up for Salsa

Singing (see p. 24). The two courses work

together throughout the term developing

a full set of high energy dance music for

performance.

Tuesdays 8:15 – 9:45 pm7/10 – 8/14 (6 weeks)

David Belove • $280

ERQUIAGA ENSEMBLE 2This Ensemble 2 class focuses on slightly

faster tempos and more involved

tunes! Unusual keys, uncommon tune

structures and more complex melodies

are presented along with standard

repertoire. Includes the music of Miles

Davis, Jobim, Art Blakey, Cal Tjader

and many 60s Blue Note–era artists.

Original compositions are encouraged!



FREE JAZZ ENSEMBLE: THE MUSIC OF STEVE LACYIf you're a musician interested in stretching

the boundaries of harmony and form, join

us for the Free Jazz Ensemble, as we focus

on the music and improvisational concepts

of a variety of master musicians each

quarter. This summer, we explore the work

of saxophonist/composer Steve Lacy.


Jason Levis • $280

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 pm7/9 – 8/13 (6 weeks)

Peter Horvath • $300

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. Call 510.845.5373 to schedule your audition.

Section 1: Tuesdays 6:15 – 7:45 pm

Section 2: Tuesdays 8:15 – 9:45 pm7/10 – 8/14 (6 weeks)

Section 3: Wednesdays 6:30 – 8 pm

Section 4: Wednesdays 8:15 – 9:45 pm7/11 – 8/15 (6 weeks)

Section 5: Thursdays 1 – 2:30 pm7/12 – 8/16 (6 weeks)

Marcos Silva • $280

WORLD

WORLD GROOVE ENSEMBLE: SUMMER SPECIAL The special summer edition of the World

Groove Ensemble takes students on a

global journey to rhythm-based music

from a variety of cultures. Genres may

include Caribbean, African, bhangra,

choro, contra dance, honky-tonk, Turkish

pop, norteno, Cajun/zydeco, New Orleans,

or other styles. Open to all instruments

and vocalists. Prerequisites: intermediate ability to read charts and standard notation. Materials provided by instructor.


Jennifer Jolly • $280

Adult Performance Ensembles Adult Performance Ensembles

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 pm7/11 – 8/15 (6 weeks)


ERQUIAGA ENSEMBLE 1 In this Ensemble l 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.



2018 Summer Quarter / July 9 – August 19 / cjc.edusteve erquiaga

jennifer jolly

1312

PIANO AND KEYBOARD

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 am7/14 – 8/18 (6 weeks)

Jeanne Walpole • $280

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 Book 2 (available at the CJC

Bookstore). Prerequisites: Piano 1 or equivalent experience.

Saturdays 11:45 am – 1:15 pm7/14 – 8/18 (6 weeks)


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 pm7/14 – 8/18 (6 weeks)


JAZZ PIANO CHORD VOICINGS (FOR PIANISTS AND NON-PIANISTS)

Explore a wide range of jazz piano chord

voicings in this hands-on course. From

simple “shell” voicings to the rich chord

shapes used by Bill Evans, Herbie Hancock

and other contemporary jazz masters. For

pianists and instrumentalists/vocalists

interested in exploring jazz piano harmony.

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

Mondays 6:30 – 8 pm7/9 – 8/13 (6 weeks)

Steve Blum • $280

PLAYING FOR SINGERS — The Art Of Accompaniment for the Jazz And Cabaret PianistMike Greensill is a well-known vocal accom-

panist and has recorded 21 albums in his

role of musical director for his wife,

acclaimed vocalist Wesla Whitfield. This

unique 6-week class is based on Mike

Greensill’s book Playing For Singers

recently published by Sher Music.

Topics covered include:

• The Basics — the obvious, but often

forgotten, fundamentals of playing for

singers

• Solo Piano — you’re the whole orchestra!

How to accompany a vocalist without the

aid of any musical safety nets!

• The Art of “out of tempo” Accompani-

ment. How to play those out of tempo

verses. Where do I put the chord? How

to follow the singer and when to subtly

lead

• Duo and Trio Accompaniment — Add

bass and drums and everything chang-

es. Plus the art of comping, and the

mysteries of chord voicing are revealed.

• The Accompanist as Arranger (and

copyist) — Tricks of the trade for vocal

arranging and how to write beautiful,

legible charts. No more ‘train wrecks’.

• The Accompanist As Music Director

— The roles and responsibilities of the

Music Director from hiring and firing,

to conducting and rehearsing!

In at least one of the classes, Mike will be

joined by one of the Bay Area’s best bass

players. This will be a hands-on class with

plenty of opportunities to play. Prerequi-sites: basic keyboard and harmonic knowledge are required.

Saturdays 11 am – 12:30 pm7/14 – 8/18 (6 weeks)

Mike Greensill • $280

Adult Instrumental ClassesAdult Instrumental Classes


mike greensill

“The instructors provided lots of encouragement and a safe environment for the students to work through challenges and to take risks.”

1514

GUITAR

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.


Jeff Massanari • $280

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.


Jeff Massanari • $280

SIGHT READING FOR GUITARA class for intermediate to advanced

guitarists of all styles who wish to improve

their ability to read standard music

notation. Instructor covers:

• Approaches to seeing the fingerboard

as individual notes, not patterns.

• Choosing the proper position in which

to play a given passage and how to

most efficiently change from one

position to another.

• Reading and counting syncopated,

complex rhythms.

• Interpreting and executing phrasing and

dynamic markings

• Identifying how and what to practice,

making the process interesting and fun.

Sight reading materials represent a variety

of styles and genres.



THINK LIKE AN ARRANGER— SOLO JAZZ PIANOThis class for jazz pianists guides students

through the process of developing

interesting and effective solo jazz piano

arrangements. Learn techniques for

harmonizing melodies, constructing

keyboard bass lines, developing intros

and endings, various groove possibilities,

reharmonization techniques and more.

Prerequisites: piano proficiency and knowledge of jazz harmony.

Mondays 8:15 – 9:45 pm7/9 – 8/13 (6 weeks)

Steve Blum • $280

BLUES PIANO: THE NUTS AND BOLTSThis course offers a well-rounded intro-

duction to the nuts and bolts of blues

piano: bass lines, common licks, accompa-

niment patterns for various blues styles

and forms, approaches to improvisation,

and other essential vocabulary. Materials

provided by instructor. Prerequisites: basic keyboard proficiency.


Jennifer Jolly • $280

NEO-SOUL HARMONY & new 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 6 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).


Marcelino Quiroz • $280

Adult Instrumental Classes


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

steve blum

jeff massanari

16 17

HARMONICA

BEGINNING DIATONIC HARMONICAYou'll recognize the diatonic harmonica as

the small harmonica used in blues, rock,

folk and even jazz. In this course, you'll

learn how to hold the instrument, breathe

effectively, play chords, single notes and

bends and develop familiarity with song

forms such as the 12-bar blues and

3-chord folk, rock and country tunes.

Required text: Harmonica for Dummies,

second edition. Prerequisites: bring a 10-hole diatonic harmonica in the key of C

(contact [email protected] for info).

Saturdays 10 – 11:30 am7/14 – 8/18 (6 weeks)

Winslow Yerxa • $280

BASS

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.



DRUMS AND PERCUSSION

SOLOING OVER new OSTINATOSFrom Gene Krupa’s solo on “Sing, Sing,

Sing,” to Joe Morello’s solo on “Take Five”

to Terry Bozzio’s numerous solo drum set

performances, drummers have been

expected to be able to solo over a fixed

ostinato. This concept of improvising

freely with some limbs, while other limbs

hold down a fixed pattern is baked into

the instrument. It is a 4-limb endeavor, no

matter what style you play. In this class

we will develop numerous approaches

to mastering this important aspect of

drumming. Prerequisites: functional drumset technique.


Alan Hall • $280

FUNK & LATIN DRUMSET new INDEPENDENCEWant to kick your Latin and funk

drumming up to a new level? Indepen-

dence is the key. How should you go

about developing more independence in

these styles, critical to the contemporary

drummer? There are numerous ways to

do this; let’s start finding ways that work

for you! Prerequisites: functional drumset technique.


Alan Hall • $280

LATIN PERCUSSION 1 (SALSA, AFRO-CUBAN) Develop a strong foundation on each of

the primary Latin percussion instruments.

Learn effective technique on congas,

bongos, timbales, bells and auxiliary

instruments while studying many of the

Latin grooves typical of son, salsa, and

Latin jazz. The instructor also discusses

and demonstrates soloing techniques,

breaks, song forms and historical informa-

tion. Prerequisites: none, open to all. All instruments are provided for in-class use. Required texts: Progressive Steps to Syncopation for the Modern Drummer, Ted Reed; Stick Control: For the Snare Drummer, George Lawrence Stone.


Omar Ledezma • $280

LATIN PERCUSSION 2 new(CAJÓN) This course is an expansion of Latin

Percussion 1 (Salsa Afro-Cuban), focusing

on the South American percussion

instrument, the cajón (Peru, Cuba, Spain),

and different rhythms. Class time includes

hands-on practice and clear demonstra-

tion and explanation of how all of the

various instruments work together in Latin

music ensembles and instrument set up.

Prerequisites: none, open to all. All instruments are provided for in-class use. Required texts: Progressive Steps to Syncopation for the Modern Drummer, Ted Reed; Stick Control: For the Snare Drummer, George Lawrence Stone.


