Jazzschool Spring 2009 Catalog

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2087 Addison Street ~ Berkeley CA 94704 Ph: 510.549-0148 ~ Email: kristine@jazzcaffe.biz Monday – Friday 8 am – 8:30 pm Open Saturday and Sunday for Jazzschool performances.

Please contact the Jazzschool for the performance schedule.

Ph: 510-845-5373

COME IN FOR A PANINI ~ ESPRESSO ~ OR A GLASS OF WINE!

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classes

bass....................................... 10 brass ..................................... 10 business of music .................. 11 composition and arranging ..................... 11 drums/percussion.................. 12 ensembles ............................. 14

Welcome!

guitar .................................... 19

advisory board ......................... 74

harmonica............................. 21

application form ....................... 73

history................................... 22

board of directors...................... 74

music production .................. 22

calendar ..................................... 6

piano/keyboards ................... 23

concerts and events ................. 48

theory & musicianship ....................... 25

director’s message ...................... 4 faculty ....................................... 62 jazzschool institute .......................8 staff ........................................... 74

voice .................................... 39 woodwinds .......................... 27 workshops............................. 46 young musicians ................... 29

The Jazzschool gratefully acknowledges the Koret Foundation for their generous support of the Jazzschool 2008 –2009 program.

Cover: image of congas taken from photo by David Belove; Photo of Rose Ann Kirsch taken by Hali McGrath; Cover design by Poulson Gluck 3

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Photo: Pat Mazzara

Of Note “The life of the arts, far from being an interruption, a distraction, in the life of the nation, is very close to the center of a nation’s purpose — and is a test of the quality of a nation’s civilization.” John F. Kennedy

“It takes a village” — a village that values, supports and promotes music and music education. The Jazzschool’s uppermost purpose is to contribute to the well-being of our community by giving each and every student access to music education and performance opportunities. Our contributions manifest themselves in all of our programs, from the community outreach partnerships to the wide-ranging, in-house community music programs for youth and adults. All transform lives, and nothing could be more important to our future.

In further support of this objective, the Jazzschool announces plans to offer its first program of study, a four-year Bachelor of Music degree program in Jazz Studies from the Jazzschool Institute, in the fall of 2009. This dynamic program includes a preeminent faculty comprised of the best of the best Bay Area musicians and educators along with renowned visiting artists, and focuses on a comprehensive curriculum designed to prepare the aspiring professional jazz musician for a fulfilling life in the dynamic world of the performing arts. Please see page 8 for more details and instructions on how to apply. The Jazzschool wishes to thank the Jazzschool Institute’s Lead Sponsor, Wells Fargo, and Major Sponsor, Osher Foundation, for their generous support of this new progressive jazz education and performance program!

JAZZSCHOOL HIGH NOTES . . . Spring is Here — blossom — take a class, come to a concert! As a newly appointed member of the Board of Directors for Chamber Music America (CMA), I had the privilege of attending my first board meeting and conference this past winter. I spent an invigorating and inspiring five days in NYC immersed in everything chamber music, including jazz! They presented a remarkable series of concerts including performances by the Harlem String Quartet, Parker Quartet, James Carney Group and more. I saw Ambrose Akinmusire, Ralph Alessi, Mark Ferber, Josh Roseman and others and did my best to talk them into moving to the West Coast! Sixteen workshop sessions focused on Technology, Building Community, Music-Making, and Tools of the Trade — all crucial to the success of the music industry today. As a member of CMA, there are all kinds of wonderful opportunities for performers, educators and presenters alike who specialize in a broad range of musical genres from Western classical music to contemporary music and jazz. I encourage you to learn more about this dynamic 4

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Spring ‘09 Message from the Director organization and consider becoming a member so that you may take advantage of all it has to offer. For more information, please visit the Chamber Music America website at www.chamber-music.org.

• Jazzschool publicist Terri Hinte is offering a new course titled Basics of Music Publicity this spring! This course serves as an overview of music publicity as it specifically relates to jazz and world music. Students learn how to put together an effective press kit that supports their artistic goals; how to identify, target, and pitch appropriate publications and writers or editors; and how to create a successful publicity campaign for a show and/or CD launch. Terri’s clients include a who’s who of jazz artists including Sonny Rollins, Danilo Perez, James Carter, Dave Holland, Ed Reed, the Hot Club of San Francisco, Clifton Anderson and Bill Henderson.

• Once again, Vocal Program Director Laurie Antonioli offers an exciting program of vocal classes, concerts and workshops. Among others this spring, don’t miss the new class, the Soul Jazz, Gospel and Blues Sampler, team-taught

by Nicolas Bearde, Frankye Kelly and Vernon Bush focusing on Soul Jazz, Gospel and the blues respectively. Also, Laurie is passing the baton on to Maye Cavallaro who will oversee the mentor program Concert Preparation and Performance starting in the Fall, 2009 so Laurie can focus more on her teaching with the Jazzschool Institute. The Concert Preparation and Performance program provides a unique learning opportunity for vocalists and concludes with a professionally recorded and photographed performance in the Jazzschool Concert Series. If you are an aspiring professional vocalist and interested in participating in this new program, please email Maye Cavallaro at mz@redheadmusic.com for more information.

• I am pleased to welcome Stevie Wonder’s keyboardist Victoria Theodore to the Jazzschool Faculty this spring. Victoria is teaching an ensemble focusing on the exciting repertoire of the legendary pop icon, Stevie Wonder!

• The Jazzschool has established a new scholarship fund, The Cere R. Muscarella Memorial Scholarship Fund, in honor of my father who died on October 27.

This scholarship fund supports aspiring pianists in their golden years in memory of our trusted friend and longtime pillar of support, Cere R. Muscarella, who began taking piano lessons at age 80. Please support this scholarship fund and give our seasoned citizens the opportunity to play an instrument they may have been longing to play for many years.

I feel it’s essential for each and every one of us to have some form of music in our lives to develop fully as individuals who can contribute to a healthy and productive society. The purpose of the Jazzschool is to do all it can to help make that continued next page

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Spring ‘09 Message from the Director... continued possible. I think this quote from MENC — The National Association for Music Education, 2007 — best sums it up: “Perhaps the basic reason that every child must have an education in music is that music is a part of the fabric of our society. The intrinsic value of music for each individual is widely recognized in the many cultures that make up American life — indeed, every culture uses music to carry forward its ideas and ideals. And the value of music in shaping individual abilities and character is evident.”

I would like to thank the devoted members of the Jazzschool Board of Directors, Sustaining Benefactors and all of our generous supporters who enable the Jazzschool to offer a music education and performance program that in no small way also contributes to making the world a better place to live.

— Susan Muscarella, Executive Director

JAZZSCHOOL CALENDAR

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Spring Quarter 2009

Monday April 6 – Tuesday June 23 Sundays March 8 & 15 Auditions for the Jazzschool Institute BM degree program Monday March 23 – Friday April 3 General placement auditions/consultations for spring quarter 2009 Saturday, March 28 & Sunday March 29, 2009 Make-up auditions for the Jazzschool Young Musicians Program

Monday April 6 First day of spring classes Monday May 25 Closed in observance of Memorial Day Friday June 12 – Tuesday June 23 Jazzschool student performances Monday June 15 Last day of Monday classes July 13 – August 23 Jazzschool Summer Quarter

Jazzschool Summer Programs for Young Musicians Monday June 15 – Friday June 26 Jazzschool Summer Youth Program (students entering grades 6–9) see p. 36 Monday July 6 – Friday July 10 — High School Jazz Intensive, see p. 38 Monday July 13 – Friday July 17 — Rhythm Rocks! (age 6-10), see p. 37 6

Monday August 10 – Saturday August 15 Girls’ Jazz, Blues, and R&B Camp, see p. 35

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JAZZSCHOOL PARTNERSHIP WITH YOSHI’S! The Jazzschool now serves as the official education arm of Yoshi’s, the Bay Area’s foremost jazz presenting venue. This mutually beneficial partnership has been created to both support and promote Yoshi’s, a world-class performance venue, and to further the music education of the advanced musician aspiring to become a professional jazz musician through the Jazzschool Institute, a progressive education and performance program developed and administered by the Jazzschool.

This unique partnership benefits both institutions and the San Francisco and East Bay Area communities by providing: 1 The committed and musically gifted high school and college student from all ethnic and socioeconomic backgrounds a greater range of educational opportunities 2 A wider range of prestigious performance settings for students including Yoshi’s Jack London Square and Yoshi’s San Francisco, the Jazzschool and other venues and festivals in the greater Bay Area and throughout the US 3 Unique opportunities to learn from and play with internationally renowned artists 4 More opportunities for students to hear the finest in live jazz.

5 A motivating forum for students to develop musicianship skills, and to compose and perform new work 6 More opportunities for students to record on Jazzschool Records and other labels 7 Greater community outreach 8 New audience development opportunities

The Jazzschool wishes to thank its Lead Sponsor, Wells Fargo, and Major Sponsor, Osher Foundation, for their generous contributions to the Jazzschool Institute!

Special Class Discount for Jazzschool Students Register for one class at the Jazzschool and receive 10% off all additional classes of equal or lesser value. (Workshops not included.)

Hurry, offer ends March 30 th!

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Earn a Bachelor of Music degree in Jazz Studies at the

JAZZSCHOOL INSTITUTE in Berkeley, California beginning fall of 2009!

First Round Auditions Sunday March 8 and 15 • A synergistic jazz education and performance program for today’s aspiring professional jazz musician • A partnership with Yoshi’s providing exciting jazz education and performance opportunities with world-renowned artists • Small classes with professional artists and experienced educators in the field • Access to networking opportunities • Located in the Downtown Berkeley Arts District, with easy access to the San Francisco Bay Area’s thriving arts scene

JAZZSCHOOL INSTITUTE — DEVELOPING ARTISTS & AUDIENCES The JAZZSCHOOL INSTITUTE is a progressive jazz education and performance program for the aspiring professional musician. This spring, the JAZZSCHOOL INSTITUTE is accepting applications for a 4-year, 8-semester Bachelor of Music degree program in Jazz Studies scheduled to begin in fall 2009. Students are accepted based on a live audition. Instrumental and vocal auditions are held Sunday, March 8 and 15, 2009 at the Jazzschool.

The JAZZSCHOOL INSTITUTE offers a challenging curriculum of jazz theory and improvisation, ear training, composition, arranging, transcription and analysis, and music history courses taught by professional artists/educators in the field. Additional required courses include the business of music, personal financial planning, music technology and pedagogy, preparing the aspiring professional jazz musician for a fulfilling life in the dynamic world of the performing arts. The Jazzschool Institute accepts incoming freshmen as well as qualified junior transfer students. Degree program prerequisites may be satisfied by completing courses offered through the Jazzschool’s evening program.

For more information or to schedule an audition, please email jazzschoolinstitute@jazzschool.com or call the Jazzschool at 510.845.5373.

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Major Sponsor Lead Sponsor THE BERNARD OSHER FOUNDATION

In partnership with

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JAZZSCHOOL INSTITUTE — MISSION STATEMENT

Faculty member Mark Levine, author of the Jazz Piano and Jazz Theory books (Sher Music)

To foster the artistic development of the aspiring professional jazz musician and build new audiences to sustain and promote the jazz art form by integrating a comprehensive, progressive education program of jazz and related styles of music from throughout the world taught by world-class musicians and music educators, with extensive, synergistic performance opportunities, preparing the next generation for a fulfilling career in the performing arts.

