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2017 FALL CATALOG
We're celebrating the 20th anniversary of the Jazzschool this Fall, 20 years of successfully teaching jazz
to people of all ages, at all levels of ability.
Turn the page for a quick guide to what's inside, then check out our classes, workshops and concerts
for Fall 2017, starting on page 8.
You can get all the latest news from the Jazzschool and the California Jazz Conservatory by signing up
for our e-newsletter at cjc.edu.
Or, feel free to call us at 510/845-5373 if you have any questions.
Welcome to our third decade of teaching you jazz and enjoy this Fall at the Jazzschool!
Welcome to our third decade of teaching you jazz!
azzschoolthe
at C A L I F O R N I A J A Z Z C O N S E R V A T O R YCJC Degree Programs / Jazzschool Classes and Workshops / Concerts
2087 and 2040 Addison Street / Berkeley / 510.845.5373 / cjc.edu
INTRODUCTION
Calendar 2
The California Jazz Conservatory 4
The Jazzschool 6
ADULT PERFORMANCE ENSEMBLES
Jazz 8
Latin 12
Brazilian 13
Blues 13
World 13
Funk 13
ADULT INSTRUMENTAL CLASSES
Piano and Keyboards 14
Guitar 16
Harmonica 18
Bass 19
Drums and Percussion 20
THEORY, IMPROVISATION, COMPOSITION
Theory and Improvisation 22
Composition 22
ADULT VOCAL CLASSES
Vocal Technique 24
Performance 24
Ensembles 29
Composition 30
Young Musicians 30
Vocal Mentor Program 3 1
Vocal Workshops 32
JAZZSCHOOL YOUNG MUSICIANS PROGRAM
Introduction 39
Program Requirements 39
Placement and Audition
Requirements 40
Instrumental Ensembles 41
Voice 44
WORKSHOPS
Bass 45
Guitar 46
Drums and Percussion 48
Woodwinds 50
Piano 52
Technology 55
Theory and Improvisation 55
Music Business 59
Fall 2017 CJC Concert Series 60
Jazzschool Faculty 62
Board and Staff 69
Instructions and Application Form 70
Map 71
How You Can Help 72
Note: Course, workshop and concert schedules subject to change. Please visit cjc.edu for the most current information.
FALL 2017 CATALOG PRODUCTION
Design Poulson Gluck Design
Editorial Rob Ewing, Laurie Antonioli, Paul Fingerote
Photography Chris Hardy, Robin Kempster, Akida Thomas, Grason Littles and others
Photo research Sheryl Lynn Thomas
Printing FolgerGraphics
Cover Jesse Rimler, illustration
Contents Over 100 opportunities to learn jazzare in your hands right now!
Welcome to our Fall 2017 Jazzschool Catalog, where you'll find
more than 20 Adult Performance Ensembles, over 60 Classes, more than
20 Workshops, 40 Concerts and more. . .over 100 opportunities for you
to learn jazz at the Jazzschool, many of them brand new this Fall!
Here's a quick guide to what's inside:
If you're looking for... See...
An Application Form Page 70
Adult Performance Ensembles Page 8
Adult Instrumental Classes Page 14
Theory, Improv, Composition Page 22
Adult Vocal Classes Page 24
Young Musicians Program Page 39
CJC Degree Programs Page 42
Workshops Page 45
CJC Concert Series Page 60
Faculty Page 62
Board of Directors / Staff Page 69
Map Page 71
How You Can Help Page 72
Donors cjc.edu
Everything Else cjc.edu
New Classes / Workshops new
The Jazzschool Fall 2017 Calendar
2017 Jazzschool Fall Quarter
September 18 – December 3
School Closure
Thanksgiving Week
November 20 – 26
Fall Performance Series
December 4 – 14
Heads up! Many opportunities fill early, so sign up soon. If you're not sure which class
or workshop is right for you, please contact us for guidance. We're here to help!
Susan Muscarella, President and Dean of Instruction [email protected]
Rob Ewing, Director, [email protected]
Laurie Antonioli, Chair, Vocal Program [email protected]
Erik Jekabson, Director, Jazzschool Young Musicians [email protected]
510.845.5373 SUSAN MUSCARELLA ERIK JEKABSON LAURIE ANTONIOLI ROB EWING
4 5
The Conservatory houses a popular
Jazzcaffè, offering light fare and a range
of beers, wines and other beverages
year-round. The CJC Bookstore, adjacent
to the Jazzcaffè, offers jazz-related
reading and listening materials with
books, recordings, videos and accessories
available to students, faculty and visitors
throughout the year.
Located in the heart of Berkeley's vibrant
Downtown Arts District, the California
Jazz Conservatory 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.
The California Jazz Conservatory
The California Jazz Conservatory is
the only accredited independent
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, Audio
Production and North American Roots
Music.
Our 2-year Associate of Arts degree in
Jazz Studies offers the same effective
faculty, 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
Conservatory's year-round CJC Concert Series offers a wide array of performances
by students and professionals in our
intimate concert venue, open to the public.
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
Intensives 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, work-
shops, camps, intensives and other
programs are led by a distinguished
faculty of professional 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
encourage 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 71.
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
2017 Fall Quarter / September 18 – December 3 / cjc.edu
98
You have a chance to study and hang a bit with some of the best musicians around. In addition, you get to do it in combo classes -- and if you want to play jazz in a group, that's the way to learn how.— RPJ
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 I: Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Steve Erquiaga • $395
Section II: Thursdays 6:30 – 8 pm 9/21 – 11/30 (10 weeks) no class 11/23Rob Ewing • $395
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 I: Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23
Section II: Saturdays 10 – 11:30 am
Section III: Saturdays 11:45 am – 1:15 pm
Section IV: Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25Glenn Richman • $395
DAVE SCOTT JAZZ ENSEMBLEA small jazz ensemble (rhythm section
and horns) focusing on standards and jazz
tunes with custom arrangements by the
instructor.
Thursdays 4 – 5:30 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Len Scott • $395
HARD-BOP ENSEMBLEStudy and perform music melding
bebop with R&B, gospel and the blues
as developed by mid-century masters
including Horace Silver, Art Blakey,
Cannonball Adderley, Miles Davis,
Jimmy Smith and others.
Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Lefebvre • $395
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 I: Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20
Section II: Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Glenn Richman • $395
POST-BOP ENSEMBLEExplore the repertoire of Chick Corea, Joe
Henderson, Wayne Shorter, John Coltrane
and other post-bop jazz composers from
the 1960s to the present. Strong emphasis
placed on group communication and
interaction.
Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Steve Erquiaga • $395
glenn richman
2017 Fall Quarter / September 18 – December 3 / cjc.edu
1110
FREE JAZZ ENSEMBLE: new THE MUSIC OF ALBERT AYLERIf 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 term, we investigate
the music of the masterful icon of classic
1960s free jazz, saxophonist Albert Ayler.
Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Jason Levis • $395
ERQUIAGA ENSEMBLE I 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.
Tuesdays 4:30 – 6 pm9/19 – 11/28 (10 weeks) no class 11/21Steve Erquiaga • $395
ERQUIAGA ENSEMBLE IIThis Ensemble II class focuses on slightly
faster tempos and more involved
tunes! Unusual keys, uncommon tune
structures and more complex melodies
are presented along with standard
repertoire. Includes the music of Miles
Davis, Jobim, Art Blakey, Cal Tjader and
many 60s Blue Note–era artists. Original
compositions are encouraged!
Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21Steve Erquiaga • $395
JEAN-LUC PONTY new ENSEMBLEViolinist Jean-Luc Ponty made his
American debut at the Monterey Jazz
Festival in 1967, playing to thunderous
appreciation and making his mark as one
of the leading innovators of the early
jazz-rock fusion era. Noted for his work
with Frank Zappa, John McLaughlin's
Mahavishnu Orchestra and others, he has
maintained a successful career as a solo
artist for many decades and continues to
be an active performer, recently working
with Stanley Clarke, Bela Fleck, Chick
Corea’s Return to Forever and others.
This ensemble draws on Jean-Luc Ponty's
compositions from throughout his career
and reflects his innovative approach
to jazz.
Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Frank Martin • $395
HIP-HOP/JAZZ ENSEMBLE newLearn the material of some of today’s
most innovative artists and hip-hop groups
while enhancing your performance skills in
this ensemble dedicated to hip-hop jazz.
You'll study and perform songs from
groups such as Anderson.Paak, KING,
Hiatus Kaiyote, A Tribe Called Quest, The
Internet, Thundercat, Bilal, Robert Glasper
and Erykah Badu. Students will study
hip-hop culture and its influences, while
applying those studies to their own
compositions. With an emphasis on
stylistic integrity, as well as melodic,
harmonic, and rhythmic accuracy, the
instructor will guide the band and vocalists
through the history of hip-hop jazz, in a
course geared towards an end-of-quarter
performance.
Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Lilan Kane • $450
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 I: Mondays 5 – 6:30 pm
Section II: Mondays 6:45 – 8:15 pm
Section III: Mondays 8:30 – 10 pm9/18 – 11/27 (10 weeks) no class 11/20Peter Horvath • $425
Section IV: Fridays 1:30 – 3 pm
Section V: Fridays 3:30 – 5 pm9/22 – 12/1 (10 weeks) no class 11/24Debbie Poryes • $425
GUITAR TRIOFocus on group interaction and dynamics,
soloing, comping for bass solos, trading
with a drummer, building repertoire and
more in the guitar, bass and drums trio
format. Open to five guitarists, one bassist
and one drummer.
Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20Steve Erquiaga • $395
BIG BANDThis 19-piece ensemble covers classic and
contemporary repertoire for big band.
Original compositions by ensemble
members are also work-shopped and
performed. Full 3-quarter commitment required (fall, winter, spring).
Thursdays 8:15 – 10:15 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Lefebvre • $285
Adult Performance Ensembles Adult Performance Ensembles
Debbie Poryes is such a gifted player and teacher. Her passion is contagious.— Anonymous
MILES DAVIS/WAYNE SHORTER ENSEMBLEExplore the music of Miles Davis and
Wayne Shorter from the mid-60s through
the 80s. Repertoire is drawn from far-
reaching classic albums including Miles Smiles, ESP, Filles de Kilimanjaro, Speak No Evil, Bitches Brew, In a Silent Way,
Native Dancer and Jack Johnson. Strong
emphasis placed on group communication
and interaction.
Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Steve Erquiaga • $395
2017 Fall Quarter / September 18 – December 3 / cjc.edu
1312
LATIN
SALSA ENSEMBLE IRehearse and perform classic salsa
repertoire including the music of Tito
Puente, Cal Tjader, Eddie Palmieri and
others. Prerequisites: familiarity with and ability to play standard Afro-Caribbean grooves as applied to your instrument.
Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21David Belove • $395
SALSA ENSEMBLE IIRehearse and perform more advanced
salsa repertoire. Vocalists interested in
participating should sign up for Salsa
Singing (see p. 28). The two courses work
together throughout the term developing
a full set of high energy dance music for
performance.
Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21David Belove • $395
VENEZUELAN MUSIC ENSEMBLE 360Explore traditional and contemporary
Venezuelan music styles, with a particular
focus on Afro-Venezuelan repertoire.
Exciting rhythms including calypso, joropo
and golpe de tambor will be covered. The
ensemble will culminate in a performance
at the Jazzschool in Hardymon Hall! Open
to all instruments: percussion (congas,
hand percussion), Venezuelan cuatros,
vocals, woodwind and brass instruments,
piano, bass, and drumset. Highly recom-
mended for students who have taken the
Afro-Venezuelan percussion and Venezu-
elan cuatro classes with Jackie Rago in
the past. Prerequisites: Intermediate to advanced players with the ability to play standard grooves as applied to your instrument.
Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Jackie Rago • $395
BRAZILIAN
BRAZILIAN ENSEMBLEStudy and perform the classic and
contemporary Brazilian jazz repertoire of
Ivan Lins, Dori Caymmi, Toninho Horta,
Antonio Carlos Jobim and instructor
Marcos Silva. Vocalists welcome!
Audition with Marcos Silva is required.
Section I: Tuesdays 6:15 – 7:45 pm
Section II: Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21
Section III: Wednesdays 6:30 – 8 pm
Section IV: Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22
Section V: Thursdays 1 – 2:30 pm9/21 – 11/30 (10 weeks) no class 11/23
Section VI: Fridays 12 – 1:30 pm9/22 – 12/1 (10 weeks) no class 11/24
Marcos Silva • $395
BLUES
BLUES AND GROOVE ENSEMBLELearn to play the blues and blues-related
styles. Emphasis on the groove as found
on recordings of Charlie Christian, T-Bone
Walker, Albert Collins, Jack McDuff, Louis
Jordan and other “jump” blues and New
Orleans masters. Prerequisite: knowledge of 12-bar blues.
Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25
Danny Caron and Anthony Paule • $395
WORLD
WORLD GROOVE ENSEMBLE: CARIBBEAN Explore the irresistibly deep grooves of
Jamaica, Trinidad, and other islands of the
West Indies in The Caribbean Ensemble, a
course open to vocalists and instrumental-
ists featuring styles ranging from calypso
to soca, reggae, ska, zouk, biguine, and
more. Delve into music by artists such
as Lord Kitchener, Calypso Rose, The
Skatalites, Bob Marley, Malavoi, Kassav
and others. Class members learn the
cultural context and rhythmic structure
of each tune. This ensemble is one of
three consecutive classes comprising
the World Groove Ensemble; students
may enroll in any one or all three.
Prerequisites: intermediate instrumental proficiency; ability to read charts and notation.
Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Jennifer Jolly • $395
FUNK
FUNK ENSEMBLEThis high-energy ensemble explores
repertoire ranging from James Brown
to Tower of Power. For all rhythm
section instruments, horns and vocalists.
Prerequisites: Intermediate technical facility and ability to read charts and standard notation.
Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Daniel Parenti • $395
Adult Performance Ensembles
marcos silva
Adult Performance Ensembles
2017 Fall Quarter / September 18 – December 3 / cjc.edu
daniel parenti
1514
JAZZ PIANO I Learn to play jazz standards and the
12-bar blues through the study of jazz
chord voicings and improvisation tech-
niques. Prerequisites: basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in all keys, ability to read treble and bass clefs.
Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Bob Karty • $395
JAZZ PIANO IIIn this continuation of Jazz Piano I, you'll
learn more advanced chord voicings and
soloing techniques, as well as standard
re-harmonization techniques. Prerequisites: ability to play 3-note voicings with proper voice leading through a jazz standard (e.g., “All The Things You Are” or similar), ability to improvise on a 12-bar blues in time, playing 3rds and 7ths in the left hand. An audition is required; please call 510-845-5373 to schedule your audition.
Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20Bob Karty • $395
JAZZ PIANO CHORD newVOICINGS (FOR PIANISTS AND NON-PIANISTS)
Explore a wide range of jazz piano chord
voicings in this new 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).
Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Steve Blum • $395
LEFTY — THE LEFT HANDA look to the left is the focus in this course
designed to develop jazz piano techniques
for the left hand. Work on tertian (3rds),
quartal (4ths) and quintal (5ths) voicings;
blues and rhythm changes; and walking
bass lines. Improvisation, ostinatos for
soloing and some stride piano techniques
are also covered. Right hands are
welcome, but only as observers!
Prerequisites: ability to play major, minor, and dominant 7th chords in all keys, knowledge of jazz harmony.
Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Frank Martin • $395
KEYBOARD IMPROV ZOO: newGames and Tools for Creative GrowthThis adventure-filled class offers a wide
range of fun, interactive, non-traditional
games and creative challenges for
keyboardists at all levels. Sample exercises
include body percussion warm-ups, call
and response, playing with prompts,
chance elements, ostinati, free improvisa-
tion, soundtracking, passing the baton,
walkabouts, conducted improvisation,
and other experiences. Students can
expect to stretch creatively and feel
more free playing on their own and with
others. Materials provided by instructor.
Prerequisites: basic proficiency in key-board playing and reading.
Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21Jennifer Jolly • $395
Adult Instrumental Classes
PIANO & KEYBOARDS
PIANO I If you've ever wanted to play the piano,
now is your chance! Sign up for Piano I
and you'll learn to how to understand
musical notation, how to play a scale,
perform a piece of music, 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. Concurrent
enrollment in the Introduction to Music
Theory course is suggested. Required
texts: Mastering Piano Method 1A,
Mastering Theory 1A, Janet Vogt
(available at the CJC Bookstore).
Saturdays 10 – 11:30 am9/23 – 12/2 (10 weeks) no class 11/25Jeanne Walpole • $395
PIANO IIFor those with some experience on keys,
Piano II picks up wherever you left off in
your pianistic pursuits and challenges you
to go farther with your musical endeavors.
Ensemble and solo music is selected to
match your own level and ability on the
piano. This class presents individual
guidance as well as group performance
opportunities. Required text: Bastien Piano for Adults II (available at the CJC Book-
store). Prerequisites: Piano I or equivalent experience.
Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Jeanne Walpole • $395
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 I
and is recommended for pianists with a
classical background interested in breaking
free of the printed page and learning how
to interpret leadsheets as well as learning
how to improvise. Handouts provided.
Prerequisites: basic keyboard knowledge.
Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25Jeanne Walpole • $395
Adult Instrumental Classes
frank martin
steve blum
16 17
BLUES PIANO new TUNES FOR JAMS AND GIGSEvery blues musician needs a crash course
like this! Learn a set-full of the tunes you'll
most likely encounter at gigs, jams, open
mics, and living room parties. You'll learn a
variety of accompaniment styles for tunes
by artists like Chuck Berry, B.B. King,
Muddy Waters, Booker T & the MGs, Ray
Charles, Freddie King, Jimmy Reed, Louis
Jordan, and Stevie Ray Vaughan. Students
are encouraged to sing if they wish.
Materials provided by instructor.
Prerequisites: Ability to read and play two-handed keyboard parts.
Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Jennifer Jolly • $395
GUITARBEGINNING GUITARIf you're interested in learning how to play
the guitar, this course will help you
develop a strong foundation in basic skills,
learning the essentials, including tuning
the guitar, finding notes and basic chords
on the fretboard, proper hand positions,
scale fingerings, simple songs, reading
music and more! Your instructor will
answer questions about equipment
selection (guitars, strings, amps, picks,
etc.). Required text: Modern Guitar Method Vol. One, Mel Bay (available at the CJC
Bookstore). Prerequisites: None, for complete beginners! Students must bring a guitar to class.
Saturdays 10 – 11:30 am9/23 – 12/2 (10 weeks) no class 11/25Danny Caron and Anthony Paule • $395
JAZZ GUITAR IIf you're a guitarist with a background
in another style and you're interested in
exploring jazz and blues this course is
for you! You'll gain hands-on experience
playing jazz and blues while learning basic
jazz theory, scales, chords, arpeggios
and songs. You'll have fun while learning
and playing! Prerequisites: two years playing experience, knowledge of major and pentatonic scales and all seventh chords.
Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Jeff Massanari • $395
JAZZ GUITAR IIIn this fun and fast-paced continuation of
the concepts explored in Jazz Guitar I,
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 I or equivalent; knowledge of scale and chord theory and some familiarity with jazz repertoire.
Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Jeff Massanari • $395
MUSIC THEORY AND FRETBOARD KNOWLEDGE FOR GUITARLearn the basics of music theory as
applied to guitar, developing familiarity
with the fretboard through chord, scale
and arpeggio practice. Topics include:
• Overview of chord and scale types
and where they are located
• Chord progressions commonly
used in jazz and related styles
• Comping patterns
• Scale and arpeggio practice
in various positions
• Reading charts and standard
notation (treble clef)
• Transcribing music from recordings
• Basics of melodic improvisation
For students with some playing experi-
ence, knowledge and facility, but who
have never seriously practiced or studied
music theory or the guitar fretboard.
Prerequisites: ability to play basic barre chords and some familiarity with playing scales. Students should bring a medium or heavy flat pick and be ready to learn how to use it!
Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20Danny Caron • $395
Danny Caron is an excellent teacher, especially for beginners. His instruction is clear, concise and energetic. Most important, he motivated us to excel and move forward every week. He is the BEST. — Skye Ward
jeff massanari
Adult Instrumental Classes Adult Instrumental Classes
2017 Fall Quarter / September 18 – December 3 / cjc.edu
danny caron
1918 2017 Fall Quarter / September 18 – December 3 / cjc.edu
JAZZ GUITAR COMPINGThis hands-on course provides the
intermediate-to-advanced guitarist with
the tools, concepts and techniques
essential to creative and effective
contemporary comping.
Topics include:
• Comping over straight-ahead, bebop, modal, funk/fusion, ballads, contempo-rary jazz, Brazilian and Afro-Cuban styles of music
• Creative chord voicings — looking at the fingerboard and voicing chords in a more “pianistic” way; quartal harmony (clusters voiced in 4ths) in modal comping; the possibilities of dissonant intervals such as the minor 2nd; slash chords; tritone substitution; and upper-register chord voicings
• Rhythmic anticipation and syncopation: the “right” places to put chords, in order to create “forward motion;” comping in 3/4, 6/8 and odd meters.
Prerequisites: knowledge of chord/scale theory; ability to play major, dominant and minor seventh chords and the ii–V–I progression in all keys.
Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Steve Erquiaga • $395
BRAZILIAN GUITARLearn Brazilian music styles including
samba, baião, bossa nova and choro, and
the techniques used to play them. Primary
focus is on learning repertoire, while
developing the following areas: stylistically
appropriate comping rhythms, chord
melody playing, creating solo arrange-
ments, right hand finger-style techniques
and melodic soloing approaches.
Prerequisites: ability to read music notation.
Sundays 2 – 3:30 pm9/24 – 12/3 (10 weeks) no class 11/26Ricardo Peixoto • $395
BLUES AND SWING GUITARYou'll learn chord voicings, fingerboard
harmony and single string soloing
techniques, with a variety of styles
covered, from the urban blues of B.B. King
and Albert Collins to the more complex
swing of Charlie Christian and Aaron
“T-Bone” Walker. We'll dive into alternate
chord cycles and rhythm playing and we'll
work with transcriptions to develop strong
melodic solos. Prerequisites: familiarity with the 12-bar blues progression, ability to play barre chords in several shapes, basic knowledge of the minor pentatonic scale, some picking facility.
Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Danny Caron and Anthony Paule • $395
HARMONICABEGINNING 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 and single notes
and bend notes, as well as learning song
forms such as 12-bar blues and 3-chord
folk, rock and country tunes. Required
text: Harmonica for Dummies, second
edition. Prerequisite: Bring a 10-hole diatonic harmonica in the key of C
(contact [email protected] for info).
Saturdays 10 – 11:30 am9/23 – 12/2 (10 weeks) no class 11/25Winslow Yerxa • $395
BASSBEGINNING BASSLearn the fundamentals of bass technique,
applicable to all styles of music.
Topics include:
• Tuning
• Getting a good sound
• Left and right hand technique
• Familiarity with the fingerboard
• Music reading fundamentals
• Introduction to walking bass lines,
bossa nova, jazz waltzes and ballads
• Equipment (basses, strings, amps)
Open to electric and upright bassists.
This course serves as a preparation for
the Jazz Bass courses. Prerequisites: None. For complete beginners. Students must bring a bass to class.
Thursdays 4:45 – 6:15 pm9/21 – 11/30 (10 weeks) no class 11/23Glenn Richman • $395
JAZZ BASS LINESLearn what a bassist needs to know in
preparation for joining Jazzschool
performance ensembles: the essential
rhythm section styles, feels and bass
lines. You'll learn how to confidently read
down a real book style jazz chart in this
hands-on course. Prerequisites: facility on upright or electric bass and some knowledge of jazz harmony.
Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21Glenn Richman • $395
JAZZ BASS SOLOINGThis hands-on course will teach you the
essential skills a bass player needs to
know in order to confidently solo over
common jazz chord progressions found
in Jazzschool performance ensembles
and beyond. Prerequisites: facility on upright or electric bass and some knowledge of jazz harmony.
Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Glenn Richman • $395
Adult Instrumental Classes Adult Instrumental Classes
ricardo peixoto
20 21
21ST CENTURY BASS newPerhaps no chair in the average band has
changed as much as the bass over the
last decade. Technology and tastes have
introduced a new set of responsibilities
to the bass role, and in some styles
staying relevant means integrating effects,
sound-design, and synthesis into the
average gig. While it might seem intimidat-
ing at first, a deep dive into the myriad
ways bass players can mangle and sculpt
their sound is ultimately among the most
rewarding steps bassists can take. In 21st
Century Bass, we'll survey the whole
effects spectrum, going deep into how
effects work and ways to combine them
to cop classic sounds and innovate new
ones. Plus, we'll tackle how to get the
iconic keybass sounds of players like
Stevie Wonder, Bernie Worrell, and
modern hip-hop and dance music with
an introduction to subtractive synthesis.
Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20Jonathan Herrera • $395
DRUMS & PERCUSSION
JAZZ DRUMMING 101 newIf you're looking for a basic course in
the essential skills needed for ensemble
playing, this hands-on course covers
everything you need to know: proper
technique, common grooves (swing, Latin,
funk, ballad) sticks, brushes, trading 4's
and basic comping. Prerequisites: some drum set experience. Jazz experience not required.
Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20
Alan Hall • $395
JAZZ DRUMMING 201 newIf you have mastered the fundamentals
of jazz drumming, this course takes you
a step further, exploring intermediate
and advanced techniques and concepts,
a wider range of tempos, odd meters,
various signature grooves, the art of
setting up figures, playing stop time,
soloing, innovations of the contemporary
greats and more. Prerequisites: Jazz Drumming 101 or equivalent playing experience.
Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20
Alan Hall • $395
Adult Instrumental Classes
BRAZILIAN DRUM SETLearn the signature drum set grooves of
contemporary Brazilian music including
samba, baião, bossa nova and choro,
and the techniques used to play them.
Emphasis on gaining an authentic Brazilian
sound and feel. Highly recommended
for drummers interested in joining one
of the Jazzschool’s Brazilian ensembles!
Prerequisites: functional drum set technique.
Fridays 10 – 11:30 am9/22 – 12/1 (10 weeks) no class 11/24Marcos Silva • $395
LATIN PERCUSSION I This introductory course will help you
develop a solid foundation in each of the
primary Latin percussion instruments. You'll
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. Soloing
techniques, typical breaks, song forms and
historical information are also discussed. Prerequisites: None, open to all.
Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Omar Ledezma • $395
LATIN PERCUSSION IIIf you are already familiar with the
fundamentals of Latin percussion rhythms
and techniques, this continuation of the
Latin Percussion I course will give you lots
of hands-on practice time and a clear
explanation of how all of the various
instruments work together in salsa bands
and other Latin music ensembles.
Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Omar Ledezma • $395
PANDEIRO: new The Brazilian TambourineWhile it may be Brazil's most iconic
percussion instrument, the versatile
pandeiro fits into almost any style of
music. Instructor Brian Rice likes to call it
a "laptop batucada" for its diversity of
sounds and ability to emulate all the
instruments of the samba bateria. This
course covers all the basics and conven-
tions of samba and choro as well as music
from the northeast of Brazil, while delving
into modern adaptations of funk rhythms,
odd time signatures and extended
techniques.
Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Brian Rice • $395
alan hall
omar ledezma
2017 Fall Quarter / September 18 – December 3 / cjc.edu
jonathan herrera
THEORY & IMPROVINTRODUCTION TO MUSIC THEORYLearn the basic skills needed to begin any
serious study of music. Topics include:
music notation, time signatures, key
signatures, rhythmic training, major scales,
intervals, transposition, chord structure,
harmonic progression, ear training and
an introduction to musical form and
composition. Required texts: Practical Theory Complete by Sandy Feldstein,
and Jazz Improvisation: A Pocket Guide
by Dan Haerle (available at the CJC
Bookstore). Prerequisites: None, open to all instrumentalists and vocalists.
Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Len Scott • $395
BEGINNING 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! Required text: Jazz Improvisation: A Pocket Guide by Dan
Haerle (available at the CJC Bookstore).
Prerequisites: Facility on an instrument and ability to play all major scales from memory.
Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Len Scott • $395
INTERMEDIATE JAZZ IMPROVISATIONThis course gives students a strong
foundation in the Great American
Songbook repertoire and the ability to
improvise over chord progressions with
correct notes and good phrasing. Several
compositions from the Great American
Songbook will be used as vehicles to
study basic chord structures, scale
structures and non-diatonic neighboring
tones. Emphasis is placed on utilization
of basic harmonic concepts, thereby
turning exercises into melody. A step-by-
step conceptual approach is used and
with each new tune, a different concept
is added.
Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Glenn Richman • $395
COMPOSITION
SONGWRITINGExplore melody writing, basic harmony,
more adventurous chord progressions,
song form, rhyme schemes and the
instrumental component of songwriting
— all with the purpose of honing your
unique voice as a composer. Most
importantly, develop two or three songs
to be workshopped and refined in real
time over the course of the term.
Tuesdays 2 – 3:30 pm9/19 – 11/28 (10 weeks) no class 11/21Rachel Efron • $395
Theory, Improvisation, Composition
22 2017 Fall Quarter / September 18 – December 3 / cjc.edu
CJC Bookstore
A unique collection of offerings for. . .
musicians students teachers collectors
510.845.5373bookstore @ cjc.edu
REAL BOOKS Sher New Real Book, Volume 1, 2, 3Sher Real Easy Book, Volume 1, 2, 3Real Book, Volume 1, 2, 3 Vocal Real Book, Volume 1 and 2Standards Real BookLatin Real BookBest of Sher Music Real BooksAll-Jazz Real Book“Mini” and CD-ROM Real Books
JAZZ EDUCATION & METHODSJazz Piano Book, Mark LevineGraduated Soloing, Mimi FoxThe Evolving Bassist, Rufus ReidThree Note Voicings, Randy VincentPlay-A-Longs, Jamey Aebersold
THEORY & IMPROVISATION TEXTS
SCALES, PATTERNS & EXERCISES
BOOKS — RARE EDITIONSMusic is My Mistress, Duke EllingtonTonight at Noon, Sue Graham MingusGood Morning Blues, Count BasieBird Lives!, Ross Russell
BOOKS — NEW & USEDThe Jazz Ear, Ben Ratliff Lush Life, David HajduMoving to Higher Ground, Wynton MarsalisThelonious Monk, Robin D.G. Kelley
POETRY, HISTORY & CRITICISM
CDs & DVDsBay Area Jazz Archives SeriesLarge selection of Fantasy, Riverside, Prestige — new and old stockFaculty, clinicians, and local artists
PHOTOGRAPHY & FINE ART
Mark LevineHal CrookDan Haerle
David BakerJoseph Viola Bill Dobbins
Al YoungIshmael ReedWhitney BalliettAshley Kahn
Leonard FeatherGary GiddinsEileen Southern
James KnoxLee Tanner
Jim StipovichDavid Belove
Jerry CokerDavid Liebman
Oliver NelsonNicolas Slonimsky
Adult Vocal Classes
24
Adult Vocal Classes
25
BEGINNING JAZZ SINGINGThe class was designed to help the singer
create a focused, relaxed, skilled, and
unique performance. You'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 leadsheet, and
making practice tracks. We’ll be joined
midway through the course by a profes-
sional 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. This is a supportive and structured
environment for students with a burning
desire to sing!
Section I: Mondays 4:45 – 6:15 pm9/18 – 11/27 (10 weeks) no class 11/20Maye Cavallaro • $450
Section II: Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Cecilia Engelhart • $450
FOR STARTERS — JAZZ & BLUES SINGINGYou used to sing a lot but now find
yourself relegated to the shower and
in-the-car jam sessions. Or, you love to
sing, but feel terribly shy at the idea of
singing in public. Explore and release your
inner rock, jazz or blues vocalist in this
encouraging, safe environment. Designed
to give you confidence through group
singing, while also bolstering your
repertoire with individual song develop-
ment. Accompanist provided. No previous
experience required.
Wednesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Pamela Rose • $450
INTROS AND ENDINGS newFor full description, see p. 24
Wednesdays, 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Laurie Antonioli • $450
Pamela is an exceptional teacher — supportive, inspiring and SERIOUSLY FUN! She worked with students across a range of comfort levels... and brought out the best in us.— Richard Bunce
cecilia engelhart
Adult Vocal Classes
VOCAL TECHNIQUE
VOCAL TECHNIQUE ESSENTIALS Learn 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!
Section I Tuesdays 4:45 – 6:15 pm9/19 – 11/28 (10 weeks) no class 11/21Sandy Cressman • $400
Section II: Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Andrea Claburn • $400
Adult Vocal Classes
For auditions and more information
about our Vocal programs please
contact [email protected] or call
Laurie Antonioli, 510/845-5373 ext 21
INTROS AND ENDINGS newDirecting a band and creating introductions
and endings are some of the most difficult
skills for a vocalist to master. In this class,
you'll learn how to employ the common
language used in jazz settings in a variety
of intros and endings (vamps, turnarounds,
and rubato techniques). Students will
develop the skills necessary to direct and
lead a band including finding and commu-
nicating tempos for ballads, Latin and
swing songs. A pianist will accompany
the group for the first part of the quarter
and the class will be joined by a full band
as the term progresses. Students will
prepare several songs of varying styles
in the class. Open to all levels.
Wednesdays, 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Laurie Antonioli • $450
PERFORMANCE jazz
FOR THE LOVE OF SINGINGLearn breathing and vocal techniques to
be applied to songs of your choice, while
making friends with the microphone and
learning basic performance skills. This
course is particularly suited for those who
may have temporarily put aside their
vocal dreams due to education, career
or family obligations. Open to all.
Saturdays 10 – 11:30 am9/23 – 12/2 (10 weeks) no class 11/25Kyra Gordon • $450
andrea claburn
2017 Fall Quarter / September 18 – December 3 / cjc.edu
Adult Vocal Classes
27
BACK DOOR BEBOP newLearn the ins and outs of scat singing.
Topics covered include syllable choice,
understanding song form, selecting
tempos, working on articulation, storytell-
ing, rhythm and more. Learn classic bebop
repertoire including contrafacts (new
melodies over pre-existing chord progres-
sions) “trade fours,” and have fun while
developing a deeper understanding of
how to function confidently as a jazz
vocalist. Open to all levels.
Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21Azure McCall • $450
THE SINGER AND THE SONGLearn the hallmark of a professional
vocalist: how to create a focused, relaxed,
skilled, and unique performance. Topics
include choosing the right song; using
various grooves, tempos and arrange-
ments; learn ing and memorizing the
melody and lyrics; phrasing; improvisation
skills; communicating with an accompa-
nist; and stage presence. In this supportive
and challenging environment, students
will work on these skills and create
arrangements for songs, culminating in
an end-of-quarter performance. Weeks 2
and 3 include a professional accompanist,
while the last two classes and performance
include a full trio. For intermediate to
advanced singers. Prerequisites: consent of instructor is required. Call 510-845-5373 for more information.
Sundays Noon – 3 pm10/29, 11/5, 11/12, 11/19, 12/3 (5 weeks)
Maye Cavallaro • $450
THE ELLA FITZGERALD newSONGBOOKElla Fitzgerald is the focus in this course
of songs from the Great American Song-
book, studying specific versions of studio
and live recordings by the great songstress.
Singers will focus on phrasing, interpreta-
tion, per–formance, and incorporate basic
improvisation while developing a repertoire
of 2-3 songs through personal selections
and teacher recommendations. The instruc-
tor and accompanist will help students find
the right key for the selected tunes.
Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Lilan Kane • $450
CONTEMPORARY VOCAL 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 technique. This course culmi-
nates in an end-of-quarter performance.
Open to all levels, genres and backgrounds.
Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20
Amanda Addleman • $450
amanda addleman
26
MUSIC OF THE HARLEM RENAISSANCEThe music of the Harlem Renaissance
was the foundation from which various
American musical genres grew. This
course defines the era and highlights its
beginnings with the greatest songs from
that time by Fats Waller, Eubie Blake,
George Gershwin, Duke Ellington and
more. Students are encouraged to bring
in their favorite songs by these composers
for instruction on technique, harmony,
phrasing, solo or ensemble singing, key
selection, and performance. The ability
to read music is not necessary. A profes-
sional accompanist will play for the class.
Open to all levels.
Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25Clif Payne • $450
MODERN JAZZ SONGS newThis performance class focuses on
adapting instrumental modern jazz
repertoire to a vocal setting. Instructor
Andrea Claburn will share music (with
lyrics) of modern jazz innovators pianist
Thelonious Monk, saxophonist Wayne
Shorter, guitarist Pat Metheny and others.
Original compositions are also encour-
aged. Explore vocal improvisation, deepen
musicianship and develop bandleading
skills. An end-of-quarter performance is
included. Prerequisites: some experience singing jazz.
Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Andrea Claburn • $450
INTERMEDIATE new JAZZ SINGINGThis class covers a range of jazz vocal
essentials including lyric interpretation,
style, rhythm, and feel. Students explore
improvisation and harmony in depth while
also learning to create their own arrange-
ments. The instructor will suggest
repertoire and help students find interest-
ing songs that are best suited for their
voice and ability. There will be a student
performance at the end of the term. Open
to students who have taken the "Begin-
ning Jazz Singing" class or have approval
from the Chair or the instructor.
Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Cecilia Engelhart • $450
THE CONTEMPORARY JAZZ SINGER Focus on an array of creative jazz singing
skills including developing a unique
repertoire, communicating with the
rhythm section and creating arrangements
on the spot. Study phrasing, improvisation,
interpretation and work on developing a
personal sound. Rhythm section provided.
You are welcome to bring in songs of your
choice, write original lyrics or use material
provided by the instructor. Prerequisites: consent of instructor — telephone consultation required. Call 510-845-5373 for more information.
Section I Tuesdays 6:30 – 8 pm
Section II Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21
Laurie Antonioli • $460
2017 Fall Quarter / September 18 – December 3 / cjc.edu
Adult Vocal Classes
Adult Vocal Classes
28
Adult Vocal Classes
29
pop
MUSIC OF BURT BACHARACHIn this course, both soloists and back-
ground singers will explore and sing
classic songs by Burt Bacharach in
preparation for an end-of-quarter student
performance. Learn proper vocal tech-
nique, stage presence and interpretation,
while learning how to find the appropriate
keys, sheet music and tracks. Participants
are welcome to bring in their favorite Burt
Bacharach songs to sing. The ability to
read music is not necessary. A professional
accompanist will play for the class. Open
to all levels.
Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Clif Payne • $450
blues
BLUES VOCAL FUNSHOP I Feel like singing the blues? Blues is the
most primal, powerful part of your soul
and singing it is more fun than you can
possibly imagine. Students will explore the
deep, authentic singing strategies of great
blues singers from Jimmy Reed to Bonnie
Raitt, while developing blues repertoire.
No prior music experience necessary.
Class is open to both the novice singer
looking for a supportive, fun, instructive
course, and to the more experienced
singer looking to gain insight and control
on the bandstand. Each class is taught by
Bay Area's own jazz/blues diva Pamela
Rose and accompanied by legendary
blues guitarist Danny Caron.
Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Pamela Rose • $450
BLUES VOCAL FUNSHOP II — Chicago BluesMuddy Waters, Willie Dixon, Buddy Guy,
Jimmy Reed, Howlin’ Wolf, Koko Taylor
- Chicago after 1940 was the nexus of
urban electrified blues, with a driving
rhythm and urgency that still delights and
inspires. This 10-week course focuses on
the singing styles of Chicago blues artists
from 1940 to 1970. Guitarist Danny Caron
accompanies all classes, with bass and
drums joining for the final three class
sessions and performance. Students will
develop songs with the band for an
end-of-term performance. Prerequisites: students must have taken Blues Vocal Funshop or receive permission from the instructor.
Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Pamela Rose • $460
latin
SALSA SINGINGLearn the style, rhythm and technique
of salsa vocal music while learning to
play Latin hand percussion instruments.
Instructor provides instruments like guiro,
maracas and claves to use each week.
As the term progresses, join forces with
the Salsa II 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.
Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Edgardo Cambon • $400
BOSSA NOVA FOR JAZZ SINGERSA fascinating course exploring the roots
of Brazilian bossa nova and samba.
Instructor Cecilia Engelhart teaches singers
the signature rhythmic grooves of Brazilian
music as a foundation for effective
interpretation of standard and not-so-
standard bossa novas. Vocal phrasing and
Portuguese pronunciation are covered (in
addition to a few carefully chosen English
translations). Live piano or guitar accompa-
niment is provided each week and the
course concludes with a performance.
Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Cecilia Engelhart • $450
ENSEMBLES(FOR VOCALISTS AND INSTRUMENTALISTS)
WORLD GROOVE ENSEMBLE: CARIBBEAN Explore the irresistibly deep grooves
of Jamaica, Trinidad, and other islands
of the West Indies in The Caribbean
Ensemble, a course open to vocalists and
instrumentalists featuring styles ranging
from calypso to soca, reggae, ska, zouk,
biguine, and more. Delve into music by
artists such as Lord Kitchener, Calypso
Rose, The Skatalites, Bob Marley, Malavoi,
Kassav and others. Class members learn
the cultural context and rhythmic struc-
ture of each tune. This ensemble is one of
three consecutive classes comprising the
World Groove Ensemble; students may
enroll in any one or all three. Prerequisites: intermediate instrumental proficiency; ability to read charts and notation.
Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Jennifer Jolly • $395
HIP-HOP/JAZZ ENSEMBLE new Learn from some of the most innovative
artists and groups in hip-hop while
enhancing your performance skills in this
ensemble dedicated to hip-hop jazz. You'll
study and perform songs from groups
such as Anderson.Paak, KING, Hiatus
Kaiyote, A Tribe Called Quest, The
Internet, Thundercat, Bilal, Robert Glasper
and Erykah Badu. Students will study the
hip-hop culture and its influences and
learn how to apply those studies to their
own compositions. With an emphasis on
stylistic integrity, as well as melodic,
harmonic, and rhythmic accuracy, the
instructor will guide the band and
vocalists through the history of hip-hop
jazz, in a course geared towards an
end-of-semester performance.
Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22
Lilan Kane • $450
2017 Fall Quarter / September 18 – December 3 / cjc.edu
clif payne
30 31
Adult Vocal Classes
rachel efron
Adult Vocal Courses
VOCAL MENTOR PROGRAM
CENTER STAGE — A Mentored Program for Concert Developmentwith Maye Cavallaro and Laurie Antonioli
Work through the process of presenting a full-length, public, professional-level
concert. Candidates work with their mentor over the course of three or four months,
preparing their concert by choosing songs, working out arrangements, deciding on
sequencing, and developing patter and stage presence. Lessons also include making
a budget, hiring and rehearsing musicians and developing a marketing plan.