Omar Ledezma • $280

Adult Instrumental Classes Adult Instrumental Classes

alan hall


1918

IMPROVISATIONBEGINNING JAZZIMPROVISATIONA 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.

Vocalists welcome! Prerequisites: facility on an instrument and ability to play all major scales from memory.


Sam Priven • $280

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 will be used as

vehicles to study basic chord structures,

scale structures and non-diatonic neigh-

boring tones. Emphasis is placed on

utilization of basic harmonic concepts,

thereby turning exercises into melody.

A step-by-step conceptual approach is

used and a new concept is added with

each new tune. Prerequisites: Beginning Jazz Improvisation or equivalent.

Mondays 6:30 – 8 pm7/9 – 8/13 (6 weeks)


MODERN JAZZ IMPROVISATIONReady to take your improvisational toolkit

beyond bebop licks, modes, and blues

scales and into the sonic worlds opened

up by artists like McCoy Tyner, John

Coltrane, and Woody Shaw? This course

will look into three different approaches

for developing melodically compelling

ideas for use in a wide variety of harmonic

situations. Beginning with the applications

of pentatonic scales, the course will

progress to the simple technique of

combining pairs of major triads (and the

six-note scales that result), and finally

intervallic pairs, in each case examining

their use in major, minor, and sus chords,

a variety of dominant chords and ii-V-I

progressions, and modal or chromatic

contexts. Finally we will explore methods

to integrate these new ideas into the

student’s existing language in a natural

and non-contrived way. Prerequisites: basic knowledge of jazz harmony required.


Ian Carey • $280COMPOSITION

INTRO TO JAZZ COMPOSITIONA wide-ranging survey of jazz composition

and arranging techniques. Topics covered

include: generating, developing and

harmonizing melodic ideas, working with a

range of typical forms (song forms, blues,

modal, etc.), reharmonization techniques,

working in various meters, traditional and

contemporary arranging techniques for

horns and rhythm section, and effective

chart preparation. Class time includes

listening and analysis of recordings of

master composers from various eras, and

instructor also demonstrates techniques

drawn from his own compositions.

Prerequisites: knowledge of jazz harmony and ability to read music.


Charlie Gurke • $280

NEW MODALITIES IN JAZZ COMPOSITIONThis course focuses on strategies to

expand your approach to jazz composi-

tion and improvisation by utilizing

techniques from 21st Century classical

composition. Topics include the harmonic

practices of spectral music, interval-based

techniques of the post-war avant-garde,

and cyclical, linear, and tempo-based

approaches to rhythm. Simple composi-

tional tools based on these practices

are defined and implemented in short

composition exercises. We also look at

how these topics can be reflected in

structures used for improvisation.

PART ONE examines approaches to

melody and counterpoint using modal

techniques from Olivier Messiaen,

symmetrical systems from Bela Bartok,

and interval-based linear constructions

from Henry Threadgill.

PART TWO discusses harmony from the

point of view of timbral transformation

in Gerard Grisey, the symmetrical projec-

tions of Edgar Varese, and tri-chord

generation techniques from Henry

Threadgill.

PART THREE explores cyclical rhythmic

layering in Steve Coleman, metric modula-

tion in Elliott Carter, and polyrhythm as

tempo in Brian Ferneyhough.


Jason Levis • $280

Theory, Improvisation, Composition

ian carey

charlie gurke


Adult Vocal Classes

20

Adult Vocal Classes

21

NEXT-LEVEL VOCAL JAZZ PERFORMANCEThis 4-week class is designed for vocalists

who want to develop a deeper connection

to their personal style. We'll explore

methods for enhancing and expressing

individual style, such as creating unique

arrangements and fine-tuning lyric

interpretation and approaches to improvi-

sation. In this master class setting, each

singer will work individually and will be

given specific assignments based on what

the instructor hears. Students should bring

in music that is "in-progress," songs that

present a particular challenge, or tunes

that are sparking new ideas. The instructor

may also suggest repertoire. A profes-

sional accompanist will play for the class.

Prerequisites: some performance experience.


Andrea Wolper • $240

BEYOND GENRE VOCAL PERFORMANCE This class covers numerous aspects of jazz

performance from interpretation and

phrasing to improvisation and working

with an accompanist. We’ll explore jazz

songs performed with R&B styling and

ornaments, and R&B songs inflected with

a jazz approach. Students should bring

one song (from any genre) per class to

perform, for a total of four songs over the

4-week class. Going beyond category is

the future of the contemporary jazz singer!

Prerequisites: none! Open to all.

Tuesdays 8:15 – 9:45 pm7/10 – 31 (4 weeks)

Kalil Wilson • $240

JAZZ AND CONTEMPORARY STYLESLearn 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 pm7/9 – 8/13 (6 weeks)

Amanda Addleman • $320

cecilia engelhart

Adult Vocal Classes

Adult Vocal Classes

PERFORMANCE jazz

BEGINNING JAZZ SINGINGThe objective of this class is to help the

singer create a focused, relaxed, skilled,

and unique performance. We’ll work on

basic musicianship starting with warm-up

exercises, improvisation skills, understand-

ing and singing in different “grooves,”

finding new songs that suit us, ascertain-

ing the correct key, understanding the

song form, preparing a lead sheet, and

practicing with backing tracks (iRealPro).

We’ll be joined mid-way by a professional

pianist to further develop the songs we’ve

chosen by working on sub-text, song

interpretation, communicating our

intentions to an accompanist, singing in

different “feels” including rubato, and

setting up and counting off songs. This

class includes an end-of-quarter perfor-

mance, and provides a supportive,

structured environment for students with

a burning desire to sing! Prerequisites: none! Open to all.

Mondays 6:30 – 8 pm7/9 – 8/13 (6 weeks)

Amanda Addleman • $320

VOCAL JAZZ PERFORMANCEAn entry-level class for the beginning to

intermediate vocalist interested in gaining

in-class performance experience and a

more comprehensive understanding of

what it means to sing in the jazz style.

Students will explore jazz phrasing and

scat-singing as well as various stylistic

categories such as swing, Latin, bebop,

ballads and the blues. Ample opportunity

for solo performance in class. Prerequi-sites: None! Open to all.


Cecilia Engelhart • $280

andrea wolper


For auditions and more information

about our vocal programs please contact

our Vocal Chair, Laurie Antonioli,

[email protected] or 510.845.5373 ext 21

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

Adult Vocal Classes

pop, soul and r&b

SOUL TOWN — CLASSIC RHYTHM AND BLUESIf you’re a fan of classic R&B, this class

is for you. Sing your favorite solo and

ensemble songs from the 60s and early

70s. Learn songs made famous by Aretha

Franklin, Etta James, Roberta Flack, Sam

Cooke, Otis Redding, Marvin Gaye, Smokey

Robinson, Sly & The Family Stone and

vocal groups such as The Temptations,

The Supremes, and the O'Jays. Students

are encouraged to bring in sheet music of

their favorite songs in the appropriate key.

Focus areas: roots of soul music, proper

song and key selection, melodic phrasing,

improvisation, harmonizing, band leading

tips, preparation for live performance.

There will be a professional accompanist

in class and a full band added for an

end-of-quarter performance. Prerequisites: none! Open to all.


Clif Payne • $320

WORKING WITH AN ACCOMPANISTThis class provides a unique opportunity

for singers to study with one of the great

vocal accompanists in jazz. Learn how to

communicate effectively with a pianist/

accompanist about simple arranging

techniques and other essentials including

count-offs, finding keys, setting up intros

and endings, rubato interpretation and

more. Students should bring their own

repertoire to class. Focus on selections

from the Great American Songbook is

recommended. Includes end-of-quarter

performance. Prerequisites: some singing experience is recommended.

Saturdays 1:30 – 3 pm7/14 – 8/18 (6 weeks)

Mike Greensill • $320

WORKING WITH A RHYTHM SECTIONWithout experience, it's almost impossible

to learn how to direct a band, count off

tunes or create on-the-bandstand arrange-

ments. In this class, students learn the

essentials of band-leading and ensemble

playing: listening, interaction and collabora-

tion. Please bring 2 or 3 songs to work on

during the 4-week session. The instructor

will also suggest repertoire. Prerequisites: Some performance experience.



22

SCATTING THE BLUESScat singing — improvising over chord

changes — is just one of the ways a

vocalist can improvise, but it's often the

most intimidating. Fortunately, the blues is

a fun and familiar vehicle with an easy-to-

absorb harmonic structure that most

people can hear. In this 4-week class, we'll

demystify scat singing by looking at the

basics of blues harmony, swing, trading

“4's,” and developing a personal vocabu-

lary of syllables. This is a “voices on” class

with plenty of learning-by-singing in a

safe, encouraging atmosphere. This is an

excellent class if you've wanted to explore

scat singing but didn't know where to

start, or if you've started and want to get

stronger. Prerequisites: none! Open to all.


Andrea Wolper • $240

INTERPRETATION TECHNIQUES FOR VOCAL JAZZ PERFORMANCEIn this class, students will have an oppor-

tunity to delve deep into the lyrical

content of a song. Find out how the

phrasing of a song enhances the story and

how this, in turn, impacts your perfor-

mance. Students will work on two or three

songs and perform one or two at the end

of the term in an end-of-quarter perfor-

mance. Prerequisites: none! Open to all.