JAZZSCHOOL INSTITUTE — VISION STATEMENT To play a leading role in the local and national jazz community and to contribute to art and culture on the West Coast and in the San Francisco Bay Area by: • serving as a complete jazz conservatory for aspiring professional jazz instrumentalists and vocalists at the postsecondary level • ensuring the highest standards of quality and professionalism • celebrating and supporting the cultural heritage of jazz and jazz-related music of the past, present and future

Jazzschool Institute Vocal Program Director, Laurie Antonioli

• offering students an integrated program of classes, workshops, lectures, artist-in-residence programs, and performance and recording opportunities • maintaining a state-of-the-art facility of classrooms, practice rooms, an intimate performance space, book and record store, photography gallery and cafe • providing a fully-equipped performance venue for faculty, touring artists and students • promoting diversity and access through targeted community outreach efforts and by awarding scholarships based on merit and need • collaborating with selected educational institutions with complementary missions • spotlighting the West Coast as a destination for jazz, while building relationships with leading artists and organizations in other major jazz centers nationally and internationally

Faculty member Dr. Anthony Brown, Founder/Director of the Asian American Orchestra

• nurturing a vital community of students, teachers, performers, composers and listeners.

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CLASSES

BASS

/ BRASS

Thursdays 4:45 – 6:15 pm GLENN RICHMAN (10 weeks) $360

Jazz Bass Lines and Soloing

Ed Neumeister

bass Beginning Bass Workshop An introductory course for students with little or no prior experience playing the electric or double bass. Students learn the basics of playing the bass including: • tuning the instrument • understanding the fingerboard • using proper hand positions and posture • fingerings for major and minor scales • fingerings for basic major and minor arpeggios • playing simple bass lines and solos • reading music and learning jazz theory.

Prerequisite: students are required to bring a bass to class. Class text: New Method for the Double Bass by Simandl (available in The Bassment).

Tuesdays 6:30 – 8 pm GLENN RICHMAN (10 weeks) $360

For intermediate-level double or electric bassists, this hands-on class focuses on techniques for constructing bass lines and improvising over jazz standards and the blues. Emphasis on style and harmonic analysis. Instructor addresses rhythm and rhythmic “feel” as well as the function of the bass in the rhythm section. Melodic, rhythmic and harmonic concepts for soloing are covered. Prerequisite: Intermediate Bass Workshop or equivalent; ability to read music.

Tuesdays 8:15 – 9:45 pm GLENN RICHMAN (10 weeks) $360

The Contemporary Bassist Focusing on several bass-playing exemplars including James Jamerson (funk), Israel “Cachao” Lopez (Afro-Cuban), Charles Mingus (jazz), and Jaco Pastorius (fusion), students learn to play a range of styles indispensable to the contemporary working bassist. Class examines and practices repertoire representative of each style.

Prerequisite: some technical facility on the bass.

Saturdays 3:30 – 5 pm MARC VAN WAGENINGEN (10 weeks) $360 Marc van Wageningen has over 35 years of playing experience with bands including Tower of Power and Sheila E. He spent two years as house bassist on TV’s The Wayne Brady Show accompanying countless popular artists.

Intermediate Bass Workshop An intermediate-level course for electric and double bassists covering proper hand positions and posture, fingerings for major and minor scales and arpeggios, constructing simple bass lines and melodies, understanding the fingerboard, an introduction to jazz theory and basic harmonic analysis, techniques for creating simple walking bass lines, and developing a strong rhythmic concept.

Students are given practical exercises to develop their overall technique and strengthen their reading skills. This course prepares students for the Jazz Bass Lines and Soloing class. Prerequisite: Beginning Bass Workshop or equivalent; some ability to read music.

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brass WORKSHOPSN

Jazz Trombone Master Class with Ed Neumeister A trombone master class for advanced students and professionals.

Trombonist Ed Neumeister performed for 15 years in the Duke Ellington Orchestra under the direction of Mercer Ellington, and 19 years with the Mel Lewis Big Band (which during Neumeister’s tenure became the multi Grammy-nominated Vanguard Jazz Orchestra). Neumeister has also performed

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BUSINESS OF MUSIC and recorded with artists ranging from Jerry Garcia to Gerry Mulligan. Though considered by critics as a jazz player given his extensive resumé in the genre, Neumeister’s classical chops are second to none. Over the course of his career he has performed with the New York Philharmonic, San Francisco Symphony, San Francisco Ballet and many others in and around his native San Francisco Bay area and New York, his home of over 20 years.

Since 1992, Ed has been touring extensively both as a soloist and as a leader of The Ed Neumeister Quartet and The NeuHat Ensemble. The current Ed Neumeister Quartet featuring pianist Fritz Pauer, bassist Drew Gress and drummer John Hollenbeck, has been together more than 6 years.

Saturday April 11, 3:30 – 5:30 pm ED NEUMEISTER

$30 Jazzschool Students/$45 Others

Trumpet Embouchure Workshop Embouchure and breathing are key to all aspects of trumpet playing including sound, flexibility and endurance. This two-hour workshop begins with an overview of the mechanics of embouchure followed by a hands-on master class. Bring your trumpet!

Sunday May 3, 2 – 4 pm DAVE SCOTT

$30 Jazzschool students, $45 others

Trumpet Master Class — Increasing Your Range, Power and Endurance A master class focusing on specific techniques to increase range, power and endurance.

Workshop includes a demonstration of lead playing followed by a hands-on master class and question/answer period. Students receive custom handouts. Bring your trumpet!

Sunday May 10, 2 – 4 pm DAVE SCOTT

$30 Jazzschool students, $45 others

business of music NEW CLASS!!

Basics of Music Publicity An overview of music publicity as it specifically relates to jazz and world music.

Students learn how to put together an

/ COMPOSITION & ARRANGING

effective press kit that supports their artistic goals; how to identify, target, and pitch appropriate publications and writers or editors; and how to create a successful publicity campaign for a show and/or CD launch.

Mondays 8:15 – 9:45 pm TERRI HINTE (10 weeks) $360 Terri Hinte was the publicity director at Fantasy Records for nearly 30 years.

She currently handles publicity for jazz legend Sonny Rollins, whom she has worked with since 1978.

Jazz Record Production with Orrin Keepnews For anyone interested in recording, this is a remarkable opportunity: an in-depth study with one of the foremost producers in Jazz history, Orrin Keepnews (Thelonious Monk, Bill Evans, Wes Montgomery and many more). Over ten weeks, students examine the entire recording process, identifying the various personnel involved and the many decisions made before and during a recording session. The class also includes an explanation of the various post-recording decisions — selecting the “good” take, editing, sequencing, mastering, and where (and with whom) ultimate responsibility lies for important later decisions like packaging, annotation, promotion and sales.

Sundays Noon – 1:30 pm ORRIN KEEPNEWS (10 weeks) $360

composition & arranging Arranging with Frank Martin Longtime producer/arranger/keyboardist Frank Martin guides students in creating fresh arrangements of jazz standards. A wide range of compositional techniques and musical devices are explored and applied to class assignments including: the use of different rhythmic feels and grooves; reharmonization; form changes; innovative intros, outros, codas and vamps; and alterations to melody and lyrics. Students sing and/or play selected repertoire in a variety of styles and learn how to make even the most common standards sound new. A hands-on class packed with invaluable information!

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DRUMS /PERCUSSION Open to instrumentalists and vocalists.

Prerequisites: some knowledge of jazz theory and harmony.

Thursdays 6:30 – 8 pm FRANK MARTIN (10 weeks) $360

Songwriting Whether you are an aspiring songwriter or a music lover looking to join the fray, this class will help you refine your craft. You’ll study all the techniques that go into writing a great song: penning sharp lyrics, building clever chord progressions and composing fluid melodies. A wide variety of styles are covered: jazz, rock, r&b, Broadway, pop and more!

Prerequisites: none. Open to all!

Mondays 8:15 – 9:45 pm WAYNE WALLACE (10 weeks) $360

drums/percussion Drum Set Technique for Beginners In this introductory hands-on course for the absolute beginner, students learn basic drum set technique. Class covers the function of each of the various drums and cymbals and their applications in jazz, Latin, rock and other contemporary styles of music. Basic sticking techniques and patterns including the single and double stroke rolls, the paradiddle, and the drum “fill” are also covered. Prerequisite: none. Students must own a pair of drumsticks! Class text: Learn to Play the Drumset by Pete Magadini, Hal Leonard Publishing (available in The Bassment).

Mondays 6:30 – 8 pm JOE BAGALE (10 weeks) $360

Rock & Funk Drumming This class serves as an introduction to basic rock and funk grooves. Class plays along with CDs and students are encouraged to bring in their favorite recordings.

Prerequisite: Drum Set Technique for Beginners or equivalent. Class text: Funky Primer by Charles Dowd and Syncopation

by Ned Reed (available in The Bassment).

Mondays 8:15 – 9:45 pm JOE BAGALE (10 weeks) $360 12

Jazz Drum Set Techniques This class explores the fundamentals of jazz drumming with an emphasis on coordination, improvisation and musicality.

Instructor focuses on jazz time and feel.

Class time is spent listening to a number of the great drummers and analyzing various approaches to jazz drumming technique and style. Prerequisite: Drum Set Technique for Beginners or equivalent.

Wednesdays 8:15 – 9:45 pm JEFF MARRS (10 weeks) $360

Advanced Jazz Drumming Concepts A challenging hands-on class for intermediate to advanced drummers wishing to expand jazz comping technique and solo vocabulary. Prerequisite: Jazz Drum Set Techniques or equivalent.

Mondays 8 – 9:30 pm DESZON CLAIBORNE (10 weeks) $360

Latin Drum Set Techniques A class for drum set players to explore and develop skill in the Afro-Cuban style.

Instructor covers many different Latin styles and grooves including Afro 6/8, Bolero, Cha-Cha and Mambo. Students learn how to apply four-way coordination of the many rhythms related to Afro-Cuban drumming.

Instructor covers the role of the drummer in the Latin rhythm section and includes material from his DVD Afro-Cuban Drumset: Grooves You Can Use. Prerequisite: intermediate ability on drum set.

Wednesdays 4:45 – 6:15 pm CURT MOORE (10 weeks) $360

Stick Control Proper stick control allows drummers to express their creativity and inner rhythmic vitality. This class reveals the secrets that give great drummers musical flow. Students learn sticking patterns, rolls and diddles (based on the 26 rudiments), and other skills to create a hip, varied and personal technique. An essential class for all drummers! Prerequisite: intermediate facility on snare drum.

Wednesdays 6:30 – 8 pm CURT MOORE (10 weeks) $360

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DRUMS /PERCUSSION 4-Way Coordination for Drum Set Class covers 4-limb coordination exercises in a variety of styles from swing, to bossa, to funk and more. A challenging class!

Required Text: Creative Coordination for the Performing Drummer by Keith Copeland.

Saturdays 11:45 – 1:15 pm JOE BAGALE (10 weeks) $360

Rumen Sali Shopov

Afro-Cuban Percussion A hands-on class for beginning and intermediate students focusing on the study and performance of Afro-Cuban percussion. This class covers folkloric rhythms including Bantu and Rumba as well as rhythms for the Latin ensemble.

Prerequisites: none. Open to all!