Candidates will be most successful if they are advanced students who have some
performing experience in classes and workshops or in a professional environment.
A repertoire of 15 to 20 memorized songs in various styles is recommended. This is
a unique opportunity for singers to design a performance that reflects a personalized
artistic vision. Concert dates are available throughout the year.
FUNK ENSEMBLEThis high-energy ensemble explores
reper–toire ranging from James Brown to
Tower of Power. For all rhythm section
instruments, horns and vocalists. Prerequi-sites: Intermediate technical facility and ability to read charts and standard notation.
Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Daniel Parenti • $395
BLUES AND GROOVE ENSEMBLELearn to play the blues and blues-related
styles. Emphasis on the groove as found
on recordings of Charlie Christian, T-Bone
Walker, Albert Collins, Jack McDuff, Louis
Jordan and other “jump” blues and New
Orleans masters. Prerequisite: knowledge of 12-bar blues.
Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25Danny Caron & Anthony Paule • $395
COMPOSITION
SONGWRITING Explore melody writing, basic harmony,
more adventurous chord progressions,
song form, rhyme schemes and the
instrumental component of songwriting
— all with the purpose of honing your
unique voice as a composer. Most
importantly, develop two or three songs
to be workshopped and refined in real
time over the course of the term.
Tuesdays 2 – 3:30 pm9/19 – 11/28 (10 weeks) no class 11/21Rachel Efron • $395
YOUNG MUSICIANS
VOCAL PERFORMANCE FOR TEENS This is a fun course for teens, focusing on
solo singing and everything needed to put
on a great performance. Students receive
coaching on vocal technique and stage
presence, as well as receiving assistance
in finding the best song for their level
and interests. All genres welcome, from
rock to classical, anything goes!
Wednesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Kyra Gordon • $450
The Vocal Mentor Program with Maye Cavallaro gave me all the tools I needed to launch myself as a regularly gigging professional jazz singer. She covers everything: marketing, hiring & rehearsing the band, selecting material, developing arrangements, organizing set lists, wardrobe, stage presence and more — it is a very broad education. Having an experienced, supportive, friendly professional to guide me through the process was an invaluably helpful experi-ence. It requires a lot of time, effort and dedication, but if you want your singing to make the quantum leap from performing at open mics and recitals to owning the stage for an entire show, there’s nothing better out there. — Will Hull
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 promo-
tion, including how to prepare
publicity materials
• Inclusion in California Jazz Conser-
vatory advertising, marketing and
publicity
• A percentage of the door/ ticket sales
$850
Contact the Chair of the Vocal
Program, Laurie Antonioli, for more
information on how to apply for
this program: laurie @ cjc.edu
Adult Vocal Classes
2017 Fall Quarter / September 18 – December 3 / cjc.edu
Adult Vocal ClassesAdult Vocal Classes
VOCAL WORKSHOPS
OLD, NEW, BORROWED & BLUESwith Jeff BakerThe music is always changing. New
sounds, new techniques, new possibilities
make for an ever-evolving landscape
in which to create. Jazz stands at the
forefront of this evolution, its roots firmly
planted in every genre of contemporary
music. Jazz vocalists have a unique
opportunity to capture this and apply an
understanding of harmony, lyrical interpre-
tation, and improvisation to truly create
something new! Participants will explore
techniques to modernize standard jazz
repertoire and bring contemporary music
into the jazz idiom. Students should bring
one or two songs in their key. Open to all.
"I want students to not only think outside
the box, but to think about entirely new
shapes for constructing their music and
sound. Jazz isn't meant to be placed on
the top shelf like some fragile old artifact.
It's a living, breathing thing. Let's take it
down, dust it off, and see what's possible!"
— Jeff Baker
Vocalist Jeff Baker has headlined numer-ous festivals and clubs, and has shared the billing and played with some of jazz music’s top artists including: Ray Brown, Gene Harris, Brian Blade, John Patitucci, Steve Wilson, Bobby Hutcherson and many more!
Sunday, October 8, Noon – 3 pm$50 advance, $65 day of workshop
jeff baker
I loved being at the Jazzschool — seeing other musicians (and aspiring musicians) of all ages, hearing the sounds of jazz waft through the space.— BEN GOLVIN
Adult Vocal Classes
BRAZILIAN VOCAL MASTER CLASSwith Paula Santoro and Ian Faquini
Sing with a masterful accompanist
and receive guidance and
suggestions from an accomplished
vocalist. Topics covered include
song interpretation, pronunciation,
feel, Brazilian rhythms, arranging
and performance. Open to
students of all levels.
A graduate of the California Jazz Conservatory, Ian Faquini has become one of the most unique and respected guitarists specializing in Brazilian music in the San Francisco Bay Area, demonstrating rare chordal technique and a special delicate touch on very difficult pieces. His last few summers have been spent in Brazil, where he has performed and studied with some of that country's greatest guitarists, including Marcus Tardelli, Guinga, and others. Ian recently joined the faculty at the California Jazz Conservatory and is a long time faculty member of California Brazil Camp.
With a career spanning more than twenty years, Paula Santoro has shared the stage and studio with some of Brazil’s most notable musicians including Chico Buarque, Edu Lobo, Milton Nascimento, Guinga, Yamandú Costa, Toninho Horta, Joyce and Jaques Morelenbaum. She has toured throughout the US, India and Europe and appeared on "Later ... with Jools Holland." With a degree in Speech Therapy and years of vocal training, recording and touring, Paula also has a busy career in education with on-going students in Europe, the United States and Brazil.
Saturday, September 16, Noon – 3 pm$50 advance,
$65 day of workshop
ian faquini
paula santoro
32 2017 Fall Quarter / September 18 – December 3 / cjc.edu
Adult Vocal Classes
CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTS with Lee BrenkmanA workshop in survival skills to help
instrumentalists and singers get the best
results from their sound equipment —
from a single microphone to a complete
sound system — and how to successfully
interact with sound technicians at venues
with sound systems. Learn the “tricks of
the trade” from Lee Brenkman, one of
the Bay Area’s preeminent sound techni-
cians, to get the best sound on your gig.
Topics covered include the different types
of microphones and their functions,
evaluating equipment for purchase, and
how to set up a small sound system.
Brenkman also addresses how best to
communicate with sound technicians and
making efficient use of sound check time.
This workshop is attendee-driven — any
and all questions welcome!
Lee Brenkman has been a top sound technician at multiple Bay Area venues for several decades including the California Jazz Conservatory, Great American Music Hall and Stanford Jazz Workshop.
Sunday, October 15, 11 am – 1 pm$30 advance, $45 day of the workshop
ConnectedVoice: Vocal Technique and Application with Sandy Cressman This 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.
Sunday, November 5, 11:30 am – 4 pm
$100 advance, $115 day of workshop
Note: There will be a 30-minute lunch
break. Please bring your lunch or plan to
eat in the cafe.
lee brenkman
Adult Vocal Classes
34 2017 Fall Quarter / September 18 – December 3 / cjc.edu
AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIESThe Sixties and Beyondwith Maye CavallaroThe Great American Songbook is
a collection of tunes written from
1930–1960 and is a vital part of the
repertoire of jazz musicians. There
are also many songs written after
1960 that qualify as “standards,”
and are equally beloved by jazz
musicians. Songs by such artists
as Bob Dylan, Stevie Wonder, The
Beatles, Leonard Cohen, Laura Nyro,
Joni Mitchell & Steely Dan are
interpreted in many different ways
by vocalists and instrumentalists.
In this workshop we’ll explore the
music of several different compos-
ers and add some “pop” tunes to
your repertoire. We’ll also listen
to how some jazz greats have
interpreted these songs and get
ideas for our own arrangements.
Students are provided with 10
leadsheets for songs including
practice-backing tracks. In the
final week, we’ll work with an
accompanist and sing these songs
trying out our own arrangement
ideas. Lots of singing for all
3 weeks.
Mentor and professional vocalist Maye Cavallaro has presented over 30 concerts with various artists at the California Jazz Conservatory.
3 Sundays, October 1, 8 & 15noon to 3 pm$295 advance,
$310 day of workshop
maye cavallaro
maye cavallaro
36
kate mcgarry
KATE MCGARRY VOCAL MASTERCLASS
A rare opportunity to participate in a masterclass with Kate and her band!
More concerned with the essence of a song than idiomatic limitations, vocalist Kate
McGarry, guitarist Keith Ganz and pianist Gary Versace have managed to attract the
attention of tomorrow’s jazz fans. Beyond an obvious affinity for swing, their eclectic
repertoire, cinematic approach to arranging — together with Kate's signature contralto
— convey a message with crystal clarity that precludes the need for gimmick or effect.
Students should bring two songs in the appropriate key with 3 copies of each song
for Kate and the group. Open to intermediate and advanced vocal students.
Kate McGarry's musical collaborations have included projects or performances with jazz luminaries Fred Hersch, Kurt Elling, Maria Schneider and John Hollenbeck. She performs at jazz clubs and festivals throughout the US and abroad, and teaches at Manhattan School of Music.
Jazz organist, pianist, and accordionist Gary Versace has quickly become one of the busiest and most versatile musicians on the music scene, playing in bands led by John Scofield, John Abercrombie, Maria Schneider, Kurt Elling, Lee Konitz, Regina Carter, Ellery Eskelin, Madeleine Peyroux, Ralph Alessi, and many others.
Guitarist Keith Ganz has performed and recorded with top jazz artists Luciana Souza, Christian McBride, Andy Bey, Chris Potter, Russell Malone, Bruce Barth, Donny McCaslin, and most recently, Kurt Elling and Harry Connick Jr.
Sunday, November 12, Noon – 3 pm$100 advance purchase, $115 day of workshop
2017 Fall Quarter / September 18 – December 3 / cjc.edu
VOCALS AND PERCUSSIONwith Sandy Cressman & Ami Molinelli Learn how to play light percussion and
sing Latin jazz styles such as bossa nova,
samba, son, cha-cha-chás, as well as R&B
and Motown tunes. Participants will be
sent a link in advance with repertoire
selections to prep for the workshop.
Instructors will explain the various rhythms
and unlock ways to practice while
vocalizing. Students are encouraged to
bring their own instruments and instruc-
tors will also have a variety of instruments
that students can use in the workshop.
Open to all levels.
Adult Vocal Classes
37
sandy cressman
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 1990's, she followed her passion for Brazilian jazz, and formed her group “Homenagem Brasileira.” Sandy recorded two CDs with Homenagem Brasileira, and has toured the US, Europe and Brazil performing with her group and collaborating with other Brazilian and Brazilophile musi-cians. Recently, Sandy performed as a special guest of SpokFrevo Orquestra on the Main Stage of Carnaval in Recife, Brazil. In 2017, Sandy will release a new CD of all original Brazilian music com-posed 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.
Ami Molinelli is a professional percus-sionist and educator specializing in Brazilian and Latin percussion, especially the pandeiro. She is the co-leader of the Brazilian choro and jazz ensemble, Grupo Falso Baiano. Her extensive performance and recording credits include theater, television (NBC) and live performances with artists such as Luciana Souza, Jovino Santos-Neto, Mike Patton, George Duke, Allessandro Penezzi, Mike Marshall, Hamilton de Holanda, Teka, John Santos, and Michael Spiro.
Sunday, November 19, 2 – 4 pm$30 advance, $45 day of workshop
Adult Vocal Classes
38
INTRODUCTION TO IRISH SONGwith Melanie O'Reilly An introductory workshop exploring the
diverse Irish song tradition, enjoying a
prominent place in world music today.
Students will learn Irish songs of celebra-
tion, love, everyday life, emigration, as
well as sean-nós ("old-style") and will
be encouraged to sing in Gaelic (to be
learned phonetically), as well as in
English. Drawing on both the old tradition
and contemporary songs, students will
also be introduced to "lilting" or "mouth
music," and songs created throughout
the Irish diaspora.
Dublin native Melanie O'Reilly is an internationally known Celtic jazz performer/singer, songwriter and music educator. She has recorded eight albums for the label Mistletoe Music, and hosts an award-winning radio show "Jazz on the Bay" for RTE, Ireland's National Broadcasting station. Melanie has taught voice at the Oakland School of the Arts, Walton's New School of Music in Ireland and is vocal coach for many Youth Theater schools in the East Bay.
Sunday, November 19, Noon – 3 pm$50 advance, $65 day of workshop melanie o'reilly
Great environment for trying new things out — challenging but always supportive and fun.
— Anonymous
Young Musicians Program
The Jazzschool Young Musicians
Program is a year-round
comprehensive music education
and performance program
designed for instrumental and
vocal students between the ages
of 11 and 18. The Young Musicians
Program has been at the center
of the Jazzschool’s educational
and artistic goals since 1997. Its
curriculum provides students
with the opportunity to work
with professional jazz artists
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.
2017 PROGRAM REQUIREMENTS
Jazzschool Young Musicians Program
ensembles require a commitment of three
quarters (fall, winter and spring). Students
unable to commit to a full school year are
still encouraged to audition; however,
priority will be given to those who can
remain in the program for the entire school
year. Students wishing to audition mid-year
will be placed in the program based on
availability of open spots in ensembles and
the student’s ability level. Please note that,
while it is our mission to find a place for
everyone in our Young Musicians Program,
we may not be able to accommodate all
students who apply.
Jazzschool Young Musicians Program
39
erik jekabson
It’s the only place that I know of that offers such high level jazz ensembles for middle & high school students. Last year, my school music program was not challenging enough for me. I loved being involved! — Dylan Everingham
Young Musicians ProgramYoung Musicians Program
40 41
PLACEMENT AND AUDITION REQUIREMENTS FALL 2017
AUDITION MATERIALSEntering musicians are asked to prepare
two skill-level appropriate jazz standards,
improvise over a 12-bar blues (optional) or
rhythm changes (for high school students
only) and sight-read.
HOW TO SCHEDULE AN AUDITION To schedule an audition, please fill out
an application online at:
cjc.edu/youth_auditions.
After your application is received, you will
be contacted within 1 – 2 weeks with an
audition time. Auditions are scheduled on
a first-come, first-served basis and will be
scheduled at the earliest available time.
Students will be contacted with placement
information following the audition.