Stephanie Crawford • $320

THE IMPROVISING JAZZ SINGERSinging a standard as written is the first

step when learning a tune but to be a jazz

performer, a singer must improvise!

Improvisation can be everything from

creative phrasing to interpreting the lyric

in a personal way. In this class, students

will be coached on improvising with the

lyrics and/or soloing like a horn. This is a

fun, encouraging and informative class for

students to work on songs of their choice

over the 6-week session in preparation for

a performance at the end of the term.

Prerequisites: none! Open to all.

Saturdays 11:45 am – 1:15 pm7/14 – 8/18 (6 weeks)

Azure McCall • $320

Adult Vocal Classes

2018 Summer Quarter / July 9 – August 19 / cjc.edu clif payne

stephanie crawford

Adult Vocal Classes

24 25

THE MUSIC OF BURT BACHARACHIn this class, students will explore and

sing the classic songs by Burt Bacharach

as both soloists and background singers

in preparation for an end-of-quarter

student performance. Clif will share

information on proper vocal technique,

stage presence, and interpretation, and

help students find the appropriate keys,

sheet music and tracks. Participants are

also welcome to bring in their favorite

Burt Bacharach songs to sing. A profes-

sional accompanist will play for the class

and a band will be added for the perfor-

mance. Prerequisites: none! Open to all! The ability to read music is not necessary.


Clif Payne • $320

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

12) 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.


Edgardo Cambón • $280

VOCAL TECHNIQUE

VOCAL TECHNIQUELearn a variety of vocal exercises to

condition and strengthen your voice.

Range, intonation, breath management,

balancing vocal registers, body alignment,

vowel formation and dynamics are all

enhanced through technical exercises.

Applicable to all contemporary vocal

styles. Prerequisites: none! Open to all!



UNIVERSAL TECHNIQUE FOR VOCALISTSOver this 4-week class, students will

learn a simple yet comprehensive set

of strategies for developing a connected

and free vocal experience. Information on

support, range, mix and ornaments will be

presented. This method works for singers

of all genres interested in developing an

accessible and reliable approach, including

those with a classical singing background.

Prerequisites: none! Open to all!

Tuesdays 6:30 – 8 pm7/10 – 31 (4 weeks)

Kalil Wilson • $240


CENTER STAGE —

A Mentored Program for Concert Development

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 sequenc-ing, and developing patter and stage presence. Lessons also include making a budget, hiring and rehearsing musicians and developing a marketing plan.

Candidates will be most successful if they

are advanced students who have some

performing experience in classes and

workshops or in a professional environ-

ment. A repertoire of 15 to 20 memorized

songs in various styles is recommended.

This is a unique opportunity for singers to design a performance that reflects a personal-

ized artistic vision. Concert dates are available throughout the year.

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 the door/ticket sales

Various teachers • $850

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

on how to apply for this program: laurie @ cjc.edu or 510.845.5373.

maye cavallaro

“Maye is very prepared and organized. The musicians she brings in are excellent and wonderful to work with.”

26 27

VOCAL WORKSHOPS

LET’S FACE THE MUSIC: SONGS OF IRVING BERLINwith Maye Cavallaro

Part of the American Songbook Composer Workshop SeriesAmerican songwriter Irving Berlin’s career

spans over 60 years. He was the composer

of an estimated 1500 songs, including 19

Broadway shows and 18 Hollywood films.

Berlin is beloved by singers and instru-

mentalists alike for his straightforward

lyrics and beautiful melodies. His composi-

tions include "Blue Skies," "Puttin’ On the

Ritz," "Heatwave," "White Christmas,"

"Cheek to Cheek," "Be Careful It’s My

Heart," "Change Partners," "How Deep Is

the Ocean," and "Let’s Face the Music and

Dance." 25 of Berlin’s songs reached the

top of the charts and were re-recorded by

dozens of famous singers and instrumen-

talists over the years, such as Frank

Sinatra, Barbra Streisand, Nat King Cole,

Ella Fitzgerald, Ray Charles, Miles Davis,

Chet Baker, Art Tatum. In this workshop

students will be provided with 10 lead-

sheets of Irving Berlin’s compositions.

We will learn songs as a group, listen to

various recordings and then try out the

songs with an accompanist. Both singers

and instrumentalists are welcome to

expand their repertoire. All levels welcome.

A warm, charismatic stage performer and accomplished musician, Maye Cavallaro has traveled extensively in Japan and the U.S., both performing and teaching. She has released several CDs as a leader and has been a favorite vocal instructor at the Jazzschool for many years.

3 Sundays, July 1, July 8, July 15, Noon – 3 pm$295 advance, $315 day of workshop

Adult Vocal Classes

26

SINGER AS ACCOMPANIST: USING THE VOICE TO ACCOMPANY INSTRUMENTALISTS with Susana PinedaDo you feel that you don’t have anything to

contribute as a singer beyond the lyrics?

The days of the singer waiting for the

instrumentalists to be done soloing are

over! In this hands-on workshop, vocalists

will learn tools and techniques for accom-

panying instrumentalists during solo

sections. Using melodic lines, guide tones,

bass lines, and textures, singers can be

part of the band in a supportive role. Time

permitting, students will observe how to use

these tools with a looper station and how

to use this same concept for arranging your

songs. Students should know some basic

theory and how to read and write music.

Susana Pineda is a jazz singer from Medellín, Colombia and a graduate of the California Jazz Conservatory. She is an innovative musician and songwriter who explores creative ways the voice can be used in a contemporary music setting. In her duo project, Opaluna, with Bay Area guitarist, Luis Salcedo, Susana uses her voice to accompany her bandmate and has since incorporated these same methods in her diverse music projects.

Sunday, July 8, 2 – 4 pm$30 advance, $45 day of workshop

IMAGINING YOUR FIRST TRIBUTE PROJECT — A Framework for Inspiration with Lisa BMost of us were first inspired to sing by

the music of another vocalist or song-

writer. This workshop will allow you to

tap into such past or present inspiration

by starting to shape a tribute project that

presents the music of a notable performer

or composer/lyricist. Whether you’re

drawn to Sarah Vaughan or Adele,

Rodgers & Hammerstein or “Hamilton,”

through a tribute project you can pay

homage, find inspiration, stretch your

musical vision and abilities, and create

a frame for new work. You don’t have to

commit to actually carrying out the proj-

ect, whether a recital or even a recording

— just get your feet wet and play with this

concept through this fun workshop. First

Lisa B will present some seminal tribute

projects involving vocalists. Then she will

help you start to shape a project of your

own. We’ll explore your attraction to a

particular artist or performer; sketch out

aspects of your unique project vision in

terms of mood, era, and songs; start to

define elements such as instrumentation

and arrangements; and use worksheets,

provided in the workshop, to outline

project tasks and create a budget. Come

play within this framework for musical

inspiration and growth!

Lisa B (Lisa Bernstein) is a jazz singer and poet who released her sixth record, “I Get A Kick: Cole Porter Reimagined” (Jazzed Media), earlier this year to excellent reviews and radio play. She is also an intuitive coach and consultant.

Sunday, July 15, Noon – 3 pm$50 advance, $65 day of workshop

lisa b


susana pineda

Adult Vocal Classes

28 29

SINGING FROM THE SOUL — Finding Inspirational Songs For Performance and Well Beingwith Ellen Johnson & De-Ann LottWhen you sing from your soul it brings

joy to your spirit and provides a more

authentic performance. Recording artists,

Ellen Johnson and De-Ann Lott will guide

you in finding inspiration using music,

lyrics, and improvisation within the styles

of jazz, blues, gospel, soul, and contempo-

rary songs. All participants are requested

to bring an inspirational song for perfor-

mance and will be given a list of sug-

gested songs for their own use during

the workshop.

Ellen Johnson’s devotion to the arts spans more than three decades as a professional recording artist, educator, songwriter, lyricist, author, and publicist. Jazz Journal International described her performances as “superior jazz singing by an artist of the highest quality.” She has performed with many exceptional musicians including Charles McPherson, Louie Bellson, Bobby McFerrin, Sheila Jordan, Don Braden, Roy McCurdy and John Stowell. Johnson wrote the biography "Jazz Child: Portrait of Sheila Jordan" and has published lyrics to both Sonny Rollins and Charles Mingus compositions along with vocal music

instructional products. Johnson has a Master’s degree in Vocal Performance and has been on the voice faculty of numerous universities on the West Coast including the California Jazz Conservatory's Jazzschool along with presenting workshops internationally. www.ellenjohnson.net

De-Ann Lott has dedicated her life to lifting people’s spirits and giving them hope not only through her music but as a therapist and social worker. With a powerful voice that has been compared to Tramaine Hawkins she has lent her talents as an in-demand background singer throughout the Bay Area. Besides being a member of the New Genera-tion Singers, Lott has recorded with gospel music greats Daryl Coley, Danniebelle Hall, and Walter Hawkins and the Love Center Choir, as well as having appeared in concert harmonizing behind Patti LaBelle and Earth, Wind & Fire. Her Debut CD "Return To The Center" was produced by Jamie Hawkins (musical director for Mary J. Blige, Lauryn Hill and EnVogue) and featured Weather Report alumnus Alphonso Johnson. The recording gave Lott an opportunity to write original material that offered messages of hope for those in despair. www.deannlottmusic.com


ellen johnson

ARRANGING FOR VOCALISTSwith Andrea ClaburnThis workshop is for singers who want

to add depth, texture, and individual

distinction to their repertoire through

the application of basic small ensemble

arranging principles. From fresh intros/

endings to applying hip grooves to

creative instrumentation and the

composition of simple lines/parts for

the rhythm section, we will explore

ways to reinvent and reinvigorate

standard jazz repertoire to express

your own unique artistic sensibility.