Thursdays 4:45 – 6:15 pm DAVID FRAZIER (10 weeks) $360

Afro-Venezuelan Percussion This hands-on class is designed to introduce intermediate and advanced-level percussion students to several Afro-Venezuelan styles with an emphasis on playing and singing simultaneously. Students are exposed to authentic Venezuelan drums such as cumaco and campana as well as a variety of hand percussion instruments such as the maracas, guira and charrasca. Various improvisational techniques are addressed to emphasize the high level of syncopation characteristic to this style of music.

Rhythmic styles specific to Venezuelan music such as “Quitiplas” (bamboo ensemble), Fulia (ceremonial drums) and Golpe de Tambor (dancing drums) are covered and traditional Venezuelan percussion instruments are used in class. Prerequisite: for intermediate to advanced-level percussionists. Consultation with instructor required.

Tuesdays 8:15 – 9:45 pm JACKELINE RAGO (10 weeks) $220

Balkan and Romani (“Gypsy”) Rhythms Learn to groove in the irresistible oddmeters of the Balkans. From lilting Macedonian 7/8s to sultry Turkish 9/8s, to driving Bulgarian “Wedding-Style” 11/16s and 15/16s, these rhythms are gaining

global popularity as performed by artists including Bulgaria’s Ivo Papasov, Serbia’s Boban Markovic and Goran Bregovic, and Turkey’s Burhan Ocal. Rumen “Sali” Shopov is a master Turkish-Romani drummer, singer, and string-player from Goce Delchev, Bulgaria, a crossroads town in the Pirin Mountain region that hosts a rich intersection of Bulgarian, Macedonian, Greek, and Turkish musical influences.

Rumen has toured internationally with the Nevrokopski Folk Ensemble, Edessa, Ziyia, Kitka, and Yuri Yunakov and his Romani Wedding Band. Prerequisite: none.

Mondays 8:15 – 9:45 pm RUMEN SALI SHOPOV (10 weeks) $360 A charismatic and patient teacher, he has taught at the Eastern European Folklife Center’s Balkan Music and Dance Camp, Kosmos World Music and Dance Camp, World Camp, Stockton Camp, Balkanalia, and at universities and cultural centers throughout the US and Canada.

Introduction to Brazilian Rhythms This hands-on class addresses the rhythmic building blocks of Brazilian music.

Students learn techniques on many different percussion instruments, and study the most common rhythmic conventions used in Brazilian music. The class learns to identify different musical styles from Brazil, from Samba Pagode and Maracatu to Choro and Baião. The class also develops an understanding of the feel in Samba the instructor calls “Brazilian swing” which makes the music so compelling.

Prerequisites: None.

Thursdays 8:15 – 9:45 pm BRIAN RICE (10 weeks) $360 13

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DRUMS /PERCUSSION /ENSEMBLES Pandeiro and MORE! The pandeiro (Brazilian tambourine) is an increasingly popular instrument across the globe because of its sophistication and versatility. The pandeiro is a mainstay of many traditional types of Brazilian music, and thanks to innovators like Marcos Suzano the instrument has crossed into other genres as well. Focus is placed on developing good technique on the instrument and getting a good feel for many traditional Brazilian rhythms. Class also addresses funk and odd-time signatures. Prerequisite: Familiarity with some Brazilian rhythms.

Students must bring a pandeiro to class.

Thursdays 6:30 – 8 pm BRIAN RICE (10 weeks) $360

ensembles These hands-on performance ensembles for various levels of ability require an audition or consultation. Please call the Jazzschool at 510.845.5373 to schedule an appointment. Audition requirements may include one or more of the following: playing selected scales; playing and/or improvising over a piece of your choice; improvising over a 12–bar blues; and sight-reading.

Ensemble prerequisites: horn and string players — knowledge of major, minor, and dominant scales and arpeggios. Pianists/ guitarists/vibraphonists — ability to realize chord symbols from a lead sheet and knowledge of major, minor, and dominant scales and arpeggios. Bassists — ability to create walking bass lines over standard jazz harmonic progressions. Drummers — ability to keep steady time, and knowledge of common jazz feels (4/4 and 3/4 swing, bossa, funk, ballad).

SMALL ENSEMBLES Beginning Jazz Ensemble An intro-level ensemble focused on learning jazz standards and developing improvisation skills. Required Text: Jamey Aebersold 14

v.54, “Maiden Voyage”. Available in the Bassment. Thursdays 5:45 – 7:45 pm ROB EWING (10 weeks) $375

McCain Jazz Ensemble SECTION I (BEG/INT) Tuesdays 4:30 – 6 pm SECTION II (INT) Tuesdays 6:30 – 8 pm SECTION III (INT/ADV) Tuesdays 8:15 – 9:45 pm SEWARD MCCAIN (10 weeks) $360

Jazz Standards for Gigs This ensemble focuses on developing the skills and repertoire needed for typical jazz gigs. Repertoire, intros, endings, interludes and tags are covered. Various jazz feels including swing, bossa, jazz waltz and ballads are studied and played. Class time is dedicated to the study of jazz harmony, as applied to selected standard repertoire.

Instructor also provides tips for soloing.

SECTION I Thursdays 6:30 – 8 pm SECTION II Saturdays 11:45 am – 1:15 pm GLENN RICHMAN (10 weeks) $360

Music of the Masters An intermediate-level ensemble focusing on compositions by jazz masters including Coltrane, Monk, Shorter and others.

Emphasis is placed on understanding and internalizing a variety of essential grooves.

Class time is dedicated to the study of jazz harmony, as applied to selected jazz repertoire. Instructor also provides tips for soloing.

SECTION I Thursdays 8:15 – 9:45 pm SECTION II Saturdays 1:30 – 3 pm GLENN RICHMAN (10 weeks) $360

Bebop Ensemble An ensemble focusing on the repertoire and style of the bebop period with emphasis on the music of Charlie Parker, Dizzy Gillespie, Tadd Dameron and others.

Provides a foundation for improvising over chord changes in a modern jazz style.

Wednesdays 8:15 – 9:45 pm KASEY KNUDSEN (10 weeks) $360

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ENSEMBLES Pardo Jazz Ensemble An intermediate to advanced-level ensemble. Repertoire is selected to allow for the study of II-V-I progressions (e.g. How High the Moon, Stella by Starlight), blues progressions, back-cycles (e.g. Night and Day, I Thought About You), dominant sequences (e.g. Jordu, Dig), Rhythm changes (e.g.

I Got Rhythm, Oleo), “Coltrane Changes” (e.g. Giant Steps, Countdown), symmetrical modulation (e.g. Inner Urge, Giant Steps), metric modulation (e.g. Footprints, Someday My Prince Will Come), odd meters (e.g. Take 5, Spectrum, and odd meter arrangements of tunes originally composed in standard meters), changing meters (e.g. How My Heart Sings, Joshua), and less common modes of the melodic and harmonic minor scales (such as the phrygian dominant and lydian augmented modes). Students are given the opportunity to play music from a variety of idioms, from Jazz to Blues to Latin Jazz to Fusion.

Student composition is also encouraged.

Tuesdays 8:15 – 9:45 pm BRIAN PARDO (10 weeks) $360

Jazz Outside the Box: Timbral Improvisation, Free Improvisation, and an Alternative Approach to Jazz Standards Contemporary improvisational music is constantly breaking down the barriers between musical idioms. This intermediate/ advanced ensemble explores the continuum between jazz, experimental music, modern composition, and free improvisation. Members of the ensemble have the opportunity to go beyond the basic elements of rhythm, melody, harmony, and song form that circumscribe traditional “jazz” improvisation. Students are taught to use timbral elements (such as sound effects, electronics, noises, silence, etc.), extended techniques (non-traditional ways of playing traditional instruments), and non-traditional instruments to expand their improvisational vocabularies. Some group improvisations are guided so as to dissolve the role distinctions between soloists and accompanists that characterize traditional jazz ensembles. Students also

Brian Pardo apply this “free” approach to the performance of jazz standards, using “broken time”, implied structure, and group improvisational dynamics to bring a new perspective to traditional repertoire. Each session includes 10 to 15 minutes of listening to relevant recordings by various artists. Musicians with backgrounds in a variety of musical idioms (classical, blues, electronic, rock, etc.) are welcome.

Mondays 8:15 – 9:45 pm BRIAN PARDO (10 weeks) $350

Blues and Groove Workshop A performance workshop for all instrumentalists focusing on the blues and bluesrelated styles. Emphasis on “the groove” as demonstrated through recordings of Charlie Christian, (Aaron) T-Bone Walker, Albert Collins, Jack McDuff, Louis Jordan and other “jump” blues and New Orleans masters. Prerequisite: knowledge of basic 12-bar blues.

Saturdays 1:30 – 3 pm DANNY CARON (10 weeks) $360

Organ Trio Plus Horns An ensemble in the traditional organ trio format: organ, drums and electric guitar plus horns focusing on the blues, jazz standards and classic organ tunes by masters including Jimmy Smith, Jimmy McGriff, Dr. Lonnie Smith and Larry Young. Special attention given to developing good bass lines! Open to: 2 organists/pianists, 2 guitarists, 1 drummer and 2–3 horn players.

Prerequisites: organists/pianists: ability to play through the blues and several jazz standards. Knowledge of walking bass lines is extremely helpful. Guitarists and horn players: 15

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ENSEMBLES Strong emphasis placed on group communication and interaction.

Wednesdays 6:30 – 8 pm STEVE ERQUIAGA (10 weeks) $360

Miles Davis/Wayne Shorter Ensemble Ellen Seeling

ability to comp/solo through several standards. Drummers: an understanding of form.

Tuesdays 4:45 – 6:15 pm WIL BLADES (10 weeks) $360

From Baroque to Bebop — Saxophone Ensemble A saxophone ensemble led by San Francisco Saxophone Quartet alto saxophonist Bill Aron. Repertoire includes original pieces, transcriptions and arrangements from the baroque to the bebop periods. Prerequisite: facility on a saxophone and basic reading skills.

Day and time: TBA BILL ARON (10 weeks) $360

Hard Bop Boot Camp An ensemble covering the repertoire of Miles Davis, Wayne Shorter, Woody Shaw, John Coltrane, Art Blakey, Freddie Hubbard, Benny Golson, Joe Henderson, Herbie Hancock, Lee Morgan and others.

Class focuses on improvising over these harmonically sophisticated tunes and handling extended forms. Prerequisites: an intermediate/advanced level understanding of jazz improvisation and the ability to read music at an intermediate level.

Thursdays 6:30 – 8 pm ELLEN SEELING (10 weeks) $360

An intermediate to advanced level ensemble focusing on the music of Miles Davis and Wayne Shorter from 1968 through the 1980’s. Repertoire is drawn from such albums as 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 pm STEVE ERQUIAGA (10 weeks) $360

The Piano Trio This hands-on performance class for intermediate to advanced pianists focuses on how to play most effectively in the traditional jazz piano trio format. Maximum class size: four pianists. Accompaniment provided by a professional bassist and drummer. Please note: class available on a first come, first served basis.

Prerequisite: ability to play and improvise over a jazz tune in time.

SECTION I

Mondays 5:00 – 6:30 pm

SECTION II

Mondays 6:45 – 8:15 pm

SECTION III Mondays 8:30 – 10 pm PETER HORVATH (10 weeks) $385

Harmonica Ensemble See harmonica, p. 22 Saturdays 1:30 – 3 pm DAMIEN MASTERSON (10 weeks) $360

LARGE ENSEMBLES Modal, Fusion, and Other Post-bop Jazz Styles This intermediate to advanced level ensemble focuses on contemporary post-bop styles of jazz, dating from the 1960’s to the present. Repertoire is drawn from artists including Joe Henderson, Chick Corea, Charles Lloyd, Cedar Walton, Wayne Shorter, John Scofield and others.