AUDITION DATES • Studio Band Auditions:
August 19 and 20
• Advanced High School Jazz
Workshop Auditions: August 27
• Middle School and High School
Combo Auditions: August 26, 27, 28
AUDITION BY VIDEO (OPTIONAL) Students have the option of submitting an
online video audition rather than scheduling
an in-person audition. Students submitting
their audition online are still required to fill
out an online application (see above).
On the application form, please select live
audition or video submission. Please note:
online video submissions are not available
for the Studio Band or Advanced High
School Jazz Workshops.
INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS
• Student should be clearly visible
(and audible) on the video.
• Perform two skill-level appropriate
jazz standards. Please state the name
of each piece before you play it.
• Download one of the two improvisation
tracks at cjc.edu/youth_auditions
for the improvisation portion of your
audition. Two choruses required.
• On the video, it is important that your
playing is heard louder than anything
else, including any accompanying tracks.
PIANO AND GUITAR PLAYERS Follow the above instructions with only
one change: after improvising, please
demonstrate comping/voicings on a
blues or rhythm changes.
DRUMMERSPlease demonstrate the following styles:
• swing, bossa nova, funk/rock
• Demonstrate each style at various
tempos (i.e., slow, medium, fast)
• On each style/tempo please “trade
fours” with yourself (4 bars of time,
4 bars of solo, etc.)
• Play at least 16 bars of each example
After you have completed your video, upload
your audition to YouTube and title the video
with your name (Example: John Smith
Jazzschool Audition). You should make this a
private video (unless you don’t mind it being
available to the public). Once the video is
uploaded, send a link to erik @cjc.edu. You
may also upload the video to a private
website and email a link. Please do not email
audition videos as attachments.
For more information about the Jazzschool
Young Musicians Program placement process,
please visit cjc.edu/youth_auditions or
contact us at erik @ cjc.edu and
510.845.5373.
INSTRUMENTAL ENSEMBLES
High school and middle school
jazz ensembles are offered
Monday through Thursday in the
late afternoon and early evening
and during the day on Saturday.
While we make every effort to
accommodate scheduling requests,
specific placements are based on
the results of an audition. Note: all
prices listed are per quarter.
large performance ensembles
STUDIO BANDDevelop technique, knowledge of jazz
style and an ability to improvise through
standard and contemporary big band
repertoire. This highly-selective ensemble
records at Fantasy Studios, performs
frequently and participates in competi-
tions throughout the U.S. The Studio Band
has played at Yoshi’s and Savanna Jazz,
as well as jazz festivals in California, New
York, Seattle, Idaho, the Vienne Jazz
Festival in France and the Montreux Jazz
Festival in Switzerland. Full school year
commitment is required. Instrumentation:
5 saxes, 5 trumpets, 5 trombones, guitar,
piano, bass and drums.
Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Dave Eshelman • $225
small performance ensembles
ADVANCED HIGH SCHOOL JAZZ WORKSHOP Explore the post-bop harmonic, melodic,
rhythmic and formal innovations of
Coltrane, Shorter, Corea, Hancock, Brecker
and others in this multiple DownBeat
award-winning ensemble. For advanced-
level high school student players,
competent in the bebop language.
Record at Fantasy Studios and participate
in various competitions and festivals.
Section I: Mondays 4:45 – 6:15 pm9/18 – 11/27 (10 weeks) no class 11/20Michael Zilber • $395
Section II: Mondays 4:45 – 6:15 pm9/18 – 11/27 (10 weeks) no class 11/20
Erik Jekabson • $395
42 43
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.
In a Musician, Out an Artist!
Our campus is located at 2087 and 2040 Addison Street,
Berkeley, CA, 94704 / 510.845.5373 / cjc.edu
Young Musicians Program
44 45
HIGH SCHOOL JAZZ ENSEMBLE Gain a greater understanding of jazz
theory and develop improvisation skills
through the study and performance of
challenging jazz repertoire.
Section I: Mondays 4:45 – 6:15 pm 9/18 – 11/27 (10 weeks) no class 11/20
Raffi Garabedian • $395
Section II: Tuesdays 4:45 – 6:15 pm 9/19 – 11/28 (10 weeks) no class 11/21Colin Hogan • $395
Section III: Tuesdays 4:45 – 6:15 pm 9/19 – 11/28 (10 weeks) no class 11/21Charles Hamilton • $395
Section IV: Tuesdays 4:45 – 6:15 pm9/19 – 11/28 (10 weeks) no class 11/21Erik Jekabson • $395
Section V: Wednesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Rob Ewing • $395
Section VI: Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Rob Ewing • $395
Section VII: Thursdays 4:45 – 6:15 pm 9/21 – 11/30 (10 weeks) no class 11/23Colin Hogan • $395
Section VIII: Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Colin Hogan • $395
MIDDLE SCHOOL JAZZ ENSEMBLE Learn to play jazz and improvise while
covering a wide repertoire from John
Coltrane, Sonny Rollins, Eddie Harris and
other jazz masters.
Section I: Mondays 4:45 – 6:15 pm9/18 – 11/27 (10 weeks) no class 11/20
Colin Hogan • $395
Section II: Wednesdays 4:45 – 6:15 pm 9/20 – 11/29 (10 weeks) no class 11/22Erika Oba • $395
Section III: Thursdays 4:45 – 6:15 pm 9/21 – 11/30 (10 weeks) no class 11/23Erika Oba • $395
Section IV: Saturdays 11:45 am– 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Raffi Garabedian • $395
HIGH SCHOOL FUNK ENSEMBLELearn the classic funk hits of James Brown,
Sly Stone and others. Vocalists and horns
welcome! Music is learned by ear. (Also open
to advanced middle-school musicians.)
Section I: Saturdays 10 – 11:30 amSection II: Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Joe Bagale • $395
VOICE
VOCAL PERFORMANCE FOR TEENSDelve into songs as a means of storytelling
while simultaneously developing a personal
connection to a lyric. All styles of music are
welcome and students are encouraged to
bring in songs of their choice. The instruc-
tor can also suggest repertoire suitable for
individual students. Build vocal technique
through a variety of warm-up, ear-training
and musicianship exercises.
Wednesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Kyra Gordon • $450
colin hogan
Young Musicians Program
BASS
MODERN JAZZ DRUM AND BASS MASTER CLASSwith David Ambrosio and Russ Meissner
Longtime NYC rhythm team David Ambrosio and Russ Meissner discuss the
importance of the rhythm section to the whole ensemble. Both being composers
as well, this workshop will not only cover the role of the bass and drums in setting
a foundation for the groove but also how they can shape the music as a whole.
Topics will include shifting tempos, different feels/dynamics and rubato time
approaches.
New York-based bassist David Ambrosio leads his own groups and has performed with numerous jazz greats including Kenny Werner, Buddy DeFranco, George Garzone, Joseph Jarmon and Ralph Alessi.
New York-based drummer/composer Russ Meissner has performed with a diverse range of artists including John Abercrombie, Bill Charlap, Norah Jones and many others.
Sunday, October 1, 11 am – 1 pm$30 advance, $45 day of workshop
Workshops
david ambrosio russ meissner
2017 Fall Quarter / September 18 – December 3 / cjc.edu
4746
WorkshopsWorkshops
GUITAR
MODERN JAZZ PIANO AND GUITAR MASTER CLASSwith Leonard Thompson and Nate RadleyGuitarist Nate Radley and pianist Leonard
Thompson will discuss the various
approaches and challenges of working
together as a pianist and guitarist in a jazz
context. After years of playing in ensem-
bles together, they will cover ways to deal
with the similar roles, sound and ranges
that these two instruments have, and how
they can be used to complement one
another and shape the ensemble sound.
Conventional and non-conventional
approaches to playing guitar and piano
individually and in the ensemble will be
included.
Born in coastal southern California, pianist Leonard Thompson has forged a strong personal voice as a soloist, composer, and accompanist over the past twenty years. Active in New York, San Francisco, and Los Angeles jazz scenes, he has performed or recorded with artists such as Matt Otto, Madeleine Peyroux, Justin Morell, Cleo Laine, Dave Scott, Mary Stallings, Jacob Varmus, Marlena Shaw, Sasha Dobson, Eddie Marshall, Jackie Ryan, and Donald Bailey.
Brooklyn-based guitarist Nate Radley leads his own groups and has collaborated with Loren Stillman, Chris Cheek, Adam Nussbaum, the Maria Schneider Orchestra and many others.
Sunday, October 1, 11 am – 1 pm$30 advance, $45 day of workshop
INTRODUCTION TO BRAZILIAN GUITAR with Ian Faquini This workshop covers basic guitar chord
shapes and progressions common in
Brazilian music by examining the songs of
great composers such as Antonio Carlos
Jobim, Vinicius de Moraes, Baden Powell,
Dorival Caymmi and others. The instructor
also demonstrates essential Brazilian
rhythms including bossa nova, samba,
baiao, frevo, and toada. Prerequisites: Students should have some experience with basic chords and an interest in Brazilian music.
A graduate of the California Jazz Conservatory, Ian Faquini has become one of the most unique and respected guitarists specializing in Brazilian music in the San Francisco Bay Area, demon-strating rare chordal technique and a special delicate touch on very difficult pieces. His last few summers have been spent in Brazil, where he has performed and studied with some of that country’s greatest guitarists, including Marcus Tardelli, Guinga, and others. Ian recently joined the faculty at the California Jazz Conservatory and is a long time faculty member of California Brazil Camp.
Sunday, November 12, 2 – 4 pm
$30 advance, $45 day of workshop
new west guitar group
PERFORMING, COMPOSING AND ARRANGING FOR MULTIPLE GUITARS with New West Guitar Group Gain insight into essential guitar ensemble
techniques with the members of this
leading west coast guitar ensemble. Topics
covered include: establishing a clean,
acoustic guitar sound, how to blend
ensemble parts like a sax section, comp-
ing, composing and arranging, the artful
use of effects pedals, use of the baritone
guitar, drop tunings and much more.
The Jazzschool has really helped my playing. I can’t recommend it enough. The school is a great value! You can’t go wrong. — Michael Menduno
New West Guitar Group has developed a reputation as one of the premier guitar ensembles in the world. Featuring guitarists Perry Smith (NYC), John Storie (LA), and Will Brahm (LA), they perform recognizable covers, jazz standards and exciting originals. Their signature sound comes from an innovative style that highlights rhythm, beauty and virtuosity through combining acoustic and electric guitars. Smith and Storie founded the group 10 years ago and today they continue to tour as a trio with Brahm throughout the United States and abroad.
Sunday, October 29, 11 am – 1 pm
$50 advance, $65 day of workshop
2017 Fall Quarter / September 18 – December 3 / cjc.edu
48 49
DRUMS AND PERCUSSION
PANDEIRO ORCHESTRAwith Ami Molinelli Learn and review techniques for playing
the Brazilian pandeiro and learn to play
an original composition for multiple
pandeiros composed by instructor Ami
Molinelli in this two-day workshop. Ability
to read standard music notation is not
required, and instruments will be provided
for all who need one to use in class.
Includes a dive into the history of this
essential Brazilian percussion instrument
and lots of information for practicing and
developing technique and groove.
Ami Molinelli is a professional percussionist and educator specializing in Brazilian and Latin percussion, especially the pandeiro. She is the co-leader of the Brazilian choro and jazz ensemble, Grupo Falso Baiano. Her extensive performance and recording credits include theater, television (NBC) and live performances with artists such as Luciana Souza, Jovino Santos-Neto, Mike Patton, George Duke, Allessandro Penezzi, Mike Marshall, Hamilton de Holanda, Teka, John Santos, and Michael Spiro.
2 Sundays, October 8 and 15, 11:30 am – 1:30 pm$60 advance, $75 day of workshop
Workshops
ami molinelli
VOCALS AND PERCUSSIONwith Sandy Cressman and Ami Molinelli Learn how to play light percussion and
sing Latin jazz styles such as bossa nova,
samba, son, cha-cha-chás, as well as R&B
and Motown tunes. Participants will be
sent a link in advance with repertoire
selections to prep for the workshop.
Instructors will explain the various rhythms
and unlock ways to practice while
vocalizing. Students are encouraged to
bring their own instruments and instruc-
tors will also have a variety of instruments
that students can use in the workshop.
Open to all levels.
Molinelli bio, see page 48.
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 1990’s, she followed her passion for Brazilian jazz, and formed her group “Homenagem Brasileira.” Sandy recorded two CDs with Homenagem Brasileira, and has toured the US, Europe and Brazil performing with her group and collaborating with other Brazilian and Brazilophile musicians. Recently, Sandy performed as a special guest of SpokFrevo Orquestra on the Main Stage of Carnaval in Recife, Brazil. In early 2017, Sandy will release a new CD of all original Brazilian music composed in collaboration with a number of talented Brazilian 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, November 19, 2 – 4 pm$30 advance, $45 day of workshop
MODERN JAZZ DRUM AND BASS MASTER CLASSwith David Ambrosio and Russ MeissnerLongtime NYC rhythm team David
Ambrosio and Russ Meissner discuss
the importance of the rhythm section to
the whole ensemble. Both being com-
posers as well, this workshop will not only
cover the role of the bass and drums in
setting a foundation for the groove but
also how they can shape the music as a
whole. Topics will include shifting tempos,
different feels/dynamics and rubato time
approaches.
New York-based bassist David Ambrosio leads his own groups and has performed with numerous jazz greats including Kenny Werner, Buddy DeFranco, George Garzone, Joseph Jarmon and Ralph Alessi.
New York-based drummer/composer Russ Meissner has performed with a diverse range of artists including John Abercrombie, Bill Charlap, Norah Jones and many others.
Sunday, October 1, 11 am – 1 pm$30 advance, $45 day of workshop
The instructors provided lots of encouragement and a safe environment for the students to work through challenges and to take risks.
— Arabella Dorth
edgardo cambón
2017 Fall Quarter / September 18 – December 3 / cjc.edu
5150
WOODWINDS
MODERN JAZZ SAXOPHONE MASTER CLASSwith Matt Renzi and Loren StillmanSaxophonists Loren Stillman and Matt
Renzi will discuss approaches to ensemble
and solo playing. With experience playing
in ensembles lead by the likes of Paul
Motian, Herbie Lewis, Eddie Marshall
& Charlie Haden, they will cover the
subtleties of sound and blend as well
as shaping the music in a multi-horn
ensemble. Being formidable band leaders
and original voices in their own right they
will also discuss their approaches to
pushing the limits of group improvisation
and composition.