Please bring 2-3 charts in your key

that you’d like to work on.

Vocalist/composer/arranger Andrea Claburn was born in Baltimore and raised in the classical tradition, studying both piano and violin before turning to jazz. A conservatory-trained musician, Andrea’s musical depth shapes her exceptional vocal style with a highly instrumental use of her voice that’s riveting to hear. As a composer and arranger, she breathes life into new songs and old and lyricizes a wide range of instrumentals, from classic to modern. A charismatic performer, Andrea Claburn brings the music to life with passion, intelligence, and wit, her style infused with a variety of influences while remaining strongly rooted in the jazz tradition.

Saturday, July 21, Noon – 3 pm$50 advance, $65 day of workshop

andrea claburn


YOU’VE FINISHED RECORDING YOUR JAZZ ALBUM. NOW WHAT? How to Take Your Project from the Recording Studio to the National Jazz Chartswith Nick Phillips and Jenny Maybee

For full description, see page 48.


de-ann lott

30 31

Adult Vocal Classes

CONNECTEDVOICE — VOCAL TECHNIQUE AND APPLICATIONwith Sandy CressmanThis workshop will explore the exercises

and principles of ConnectedVoice

technique, which is a way of developing

connected and consistent sound from

low to high range, with a choice of

dynamics and colors. In the morning

session, we will learn exercises designed

to work through vocal transitions,

connecting the speaking and singing

voice. These exercises also connect

voice development with ear training,

using various patterns based on jazz

chords, scales, and jazz vocabulary.

After the lunch break, we will learn how

to apply the exercises and techniques to

songs. Please bring in those problem

songs! We will work both as a group and

individually, to pinpoint solutions to

individual vocal issues.

Born in New York and raised in the Bay Area, Sandy Cressman began her career recording and performing with the vocal jazz group Pastiche, with whom she recorded several CDs and toured the U.S. and Japan. In the late 1990s, she followed her passion for Brazilian jazz and formed her group, Homenagem Brasileira. Sandy recorded two CDs with Homenagem Brasileira, and has toured the U.S., Europe and Brazil, performing with her group and collaborating with other Brazilian and Brazilophile musi-cians. Recently, Sandy performed as a special guest of SpokFrevo Orquestra on the Main Stage of Carnaval in Recife, Brazil. In 2017, Sandy released a new CD of all original Brazilian music composed in collaboration with a number of talented Brazilian musicians, recorded in Brazil and in the U.S. Throughout her career, Sandy has studied various methods of vocal technique, in order to

improve as a vocalist and teacher. She created her own vocal technique, ConnectedVoice, which fuses voice development and ear training for the jazz singer.

Sunday, August 5, 11 am – 4 pm$115 advance, $130 day of workshop

sandy cressman

“TOCA Y CANTA” THE BASICS OF HAND TO VOICE COORDINATIONwith Edgardo Cambón

This workshop will focus on learning the

basic rhythmic patterns associated with

a variety of hand percussion instruments

typically used by Latin, jazz, rock and

blues singers. Students will develop the

coordination of playing these instruments

while singing through a series of fun group

and individual exercises. Everything from

a simple “egg shaker” to the more

challenging guiro, maracas, shekeré, basic

Brazilian tamborim and bells will be

explored. The technique of being rhythmi-

cally “grounded” while singing is essential

if vocalists wish to participate in the band

as a percussionist. The instructor will

provide instruments for the class and

students are also welcome to bring their

own instruments.

Edgardo Cambón has been the Bandlead-er of the renowned salsa band “Edgardo & Candela” for 26 years. He’s toured throughout South America, Europe, and Africa since 1986. LP (Latin Percussion Co.) endorser. Performance and recording credits include 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.


edgardo cambón


Adult Vocal Classes

3332

on how to successfully sing as a backing

vocalist. Even if you are used to being a

lead singer, being able to support with

harmonies and basic choreography will

open up many additional opportunities in

your career. We will cover basic harmony,

blend, stage presence, easy choreogra-

phy, and how to support a lead vocalist.

Singers will have the opportunity to sing

both lead and backing vocals. The

workshop will start with a quick place-

ment audition then proceed to work on

performance and repertoire. All levels

accepted, though past singing experi-

ence is preferred. The instructor will

provide music and materials.

Lilan Kane (pronounced LEE - lawn) is an award winning singer-songwriter based in Oakland, CA. She released her album Love, Myself to a sold out crowd at Yoshi’s Jazz Club. Her vintage-tinged soul sound flows through the heartfelt compositions, telling stories of love, loss, and self-discovery while they seamlessly blend R&B, funk, pop, and jazz. The Berklee College of Music alum recently performed in New Orleans at the French Quarter Festival and graced the Yoshi’s stage again, this time with the dynamic Cosa Nostra Strings. They also performed at Undercover Presents: A Tribute to the Miseducation of Lauryn Hill at the Yerba Buena Center for the Arts in San Fran-cisco. Other notable performances include the Fillmore Jazz 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, The Doobie Brothers, Chicago, Sharon Jones, Trombone Shorty, and Morgan James.

Sunday, August 5, Noon - 3 pm$50 advance, $65 day of workshop

lilan kane

THE MUSIC OF DAN HICKS — KING OF FOLK/SWINGwith Daria, Roberta Donnay and Paul RobinsonDan Hicks’ music blends jazz, folk, blues

and hot club. His group, Dan Hicks and the

Hot Licks toured worldwide. The Hot Licks

are dedicated to preserving the original

sound and spirit of the group and continue

to carry Dan Hicks’ music forward with his

particular sound, style and harmonies that

have inspired so many others. Learn some

of the classic songs written by the man

himself while being backed up by guitar

accompaniment, background vocals and

percussion. This workshop will be taught

by Daria, Roberta Donnay and Paul

Robinson, who toured with Dan for over

10 years. Learn tunes like "Canned Music,"

"I Scare Myself," "Milkshakin’ Mama" and

others. The Hot Licks will perform and then

you’ll get to sing and harmonize! You’ll also

learn a bit about the history of the group,

view some vintage footage and hear some

fun stories from the road. Lyrics will be

provided. Come join the fun! Open to all.

Sunday, August 12 , Noon – 3 pm$60 advance, $75 day of workshop

roberta donnay, daria and paul robinson

STAGE PRESENCE 101 — THE ART AND CRAFT OF LIVE PERFORMANCE with Andrea ClaburnYou’ve done the hard work, gotten your

musical chops together, rehearsed with

the band. Now: how do you make your

set interesting in between the songs?

How do you connect with the audience,

create an engaging, well-paced set,

and maintain an element of surprise

essential to the art form? What sets you

apart as a performer and makes your

concert a must-see event? This work-

shop will give you the tools you need

to hone your stage presence, create an

electrifying set, magnify your own

unique style, and express your authentic

self in live performance. Please bring

charts you’d like to work on in this

context.



Adult Vocal Classes

BACKGROUND VOCALSwith Lilan KaneAlmost every successful band and singer

have had amazing background vocalists.

Did you know that Sheryl Crow got her

start singing background vocals for

Michael Jackson? In this workshop, we

will split into small groups based on

experience and musical tastes to work

Young Musicians ProgramYoung Musicians Program

34 35

PLACEMENT AND AUDITION REQUIREMENTS SUMMER AND FALL 2018

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 DATES: Ongoing

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

online video audition rather than scheduling

an in-person audition. Students submitting

their audition online are still required to fill

out an online application (see above). On

the application form, please select video

submission. Please note: online video submis-

sions 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.

The Jazzschool Young Musicians

Program is a year-round,

comprehensive, music education

and performance program

designed for instrumental and

vocal students between the ages

of 11 and 18. The Young Musicians

Program has been at the center

of the Jazzschool’s educational

and artistic goals since 1997. Its

curriculum provides students

with the opportunity to work

with professional jazz artists

and educators, strengthening

performance skills, expanding

knowledge of jazz theory and

improvisation, and learning more

about the foundations of jazz

and related styles of music.

Students participate in after-school

classes and in master classes with

nationally known jazz artists, as

well as performing in venues

throughout the San Francisco

Bay Area and beyond.

2018 PROGRAM REQUIREMENTS

Jazzschool Young Musicians Program

ensembles require a commitment of

three quarters (fall, winter and spring).

Students unable to commit to a full

school year are still encouraged to

audition; however, priority will be given to

those who can remain in the program for

the entire school year. Students wishing

to audition mid-year will be placed in the

program based on availability of open

spots in ensembles and the student’s

ability level. Please note that, while it is

our mission to find a place for everyone

in our Young Musicians Program, we may

not be able to accommodate all students

who apply.

“The classes were very well thought out and the instructors did a great job easing the students into the music.”


erik jekabson

Jazzschool Young Musicians Program

36 37

What degree of jazz artist do you want to be?