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Thursday Night Big Band A 19-piece performance ensemble covering standard jazz and blues repertoire from 1930 to the present. This band has several performance opportunities at the Jazzschool and other venues throughout the Bay Area and serves as a vehicle to preview student compositions/arrange-

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ENSEMBLES ments. Instrumentation: 5 saxes; 5 trumpets; 5 trombones; piano; bass; drums; and guitar. Three-quarter commitment required (fall, winter, spring).

Thursdays 8:15 – 10:15 pm DAVID LEFEBVRE (10 weeks) $250

Saturday Night Big Band A 19-piece performance ensemble covering standard and contemporary jazz repertoire including music from the libraries of Count Basie, Duke Ellington, Thad Jones, Stan Kenton, Charles Mingus and more.

The band has several performance opportunities at the Jazzschool and other venues throughout the Bay Area. Instrumentation: 5 saxes; 5 trumpets; 5 trombones; piano; bass; drums; and guitar.

Saturdays 4 – 5:30 pm KEITH JOHNSON (10 weeks) $200

BRAZILIAN ENSEMBLES Brazilian Ensemble A 4-8 piece ensemble focusing on Brazilian repertoire by noted composers including Ivan Lins, Dori Caymmi, Toninho Horta, Marcos Silva, Antonio Carlos Jobim and more. Emphasis on listening and performing in the traditional Brazilian style.

Vocalists welcome! Audition/consultation required.

SECTION I

Tuesdays 6 – 7:30 pm

SECTION II

Tuesdays 7:45 – 9:15 pm

SECTION III Wednesdays 6 – 7:30 pm SECTION IV Wednesdays 7:45 – 9:15 pm SECTION V

Thursdays 12:30 – 2 pm

SECTION VI Fridays 10:30 am – 12 pm SECTION VII Fridays 1 – 2:30 pm MARCOS SILVA (10 weeks) $360

The Jazzschool Brazilian Music Program has been made possible by generous gifts from “Jazzschool Angel” Vaughan Johnson, Sherie Friedlander, and Mal Raff and Connie Woods.

AFRO-CARIBBEAN AND LATIN-JAZZ ENSEMBLES Salsa Workshop I An introduction to salsa performance techniques for beginning to intermediate players. Emphasis on aspects of AfroCuban ensemble performance including clave, pulse, rhythm, phrasing, montuno and tumbao. Horn players and vocalists welcome! Prerequisite: facilty on an instrument and basic reading skills.

Pianist: ability to play basic montunos.

Bassist: ability to play tumbaos.

Tuesdays 6:30 – 8 pm DAVID BELOVE (10 weeks) $360

Salsa Workshop II For intermediate to advanced players.

Emphasis on fundamentals of clave and rhythm with challenging material. Horn players and vocalists welcome! Previous experience in salsa required.

Prerequisite: intermediate to advanced facility on instrument or voice, and equivalent reading ability required.

Tuesdays 8:15 – 9:45 pm DAVID BELOVE (10 weeks) $360

Afro-Cuban Jazz Ensemble An ensemble focusing on clave, pulse, dynamics, rhythm and phrasing. Material is drawn from Afro-Cuban and American jazz standards. Prerequisites: facility on an instrument and basic reading skills. Pianist: ability to play basic montunos; bassist: ability to play basic tumbaos.

Thursdays 8:15 – 9:45 pm DAVID BELOVE & PETER BARSHAY (10 weeks) $360

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ENSEMBLES NEW CLASS!!

Afro-Peruvian Music Ensemble An ensemble focusing on the rhythms of Afro-Peruvian music including festejo (joy), lando, zamacueca and panalivio. Ensemble repertoire includes Afro-Peruvian classics, hits by Peruvian vocal star Susana Baca, and standard jazz tunes. Open to the following: 1 cajónist (box drum); 1 conguero; 1 bonguero; 1 pianist; 1 bassist; 2 horn players; and 2–3 vocalists. Prerequisites: intermediate technical ability; ability to keep time; some ability to read and improvise.

Saturdays 10 – 11:30 am DAVID PINTO (10 weeks) $360 David Pinto is best known for his work as a bass player, arranger and music director for the diva of Afro-Peruvian music, Susana Baca.

CONTEMPORARY, POPULAR AND WORLD ENSEMBLES

Jean Fineberg Photo: David Belove

Instructor/saxophonist Jean Fineberg is the founder of Saxophunk, co-founder of DEUCE and asst. director of the Montclair Women’s Big Band. She has played and/or recorded with with Laura Nyro, David Bowie, Luther Vandross, Sister Sledge (“We Are Family”), Chic (“Freak Out”), The Temptations, The Four Tops, Martha & the Vandellas, Bo Diddley, and many others, and has over 40 albums to her credit.

Party Dance Band

Stevie Wonder Ensemble

Let’s have some fun! If you want to make money playing (or just have a blast), this class provides a great overview of tunes you’ll need to know for dance gigs.

Material includes well-known funk, rock, blues, pop and Latin selections by artists such as Aretha Franklin, Van Morrison, Luther Vandross, Ray Charles, and Elton John. Rhythm section players learn to read from detailed charts and lyric/chord sheets, and extract some parts from the provided CD. Horn players read complete horn arrangements as well as compose original backgrounds and horn lines. Vocalists learn parts from lyric sheets and coordinate background harmonies. There is lots of solo room for everyone, as class prepares for a performance at the Jazzschool. Open to one each: piano/keyboard, guitar, bass, drums, percussion, trumpet, alto, tenor, baritone, trombone, and up to four vocalists (men & women).

Prerequisites: intermediate/advanced facility on your instrument and some reading ability.

Wednesdays 6:30 – 8 pm.

JEAN FINEBERG (10 weeks) $360

An ensemble dedicated to the study and performance of the music of Stevie Wonder!

Open to keyboardists, guitarists, bassists, horns, vocalists, drummers, and percussionists. Class is directed by keyboardist/vocalist Victoria Theodore, currently a member of Stevie Wonder’s touring band.

Thursdays 6:30 – 8 pm VICTORIA THEODORE (10 weeks) $360

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The Music of Sting A small pop/rock ensemble focusing on Sting’s artful catalog of songs. Class is directed by acclaimed keyboardist/producer Frank Martin, who has served as musical director for Narada Michael Walden, Patti Austin, and Angela Bofill. Instrumentalists and vocalists welcome!

Thursdays 8:15 – 9:45 pm FRANK MARTIN (10 weeks) $360

The Music of Steely Dan A hands-on performance ensemble focusing on the innovative repertoire of the pop/jazz group Steely Dan. The group’s evolution and compositional style are explored, highlighting a singular approach

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GUITAR

Jazzschool Guitar Department

OPEN HOUSE Sunday March 15, 4:30 pm Meet Jazzschool Guitar Department faculty members and learn about class offerings!

Guitar jam session for students and teachers!

Refreshments provided!

to harmonies and lyrics. Vocalists and instrumentalists welcome.

Mondays 6:30 – 8 pm WAYNE WALLACE (10 weeks) $360

Balkan Ensemble Music from the Balkan countries (Greece, Bulgaria, Macedonia and many more) employs so-called “odd meters,” such as 7/8, 5/8 and 11/8. While this may seem complicated, this is dance-based music and the flow of these rhythms is completely natural once you feel them. The scales used in music from this part of the world are distinctive and beautiful. The repertoire itself is as varied as the languages are. A variety of material is presented by ear and stylistic components of these styles including ornamentation, playing backup rhythm and improvisation are covered. Please bring a recording device to class if possible.

Written music and CDs are provided.

Saturdays 10 – 11:30 am KAILA FLEXER (10 weeks) $360

guitar Beginning Guitar for Adults An introductory course for students with little or no experience playing guitar.

Students learn the basics, including: • tuning the guitar • understanding the fretboard • using proper hand positions • fingerings for major scales

• learning basic chords, i.e., triads and seventh chords • playing simple pieces • reading music This course is taught by world-class Jazzschool faculty with the objective of “getting it right” from the very beginning.

Required text: Modern Guitar Method Vol. One, Mel Bay (available in The Bassment).

Saturdays 10 – 11:30 am DANNY CARON (10 weeks) $360

Beginning Guitar for Young Musicians See Young Musicians, p. 32 SECTION I (MIDDLE SCHOOL) Saturdays 3:15 – 4:15 pm SECTION II (HIGH SCHOOL) Saturdays 4:30 – 5:30 pm OLIVER KENT (10 weeks) $230

Blues and Swing Guitar This class is designed for guitarists with basic technical facility and focuses on the blues form. Students learn chord voicings, fingerboard harmony and techniques of single-string soloing. Class covers a variety of styles, from the urban blues of B.B. King and Albert Collins to the more complex swing of Charlie Christian and T-Bone Walker. Alternate chord cycles and rhythm playing are covered. Students also work with transcriptions to develop strong melodic solos. Prerequisite: Beginning Guitar Workshop or equivalent.

Saturdays 11:45 am – 1:15 pm DANNY CARON (10 weeks) $360

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GUITAR Jazz Guitar I (BEG/INT) A hands-on class on the basics of jazz and blues guitar technique and style. Includes instruction in soloing and comping over standard jazz repertoire and the blues.

Required text: Guitar Arpeggio Studies on Jazz Standards (Mel Bay Publications), and interactive CD-ROM, Graduated Solos.

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

Wednesdays 6 – 7 pm MIMI FOX (10 weeks) $230

Jazz Guitar II (INT/ADV) Required CD-ROM for Section II: Jazz Anatomy by Mimi Fox (available in The Bassment). Required text: Guitar Arpeggio Studies on Jazz Standards (Mel Bay Publications). Prerequisites: Jazz Guitar I or equivalent; knowledge of scale and chord theory and some familiarity with jazz repertoire.

Wednesdays 7:15 – 8:15 pm MIMI FOX (10 weeks) $230

Coltrane For Guitarists Many of the great jazz solos have come from horn players. In this intermediateadvanced class, guitarists develop improvisational skills through performance and analysis of saxophonist John Coltrane’s transcribed solos. Emphasis on late 50’s recordings (Blue Train, Giant Steps, etc.)

Prerequisite: Jazz Guitar II or consent of instructor. Required CD-ROM: Jazz Anatomy (available in the Bassment).

Wednesdays 8:30 – 10 pm MIMI FOX (10 weeks) $360

Guitar Comping Techniques This hands-on course is designed to provide the intermediate to advanced guitarist with tools, concepts and techniques essential to creative and effective contemporary comping. This course covers: • comping over straight-ahead, bebop, modal, funk/fusion, ballads contemporary jazz, Brazilian and Afro-Cuban styles of music • creative chord voicings — looking at the fingerboard and voicing chords 20

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 & syncopation — the “right” places to put chords in creating rhythmic “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 6:30 – 8 pm STEVE ERQUIAGA (10 weeks) $360

Flying Solo — The Art of Solo Guitar A hands-on class for intermediate and advanced-level students. Topics covered include lush chordal harmonies, combining walking bass lines with comping, and the use of scales, arpeggios and rhythms to complement the melody. Instructor provides approaches for creating fresh arrangements of standards. Please note: this class now includes transcriptions by Joe Pass, Mimi Fox and others! Required text: Guitar Arpeggio Studies for Jazz Standards by Mimi Fox — Mel Bay Publications (available in the Bassment).