Multi-reedist Matt Renzi has been performing professionally for the past 20 years at international jazz festivals and music venues worldwide. In addition to leading his own groups, Matt has per-formed and recorded with Marc Johnson, Michael Formanek, Eddie Marshall, Herbie Lewis, Ben Monder, Eberhard Weber, and Bobo Stenson.
Saxophonist Loren Stillman has been recognized as one of today’s truly original creative voices by The New York Times, DownBeat Magazine and National Public Radio. A former student of Lee Konitz and David Liebman, he has performed and recorded throughout the United States, Europe and Japan with his own ensem-bles, and with those led by Charlie Haden, Carla Bley, Paul Motian, John Abercrombie, Andy Milne’s Dapp Theory, Michele Rosewoman, Joe Lovano, Eivind Opsvik, Tyshawn Sorey, Vic Juris and The Village Vanguard Jazz Orchestra.
Sunday, October 1, 11 am – 1 pm$30 advance, $45 day of workshop
Workshops
james mahone
SAXOPHONE EMBOUCHURE DEVELOPMENT AND PRACTICING WITH DRONES with James MahoneA two-hour workshop based on the
premise that a stable, relaxed embouchure
is the key to getting the most out of your
saxophone playing.
The first hour of this workshop is devoted
to building and strengthening the
embouchure and addresses:
• Working with the mouthpiece alone
• Utilizing long tone and overtone
exercises to build stability and flexibility
• “Singing” into the horn
The second hour is devoted to exploring
different ways to utilize drones in practice
and addresses:
• Ear training
• Playing scales and arpeggios
• “Modal” improvising with drones
Saxophonist James Mahone first devel-oped an international reputation recording and touring with Black Note (Columbia and Impulse!) in the mid-’90s. Since then he has performed alongside many great jazz musicians including Wynton Marsalis, Billy Higgins, Josh Redman and countless others. Mahone has recently relocated to the Bay Area from Japan and has become an in-demand sideman working with Akira Tana, Marcus Shelby, Dr. Mitch Butler and others.
Sunday, November 5, 2 – 4 pm$30 advance, $45 day of the workshop
Workshops
matt renzi and loren stillman
Whether a student or a jazz enthusiast, the books, music, classes and performances are a gift to anyone living nearby or visiting in the San Francisco Bay Area. — Dorie Guess Behrstock
2017 Fall Quarter / September 18 – December 3 / cjc.edu
52 53
PIANO
MODERN JAZZ PIANO AND GUITAR MASTER CLASSwith Leonard Thompson and Nate RadleyGuitarist Nate Radley and pianist Leonard
Thompson will discuss the various ap-
proaches and challenges of working
together as a pianist and guitarist in a jazz
context. After years of playing in ensem-
bles together, they will cover ways to deal
with the similar roles, sound and ranges
that these two instruments have, and how
they can be used to complement one
another and shape the ensemble sound.
Conventional and non-conventional
approaches to playing guitar and piano
individually and in the ensemble will be
included.
Born in coastal southern California, pianist Leonard Thompson has forged a strong personal voice as a soloist, composer, and accompanist over the past twenty years. Active in New York, San Francisco, and Los Angeles jazz scenes, he has performed or recorded with artists such as Matt Otto, Madeleine Peyroux, Justin Morell, Cleo Laine, Dave Scott, Mary Stallings, Jacob Varmus, Marlena Shaw, Sasha Dobson, Eddie Marshall, Jackie Ryan, and Donald Bailey.
Brooklyn-based guitarist Nate Radley leads his own groups and has collaborated with Loren Stillman, Chris Cheek, Adam Nussbaum, the Maria Schneider Orchestra and many others.
Sunday, October 1, 11 am – 1 pm
$30 advance, $45 day of workshop
JAMAICAN GROOVES: Reggae, Ska, and Rocksteady Keyboards with Jennifer JollyThis hands-on workshop illuminates
the crucial role of keyboards in ska and
reggae music, drawing on repertoire from
The Skatalites, Bob Marley, and their
contemporaries up through current artists.
Students will learn how and when to play
the “bang” and the “bubble” on the piano
and Hammond B-3 organ. Rocksteady
fills and the role of the “clav” (Hohner
Clavinet) and synths will also be covered.
Materials will be provided by instructor.Prerequisites: familiarity with major and minor chords.
Jennifer Jolly teaches keyboards, world music, and improvisation at the Jazzschool, at camps and afterschool programs, and at her private studio. She currently performs with Zulu Spear, Babá Ken Okulolo & Friends, The Jolly Gibsons, Big B and His Snake Oil Saviours, and several reggae/ska, blues/R&B, and Americana groups. She serves as accom-panist for choruses, churches, and musical theater productions, and guest-performs frequently with Tom Rigney and Flambeau.
Sunday, October 22, 11 am – 1 pm$30 advance, $45 day of workshop jennifer jolly
Workshops
leonard thompson
nate radley
Workshops
Ms. Jolly is an exceptionally gifted teacher. Her love of the music is obvious and contagious. I would study anything she taught!” — Vida Bateau
2017 Fall Quarter / September 18 – December 3 / cjc.edu
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Workshops
54
THE LIFE AND MUSIC OF BILL EVANS — A Documentary Film Screening and Jazz Piano Master Class with Dave ThompsonAn in-depth look at legendary jazz pianist
Bill Evans’ life, music and influence on
the world of jazz piano. The workshop
will include a screening of the recently
released Bill Evans documentary, “Time
Remembered,” produced and directed
by award-winning CBS producer Bruce
Spiegel. The documentary will be followed
by a hands-on masterclass, with analyses
of Bill’s own pieces, and his harmonically
rich approach to standards, providing
clear insight into his compositional
talents and a working understanding
of his remarkable ability to create such
compelling richness and beauty.
Dave Thompson has been playing and teaching for 30 years. He is currently presenting master classes on the life and music of Bill Evans at various venues in Northern California, Los Angeles, Cleveland, New York and abroad. During his time in New York he studied with George Shearing and Joanne Brackeen. He has also composed film scores and his most recent solo CD, Introspect, was released to critical acclaim including reviews by Mark Myers of jazzwax.com and the Wall Street Journal.
Sunday, November 12, Noon – 3 pm$30 advance, $45 day of workshop
It was definitely a wonderful and unique experience. — Anonymous
MODAL JAZZ with Larry VuckovichPianist Larry Vuckovich presents an
overview of the fresh Impressionist
and modal concepts introduced to jazz
starting in the 1950s by Miles Davis,
Bill Evans and Gil Evans. The compositions
featured on Miles Davis’s groundbreaking
1959 release Kind of Blue will be high–
lighted in addition to examples recorded
by Bill Evans and Gil Evans. Larry will also
present selections from his pioneering
Blue Balkan recording, one of the first
recordings to fuse ethnic folk music from
the Balkans with jazz. This 1980 recording
featuring the great vibraphonist Bobby
Hutcherson drew on modal concepts and
incorporated influences from the Middle
East, drawing on Turkish, Arabic, and
other exotic sounds from the region.
This presentation will be of interest to
both musicians and non-musicians.
Larry Vuckovich gained first-hand knowl-edge from performances or recordings with many of the jazz greats including Dexter Gordon, Charles McPherson, Charlie Haden, Tom Harrell, Bobby Hutcherson, Tony Bennett, Joe Williams, Jon Hendricks, Bobby McFerrin, Billy Higgins, Philly Joe Jones and Elvin Jones. Larry has been associated with several piano icons, such as Bud Powell, Red Garland, Bill Evans, Barry Harris, Tommy Flanagan, McCoy Tyner, Chick Corea, and was the only student of Vince Guaraldi.
Sunday, November 19, Noon - 3 pm$30 advance, $45 day of workshop
TECHNOLOGY
CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTS with Lee BrenkmanA workshop in survival skills to help
instrumentalists and singers get the best
results from their sound equipment — from
a single microphone to a complete sound
system — and how to successfully interact
with sound technicians at venues with
sound systems. Learn the “tricks of the
trade” from Lee Brenkman, one of the Bay
Area’s preeminent sound technicians, to get
the best sound on your gig. Topics covered
include the different types of microphones
and their functions, evaluating equipment
for purchase, and how to set up a small
sound system. Brenkman also addresses
how best to communicate with sound
technicians and making efficient use of
sound check time. This workshop is attendee-
driven — any and all questions welcome!
Lee Brenkman has been a top sound technician at multiple Bay Area venues for several decades including the California Jazz Conservatory, Great American Music Hall and Stanford Jazz Workshop.
Sunday, October 15, 11 am – 1 pm$30 advance, $45 day of the workshop
THEORY AND IMPROVISATION
TRANSFORMING SIMPLE SONGS INTO JAZZ TUNES with HomenajeLos Angeles-based trio Homenaje is
guitarist Will Brahm (New West Guitar
Group), bassist Ross Shodek (Poncho
Sanchez) and drummer Chris Wabich
(Leonard Cohen, Stanley Jordan). In
this workshop, the group discusses and
demonstrates techniques for transforming
simple songs into vehicles for jazz
improvisation drawing on melodicism,
world influences, odd meters and more.
Homenaje means “Tribute” in Spanish. Led by guitarist Will Brahm, they pay tribute to the support and uniting of different types of music and cultures. Incorporating heavy influences of Cuban and African music along with jazz, classical, and folk, they strive to bring together different cultures and people through their music. Based in Los Angeles, they draw from the seemingly infinite cultural influences all around us.
Saturday, September 23, 3:15 – 5:15 pm$30 advance, $45 day of workshop
Workshops
homenaje trio
2017 Fall Quarter / September 18 – December 3 / cjc.edu
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peter and will anderson
56 57
WorkshopsWorkshops
MASTERING THE LANGUAGE OF BEBOP with Peter and Will Anderson Saxophonists, clarinetists, and flautists
Peter and Will Anderson lead this work-
shop on mastering the language of bebop.
This is the musical language created by
Charlie Parker, Bud Powell, Dizzy Gillespie,
Don Byas, Max Roach, Oscar Pettiford, and
others. We will discuss the techniques of
navigating chord changes, creating
beautiful lines with tension and release,
and suggest masterful solos to transcribe
at home. The specific rhythmic and
harmonic subtlety of bebop is very
important to study in order to understand
all styles of jazz. Guitarist Felix Lemerle
will offer his expertise as well.
Named “virtuosos on clarinet and saxo-phone” by the New York Times, Peter and Will Anderson were drawn to the music of Charlie Parker, Lester Young, and John Coltrane at a very young age. They toured the United Kingdom at age 15 and, after several years of study with saxophonist Paul Carr, they attended Juilliard. Origi-nally from Bethesda, Maryland, they currently reside in New York City.
Sunday, September 24, 11 am – 1 pm$30 advance, $45 day of workshop
THE LIFE AND MUSIC OF BILL EVANS — A Documentary Film Screening and Jazz Piano Master Class with Dave ThompsonFor full description, see page 54.
Sunday, November 12, Noon – 3 pm$30 advance, $45 day of workshop
JAZZ IMPROVISATION ESSENTIALS: THE MINOR BLUES with Anton SchwartzAn important variant of the ubiquitous
Blues form, the Minor Blues is one of the
most frequently recurring forms in jazz. If
you’ve heard Mr. P. C., Equinox, Birk’s Works
or the Spider Man theme, you’re familiar
with it. The instructor will present the form
in a way that makes it easy to internalize,
and give lots of practical advice about how
to improvise over it. Students improvise
(optional but encouraged) and are given
feedback, with recommendations given for
a direct path to improvement. Student
improvisations will serve as a springboard
for discussions of the many harmonic
variations and possibilities. Prerequisites: knowledge of the simple I-IV-V 12-bar blues form and basic jazz harmony.
Saturday, October 28, 3:15 – 5:15 pm$30 advance, $45 day of workshop
MATH FOR JAZZ MUSIC with Anton SchwartzModular Arithmetic. Mutually Prime.
Rotational Symmetry. Have I lost you
yet? Terms like these are foreign to most of
us, but what they stand for are things that,
as musicians, we unknowingly deal with all
the time. Let’s get our geek on and learn
some new ways of talking about harmony
and rhythm — ways that we can put to
powerful use in better understanding and
internalizing the music we play. Prerequi-sites: familiarity with basic musical concepts such as chord types and the circle of fifths.
Saxophonist Anton Schwartz has won critical acclaim for each of five albums released since 1998. He has performed across the country in major venues from the Monterey Jazz Festival to Yoshi’s, SFJAZZ, Blues Alley and the Blue Note in New York. See Anton’s bio at antonjazz.com.
Sunday, October 29, 2 – 4 pm$30 advance, $45 day of workshop
IMPROVISING ON CHARLIE PARKER’S CONFIRMATION with Anton SchwartzThis classic bebop composition by Charlie
Parker is a staple of the jazz repertoire;
its chord changes appear in many other
songs and are essential knowledge for
the intermediate & advanced player. We
discuss its harmony on both a micro level
(how each chord leads to the next) and
a big-picture level (how they all work
together to form a coherent progression),
in ways that will directly help us improvise
over it. Suggestions are given for ways to
mentally simplify the song’s structure, as
well as multiple approaches to navigating
its chord changes. Students optionally
improvise over the song and are critiqued,
with recommendations given for a direct
path to improvement. Prerequisites: facility on a melodic instrument or vocals, improvi-sational experience, and knowledge of basic jazz harmony. Bring your instrument (optional).
Sunday, October 29, 11 am – 1:30 pm$40 advance, $55 day of workshop
anton schwartz
2017 Fall Quarter / September 18 – December 3 / cjc.edu
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Workshops
jacob zimmerman
2017 Fall Quarter / September 18 – December 3 / cjc.edu
LEARNING THE ORIGINALCHORD CHANGES TO YOUR FAVORITE SONGSwith Jacob ZimmermanThe performance of most standard jazz
tunes has deviated from the composer’s
original intent. The commonly played
chord changes to most tunes have been
altered and often diluted by the folk
tradition of the music, as well as fake
books and apps like RealPro. More often
than not these alterations eliminate
uniqueness in favor of generic patterns
more conducive to improvising. A deeper
look into the original sheet music and
recordings of standard tunes often reveals
rich and unusual harmonies, beautiful
counter-melodies, forgotten or ignored
verses, additional lyrics, and a new
appreciation for the genius of composers
like George Gershwin, Richard Rodgers
and Jerome Kern. This workshop will look
in depth at the original chords for many
old standards like Cole Porter’s “What is
This Thing Called Love?” Victor Young’s
“Stella By Starlight” and Miles Davis’
“Four.” Students will be given tools for
how to find and interpret original sheet
music and recordings. Everyone will walk
away with a packet of unpublished
leadsheets with original chord changes
to standard songs.