The California Jazz Conservatory is the only

independent accredited school in America completely

devoted to the study and performance of jazz.

We offer two paths to your degree in Jazz Studies.

Both offer a 100% jazz relevant curriculum.

Both are taught by an effective faculty

of top jazz artists/educators.

Both offer a preeminent artistic and academic

experience in the center of the vibrant

Bay Area arts scene.

And both offer you the opportunity

to transform yourself,

from a burgeoning musician

to a respected artist.

Bachelor of Music Degree in Jazz StudiesA 4-year, 100% jazz-relevant degree program offering

unique optional areas of concentration in Brazilian Jazz,

North American Roots Music, and Audio Production

in partnership with Fantasy Studios.

Associate of Arts Degree in Jazz StudiesA 2-year program, offering the same effective faculty

and the same 100% jazz-relevant courses taught in

the first two years of our Bachelor program, but at

half the tuition investment and half the time commitment

to get you started in your career in jazz.

What degree of jazz artist do you want to be?

Contact our President and Dean, Susan Muscarella, to

find the best fit for you: [email protected] or 510.845.5373.

Our campus is located at 2087 and 2040 Addison Street,

Berkeley, CA, 94704 / 510.845.5373 / cjc.edu

In a musicianOut an artist

Young Musicians Program

39


38 39

SUMMER YOUTH ENSEMBLES

This summer we are offering

several jazz ensemble sections for

middle school and high school

students. These ensembles meet

twice a week for 3 weeks, followed

by a performance at the end of

each 3 week session. The first

session begins the week of July 9

and the second session begins the

week of July 30. Ensemble sections

are available Monday, Tuesday,

Wednesday and Thursday after-

noons. While we make every effort

to accommodate scheduling

requests, specific placements are

based on the results of an audition.

Tuition • $280 per 3-week session

FALL QUARTER PREVIEW

Here’s a look ahead at the great

courses available for middle and

high school students starting this

fall. The 10-week Fall Quarter

starts September 17, and ensemble

placement auditions are planned

for the last two weeks of August

(see page 35 for audition informa-

tion). Course schedules and

pricing information will be pub-

lished in our Jazzschool fall

catalog and online at cjc.edu.

small performance ensembles

ADVANCED HIGH SCHOOL JAZZ WORKSHOP

These DownBeat award–winning ensembles

are designed for the advanced-level high

school student player who is competent

in the bebop language and wishes to

explore the post-bop harmonic, melodic,

rhythmic and formal innovations of artists

such as Coltrane, Shorter, Corea, Hancock

and Brecker. Students record at Fantasy

Studios and participate in various

competitions and festivals.

Section 1Michael Zilber

Section 2Erik Jekabson

HIGH SCHOOL FUNK ENSEMBLE

A high-energy ensemble focusing on the

classic funk hits of James Brown, Sly and

The Family Stone, Earth Wind & Fire, The

Meters, Herbie Hancock, Tower of Power

and Motown’s Funk Brothers. Vocalists

and horns welcome! Students learn music

by ear. (Also open to advanced middle

school musicians.)

Joe Bagale

HIGH SCHOOL JAZZ ENSEMBLE

Intermediate-to advanced-level ensembles

for high school musicians interested in

gaining a greater understanding of jazz

theory and developing improvisation skills

through the study and performance of

challenging jazz repertoire.

MIDDLE SCHOOL JAZZ ENSEMBLE

Small groups designed for middle school

musicians interested in learning how to

play jazz and improvise. These ensembles

cover a wide repertoire, from John

Coltrane and Sonny Rollins to Eddie

Harris and James Brown! Students play

new arrangements, focused on stylistic

accuracy and developing coherent solos

in a friendly, non-competitive environment.


joe bagale


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


40 41

large performance ensembles

STUDIO BAND

This award-winning ensemble trains

advanced high school musicians from

throughout the Bay Area. Students

develop technique, knowledge of jazz

style and an ability to improvise through

standard and contemporary big band

repertoire. This ensemble records at

Fantasy Studios, performs frequently and

participates in competitions throughout

the U.S. Jazzschool studio bands have

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,

Switzerland. Students also participate in

clinics and workshops with leading jazz

educators. Full school year commitment

is required. Instrumentation: 5 saxes,

5 trumpets, 5 trombones, guitar, piano,

bass and drums. (Students earn the

equivalent of one semester unit of credit

per quarter.)

Dave Eshelman

VOCAL COURSES

SOLO VOCAL PERFORMANCE FOR TEENS

This fun course for teens focuses on

solo singing and all the things necessary

to have a great performance. Students

receive coaching on vocal technique, stage

presence and assistance in finding the

best song for their level and interests. All

genres welcome, from rock to classical,

anything goes!

Kyra Gordon

dave eshelman

Workshops

The Jazzschool offers a variety of

short-term Workshops throughout

the year, available in single ses-

sions or as a series. Workshops

are taught by professional artists/

educators and focus on specific

approaches to strengthening

technical ability, understanding

and applying theoretical concepts

to improvisation, and enhancing

live performance skills, in addition

to other jazz-related topics.

BRAZILIAN RHYTHMS FOR THE JAZZ MUSICIAN with Laura DreyerIn this workshop, students explore a

variety of Brazilian rhythms, including

samba, bossa nova, baião, choro and

afoxé, and how to incorporate them into

the jazz idiom and beyond. Participants

learn the distinguishing characteristics of

each rhythm and put them into practice

through in-class exercises. Prerequisites: none! Open to all melodic instruments and rhythm section players. Please bring your instrument!

Saxophonist Laura Dreyer has headlined the Kennedy Center for the Performing Arts Mary Lou Williams Women in Jazz Festival and the Syracuse Jazz Festival. She has performed with noted musicians such as pianist Dom Salvador, with whom she performed in Rio de Janiero at the Copafest, Antonio Adolfo, Marcos Silva, Dr. Billy Taylor, Walter Bishop Jr., Danny Seraphine’s BadAss Rockin Big Band, Mel Lewis, Robert Palmer, Nnenna Freelon, Lea Delaria, Leny Andrade, Portinho, Helcio Milito and many others. Dreyer is also active as a music educator, having served on the faculties of Hoff-Barthelson Music

School, Jamey Aebersold Jazz Clinics, Cazadero Music and Arts Camp, and Jazz Camp West.

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

laura dreyer


42 43

LET’S FACE THE MUSIC: SONGS OF IRVING BERLINwith Maye Cavallaro

Part of the American Songbook Composer Workshop Series


3 Sundays, July 1, 8 & 15, Noon – 3 pm$295 advance, $315 day of workshop

SINGER AS ACCOMPANIST: USING THE VOICE TO ACCOMPANY INSTRUMENTALISTS with Susana Pineda


Sunday, July 8, 2 – 4 pm

$30 advance, $45 day of workshop

IMAGINING YOUR FIRST TRIBUTE PROJECT — A Framework for Inspiration with Lisa B




alon nechustan

FUSING MIDDLE EASTERN MUSICAL ELEMENTS WITH JAZZ with Alon NechustanAmong the many artists using and fusing

world rhythms, Middle Eastern influences

have become increasingly widespread as

exemplified by the music of Avishai

Cohen, Rabih Abou Khalil, Abdullah

Ibrahim, Omar Faruk Tekbilek and others.

Jazz pioneers from as early as the turn of

the century have been influenced by this

music and incorporated it into their work.

Topics covered include: unique Judeo-

Arab modes, the use of tetrachords as

building blocks, unique rhythms and beat

patterns, odd meters, Adalusian styles,

Klezmer and more. Open to all!

A resident of New York City, Alon has performed as a band leader and as an in demand sideman in venues such as Carnegie Hall, Jazz @ Lincoln Center,

Central Park Summer Stage, The Blue Note Jazz Club and the Kennedy Center. In October 2015, the Kennedy Center commissioned a new piece from Alon for the Billy Strayhorn Centennial Celebration, followed by a Far East tour in China and the Philippines, along with Jazz Festivals in Belo Horizonte-Brazil and Israel. In 2017, the Smithsonian Museum in Washington, D.C. commissioned a new program from Alon of Thelonious Monk’s less known compositions.

All About Jazz magazine called him “A fantastic pianist-composer with abundant chemistry and boundless eclecticism,” while DownBeat Magazine recognizes “A talent to watch, with a surfeit of ideas, an unbridled spirit and bold, two-fisted sense of Architecture.”

Saturday, July 14, 3:15 – 5:15 pm


Workshops

44 4544 45

WorkshopsWorkshops

BLENDING VENEZUELAN FOLK STYLES WITH AMERICAN JAZZ AND ROOTS MUSICwith Sam Reider and Jorge GlemGrammy-nominated Venezuelan cuatro

virtuoso Jorge Glem teams up with

American composer and accordionist Sam

Reider to create a one-of-kind fusion of

folk music. With jaw dropping virtuosity

and infectious chemistry, these musicians

and friends are breaking down all the

boundaries between their two continents,

languages, and cultures. Join Jorge and

Sam as they explore Joropo and Meren-

gue rhythms, discuss their individual

approaches to improvisation, and

experiment with ways blending these

Venezuelan styles with American roots

music. All instrumentalists are welcome

and encouraged to bring instruments.