Prerequisite: Jazz Guitar II or equivalent.

Mondays 6:30 – 8 pm MIMI FOX (10 weeks) $360 WORKSHOPN

Jazz Manouche — the Fundamentals and Beyond of Gypsy Jazz Guitar Jazz Manouche, also known as Gypsy jazz, evolved in France in the 1930s and was primarily a blend of Manouche (Gypsy) culture and American hot jazz. Guitarist Paul Mehling, leader of the Hot Club of San Francisco, conducts a hands-on master class focusing on the technical and stylistic aspects of this exciting music so often associated with its most important contributor, guitarist Django Reinhardt.

Topics covered include: practice methods,

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GUITAR

/ HARMONICA

GUITARISTS, SAVE THE DATE!

Jazzschool Summer Guitar Intensive An all-day, week-long intensive for aspiring professionals directed by internationally acclaimed jazz guitarist /educator Mimi Fox.

Monday – Friday, August 17 – 21 9 am – 4:30 pm Tuition: $750 For more information, please call 510.845.5373 or email swing@jazzschool.com

Includes daily jam sessions, an evening concert at Yoshi’s Jack London Square, and a final student performance at the Jazzschool Friday August 21, 8 pm Special guest faculty TBA!

The Jazzschool Summer Guitar Intensive is made possible in part by generous contributions from Steve Saperstein, Blue Note Music, and True Fire.

fundamentals of La Pompe (rhythm guitar), understanding and using arpeggios and ornamentation unique to this style, technique-builders and more. Please bring your instruments!

Sunday April 26, noon – 2 pm PAUL MEHLING

$30 Jazzschool students, $45, others Paul Mehling, leader of the Hot Club of San Francisco (www.HCSF.com), is an internationally renowned performing and recording artist. He has also co-produced 3 instructional DVDs on rhythm, soloing and right hand guitar techniques and has been acknowledged by the International Association of Jazz Educators for his many contributions to this music.

harmonica Chromatic Harmonica 101 This class focuses on theory, improvisation and chromatic harmonica fundamentals.

Instructor covers the history of the instrument, its application in various genres, and its use in countries around the world. Special guests are invited to perform and lecture.

Prerequisite: Students must bring a functional, in-tune chromatic harmonica (minimum 3-octave model) as well as a music notebook to class.

Please note: for questions about purchasing an instrument, or for any other concerns, please email Damien Masterson at dzm@damienmasterson.com continued next page 21

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HARMONICA; HISTORY

history Orrin Keepnews & Cannonball Adderley

Damien Masterson The Jerry Stoll Project, Courtesy of Concord Music Group

SECTION I (BEG) Saturdays 11:45 am – 1:15 pm SECTION II (INT/ADV) Saturdays 3:15 – 4:45 pm DAMIEN MASTERSON (10 weeks) $360

Harmonica Ensemble It is hard to imagine today how incredibly popular the harmonica was at the beginning of the last century through the 1950s. Groups like Jerry Murad’s Harmonicats and the Borrah Minovitch Harmonica Rascals inspired amateur bands small and large, popularizing tunes like Peg o’ My Heart and Spanish Eyes. Today, a harmonica community thrives, and although the instrument’s popularity has shifted towards more of a solo role in blues, rock and jazz, there are still clubs and organizations all over the world where ensembles get together and play. Four of the Bay Area’s top harmonica players and educators form the base of this group and arrange repertoire specific to instrumentation and students’ ability level.

Prerequisites: a chromatic harmonica, or diatonic harmonicas in several keys; some reading skills preferred; and a very good ear and memory. Students who don’t own an instrument may make arrangements for an instrument loan for use while enrolled.

(Cleaning fee will apply.)

Saturdays 1:30 – 3 pm DAMIEN MASTERSON, STEVE MALERBI, MICHAEL PELOQUIN & WINSLOW YERXA

(10 weeks) $360 22

ORRIN KEEPNEWS PRESENTS: Great Jazz Artists I Have Known and Worked With One of the most important record producers in the history of jazz, Orrin Keepnews has worked closely with many of the most influential jazz musicians of the last 50 years. A short-list includes Thelonious Monk, Bill Evans, Wes Montgomery, Cannonball Adderley, Sonny Rollins, McCoy Tyner, Joe Henderson, Jimmy Heath, Johnny Griffin and Bobby Hutcherson. Each week, Orrin focuses on a different artist and shares his unique and colorful anecdotes and observations. A very rare opportunity!

Sundays 2 – 3:30 pm ORRIN KEEPNEWS (10 weeks) $360

music production Jazz Record Production with Orrin Keepnews For anyone interested in recording, this is a remarkable opportunity: an in-depth study with one of the foremost producers in Jazz history, Orrin Keepnews (Thelonious Monk, Bill Evans, Wes Montgomery and many more).

Over ten weeks, students examine the entire recording process, identifying the various personnel involved and the many decisions made before and during a recording session. The class also includes an explana-

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PIANO/KEYBOARDS tion of the various post-recording decisions — selecting the “good” take, editing, sequencing, mastering, and where (and with whom) ultimate responsibility lies for important later decisions such as packaging, annotation, promotion and sales.

Sundays Noon – 1:30 pm ORRIN KEEPNEWS (10 weeks) $360

piano/keyboards Piano I This entry-level course for absolute beginners serves to guide students through a comprehensive, gradually paced introduction to the piano, focusing on technique and reading. Concurrent enrollment in Introduction to Music Theory is highly recommended. Recommended texts: Mastering Piano Method 1A, Mastering Theory 1A, Janet Vogt, Hal Leonard, available in The Bassment.

Saturdays 10 – 11:30 am KATHERINE WESTINE (10 weeks) $360

Piano II A continuation of Piano I, this beginning/ intermediate course focuses on technique and reading. Instructor also covers basic functional harmony with an emphasis on scale and chord theory providing students with a solid harmonic foundation.

Recommended text: Bastien Piano for Adults II, available in The Bassment.

Prerequisite: Piano I or equivalent.

Saturdays 11:45 am – 1:15 pm KATHERINE WESTINE (10 weeks) $360

Piano III: Applied Keyboard Harmony Through innovative and fun exercises, this hands-on class serves to acquaint students with the tonic-dominant relationship and basic turnarounds, as well as chord inversions in all keys. This class prepares students for Jazz Piano I and is designed to liberate experienced pianists from the printed page.

Prerequisite: Piano II or equivalent.

Saturdays 1:30 – 3 pm JEANNE WALPOLE (10 weeks) $360

Piano for Seniors A measured course for absolute beginners in their golden years focusing on the fundamentals of playing the piano. Students learn to play interesting pieces that develop technique and reading ability, and stimulate their minds. This class has been made possible in part by contributions from friends of the Jazzschool in loving memory of trusted friend and longtime pillar of support, Cere R. Muscarella, who began taking piano lessons at age 80.

Fridays 11:15 am – 12:15 pm KATHERINE WESTINE (10 weeks) $150

Blues Piano In this hands-on class, students learn to play and improvise in the traditional piano blues, boogie-woogie, and jump/swing blues styles. The 12-bar blues form, bass lines, chord voicings, typical licks, turnarounds, and some classic repertoire and players (Jimmy Yancey, Duke Ellington, Ray Charles, Red Garland, for example) are all covered. Students play both together and individually (with headphones). This course is well suited to players at a variety of levels, from beginning to advanced.

Transcriptions, listening CDs, and lots of handouts are provided!

Prerequisite: None. All are welcome!

Tuesdays 6:30 – 8 pm JENNIFER JOLLY (10 weeks) $360

Jazz Piano I This hands-on class provides students with a basic understanding of jazz piano. This course covers rhythmic, melodic and harmonic terminology as applied to jazz — including all aspects of interpreting a “lead sheet”— and provides several basic approaches to jazz improvisation. More specifically, this course provides an overview of the harmonic functions in major and minor keys; an exposure to a variety of structural forms such as AABA “song form” and 12-bar blues; a palette of chord voicings, including root position, inversions, simple open voicings, rootless voicings, and chord extensions; and an introduction to voice leading. Instructor coaches students in developing their sense 23

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PIANO/KEYBOARDS Tommy Flanagan, Barry Harris and Sonny Clark among others. Students focus on the linear 8th-note approach to soloing characteristic of the bebop style. Prerequisites: ability to play major and minor scales and read through a lead sheet with the melody in the right hand and chords in the left.

Mondays 6:30 – 8 pm ADAM SHULMAN (10 weeks) $360 Dan Zemelman of time and “swing feel” at the piano.

Students listen to a number of pianists in various settings from solo piano to sextet, and are given specific practice skills to develop the ability to understand what they hear. Prerequisite: basic piano proficiency, knowledge of major scales, and ability to read treble and bass clefs.

SECTION I (BEG/INT) Wednesdays 6:30 – 8 pm BOB KARTY (10 weeks) $360 SECTION II (BEG/INT) Saturdays 3:15 – 4:45 pm BEN STOLOROW (10 weeks) $360

Jazz Piano II An in-depth study of voicings and voice leading, guidelines for improvisation focusing on major and minor tonalities, patterns, comping techniques, modal concepts, and development of style through analysis of various modern jazz pianists. Maximum enrollment: 10 students. Prerequisite: Jazz Piano I or equivalent; and the ability to interpret a lead sheet.

Telephone consultation required.

SECTION I Fridays 11:30 am – 1 pm DEBBIE PORYES (10 weeks) $360 SECTION II Saturdays 11:45 am – 1:15 pm DAN ZEMELMAN (10 weeks) $360

Bebop Piano Learn to play in the bebop style over blues, rhythm changes, and jazz standards.

Class draws from early bebop pianists including Bud Powell and Al Haig to 1950’s mainstays Wynton Kelly, Red Garland, 24

Solo Jazz Piano Techniques Solo jazz piano has a long and venerable tradition with outstanding practitioners in each era of jazz history from the Harlem stride school through the swing and bebop eras of the 30s and 40s to the present day. This class for intermediate to advanced pianists covers the skills necessary to become a proficient solo jazz pianist, including basic technique, playing in time, creating intros, interludes and endings, the use of dynamics, and balance between the hands. Prerequisite: Ability to play and improvise over a jazz tune from memory, in time. Audition required.

Saturdays 1:30 – 3 pm DAN ZEMELMAN (10 weeks) $360

New Orleans and R&B Piano This hands-on class explores the rollicking New Orleans R&B piano tradition of Professor Longhair, Dr. John, Fats Domino, Allen Toussaint, and James Booker.

Students learn about the cultural history of New Orleans R&B piano, several “core” grooves, the many meanings of “second line,” and classic licks and tunes in the style. Students play together and individually (with headphones), watch DVD footage of live performances, and learn to get some of that irresistible “New Orleans” feel in their playing. Lots of handouts and listening CDs are provided! Prerequisite: Intermediate ability to play two-handed piano and read standard keyboard notation.

Tuesdays 4:45 – 6:15 pm JENNIFER JOLLY (10 weeks) $360

Funky Keys This hands-on class explores the funky grooves of Les McCann, Herbie Hancock, The Meters, Joe Sample, Bernie Worrell,

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PIANO / THEORY & MUSICIANSHIP and others. Bass lines, rhythmic conversation between the two hands, the importance of the 16th note, the rhythm section, improvisation, groove writing assignments and more are covered.