Seattle-based alto saxophonist and composer Jacob Zimmerman studied at the New England Conservatory of Music, and Mills College. His teachers have included Roscoe Mitchell, Jerry Bergonzi, Joe Morris and Anthony Coleman. Jacob was recognized as the “2013 Emerging Artist of Year” by Earshot Jazz.
Sunday, November 12, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
This place is the best. I love it and we’re all SO lucky that the Jazzschool exists.— Anonymous
MUSIC BUSINESS
PAUL S. FINGEROTE’S BACK-TO-BASICS
HANDS-ON MARKETING WORKSHOP!
You may be among the world’s greatest musicians, but without marketing yourself, no
one will know how talented you really are. In this back-to-basics, hands-on workshop,
you’ll learn Six Simple Steps to Marketing Success and how to make them work for
you. This workshop is a fast-paced, information-packed, half-day investment of time
that will pay off in successfully promoting your own music career!
Taught by Paul Simeon Fingerote — International ad agency veteran in London, Toronto, Sydney, Los Angeles and Monterey; 30-year Marketing Director of the Monterey Jazz Festival; co-author with Dr. Herb Wong of Jazz on My Mind (available in the CJC Bookstore); now Marketing Director of the California Jazz Conservatory and creator of our 100% JAZZ! campaign.
Sunday, September 24, Noon – 3 pm$50 advance, $65 day of workshop
paul s. fingerote
Fall 2017 CJC Concert SeriesCheck out what’s happening in our intimate jazz club venue, featuring international stars and performances by faculty and students. Purchase tickets online at cjc.edu/concerts!
info & tickets at cjc.edu/concerts
13 Fri 8pm Clif Payne and The Quartet: The ‘This & That’ Concert $20
24 Sun 7pm Vocal Jam Session $10
6 Fri 8pm Azure McCall — Songs and Verses $20
8 Sun 7pm Blues Vocal Jam $10
23 Sat 8pm LJT Trio $15
29 Fri 8pm Debbie Poryes $20
1 Sun 4:30pm Sandy Cressman celebrates “Entre Amigos” $18
7 Sat 8pm Laura Klein and Friends $15
30 Sat 8pm David Ambrosio $15
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18 Sat 8pm The Dann Zinn Quartet featuring Taylor Eigsti $20
19 Sun 7pm Vocal Jam Session $10
19 Sun 4:30pm Dick Hindman Memorial Tribute Concert $20
4–14 various times Jazzschool Community Music School Student Performances Free
12 Sun 4:30pm Tulio Araujo Quintet — CD Release Party $20
12 Sun 7pm Blues Vocal Jam $10
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5 Sun 4:30pm SFEMS — Magnolia Viols $20
4 Sat 8pm Dmitri Matheny’s West Coast Cool: Celebrating Chet Baker $15
10 Fri 8pm Matt Renzi’s “SoundSpace Trio” $15
11 Sat 8pm Allison Au $15
3 Fri 8pm New Music for Septets: Nathan Clevenger Group + Ian Carey’s Wood/Metal/Plastic $20
29 Sun 4:30pm Calle Ocho & Nuevo Mundo — An Afternoon of Cuban Heart & Soul $15
22 Sun 7pm Vocal Jam Session $10
22 Sun 4:30pm Emmet Cohen Trio: ‘A Handful of Keys’ $20
AZURE MCCALL TULIO ARAUJO TAYLOR EIGSTIGRUPO FALSO BAIANO
2 Sat 8pm Mo’Fone $20
9 Sat 8pm Akira Tana — Otonowa $20
16 Sat 8pm The Phil Norman Tentet (Phil Gainsborough) $18
8 Fri 8pm Gamelan Pusaka Sunda $18
10 Sun 4:30pm Michael O’Neill Quartet $20
1 Fri 8pm DIMA with The Noel Jewkes Quartet $15
15 Fri 8pm Ian Faquini $15
22 Fri 8pm Grupo Falso Baiano $18
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17 Fri 8pm Noel Jewkes’ Septet “Legato Xpress” $20
8 Sun 4:30pm Jenny Maybee $18
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14 Sat 8pm James Zealous presents: Revolutionary Jazz Poetry at the CJC $20
8–10 various times California Jazz Conservatory Student Performances Free
1–3 various times Jazzschool Young Musicians’ Program Free
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ER 15 & 17 8pm California Jazz Conservatory Senior Projects $18
10 Sun 7pm Blues Vocal Jam $10
15 Sun 4:30pm SFEMS — Sprezzatura: Virtuosic Italian Sonatas of the 17th and 18th centuries $20
20 Fri 8pm CJC Blue & Green Ensembles $20
21 Sat 8pm Jeff Denson Group $18
27 Fri 8pm Morchestra with Clairdee $20
28 Sat 8pm LehCats with Karen and Norbert Stachel $20
16 Sat 8pm TrumpetSuperGroup $20
24 Sun 4:30pm Rhonda Benin $20
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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
Joe Bagale (drums) Eastman School of Music (1.5 years) currently lead vocalist, keyboardist, guitarist with Mickey Hart Band. Leads Joe Bagale band, performs with Jazz Mafia, Hot Einstein, Disappear Incompletely. www.joebagale.com
David Belove (bass) Studied at SF State and San Francisco Conservatory of Music. Recorded or performed with Pete Escovedo, John Santos and The Machete Ensemble, Danilo Perez, Tito Puente, Francisco Aguabella, Rebeca Mauleon, Ray Obiedo, Marcos Silva, Joe Henderson, Max Roach, Blue Mitchell, Eddie Harris, Mark Levine, Pat Metheny, Larry Coryell and Zakir Hussain.
Steve Blum (piano)B.M. CSU Long Beach, M.F.A. California Institute of the Arts. Performer, composer, music director and educator. Student of David Roitstein, Alfred Ladzekpo, Joe LaBarbera, Wadada Leo Smith, Larry Koonse, and Charlie Haden. Recorded and/ or performed with Vinny Golia, Tony Clifton, Blockrad, A Giraffe, Keen Inkling, Steve Blum’s Keyboarchestra, Disappear Incompletely, See-Saw Trio, and more.
Edgardo Cambón (percussion, voice) Bandleader for 26 years of the renowned salsa band “Edgardo & Candela.” Toured throughout South America, Europe, and Africa since 1986. LP (Latin Percussion Co.) endorser. Performed or recorded with Jesús “Chucho” Valdés (Irakere), Eddie Palmieri, Carlos Santana, José Luis “Changuito” Quintana, Orestes Vilató, Salsa Romántica Stars Jerry Rivera and Eddie Santiago, Keith Terry and “Crosspulse,” Omar Sosa, Jeff Narell, Andy Narell, Sovosó (formerly Bobby McFerrin’s “Voicestra”) Mike Spiro, Karl Perazzo and Rebeca Mauleón. www.musicandela.com
Danny Caron (guitar) B.A. in English and Music, Oberlin College and Conservatory; graduate of Howard Roberts Program, Guitar Institute of Technology, Los Angeles. Best known for being music director and guitarist for the legendary pianist and vocalist Charles Brown until his death in 2000. He has played and recorded with Van Morrison, Bonnie Raitt, Dr. John, Clifton Chenier, Donald Fagan, Hadda Brooks, Red Callender, and many others. www.dannycaron.com
Maye Cavallaro (voice) Advanced degree in Education, UC Santa Barbara; B.A. in English Lit, UC Santa Barbara. Fellow NY Cabaret Symposium; faculty, Blue Bear School of Music; private coaching, 25 years; producer, 8 recordings; bandleader, recording artist; awarded Best of the Year in Jazz by the San Francisco Chronicle; visiting clinician, St. John’s U.; graphic artist, web designer. www.teachingjazz.com
Andrea Claburn (voice)B.Mus. (in progress), California Jazz Conservatory; BA (High Honors, Humanities) University of California at Berkeley. Co-bandleader, Andrea Claburn/Jua Howard Group. Studied vocal technique and performance with Sandy Cressman, Laurie Antonioli, Raz Kennedy, Maye Cavallaro. www.andreaclaburn.com
Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Featured artist with Ray Obiedo’s Mistura Fina and Jai Uttal’s Pagan Love Orchestra. Studio vocalist for Latin and world jazz styles, recently featured on Bossa Nova Dreams with Akira Tana, Branford Marsalis and Arturo Sandoval. Heard on a wide variety of commercials and soundtracks. www.cressmanmusic.com
Rachel Efron (songwriting) B.A., Harvard U. (extensive coursework in both writing and music). Studied jazz piano with faculty at Berklee College of Music. Released three albums of original music and toured on both coasts. Bandleader of Rachel Efron Ensemble, which has performed locally at such venues as Yoshi’s, The Plush Room, The Independent, Freight & Salvage and Cafe Du Nord. www.rachelefron.com
Cecilia Engelhart (voice)Education: San Francisco Conservatory, Mannes College of Music. Has performed/recorded with a wide range of artists including: Ruben Blades, Theo Bleckmann, Willie Colon, Santi Debriano, Paquito D’Rivera, Rinde Eckert, Tania Libertad, Meredith Monk, Oscar Castro Neves, Mario Rivera, Michael Spiro, Keith Terry, Tamba Trio, Wayne Wallace etc. As composer and arranger with “Tanaora,” “Free Dive” and “Trio 3.” Classical performance includes SF Symphony Chorus,“Conjunto Nuevo Mundo” early music ensemble.
Steve Erquiaga (guitar)National and international recording and perform-ing artist; performed at Montreux Jazz Festival, Berlin Jazz Festival, North Sea Jazz Festival; performed with Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, David Byrne, Turtle Island String Quartet, Paulo Bellinati, Andy Narell, and Paul McCandless; founder, leader, Trio Paradiso; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.
Dave Eshelman (trombone)From 1984 to 2007, Dave Eshelman served as Director of Jazz Studies at California State University, East Bay (formerly Cal State Hayward). Eshelman has performed extensively with many jazz groups in the Bay Area and has worked as a featured soloist in the big bands of Ray Brown, Joe Henderson, Tito Puente and Gerald Wilson. Various artists across the United States and Europe — such as Joe Henderson, Don Ellis, Bill Watrous, and Stan Kenton, the Swedish Radio Orchestra and the Airmen of Note — have performed his 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.
Jazzschool Faculty
laurie antonioli
Jazzschool FacultyJazzschool Faculty
2017 Fall Quarter / September 18 – December 3 / cjc.edu
Jazzschool Faculty
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Jazzschool Faculty
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.”
Alan Hall (drums) Advisor, Drum Program. Former assistant professor at Berklee College of Music; adjunct faculty at UC Berkeley; clinician; author; performed with Ernie Watts, Paul McCandless, Eddie Harris, Bruce Wilamson, Art Lande, Tom Coster, Kit Walker, Rebecca Parris, Kai Eckhardt, Stuart Hamm; artist endorsement with Zildjian Cymbals, Vic Firth Sticks, Aquarian Accessories. www.jazzdrumming.com.
Charles Hamilton (trombone)Leader of the Berkeley High School Jazz Ensemble for 28 years. Has performed with Joe Henderson, Fred Berry, Karlton Hester, Khalil Shaheed, Marcus Shelby, and Babatunde Lea. Created the San Francisco Bay Jazz Band; at the invitation of the US State Department, he took them to Asia twice (Vietnam and China). Recently released “Charles Hamilton and Beyond: Mr Hamudah,” for Global Recording Artists. Currently directing the UC Santa Cruz Big Band. Received the National Foundation for the Advancement of the Arts “Distinguished Teacher in the Arts” Award.
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.
Colin Hogan (piano)B.A. Cal State East Bay. Performances with James Moody, Peter Erskine, Bob Brookmeyer, Roy Ayers, Maria Schneider and hip hop luminaries such as Too $hort, DJ QBert, Dan the Automator, and Lyrics Born. Performed with electric bass revolutionary Larry Graham of Sly and the Family Stone at the 2004 California Music Awards. Pianist and featured soloist on accordion with the Tommy Igoe Big Band in its first-ever weekly residency at Yoshi’s San Francisco. Currently involved in various projects including hip hop/R&B group Dynamic, jazz/groove/experimental collective the Jazz Mafia, international cafe music group Trio Zincalo and jazz/funk/fusion band The Hogan Bros., with brothers Steve and Julian.
Peter Horvath (piano) M.A., Berklee College of Music; Bèla Bartôk Conservatory of Music, Budapest, Hungary; Vienna Conservatory of Music. Performed, toured, recorded with Victor Bailey Group, Bobby Hutcherson, Joe Henderson, Lalah Hathaway, Oakland Symphony, Bob Sheppard, Bennie Maupin, Richie Cole, Ray Obiedo, Lenny White, Randy Brecker, Marcus Miller, Bob Mintzer, Pee Wee Ellis, Arturo Sandoval, arranged and recorded for Aretha Franklin. www.peterhorvath.com
Erik Jekabson (trumpet) M.A. in Composition, SF Conservatory of Music; B. Mus. in Trumpet, Oberlin Conservatory of Music. Toured with John Mayer, Illinois Jacquet and Galactic, and has composed for film and dance projects. Released several albums as a leader. www.erikjekabson.com
Jennifer Jolly (keyboards) Performer, educator, session musician, composer, choral/musical theater accompanist. Specialist in American roots styles (New Orleans & Louisiana, blues, boogie-woogie, country), funk, r&b, and Caribbean and African music. Currently performing with Kotoja, Zulu Spear, Big B & His Snakeoil Saviors, The Jolly Gibsons, and several other Bay Area groups. Frequent guest performer with Tom Rigney & Flambeau. Previous performance credits include Phil Lesh (Grateful Dead), Barbara Dane, Hot Links. Faculty instructor at Cazadero Family Camp since 1999. B.A., UC Berkeley.