San Francisco native Sam Reider is redefining American music on the accordion. He’s been featured at Lincoln Center and on NPR, and performed


alongside musicians around the world, ranging from Jon Batiste and Stay Human to viral YouTube sensation CDZA and T-Pain; from Bluegrass mandolin prodigy Sierra Hull to Venezuelan cuatro virtuoso Jorge Glem. Reider began performing at a young age, attended Columbia University, and performed around the world on behalf of the U. S. State Department.

Cuatro player, mandolinist and musical producer, Jorge Glem was the winner of prestigious awards such as El Silbón de Oro 2014 and Siembra Del Cuatro 2015. He has won three Pepsi Music Awards for his album “En el Cerrito,” and he is a three-time Latin Grammy nominee with ensemble C4Trio. Jorge has three musical productions of his own and has partici-pated in over 200, traveling throughout four continents and sharing the stage with worldwide figures such as Paquito D’Rivera, Jordan Rudess, Rubén Blades, Carlos Vives, and Calle 13.

Sunday, July 15, 11 am – 1 pm$40 advance, $55 day of workshop

jorge glem and sam reider

THE PROFESSIONAL MUSICIANwith Daniel Lucca ParentiFirst we learned how to make a sound.

Then we learned how to shape our musical

ideas. Now let’s learn how to make a living.

Professional skills are often overlooked in

the process of music education, but are an

important component for anyone inter-

ested in becoming a working musician.

Ask yourself if you were at a store and saw

yourself on a shelf, would you buy you?

This is often the hardest thing to grasp as

an “artist.” In this workshop, we’ll cover a

wide range of topics relevant to profes-

sional development as a musician includ-

ing training and development, finding and

keeping work, and an overview of music

business fundamentals.

Daniel has performed with many jazz legends including Concord Jazz Recording Artists Rosemary Clooney, Michael Brecker, and Lionel Hampton. With Rosemary Clooney, Daniel participated in two Grammy-nominated albums. He has released seven full-length original albums under his original project D-Lucca. He continues to perform with many well-known Bay Area artists including Sheila E, Pete Escovedo, Tommy Igoe, Rodney Franklin, and more. Daniel teaches String Bass, Fretted and Fretless Electric Bass, Piccolo Bass, and Music Business.


daniel lucca parenti


474746

SINGING FROM THE SOUL — Finding Inspirational Songs For Performance and Well Beingwith Ellen Johnson & De-Ann Lott


Sunday, July 22, 1 – 4 pm


“TOCA Y CANTA” THE BASICS OF HAND TO VOICE COORDINATIONwith Edgardo Cambón



ARRANGING FOR VOCALISTSwith Andrea Claburn



CONNECTEDVOICE — VOCAL TECHNIQUE AND APPLICATIONwith Sandy Cressman


Sunday, August 5, 11 am – 4 pm$115 advance, $130 day of workshop

BACKGROUND VOCALSwith Lilan Kane



THE MUSIC OF DAN HICKS — KING OF FOLK/SWINGwith Daria, Roberta Donnay and Paul Robinson


Sunday, August 12 , Noon – 3 pm$60 advance, $75 day of workshop

STAGE PRESENCE 101 — THE ART AND CRAFT OF LIVE PERFORMANCE with Andrea Claburn



Workshops

BOOGIE WOOGIE PIANOwith Wendy DewittLearn intros, bass lines and licks used by

the masters of boogie woogie. This class

will use material from Hadda Brooks,

Albert Ammons, Meade Lux Lewis and

Pete Johnson to learn and increase your

boogie woogie skills. Tips on how to

strengthen the left hand, nail the rhythms

and increase coordination will deepen

your enjoyment of this musical form.

Emphasis will be placed on developing

and building improvisational abilities to

have maximum fun playing. Bringing a

video recorder (smart phone, GoPro, etc.)

is recommended; at a minimum, please

bring an audio recording device. Appropri-

ate for intermediate players and above.

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

Sunday, July 29, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

wendy dewitt


4949

YOU’VE FINISHED RECORDING YOUR JAZZ ALBUM. NOW WHAT? How to Take Your Project from the Recording Studio to the National Jazz Chartswith Nick Phillips and Jenny MaybeeHaving a professional-sounding, well-

recorded, mixed, mastered, release-ready

master of your jazz album is quite an

accomplishment. But in many ways, it’s just

the beginning and it’s only one element —

albeit a very important one — of a success-

ful jazz album release. Just how do you,

an independent jazz artist, go from having

that finished master in-hand to effectively

planning and launching your album release

on a national level — and possibly even

getting it onto the national jazz charts?

We’ll show you how we did it.

Perhaps best-known as a jazz record producer — with credits on countless internationally-distributed releases including more than a dozen Grammy-nominated projects — Nick Phillips’ warm-toned, lyrical jazz trumpet playing was put in the spotlight in 2014 with release of his own debut album, “Moment to Moment,” co-led with pianist Cava Menzies. Cracking the top 20 of the Billboard Jazz chart, reaching the top 30 and spending nine consecutive weeks on the JazzWeek chart,

and garnering both a 4-star review and a coveted spot on DownBeat magazine’s “Best Jazz Albums of 2014” list, the album drew laudatory comparisons to the work of jazz trumpet legends Miles Davis (“The Ballads Album Miles Davis Never Record-ed” — East Bay Express) and Chet Baker (“... pristine, and moving, trumpet sound...Phillips nods to his predecessor’s [Baker’s] fragility but also imparts a feeling of strength that comes through a sense of restraint.” — DownBeat).

Jenny Maybee is a classically-trained jazz pianist and vocalist who approaches music as the art of expressing the human body through song-structures and improvisation. Her compositions are inspired by her studies of the martial and healing arts and the vast sonic landscape of jazz and world music. Her playing reflects her range of exploration, dancing from stunning open space and intricate use of silence to power-ful rhythmic intensity. Drawn to the San Francisco Bay Area to complete her law degree at U.C. Berkeley, she has recorded and played in jazz groups including her own trio, the Empty Chamber Ensemble, the Heftpistole Chamber Ensemble, and Noertker’s Moxie.


nick phillips and jenny maybee

Workshops


START PLANNING YOUR SUMMER!

The Jazzschool is proud to offer a range of summer camps and intensives for both adults and young musicians (middle school and high school age). These fun, immersive programs are a great way to jump-start your learning, by working closely with our talented instructors for a week or more. They also serve as the perfect forum for you to meet like-minded musicians from around the Bay Area and beyond. All of our camps and intensives conclude with a concert in the Jazzschool’s Hardymon Hall, open to public, free of charge.

Space is limited and each of these programs is certain to sell out! Early registration is highly recommended. Please see the following pages for details and check cjc.edu for the most recent program updates.

• Summer Youth Program 50

• High School Jazz Intensive 51

• Girls’ Jazz & Blues Camp 52

• Summer Vocal Intensive 53

Jazzschool Camps and Intensives

48

HIGH SCHOOL JAZZ INTENSIVE

Open to all rhythm section

instruments and horns

A Five-Day Intensive

for Advanced High School

Jazz Instrumentalists led

by Artistic Director

Michael Zilber!

July 23 – 27

10 am – 4 pm

Six to eight advanced high school musicians will be selected to work closely with top Bay Area jazz artists for a week of rehearsals, master classes and private lessons. Concludes with a performance at the school, with each participant receiving a professional-quality recording of the concert!

A departure from the typical one-instructor-to-an-ensemble model, the student group meets daily with a complete ensemble of seasoned professional musicians working to develop improvisation and arranging/composition skills in an intensive rehearsal format.

See cjc.edu / hsji for a daily schedule of events.

Tuition • $795

For more information and audition pre-screening, please contact the Jazzschool at 510.845.5373 or email: erik@ cjc.edu

Dr. Michael Zilber is the director of the Jazzschool’s multiple DownBeat award–winning Advanced High School Jazz Workshop.

50 512018 Summer Quarter / July 9 – August 19 / cjc.edu

Students develop skills in ensemble playing, music reading, improvisation, instrumental technique, rhythm, jazz theory and more, with all students performing each Friday evening in a 6:00 pm concert.

Tuition • $495 per week or $900 for both weeks

For additional information please contact Rob Ewing, Jazzschool Youth Program Director, at 510.845.5373 x 14 or email [email protected].

Please see cjc.edu / jsyp for complete details.

Jazz Ensemble • Funk Ensemble • New Orleans Brass

Band • Visiting Clinicians • Jam Sessions •

Jazz Theory • Private Lessons • Guest Performers

SUMMER YOUTH PROGRAM

Open to all instrumentalists

entering 7th – 10th grades

Two Five–Day Sessions:

June 18 – 22 and

June 25 – 29

Monday – Friday

9:30 am – 3 pm

SUMMER VOCAL INTENSIVEOpen to intermediate to advanced singers (international students welcome)

A Five-Day Intensive Workshop with

Theo Bleckmann and Laurie Antonioli

GIRLS’ JAZZ & BLUES CAMPOpen to all instrumentalists and vocalists entering 6th – 12th grades

A supportive musical environment where girls have fun and develop self- confidence while honing improvisational, technical and ensemble skills. Directed by Jean Fineberg & Ellen Seeling, with an all-women faculty from the Montclair Women’s Big Band.