Students play both together and with headphones, and get plenty of individual attention in class. Listening CDs, transcriptions, and lots of handouts will be provided! Prerequisites: familiarity with basic chords and ability to read standard keyboard notation.

Thursdays 8:15 – 9:45 pm JENNIFER JOLLY (10 weeks) $360

Salsa Piano This hands-on class provides training in the fundamentals of Salsa/Afro-Cuban piano, with emphasis on the rhythmic skills essential to playing “in clave” and locking in with a salsa rhythm section. In an interactive, ensemble-like setting, students learn basic montunos (piano vamps), bass lines and percussion rhythms, and how they fit together. Class also covers the history of Afro-Cuban and Latin-Jazz piano styles.

Prerequisites: some reading ability and facility on piano.

Wednesdays 8:15 – 9:45 pm BOB KARTY (10 weeks) $360

Taylor Eigsti 3. MODERN PIANO STYLE — Keith Jarrett, Brad Mehldau, Geoff Keezer Sunday May 31, 2 – 4 pm $30 Jazzschool students, $45 others DAN ZEMELMAN

Cooler Chords with Taylor Eigsti This master class with Taylor Eigsti covers approaches to constructing better inversions, comping chords, left-hand voicings and two-hand voicings, as well as simple techniques for finding “cooler” chords more easily and without intense analysis.

Lots of handouts! Student participation encouraged!

Sunday April 12, 11:45 am– 1:45 pm TAYLOR EIGSTI

$30 Jazzschool students, $45 Others WORKSHOPSN

Jazz Piano Style Series A series of workshops offering an in-depth look at the music of a variety of jazz piano masters. Participants study elements of each pianist’s style and are introduced to methods of incorporating these approaches into their own playing.

1. SWING ERA PIANO STYLE — Duke Ellington, Teddy Wilson, Art Tatum Sunday April 26, 2 – 4 pm $30 Jazzschool students, $45 others 2. BEBOP/HARD-BOP PIANO STYLE — Thelonious Monk, Bud Powell, Wynton Kelly, Horace Silver Sunday May 10, 2 – 4 pm $30 Jazzschool students, $45 others

theory & musicianship Introduction to Music Theory This course covers the basic skills needed to begin any serious study of music. Topics include: music notation (including time signatures and key signatures), rhythmic training, major scales, intervals, transposition, chord structure, harmonic progression, ear training and an introduction to musical form and composition. Prerequisite: none. Open to all instrumentalists and vocalists. Required Texts: Practical Theory Complete by Sandy Feldstein, Jazz Improvisation: A Pocket Guide by Dan Haerle (available in The Bassment).

Wednesdays 6:30 – 8 pm DAVE SCOTT (10 weeks) $360 25

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THEORY & MUSICIANSHIP

Anton Schwartz

Beginning Theory & Improvisation Never improvised? Comfortable with the blues scale but insecure with chord changes? Want to learn or solidify your knowledge of basic jazz theory? This hands-on class provides students with a friendly, supportive atmosphere in which to practice improvising. Starting with the blues, students progress to jazz standards, learning major, minor and dominant scales and chords, playing at every session, trading licks, learning patterns and building solos. Students learn to identify tune forms and common chord progressions. Ideal for classical players or anyone aspiring to jam or perform with a jazz ensemble. Open to all melodic instruments, including pianists who want to focus on right hand soloing.

Pianists are encouraged to take additional classes or lessons in comping and chord voicing. Required Text: Jazz Improvisation: A Pocket Guide by Dan Haerle (available in The Bassment). Prerequisite: facility on an instrument and knowledge of major scales.

Please note: limit 2 pianists; not for drummers or vocalists.

Wednesdays 8:15 – 9:45 pm DAVE SCOTT (10 weeks) $360

Jazz Theory & Improvisation This course provides students with an indepth understanding of jazz theory and its application to improvisation and composition. Topics covered include chord/scale theory, 7th, 9th, 11th and 13th chords, 26

harmonic progressions (chord changes), basic reharmonization, and form and analysis. In addition, course includes an explanation and demonstration of suspensions and “slash chords,” bebop and pentatonic scales, and blues and “rhythm” changes. Instructor also addresses advanced techniques of playing “outside the changes.” Stylistic analysis of the music of various jazz masters supplements theoretical material and guides students in applying this knowledge to improvisation.

Handouts provided. Prerequisite: knowledge of basic music theory, including basic chord construction and the ii-V-I chord progression.

Saturdays 1:30 – 3 pm DAVE SCOTT (10 weeks) $360

Improvising Eighth Note Lines I This class teaches students how to sound compelling and coherent when playing streams of eighth notes. Through discussion, homework and in-class performance, students learn the idiomatic techniques of bebop, coordination of rhythm and melody, harmonic tension and resolution, smooth transitions from chord to chord, non-linear elements and modern improvisational devices. Jazz theory often focuses on WHICH scales to use when; this course focuses on the details of HOW to use scales. Prerequisite: facility on a pitched instrument or voice; some improvisation experience; and ability to play all major/ minor scales and arpeggios easily by memory. Open to all melodic instruments.

Tuesdays 8:15 – 9:45 pm ANTON SCHWARTZ (10 weeks) $360

Improvising Eighth Note Lines II For students who wish to further develop their ability to construct coherent and compelling eighth note lines over chord changes. Class time consists mostly of drills and exercises, supplemented by periodic discussion.

Prerequisite: Improvising Eighth Note Lines I. Tuesdays 6:30 – 8 pm ANTON SCHWARTZ (10 weeks) $360

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THEORY NEW CLASS!!!

Creative and Compositional Approaches to Practicing Jazz Transcribing the masters is both fun and a must for learning this music, but then what? This course provides students with a systematic approach to practicing scales, tunes, and melodic materials, leading students to discover and develop their own personalized vocabulary. Class focuses on ear training, audio memory and practical approaches to improvising on song-forms and in free contexts. Class participants compose pieces using these practice techniques and workshop them in class.

For pitched instruments and vocalists only.

Saturday 3:15 – 4:45 pm Please note: no class Saturday April 18th DARREN JOHNSTON (9 weeks) $325 WORKSHOPSN

Jazz Improvisation Workshop

& MUSICIANSHIP / WOODWINDS

$30 Jazzschool students, $45 others Mark Levine is the author of The Jazz Theory Book, Jazz Times Magazine’s first choice in its “Recommended Jazz Library,” and is a Grammy-nominated recording artist.

‘Comping’ Techniques by the Masters Students listen analytically to the comping styles and techniques of Red Garland, Wynton Kelly, Bill Evans, Herbie Hancock, McCoy Tyner, Mulgrew Miller, Thelonious Monk and other great stylists. Questions addressed include: 1) Is the pianist playing aggressively or non-aggressively? 2) Is the pianist interacting or not interacting with the soloist? 3) Does the pianist sound as though he is accompanying the soloist or playing with the rhythm section rather than the soloist? 4) Does the pianist make good use of fills?

Sunday May 3, 2 – 4 pm

Students learn II-V-I progressions using various drills for voicing and mastery of chords in all keys. Utilizing major and diminished scales, instructor leads students through a simple and methodical way of thinking about harmony and improvisation. Scale, chord outline and motive development drills are introduced. Students begin soloing right away. Build confidence as a jazz improviser! For all instruments.

Saturday April 18, 3:30 – 5:30 pm

MARK LEVINE

MARK SHERMAN

An introduction to the saxophone for complete beginners covering fingering, sound production and reading music.

Class plays simple saxophone ensemble arrangements and is featured in the student performance series at the end of the quarter. All saxophones welcome!

Day and time: TBA BILL ARON (10 weeks) $360

$30 Jazzschool Students/$45 Others

Melodic Minor Made Easy Eliminate the confusion around “alt,” half-diminished, Lydian augmented and other melodic minor harmony. Students explore the origins of this harmony found in music by Hungarian composer Béla Bartók among others, and learn how jazz musicians of the ‘60s including Herbie Hancock, Woody Shaw and Joe Henderson, to name a few, incorporated these rich sounds into their work to create some of the most beautiful harmony found in jazz.

Sunday May 3, 11:45 am – 1:45 pm MARK LEVINE

$30 Jazzschool students, $45 others

voice See voice p. 39

woodwinds Beginning Saxophone

From Baroque to Bebop — Saxophone Ensemble A saxophone ensemble led by San Francisco Saxophone Quartet alto saxophonist Bill Aron. Repertoire includes original pieces, transcriptions and arrangements from the baroque to the bebop periods. Prerequisite: 27

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WOODWINDS

Exploring World Winds with Suzanne Teng

Ali Ryerson Photo: J. Barry O’Rourke

A workshop for anyone interested in learning about world music and improvisation through a lecture/demonstration on wind instruments from around the world (Chinese dizi/bawu/hulusi, Turkish ney/zurna, Egyptian mijwiz, Native American flute, ocarina, penny whistle, African fulani, Indonesian suling, Bulgarian dvoyanka and more).

Saturday April 11, 3:30 – 5:30 pm SUZANNE TANG

facility on a saxophone and basic reading skills.

Day and time: TBA BILL ARON (10 weeks) $360 WORKSHOPSN

The Role of the Flute in AfroCuban Music: 1900 – Present • Chronological development of the flute in Afro-Cuban music • Significant musicians and composers • Rare footage of authentic Cuban Charanga bands and dancers • Key written documents, including musical scores Sunday April 5, 2 – 4 pm ANDREA BRACHFELD

$30 Jazzschool Students/$45 Others Andrea Brachfeld holds a Bachelors in Music from the renowned Manhattan School of Music and a Masters in Education from Rutgers University in New Brunswick. She also holds six different teaching certifications in the state of New Jersey. Andrea has played in, and recorded with, some of the most popular Charanga bands in New York City, including Charanga ’76, Típica Ideal, and Conjunto Libre.

VNote Ensemble Photo: Hugh Lovell

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$30 Jazzschool Students/$45 Others Suzanne Teng, M.Mus., will also describe how she transitioned from a Western flute player into a renowned award-winning world music performer, composer, teacher and recording artist, offering musical and career guidance for your own musical journey.

Jazz Flute Workshop Ali Ryerson shares her approach to tone, vibrato, articulation, jazz phrasing and harmony while demonstrating specific ways to create a true jazz sound on the flute.

Various exercises are supplied from the Ryerson Jazz Flute Method Book, providing the flutist with a systematic practice routine which develops fluency in 12 keys with intervallic studies, idiomatic rhythmic phrases, common chord progressions and the construction and practice of jazz scales: diminished, blues, pentatonics, major and melodic minor modes. Flutists should bring their instruments. Live accompaniment provided by acclaimed jazz pianist/ educator Mark Levine!

Saturday June 27, 3:30 – 5:30 pm ALI RYERSON

$30 Jazzschool Students/$45 Others

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YOUNG MUSICIANS

Jazzschool Young Musicians Program AUDITION INFORMATION FOR SPRING 2009 New students interested in participating in a performance ensemble this quarter are required to audition for placement. Students enrolled in a performance ensemble during the Winter ’09 quarter are not required to re-audition if they wish to continue playing in the same ensemble(s) they participated in during the Fall quarter.

Returning students wishing to move into another group this quarter are required to re-audition for placement. New students, as well as returning students wishing to move into another ensemble, will be placed based on their audition and availability of spaces open in each ensemble.

Please contact Keith Johnson, Director of the Young Musicians Program, for audition requirements and to schedule an audition.