Lilan Kane (voice)B.M. Music Business and Management, Berklee College of Music (voice principal); faculty San Domenico School (Chorus, Rock Band, Songwriting); Founder of Own The Mic Summer Singing Camp; private vocal coach 12 years; Bandleader of Hella Fitzgerald; recording and performing artist; Featured performer at New Orleans French Quarter Festival, Fillmore Jazz Festival, Novato Art & Wine Festival, San Jose Winter Jazz Fest, Great American Music Hall, Sweetwater Music Hall, The Mint LA, the Whisky A Go-Go, among others. She has opened for Hall & Oates, Sharon Jones, Trombone Shorty, and Morgan James. www.lilankane.com
Bob Karty (piano) B.A., Biology, Reed College. Pianist, composer, recording engineer, producer. Performs with Ray Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Conjunto Karabalí (led by Michael Spiro & Santana percussionist Karl Perazzo). Founding member of Orquesta La Moderna Tradición, one of the few authentic charanga orchestras outside of Cuba, with whom he performed for over 15 years and recorded three albums. www.bobkarty.comin Europe, China, Japan, Mexico and Thailand.
Omar Ledezma Jr. (percussion, voice) Diploma, Performance, Berklee College of Music 2003. B.S., Law School, Santa Maria University, Caracas, Venezuela 1995. Active local performer, teacher, GRAMMY nominee and world class musician. Toured with renowned artists in USA, Europe, the Caribbean and South America. Has participated in more than 35 recordings, DVDs and books. PEARL PERCUSSION Artist. www.omarledezmajr.com
Dave Le Febvre (saxophone) Recipient of an NEA Grant for Jazz Education. Dave has recorded 6 albums as a bandleader and has performed at many Bay Area Jazz Festivals and in Europe. Musicians who have recorded or performed in Dave’s group include Billy Childs, John Patitucci, Clay Jenkins, Dave Crigger, Eddie Marshall, Seward McCain and many others. Dave’s big band compositions have been performed by Freddie Hubbard, Richie Cole, and the BBC Big Band. www.jazzwest.com/davelefebvre
Jason Levis (percussion) Ph.D. and M.A. in Composition, UC Berkeley; B.A. in Music, Naropa University. Two-time Meet the Composer award recipient; Eisner Prize for Music winner; Outstanding Graduate Student Instructor (UC Berkeley); Interaktion Festival finalist (Berlin), drummer and composer Jason Levis has led and been a collaborator in numerous jazz, improvised music, and chamber ensembles in the San Francisco Bay Area and Berlin, Germany. These include the Heftpistole Chamber Ensemble; duo B.; Married Couple; DRY; live dub-reggae ensemble Joseph’s Bones; the Echo Chamber Ensemble; most recently the Berlin Boom Orchestra, and many more. www.jasonlevismusic.com
Frank Martin (piano, keyboards)Music Director for Narada Michael Walden, Patti Austin, Angela Bofill; Carnegie Hall appearances with Sting, James Taylor, Elton John; Record producer/arranger for Al Jarreau, Turtle Island String Quartet, Joey DeFrancesco, Mimi Fox, Mary Jenson, Molly Holm, Deuce, Tuck & Patti, Karen Blixt; performed/recorded with John McLaughlin, Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Larry Coryell, Herbie Hancock, Stanley Jordan, Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, UC Berkeley Jazz Ensembles. ww.frankmartinproductions.com
Jeff Massanari (guitar) Four years performance and composition coursework at Berklee College of Music. Performed with Mark Inouye and the San Francisco Sympho-ny, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Appeared at the Umbria Jazz Festival, Beijing Conservatory, Davies Symphony Hall, Stern Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz Festival, San Jose Jazz Festival and Theatre Works. Taught at UC Berkeley, The Jazzschool, Redwood High, Bruce Forman’s Jazzmaster series, Jazz Camp West and Blue Bear School of Music.
kyra gordon
2017 Fall Quarter / September 18 – December 3 / cjc.edu
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Jazzschool Faculty
Clif Payne (voice) Evershift recording artist, international concert vocalist, and vocal coach, Clif studied jazz with legendary educator David Baker at Indiana University and Speech Level Singing vocal technique with Chip Hand and Rober Burnley in LA. Recording projects include a collaboration with former Kurt Elling music director Laurence Hobgood. His debut solo album — Welcome To My World — was released In 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors, Harvey Mason and has opened in concert for Tony Bennett, Johnny Mathis and Dionne Warwick. Clif has shared the stage with Dianne Reeves, The Commodores, Lionel Richie, Lakeside and Shelia E. http://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, 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; 30 years private instruction in jazz piano and jazz/classical theory. www.debbieporyes.com
Jackie Rago (percussion)B.A. music and arts institute of SF, artistic and musical director of the Venezuelan Music Project and a founding member of the VNote Ensemble (formerly The Snake Trio) bands which she travels and performs with in an ongoing basis. She was also a founding member of Altazor (Nueva Canción ensemble), Wild Mango (world beat music), Keith Terry & Crosspulse (world percussion) and Trio Altamira (contemporary Latin American music). www.jackelinerago.com
Azure McCall (voice) Performed with Ray Brown, Freddie Hubbard, Frank Morgan, and Dizzy Gillespie. Many years of perfor-mance experience in Hawaii and on jazz cruises.
Erika Oba (piano, flute)M.A. in Music Composition, Mills College, B.M. in Jazz Piano Performance, Oberlin Conservatory. Composer, pianist/flutist, and educator based in the East Bay. Member of the Montclair Women’s Big Band, the Mara Performance Collective, Ends Meat’ Catastro-phe Jazz Ensemble, and the Oba/Bastian duo.
Daniel Parenti (bass) Performance experience with many jazz legends including Rosemary Clooney, Michael Brecker, and Lionel Hampton. Has released six full-length original albums under his own name. Has performed with many well-known Bay Area artists including Tommy Igoe, Billy Johnson (Santana), Frank Martin (Narada Michael Walden), Joel Smith (Walter Hawkins) and Lorn Leber (Jerry Garcia Band).
Anthony Paule (guitar) A.A. Degree from CCSF. Has toured and/or recorded with Maria Muldaur, Boz Skaggs, Charlie Mussel-white, Barbara Lynn, Earl King, Big Jay McNeely, Johnny Adams and many others. Released three solo albums, “Big Guitar” and “Hiding In Plain Sight” and “You Don’t Know Nothing” the latter with soul singer Frank Bey. Has performed at festivals including Monterey Jazz, Umbria Jazz, San Francisco Blues, Mississippi Valley Blues, Du Maurier Jazz, Waterfront Blues, S.F. Jazz, Atlanta Olympic Games. www.anthonypaule.com
Brian Rice (percussion) BM. Oberlin Conservatory of Music. Brazilian music specialist. Performed and/or recorded with Jovino Santos Neto, Spok, Clarice Assad, Paulo Sergio Santos, Dudu Maia, Alessandro Penezzi, Jorge Alabe, Almir Côrtes, Rogerio Souza, Mike Marshall and recently toured with master choro mandolinist, Danilo Brito. Co-founder and artistic director of the Berkeley Festival of Choro and a member of the Berkeley Choro Ensemble and Choro Famoso. Brian has taught clinics at Oberlin, Cantareira College (São Paulo) and University of Campinas, Percussive Arts Society International Convention (PASIC), Stanford University, Southern Oregon University, University of Washington, Georgetown University, Indiana University.
Glenn Richman (bass) Mannes School of Music (1 yr); Berklee College of Music (2 yrs). Advisor, Jazzschool Bass Program; student of Buster Williams, George Mraz and Mike Longo; performed with Bobby Hutcherson, Jon Hendricks, Dave Liebman, Chet Baker, Benny Green, Dakota Staton, Chris Connor, Tom Harrell, Eddie Henderson, John Hicks, Mike Clark, Jack Wilkins, Billy Hart, Larry Willis, George Coleman and Mickey Roker; faculty, Brubeck Institute, UC Berkeley and Chabot College. www.glennrichman.com
Pamela Rose (voice) B.A., UC Berkeley. Jazz and blues vocalist, songwriter, recording artist. Recent performances include Monterey Jazz Festival, SFJAZZ, Grammy Foundation, Copenhagen Jazz Festival, Cal Performances. Featured on NPR’s “All Things Considered.” Her latest project “Wild Women of Song” (highlighting the work of women jazz and blues songwriters) has Rose touring, speaking and performing at universities and performing arts centers nation-wide, and resulted in the publication of a book on the topic. www.pamelarose.com
Dave Len Scott (trumpet) M.A. in Trumpet Performance, U. of Northern Colorado; B.A. in Instrumental Music, U. of Michigan. National performing and recording artist, jazz, classical idioms. Performs with: Glide Memorial Church Change Band; Brass Monkey Brass Band; TRUMPETSUPERGROUP (founder); Dave Scott Jazz Quartet. Currently adjunct faculty at: Sonoma State University (Instructor of Trumpet); Berkeley City College (Humanities Dept Jazz History); and San Francisco State University (Brass Methods, Jazz Arranging). www.davelenscott.org
Ellen Seeling (trumpet)B.Mus. 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, Brazilian Program. National and interna-tional performing and recording artist, composer, arranger, producer, educator; performed with Leny Andrade, Emilio Santiago, Marcio Montarroyos, Jon Lucien, Claudio Roditi; Music Director, arranger, keyboards for Flora Purim, Airto, Toninho Horta, Paquito D’Rivera, Bud Shank, Ricardo Silveira, Dori Caymmi, Nana Caymmi, Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Silva and Intersection. www.marcossilva.com
Jeanne Walpole (piano) M.A. in Music Theory, San Francisco State U.; M.A. Studies in Piano Manhattan School of Music; B.A., Smith College: studied with Dick Hindman 1990–2003; Pianist, Nordstrom.
Winslow Yerxa (harmonica) Author of Harmonica for Dummies, advice columnist at Bluesharmonica.com, and president of the Society for the Preservation and Advancement of the Harmonica. Over 30 years experience in a wide variety of styles. Performs with SF Harmonica Ensemble and Tuula Tossavainen. www.winslowyerxa.com
Michael Zilber (saxophone) Ph.D. in Composition, NYU; M.M. in Composition, Tufts U.; B.Mus. in Composition, New England Conservatory. Currently co-leads a quartet with guitar great John Stowell, and is completing a recording project in New York with Mike Clark, James Genus and Rachel Z. Co-led a group with drumming legend Steve Smith for 8 years. Has performed, toured or recorded with everyone from Dave Liebman to Dizzy Gillespie, including Miroslav Vitous, Bob Berg, Eddie Henderson, Fareed Haque, Geoffrey Keezer, Donald Harrison, John Handy, Dave Douglas, Barry Finnerty, Bruce Barth, and Clarence Penn. www.michaelzilber.com
Jazzschool Faculty
jackie rago
2017 Fall Quarter / September 18 – December 3 / cjc.edu
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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
Jim Reynolds
M. David Sherrill
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, California Jazz Conservatory (CJC)
Rob EwingDirector, Jazzschool
Laurie AntonioliChair, CJC Vocal Program, Director, Jazzschool Vocal Program
Erik JekabsonDirector, Jazzschool Young Musicians Program
Zack MondlickAssistant to the Dean
ADMINISTRATIVE STAFF
Bill Aron Business Manager
Jesse Rimler Registrar and Custodian of Records, California Jazz Conservatory
Karen ShepherdDirector of Financial Aid, California Jazz Conservatory
Julie BirchData Manager/ Systems Administrator
Paul FingeroteMarketing and Public Relations Director
Sheryl Lynn ThomasDigital Marketing Manager
Hollis AshbyCommunications Consultant
Mary D’OraziDevelopment Associate/ Concert Coordinator
Lauren AdamsDevelopment Consultant
Alejandra Carrasco-Zanini Program Coordinator
Max Hodes Operations Director
Kim Nucci Operations Manager/ CJC Bookstore
Michael Golds, Aaron Hipschman and Alex Shapiro-RomanoOperations Staff
Tatyana Dimitrova-PelovHouse Manager
Lee BrenkmanSound Technician
Robert SoperPiano Technician
Poulson Gluck DesignGraphic Design
Chris HardyPhotographer
Celebrating 20 years of Jazzschool concerts and workshops!
Here’s a sampling of some of the hundreds of artists we’ve hosted
over the last 20 years. How many do you recognize?
Check out the captions on the inside back cover!
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70 Call 510.845.537370 Call 510.845.5373
Instructions and Application
To enroll in the Jazzschool
Fall Quarter, please read
these important instructions!
For courses that don’t require an audition or consultation, sign up online
at cjc.edu or complete the application
on page 71 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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Telegraph Ave
BART
Sacramento
Channing
Durant
Allston
Center
Addison
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Bancroft
Kittredge
UC Campus
580/80
CALIFORNIA JAZZ CONSERVATORY: 2087 AND 2040 ADDISON STREET, JUST WEST OF SHATTUCK AVENUE, IN BERKELEY
Shattuck Ave
70 7171
University Avenue
2087& 2040
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We invite you to make your mark on the future of jazz with a donation to the California Jazz Conservatory.
We have naming opportunities available in our new Fiddler Annex, opening this Fall, and in
our original Addison Street home.
You can add your name to a variety of opportunities, from a music note on our ’Round Midnight sculpture
to hosting our year-round CJC Concert Series and more!
We have a variety of scholarships offering multiple opportunities for you to support special artists
and academic programs.
And, we are pleased to introduce a number of ways in which your company or organization
can join us in partnership.
If you’d like to learn more about how you can help CJC, please contact Mary D’Orazi ([email protected]).
If you’d like to learn more about how CJC can help your company or organization, please contact
Paul Fingerote ([email protected]).
For more information about supporting CJC, please visit our website at cjc.edu/support.
You’ll also find a list of contributors on our website.
We thank all of our donors for their help in supporting the future of jazz.
Make your mark on the future of jazz!
Your donation will ensure the future of jazz is in good hands!
Make your mark on our new Fiddler Annex and support the future of jazz!
Support an artist or a special cause like the Mark Murphy Vocal Scholarship with your contribution!
Reach thousands of prospects year-round with your
company’s message to your fellow jazz fans!
Captions for page 68:Michael Zilber, Mimi Fox, Bobby McFerrin,
Kenny Washington, Kurt Elling, Sheila Jordan,Taylor Eigsti, Eddie Marshall, Ledisi,
Nnenna Freelon, Ambrose Akinmusire, Akira Tana
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