July 30 – August 3

Monday – Friday 9:30 am – 3 pm

All-Camp Performance, Friday, August 3, 6 pm

Jazz Combo • Blues & Soul Group • Latin Ensemble •

Pop Vocal Group • Rhythm & Blues Choir • Jazz Big Band •

“My Life” Spoken Word Poetry • Songwriting • Theory &

Improv • Vocal Skills • Percussion (joins Latin) •

One Private Lesson • Lunchtime Open Jam

Tuition • $499 • Some financial aid available.For program information: [email protected] or leave message at 510.758.2200Registration: cjc.edu/girlsreg or call 510.845.5373

August 6 – 11

10 am – 4:30 pm

Learn to create, perform and sing in a distinctive and authentic style!

52 53

CJC Artist-in-Residence and Grammy-nominated ECM recording artist, Theo Bleckmann, joins CJC Vocal Chair, Laurie Antonioli, in a return of this popular annual, week-long workshop. As jazz singing today has expanded vastly in genres and styles, this unique intensive emphasizes the technical, creative and spiritual aspects of singing and performing and serves as a catalyst for artistic growth no matter where your path leads. Bleckmann and Antonioli will assist the students in their personal and musical development, opening doors to new ideas and encouraging possibilities. The intensive culminates with a performance open to the public, Saturday, August 11, at 8 pm.

Limit: 10 students Contact [email protected] to audition

Tuition • $950 (Refund Policy: Until July 1st, $100 of the $950 tuition fee is non- refundable. No refunds are allowed after July 1st.)

54 55

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

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

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

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

Ian Carey (trumpet, composition)B.F.A., Jazz and Contemporary Music, The New School, New York. Performed with The Nathan Clevenger Group, Satoko Fujii, Anthony Brown’s Asian-American Orchestra, Eddie Bert, Lisa Mezzacappa, Dayna Stephens, and Loren Schoenberg. Recorded with Electric Squeezebox Orchestra, Sam Bevan Group, Bryan Bowman Quintet and Rob Reich’s Circus Bella All-Star Band. Released four albums on Kabocha Records with his group The Ian Carey Quintet+1 featuring his original compositions, including the hourlong suite “Interview Music” (commissioned by San Francisco Friends of Chamber Music). Pasquina Publishing Musical Artists Award winner, 2014. Visiting clinician at Stanford University and Santa Rosa Junior College. www.iancareyjazz.com

Danny Caron (guitar) B.A. in English and Music, Oberlin College and Conservatory; graduate of Howard Roberts Program, Guitar Institute of Technology, Los Angeles. Best known for being music director and guitarist for the legendary pianist and vocalist Charles Brown until his death in 2000. He has played and recorded with Van Morrison, Bonnie Raitt, Dr. John, Clifton Chenier, Donald Fagan, Hadda Brooks, Red Callender, and many others. www.dannycaron.com

Maye Cavallaro (voice) Advanced degree in Education, UC Santa Barbara; B.A. in English Lit, UC Santa Barbara. Fellow NY Cabaret Symposium; faculty, Blue Bear School of Music; private coaching, 25 years; producer, 8 recordings; bandleader, recording artist; awarded Best of the Year in Jazz by the San Francisco Chronicle; visiting clinician, St. John’s U.; graphic artist, web designer. www.teachingjazz.com

Andrea Claburn (voice)B.M. California Jazz Conservatory; BA (High Honors, Humanities) University of California at Berkeley. Producer/arranger, composer for album Nightshade (released January, 2017). Co-bandlead-er, Andrea Claburn/Jua Howard Group. Awarded the CA Jazz Conservatory’s Mark Murphy Vocal Jazz Scholarship (2010). Classically trained in piano and violin. Extensive experience as an instructor of vocal technique, performance, improvisation, and musicianship. Studied with Suzanne Pittson, Sandy Cressman, Laurie Antonioli, Raz Kennedy. www.andreaclaburn.com

Stephanie Crawford (voice)BFA Wayne State University. Subsequent studies with bebop pianist Barry Harris in New York City. She became Professor of Vocal Jazz at the C.I.M. (Centre d’Information Musical and at the I.A.C.P. (Institut d’Art, Cultur et Perception) in Paris where she resided for many years. In 1992 she won the Django D’Or Best Vocal Jazz Award for her recording A Time for Love, and in 2009 the East Bay Express Best Singer of the Year award.www.stephaniecrawfordjazz.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. Cressman has performed and recorded with Jovino Santos Neto, Marcos Silva, Weber Iago, Antonio Adolfo, and SpokFrevo. Cressmanmusic.com

Daria (voice)Education: SFSU/New College of California, B.A. Humanities/Early Childhood Music Ed.; A.A. Foreign Languages; International performing/recording artist, songwriter/educator. Performs with The Hot Licks and a capella trio, Dangerous Divas. Releases include “Strawberry Fields Forever — Songs by the Beatles” on Origin/OA2 Records; “Feel the Rhythm” on Jazz ‘m Up Records (own label). Performed and/or recorded with Dan Hicks, Bob Dorough, Dave Grisman, Elvis Costello, Diana Krall and others. Taught at CJC, Piedmont Piano, College of Marin, Blue Bear School of American Music and other locations. www.dariajazz.com

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: Rubén 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 and Wayne Wallace. 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; has performed at Montreux Jazz Festival, Berlin Jazz Festival, North Sea Jazz Festival; performed and recorded with Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, John Handy, David Byrne, Turtle Island String Quartet, Maria Schneider and Andy Narell; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.

Jazzschool Faculty

Jazzschool FacultyJazzschool Faculty


amanda addleman

Jazzschool Faculty

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Jazzschool Faculty

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

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

Jean Fineberg (saxophone, flute)M.Ed. in Secondary Education, B.S. in Science; B.A. in Arts & Sciences, Pennsylvania State U. Founder, leader of Deuce and Saxophunk; Assistant Director, composer, arranger, Montclair Women’s Big Band; toured and recorded with Melba Liston, David Bowie, Laura Nyro, Chic, Sister Sledge; consultant, San Francisco Arts Commission; NEA Jazz Fellow; recipient, ASCAP music composition awards, Meet The Composer grants; featured on Marian McPartland’s Piano Jazz on NPR.

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.

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

Mike Greensill (piano)Graduated from Leeds College of Music (England). Long-time musical director for acclaimed vocalist Wesla Whitfield. Resident pianist for Public Radio’s “West Coast Live.” Worked as an accompanist with Rita Moreno, Margaret Whiting, Madeline Eastman, Ann Hampton Callaway and many others.

Charlie Gurke (saxophone, composition) M.M. in Jazz Studies, University of Oregon. B.M., Cal State East Bay. On faculty at Laney College and the Community Music Center of San Francisco. Currently performs and records with the Electric Squeezebox Orchestra, Edgardo Cambón, Carne Cruda, the Gurkestra, and more. Past performance and recording credits include Omar Sosa, Aphrodesia, the Pacific Mambo Orchestra, Carne Cruda, Fito Reinoso, and others. Music director and composer in residence, We Players theater company.

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

Jonathan Herrera (bass) B.A. University of Southern California; Honors Graduate, Los Angeles Music Academy. 2012 Artist-in-Residence, Los Angeles College of Music. Current LACM faculty, teaching Synth Bass. Former Editor-in-Chief of Bass Player Magazine, current Senior Contributing Editor. Performed and recorded with Stanley Jordan, Brain, Oz Noy, Miguel Migs, Cathedrals, Jonas Hellborg, Cyrus Chestnut, MoeTar, and many more. Extensive international touring and clinic experience. Moog, MXR, DSI, Nordstrand, and Aguilar endorsing artist. Staff Producer and Studio B Chief Engineer, Airship Laboratories recording studios.

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.M. in Trumpet, Oberlin Conservatory of Music. Toured with John Mayer, Illinois Jacquet and Galactic, and has composed for film and dance projects. Released several albums as a leader. www.erikjekabson.com

Jennifer Jolly (keyboards) B.A. UC Berkeley. Keyboardist, melodica player, vocalist, composer, and educator (keyboards, world music, improvisation). Specialty in New Orleans R&B, African, Caribbean, blues, soul/funk, rock, Americana, jam bands, country swing, Cajun/zydeco, groove/percussive and improvisational music. Currently performing with Zulu Spear, Babá Ken Okulolo & Friends, Big B and His Snake Oil Saviors, The Jolly Gibsons, and several reggae/ska, blues/ R&B, and Americana groups; frequent sub with Tom Rigney & Flambeau. Current accompanist for choruses, churches, and musical theater productions. Previous performance credits include Phil Lesh, Kotoja, Barbara Dane, and Hot Links. Long-time faculty instructor at the CJC, Cazadero Family Camp, after-school programs, and private studio. Secondary instruments include steel drums, flute, and percussion.