Please note: email is preferred. Email: keith@jazzschool.com Phone: (510) 845-5373

SPRING 2009 AUDITION SCHEDULE Saturday, March 28, 2009: 10:30 am – 2:30 pm Sunday, March 29, 2009: 10:30 am – 2:30 pm (Make-ups only)

AUDITION INFORMATION FOR FALL 2009 Auditions for the 2009–10 academic year will be taking place in late August (see dates below). All new and returning students are required to audition for placement in all performing ensembles. Please check the Jazzschool Young Musicians Program website for information regarding audition procedures and updates at www.jazzschool.com/youngmusicians.

2009 – 10 JAZZSCHOOL YOUNG MUSICIANS PROGRAM AUDITIONS* • Saturday, August 29, 2009: 10:00 am – 6:30 pm • Sunday, August 30, 2009: 10:00 am – 4:30 pm 2009 – 10 JAZZSCHOOL STUDIO BAND AUDITIONS* (For advanced high school students interested in auditioning for the 2009 – 10 Studio Band only.)

• Saturday, August 22, 2009: 10:00 am – 6:30 pm • Sunday, August 23, 2009: 10:00 am – 4:30 pm *Students will be scheduled on a first come, first served basis and will be scheduled at the earliest available time. Auditions will not be scheduled on Sundays until the Saturday audition schedules have been completely filled.

Please contact Keith Johnson, Director of the Young Musicians Program, for audition requirements and to schedule an audition.

Please note: email is preferred. Email: keith@jazzschool.com Phone: (510) 845-5373 29

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YOUNG MUSICIANS

SMALL PERFORMANCE ENSEMBLES Middle School Jazz Ensemble (Grades 6 – 8) Small ensembles designed for middle school musicians interested in learning how to play jazz and improvise. These ensembles cover a wide range of repertoire from John Coltrane and Sonny Rollins to Eddie Harris and James Brown. Students play new arrangements focusing on stylistic accuracy and developing coherent solos in a friendly, non-competitive environment.

REHEARSALS: SECTION I Wednesdays 4 – 5:30 pm SECTION II Thursdays 4 – 5:30 pm KASEY KNUDSEN (10 weeks) $360

Advanced Middle School Jazz Workshop (Grades 7 – 8) This ensemble covers standard jazz repertoire appropriate for the advanced middle-school musician. Jazz theory and improvisation techniques are covered in class and applied to repertoire in rehearsal and performance. Students accepted into this ensemble should be proficient on their instrument with at least two years playing experience and must be familiar with all of the major scales. Instrumentation is limited. Instructor consent required.

REHEARSALS: Wednesdays 4:30 – 6 pm KEITH JOHNSON (10 weeks) $360

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High School Jazz Ensemble (Grades 9 – 12) An intermediate-level ensemble designed for advancing high school musicians interested in gaining a greater understanding of jazz theory and developing improvisation skills through the study and performance of challenging jazz repertoire.

Students accepted into this ensemble must have at least two years of playing experience, the ability to read music and be familiar with at least 6 major scales.

REHEARSALS: Wednesdays 4:30 – 6:00 pm DOUG BEAVERS (10 weeks) $360

High School Funk Ensemble (Grades 9 – 12) A high-energy ensemble focusing on the classic funk hits of James Brown, Sly and the Family Stone, Earth Wind & Fire, The Meters, Herbie Hancock, Tower of Power and Motown’s Funk Brothers. Vocalists and horns encouraged! (Also open to advanced middle-school musicians.)

REHEARSALS: Saturdays 10 – 11:30 am JOE BAGALE (10 weeks) $360

Advanced High School Jazz Workshop (Grades 9 – 12) This Downbeat award-winning ensemble is designed for the advanced-level high school student player who is competent in the bebop language and wishes to explore with their peers, through rehearsal and performance of relevant compositions, the post-bop harmonic, melodic, rhythmic and formal innovations of artists such as

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YOUNG MUSICIANS Coltrane, Shorter, Corea, Hancock and Brecker. Students are invited to perform at numerous venues throughout the Bay Area, including the prestigious Monterey Jazz Festival! Enrollment on a by-audition basis per quarter. Please note: students in this ensemble earn the equivalent of one semester unit of credit per quarter.

REHEARSALS: SECTION I, Mondays 5:30 – 7 pm MICHAEL ZILBER (10 weeks) $360 SECTION II, Mondays 5:30 – 7 pm ERIK JEKABSON (10 weeks) $360 SECTION III, Mondays 4:45 – 6:15 pm WAYNE WALLACE (10 weeks) $360

LARGE PERFORMANCE ENSEMBLES Middle School Big Band (Grades 6 – 8) A big band open to advanced middle school musicians. Students develop knowledge of jazz style and an ability to improvise through rehearsal and performance.

This class focuses on playing together as an ensemble utilizing a wide range of jazz standards and original compositions appropriate for the middle-school musician.

Students have several performance opportunities each quarter. Full school year commitment is required for this ensemble.

REHEARSALS: Saturdays 10 – 11:30 am KEITH JOHNSON (10 weeks) $170 Instrumentation: 5 saxes; 4 trumpets; 4 trombones; piano; bass; drums; guitar.

High School Big Band — “Lab Band” (Grades 9-12) An intermediate-level big band open to advancing high school musicians interested in exploring challenging big band literature. Students develop a greater understanding of jazz style along with basic concepts for soloing through group rehearsal and performance of jazz standards and contemporary big band literature.

Students have several performance opportunities each quarter. Full school year commitment is required for this ensemble.

REHEARSALS: Saturdays 11:45 am – 1:15 pm KEITH JOHNSON (10 weeks) $170 Instrumentation: 5 saxes; 4 trumpets; 4 trombones; piano; bass; drums; guitar.

Advanced High School Big Band — “Studio Band” (Grades 9 – 12) An award-winning ensemble providing training and performance opportunities to advanced high school musicians from throughout the Bay Area. Students develop technique, knowledge of jazz style and an ability to improvise through standard and contemporary big band literature and performance. This ensemble performs frequently throughout the Bay Area and participates in national jazz festivals and competitions throughout the United States. Performances have included Yoshi’s Jazz Club and Savanna Jazz, in addition to jazz festivals in California, New York, Seattle and Idaho. Students also have the opportunity to participate in clinics and workshops with leading Bay Area jazz educators. Full school year commitment is continued

jazzschool.com I Visit us online

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YOUNG MUSICIANS required for this ensemble. Please note: students in this ensemble earn the equivalent of one semester unit of credit per quarter.

REHEARSALS: STUDIO BAND “A”: Mondays, 7:15 – 9:15 pm STUDIO BAND “B”: Fridays, 4:45 – 6:45 pm KEITH JOHNSON (10 weeks) $170 Instrumentation: 5 saxes; 5 trumpets; 5 trombones; piano; bass; drums; guitar.

VOICE CLASSES Vocal Training for Young Musicians An introductory vocal technique class for young musicians (ages 14–18) focusing on a range of styles, including jazz, blues, contemporary popular and world music.

Singers gain essential vocal technique to strengthen their voices in both solo and group formats. Performance techniques are also covered including how to use a microphone and sing to a large audience.

Singers work with their peers and receive one-on-one coaching from the vocal instructor. This is a fun and supportive class for students who want to enrich their singing experience.

Thursdays 4:45 – 6:15 pm JESSICA NEIGHBOR (10 weeks) $360

MUSICIANSHIP CLASSES Jazz Piano for Young Musicians This hands-on class provides students with a basic understanding of jazz piano. This course covers rhythmic, melodic and harmonic terminology as applied to jazz — including all aspects of interpreting a “lead sheet”— and provides several basic approaches to jazz improvisation. More specifically, this course provides an overview of the harmonic functions in major and minor keys; an exposure to a variety of structural forms such as AABA “song form” and 12-bar blues; a palette of chord voicings, including root position, inversions, simple open voicings, rootless 32

voicings, and chord extensions; and an introduction to voice leading. Instructor coaches students in developing their sense of time and “swing feel” at the piano.

Students listen to a number of pianists in different settings from solo piano to sextet, and are given specific practice skills to develop the ability to understand what they hear. Prerequisite: basic piano proficiency, knowledge of major scales, and ability to read treble and bass clefs.

Monday 4:30 – 6 pm DAVE SCOTT (10 weeks) $360

Rock & Funk Drumming This class serves as an introduction to basic rock and funk grooves. Class plays along with CDs and students are encouraged to bring in their favorite recordings to share with their classmates. Required texts: Funky Primer by Charles Dowd and Syncopation

by Ned Reed (available in The Bassment).

Prerequisite: Drum Set Technique for Beginners or equivalent.

Mondays 8:15 – 9:45 pm JOE BAGALE (10 weeks) $360

Beginning Guitar for Young Musicians An introductory course for students with little or no experience playing guitar.

Students learn the basics including: • tuning the guitar • understanding the fretboard • using proper hand positions • fingerings for major scales • learning basic chords, i.e., triads and seventh chords • playing simple pieces • reading music This course is taught by world-class Jazzschool faculty with the objective of “getting it right” from the very beginning.

Required text: Modern Guitar Method Vol. One, Mel Bay (available in The Bassment) SECTION I (Middle School) Saturdays 3:15 – 4:15 pm SECTION II (High School) Saturdays 4:30 – 5:30 pm OLIVER KENT (10 weeks) $230

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The Jazzschool’s Young Musicians Program is funded in part by generous contributions from the Wells Fargo Foundation, Another Planet Entertainment, Inc., the California Arts Council, a state agency, and the National Endowment for the Arts, a federal agency.

RENT THE JAZZSCHOOL! Hold your next party, musical event or reception at the Jazzschool!

Hardymon Hall, the Jazzschool’s intimate performance space, is available to rent for: Concerts & Performances Private Parties & Special Events Educational Events

CD Release Parties Receptions & Fundraisers Business Luncheons & Meetings

For more information, please contact Josh Brandt-Young, email: Josh@jazzschool.com phone: 510.845.5373 Full-service catering is available through the Jazzcaffè.

For more information, contact: Kristine Seinsch 510.883.0231 email: info@jazzscaffe.biz 33

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Photos: Hali McGrath

BERKELEY YOUTH ALTERNATIVES

About BYA Berkeley Youth Alternatives has served youth and families by providing comprehensive services in a supportive and bias-free haven. During a period of soaring dropout rates, juvenile crime, drug abuse, and family breakdown, Berkeley Youth Alternatives has successfully helped thousands of young people sustain themselves on the difficult journey toward becoming productive and contributing adults.

For over thirty years, BYA has provided a safe growing space for the youth of Berkeley. The agency's success lies in a dedicated board of directors, staff, and volunteers, and its commitment to fostering youth development. BYA believes in the innate human potential of youth and their families and strives to provide a comprehensive network of services 34

for children — 1st grade to pre-college.

BYA fosters the success of youth and families through prevention and intervention services catered to encompass the mental, emotional, physical and social dimensions of development.

Rhythm Rocks on the Road!

In collaboration with Berkeley Youth Alternatives (BYA), the Jazzschool offers Rhythm Rocks on the Road, a class for BYA students at BYA focusing on rhythm teamwork, respect and musicmaking. This class includes rhythm relays, fruit rhythms, world rhythms, instrumental jams, outdoor rhythm games, and body and vocal percussion.

The Jazzschool is pleased to take this program “on the road” and knows it will enrich the lives of many BYA students!