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

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

Omar Ledezma Jr. (percussion, voice) Diploma, Performance, Berklee College of Music 2003. B.S., Law School, Santa Maria University, Caracas, Venezuela 1995. Active local performer, teacher, GRAMMY-winning with Pacific Mambo Orchestra (2014) and world-class musician. Toured with renowned artists in USA, Europe and South America. Has participated in more than 45 recordings, DVDs and books. Omar is Pearl, Soultone, Pinchclip artist. Omarledezmajr.com

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

Jason Levis (percussion) Ph.D. and M.A. in Composition, UC Berkeley; B.A. in Music, Naropa University. Two-time Meet the Composer award recipient; Eisner Prize for Music winner; Outstanding Graduate Student Instructor (UC Berkeley); Interaktion Festival finalist (Berlin). Drummer and composer Jason Levis has led and collaborated 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

kasey knudsen


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Jazzschool Faculty

Clif Payne (voice) Evershift recording artist, international concert vocalist, vocal coach. Payne’s 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, and Harvey Mason. He has opened for Tony Bennett, Johnny Mathis and Dionne Warwick and shared the stage with Dianne Reeves, The Commodores, Lionel Richie, Lakeside and Sheila E. www.clifpayne.org

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

Debbie Poryes (piano) National and international performing artist including Yoshi’s, Healdsburg Jazz Festival, Bim House and Concertgebouw in Amsterdam, New Morning in Paris, Quasimodo in Berlin; released several albums as a leader, received four-star DownBeat review for her latest 2017 trio CD “Loving Hank;” studied at UC Berkeley and Hilversum Conservatory in the Netherlands; has a teaching credential in Jazz Studies, Netherlands; was a tenured faculty member for 7 years in 2 Dutch music conservatories, Hilversum and Arnhem; toured with John Clayton Big Band; 40 years private instruction in jazz piano and jazz/classical theory; faculty member Stanford Jazz Workshop. debbieporyes.com

Sam Priven (saxophone)B.M. from the University of Miami, Frost School of Music. Student of Martin Bejerano, Jamie Oehlers, Ben Goldberg, Dann Zinn, John Daversa and Mark Small. Performed or recorded in over ten countries at festivals such as the Montreux, North Sea, Umbria and Monterey Jazz Festivals. Performed with notable musicians such as Bruce Hornsby, Barry Manilow, Danilo Perez, Chris Potter, and Brian Lynch. As an educator, Sam co-taught a class at Stanford called coming back to your senses.

Frank Martin (piano, keyboards)Music Director for Narada Michael Walden, Patti Austin, Angela Bofill; Carnegie Hall appearances with Sting, James Taylor, Elton John; Record producer/arranger for Al Jarreau, Turtle Island String Quartet, Joey DeFrancesco, Mimi Fox, Mary Jenson, Molly Holm, Deuce, Tuck & Patti, Karen Blixt; performed/recorded with John McLaughlin, Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Larry Coryell, Herbie Hancock, Stanley Jordan, Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, UC Berkeley Jazz Ensembles. www.frankmartinproductions.com

Jeff Massanari (guitar) Four years performance and composition coursework at Berklee College of Music. Performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Jeff has released four albums under his own name and is featured on numerous others. jeff-massanari.com

Azure McCall (storyteller) After releasing her first CD, Azure was asked by the great bassist Ray Brown to be his vocalist on tour. Azure later became the first singer to work with Freddie Hubbard’s band. Additional collaborators include Frank Morgan, Tennyson Stephens, Joe Lovano, Geoffrey Keezer, Curtis Lundy, and Dizzy Gillespie. In 2008, President Barack Obama asked her to perform at his pre-election party. Azure became the ‘jazz diva’ for Celebrity and Royal Caribbean Cruises.

Ami Molinelli (percussion) MFA Cal Arts. Co-leader of Grupo Falso Baiano. Performance and recording credits include Luciana Souza, Hamilton de Holanda, Jovino Santos Neto, Danilo Britto, Nilson Matta, Romero Lubambo, Jai Uttal, George Duke.

Daniel Lucca Parenti (bass) Performance experience with many jazz legends including Concord Jazz Recording Artists Rosemary Clooney, Michael Brecker, and Lionel Hampton. With Rosemary Clooney, Daniel participated on two Grammy-nominated albums. He has released seven full-length original albums under his Original Project D-Lucca. He continues to perform with many well-known Bay Area Artists including Sheila E, Pete Escovedo, Tommy Igoe, Rodney Franklin, and more.

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).

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

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

Ellen Seeling (trumpet)B.M. in Jazz Studies, Indiana U. Composer, arranger and recording artist. Founder and Director, Montclair Women’s Big Band; featured on Marian McPartland’s Piano Jazz on NPR and Grammy Foundation; performed with Thad Jones/Mel Lewis Big Band, Joe Cocker, Ray Barretto, Patti LaBelle; consultant, San Francisco Arts Commission.

Marcos Silva (piano) Adviser, California Jazz Conservatory 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

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.

Kalil Wilson (voice)Degree in Vocal Performance and Ethnomusicology from UCLA. Has performed with Herbie Hancock, Carlos Santana, Kenny Burrell, the Buena Vista Social Club, Esperanza Spaulding, Renée Fleming, the L.A. Opera, L.A. Philharmonic, and the Oakland East Bay Symphony. Debut CD: “Easy To Love”

Andrea Wolper (voice) Brooklyn-based singer and songwriter Andrea Wolper performs nationally and internationally. Credits as leader/co-leader include Dizzy’s Club Coca-Cola at Jazz at Lincoln Center, the New York Blue Note, New York JVC Jazz Festival, Jazz on the Plazz, Jazzfest Kassel, Edgefest and more. Her CD “Parallel Lives” (Jazzed Media) was on several best-of-year lists, and “TranceFormation in Concert” (New Artists Records) was a DownBeat Critics Polls Best Vocal CD. www.andreawolper.com

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

Michael Zilber (saxophone) Ph.D. in Composition, NYU; M.M. in Composition, Tufts U.; B.M. 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

Jazzschool Faculty

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Board and Staff

BOARD OF DIRECTORS

Tyler Johnston, Chairman

Susan Brand, Vice Chairman

Richard A. Lyons, Secretary

Neil Rudolph, Treasurer

Steve Baker

Clifford Brown, Jr.

Charles Charnas

James Ellis

Jerry Fiddler

Rita Hargrave

John Moss

Susan Muscarella

Gregg Perloff

Jerry Povse

Jim Reynolds

M. David Sherrill

Judy Walters

Kevin Whitman

Michael Yovino-Young

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

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

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


ADMINISTRATIVE STAFF

Bill Aron Business Manager

Karen Shepherd Director of Financial Aid

Jesse Rimler Registrar and Custodian of Records

Zach Mondlick Assistant to the Dean

Elizabeth Williams Director of Philanthropy

Mary D’Orazi Philanthropy Associate Concert Booking Manager

Paul Fingerote Marketing & Public Relations Director

Sheryl Lynn Thomas Digital Marketing Manager

Julie Birch Data Manager Systems Administrator

Kim Nucci IT Systems Administrator Technical Projects Director

Max Hodes Operations Director

Michael Golds, Sam Priven, Alex Shapiro-Romano, Tom Weeks Operations Staff

Tatyana Dimitrova-Pelov House Manager

Lee Brenkman Sound Technician

Robert Soper Piano Technician

Poulson Gluck Design Graphic Design

Chris Hardy Photographer

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tyler johnston, cjc board of directors chair

62 Call 510.845.537362 Call 510.845.5373

Instructions and Application

To enroll in the Jazzschool

Summer 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 prestigious national and interna-

tional performance and/or lecture

opportunities that arise, Jazzschool

faculty, course offerings and/or class

schedules may be subject to change.

If these or similar circumstances arise,

the Jazzschool will make every effort to

provide its students with the optimal

educational experience possible.

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.

Enroll online at cjc.edu or call 510.845.5373

Please read instructions on facing page before completing application form.

Name (print) ____________________________ ____________________________________________

Address __________________________________________________________________________ Street City/State Zip

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

Cell phone ( ___ ) ________________________ Email __________________________________

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

_____________________( ) _____________________( ) _________________________( )

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

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

1. _____________________________________ 2. _____________________________________

3. _____________________________________ 4. ______________________________________

How did you hear about the Jazzschool? _____________________________________________

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

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

Charge my tuition to: ____ VISA ____ MasterCard ____ Discover

Card #_____________________________________________________ Exp. date _____________

3-digit security code ___________

Signature of cardholder ____________________________________________________________

Name as It appears on card _________________________________________________________

San Pablo Ave

Fulton

Ashby

College Ave

580

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SN

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Telegraph Ave

BART

Sacramento

Channing

Durant

Allston

Center

Addison

24

Bancroft

Kittredge

UC Campus

580/80

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

Shattuck Ave

62 6363

University Avenue

2087& 2040

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64

If you have benefited from our classes, workshops or concerts,

then we invite you to share your experience by supporting

the California Jazz Conservatory, America’s only independent,

accredited music conservatory dedicated solely to the study

and performance of jazz.

This unique institution encompasses:

• The degree-granting California Jazz Conservatory

• The non-degree-granting Jazzschool

• Jazz camps and intensives

• Concerts showcasing students, faculty and visiting

artists

Hundreds of individuals and institutions have partnered with

us; we invite you to join them!

If you wish to make an unrestricted gift to the Conservatory’s

annual fund, which supports the institution in broadest terms,

please visit our website (cjc.edu/support) or send your check

(payable to California Jazz Conservatory, Inc.) to the address

found on the back of this catalog.

If you or your business would like to make a gift to support

one of the above-mentioned programs (many such invest-

ment options carry a naming opportunity, if desired), please

contact Elizabeth M. Williams, Director of Philanthropy, at

510.845.5373, ext. 27.

Thank you for sharing your joy for jazz by supporting the

California Jazz Conservatory!

Share Your Joy for Jazz By Supporting

The California Jazz Conservatory!

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the zzschool 2018 summer catalog concerts -...

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