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2009 Girls’ Jazz and Blues Camp Have fun and develop selfconfidence in a supportive musical environment, where girls can express themselves and hone improvisational, ensemble and technical skills.

Open to all instrumentalists and vocalists grades 6 – 10

August 10 – 15 Monday – Friday, 9:30 am – 3 pm Concerts: Saturday August 15 Fee $450 Financial Aid Available

Jazz Ensemble Blues and Funk Band Latin Percussion Ensemble Vocal Groups Theory and Improvisation Songwriting Private Lessons History of Women in Jazz

Christy Dana, D.M., senior lecturer, UC Berkeley

Directed by Ellen Seeling and Jean Fineberg with Dr. Christy Dana, NYC Guest Artist Allison Miller, and a star-studded faculty from the Montclair Women’s Big Band.

For additional information about the 2009 Girls’ Jazz and Blues Camp, email: seelbergs@yahoo.com or call 510-758-2200.

To register, please contact the Jazzschool at 510-845-5373

Ellen Seeling, Jean Fineberg, & Allison Miller with Marian McPartland, New York City

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SUMMER YOUTH CAMPS

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SUMMER YOUTH CAMPS

SUMMER YOUTH CAMPS

Jazzschool Summer Youth Program 2009 JUNE 15 – 26 THE JAZZSCHOOL IS CURRENTLY ACCEPTING APPLICATIONS FOR THE EIGHTH ANNUAL SUMMER YOUTH PROGRAM

Instrumentalists and vocalists entering grades seven, eight, and nine are welcome.

Over the course of 10 days, each student participates in 4 daily classes, private lessons, supervised jam sessions (with an all-star house band) and enjoys daily faculty concerts!

Fee $760

Monday – Friday 9 :30 am – 3 pm SCHEDULE OF ACTIVITIES

Warm-up and improvisation class . . . . . . . . . . . 9 :30 – 9:55 am Morning class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 – 10:55 am Morning class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 – 11:55 am Lunch / jam / faculty concert / private lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Noon – 12:55 pm Afternoon class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 – 1:55 pm Elective class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 – 3 pm

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Photos: PETE ROSOS

COURSES

Morning Warm-Up and Improvisation Lab

Electives

Jazz Ensemble

Funk Session

Latin Ensemble

Blues Session

Rhythms of the World — Hand Drumming

Private Instruction

Reggae Session

The program concludes with a student performance Friday June 26 at 6 pm — free admission!

For additional information please contact Jazzschool Summer Youth Program Director Rob Ewing at: (510) 845-5373 or rob@jazzschool.com

SUMMER YOUTH CAMPS

2 R

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SUMMER YOUTH CAMPS

SUMMER YOUTH CAMPS

SUMMER YOUTH CAMPS

2009 Jazzschool Rhythm Rocks!

JULY 13 – 17 RHYTHM RELAYS

• FRUIT RHYTHMS

WORLD RHYTHMS & INSTRUMENTS JAMS

• OUTDOOR RHYTHM GAMES

BODY & VOCAL PERCUSSION

Open to all children ages 6 – 10 Brown Bag Lunch Suggested Fee $200 Monday – Friday 9 am – 12:3 0 pm

(BAG

LUNCH SUGGESTED)

Jazzschool instructors Alan Hall and Jeff Weinmann constructively channel each child’s innate sense of rhythm into a fun and educational musical experience. In a non-threatening environment, children learn about rhythm, teamwork, respect, and music-making.

For additional information please contact Jazzschool Summer Youth Program Director Rob Ewing at: (510) 845-5373 or rob@jazzschool.com

Photos: PETE ROSOS

Monday – Friday 9 am – 12:3 0 pm

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HIGH SCHOOL JAZZ INTENSIVE

Photos: PETE ROSOS

July 6 – 10, 2009

A 5-day jazz intensive for advanced high school jazz instrumentalists Mike Zilber, Artistic Director

S

ix to eight advanced high school musicians are selected to work closely with top Bay Area jazz artists for a week of rehearsals, master classes, and private lessons.

A departure from the typical one-instructor-to-an-ensemble model, the student group meets daily with a complete ensemble of seasoned professionals (rhythm section + horns) able to demonstrate “how it’s done.”

The group meets daily from 10 am – 4 pm and concludes with a performance at the Jazzschool in Hardymon Hall. Each participant receives a professional-quality recording of the concert!

Openings for all rhythm section instruments and horns.

Audition Date: April 11 Dr. Michael Zilber is the director of the Jazzschool’s multiple Downbeat award-winning Advanced High School Jazz Workshop.

Tuition $725

For more information and audition prescreening, please contact Rob Ewing at rob@jazzschool.com or call 510-845-5373

The Jazzschool Summer Youth Program has been made possible in part by a generous contribution from Wells Fargo Foundation.

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VOICE Vernon Bush

Maye Cavallaro

Nicolas Bearde

Laurie Antonioli Director, Vocal Program

Ann Dyer

Raz Kennedy

Frankye Kelly

Clairdee

Maria Marquez

Janet Kutulas

Jessica Neighbor

Ed Reed

Greg Murai

Joyce Pricco

Pamela Rose

Marcos Silva

Trelawny Rose

Faith Winthrop

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VOICE

technique Vocal Technique An invigorating vocal workout class for all vocalists, all levels. This weekly routine provides singers with a select series of vocal exercises to condition and strengthen their voice. Range, intonation, breath management, balancing vocal registers, body alignment, vowel formation and dynamics are enhanced through technical exercises applied to songs in all styles. An invaluable tool for both beginners and professionals who wish to improve their overall vocal technique. Maximum enrollment: 10. Prerequisite: none.

All levels welcome.

Thursdays 10:15 – 11:45 am JOYCE PRICCO (10 weeks) $360

Power Vocals A vocal technique class designed to expand vocal range, strengthen tone, navigate the registers, and sing with power without straining. Students are encouraged to fully express themselves.

Specific scales are taught that address common challenges including breath support, breathy voice, straining, vowel placement, and vocal weakness.

Maximum enrollment: 10.

Prerequisites: none. All levels welcome!

Sundays Noon – 1:30 pm TRELAWNY ROSE (10 weeks) $360

Vocal Technique With Raz Kennedy A class on vocal conditioning, stamina and maintenance along with ear training and placement for pitch accuracy. Students work on specific exercises to increase both vertical and horizontal ranges and learn to implement dynamics, tone color, vibrato and straight tone into their voice. Students learn how to utilize “the break” in their vocal range and sing with a full voice connection to enhance style and interpretation. Maximum enrollment: 10 Prerequisite: none. All levels welcome.

Tuesdays 4:45 – 6:15 pm RAZ KENNEDY (10 weeks) $360

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Pop Singing Technique Class A technique class designed specifically for vocalists focusing on classic and contemporary popular repertoire from jazz to pop to R&B. This class focuses on a weekly progression of select vocal and physical warm-up exercises designed to develop a more powerful voice and greater range.

Students define their own unique sound through repertoire of their choice as well as songs chosen by the instructor in a supportive group setting.

Prerequisite: none! Open to all.

Thursdays 6:30 – 8 pm JESSICA NEIGHBOR (10 weeks) $360

composition & arranging Songwriting See composition & arranging, p. 11

theory & musicianship See theory & musicianship, p. 25

performance Vocal Jazz Performance A class for the beginning to intermediate singer. Drawing from the Great American Songbook and other important standard jazz and blues repertoire, students learn melodies and lyrics, and incorporate the phrasing, embellishment, and improvisation characteristic of gospel, blues, and jazz styles. Students learn about the lives and music of the great composers and vocal legends of popular music. Expect to sing, both in unison and individually.

Maximum enrollment: 8.

Prerequisite: none. Open to all!

Saturdays 11:45 am – 1:15 pm FAITH WINTHROP (10 weeks) $360

Vocal Improvisation 101 Scat singing and wordless vocalizing are among the trademarks of a jazz singer.

This class provides students with the fundamentals of vocal improvisation covering syllables, developing phrases and solos, trading 4’s and learning bebop songs that

VOICE make up the vocabulary inherent in an authentic “scat” solo. Students focus on form starting with the blues and work toward learning the structure of more complex repertoire. Students spend some class time listening critically to both vocal and instrumental recordings relevant to the class. If you want to step outside of the melodic confines of a song and make it yours, you must learn to improvise!

Maximum class size: 10.

Prerequisite: none. All levels welcome!

Tuesdays 6:30 – 8 pm LAURIE ANTONIOLI (10 weeks) $360

For the Love of Singing Aspiring singers and re-entering fledglings work on breathing and vocal techniques necessary to sing any genre of song including blues, jazz, American Songbook or cabaret, and then apply those techniques to loved songs of their choice.

Make friends with the microphone and learn basic performance skills in a safe and supportive learning environment. For those who may have had to put aside their vocal dreams due to education, career or family obligations, here’s a perfect opportunity to renew your vocal interests. Music is available but feel free to bring in your own choice of songs. Maximum enrollment: 8.

Saturdays 10 – 11:30 am FAITH WINTHROP (10 weeks) $360

Blues Vocal Funshop Find the freedom and knowledge to sing the blues in this fun, joyous and supportive group class. Students listen to and analyze various blues forms from early Americana to New Orleans, Chicago and Texas blues styles. Gospel, country, jazz and rock ‘n’ roll are also covered. Classes are accompanied by guitar. Maximum class size: 6. Prerequisite: none. Open to all!

Tuesdays 6:30 – 8 pm PAMELA ROSE (10 weeks) $360

Musician, Singer, Artist, Storyteller What is that inexpressible quality that makes you listen in rapt attention to one singer while others, perhaps with better voices, leave you flat? Charisma, confidence, and commitment are all part of a

Maria Marquez wide range of performance skills that can be developed and practiced. Finding your own story and learning how to tell it in song is the focus of this class. Each student presents several songs to the group in this mutually supportive environment.

Participants perform in class with video feedback, culminating with a performance in the end-of-quarter Jazzschool student performance series. Maximum class size: 6 students. Prerequisite: Telephone consultation with instructor required.

Sundays 12:30 – 2 pm MAYE CAVALLARO (10 weeks) $360

The Art of Jazz Singing There are many definitions of a “jazz singer,” from scat masters like Ella Fitzgerald to outside improvisers like Betty Carter, from balladeers like Andy Bey to contemporary stylists like Patricia Barber.

What is your approach and how can you broaden your horizons? This class is for vocalists who have experience singing jazz and want to further deepen their style, repertoire, improvisational skills and expertise with a rhythm section. A pianist, bassist and drummer accompany singers.

Come develop your strengths and strengthen your weaknesses in this challenging, supportive environment.

Maximum enrollment: 6 students.

Prerequisite: four songs of various styles memorized, with corresponding charts.

Telephone consultation with instructor required.

Sundays 2:30 – 4 pm MAYE CAVALLARO (10 weeks) $380 41

VOICE Creative Jazz Singer This performance class focuses on all aspects of jazz singing including building a repertoire, communicating with the rhythm section, phrasing, interpretation, improvisation, developing an authentic vocal sound and style, and microphone and performance techniques. Full rhythm section accompaniment provided.

Maximum enrollment: 6 students.

Prerequisite: Phone consultation or consent of instructor.

SECTION I: Wednesdays, 6:30 – 8 pm SECTION II: Wednesdays 8:15 – 9:45 pm LAURIE ANTONIOLI (10 weeks) $380

The Improvisational Singer An advanced class focused on developing an improvisational relationship between the singer and the rhythm section.

Vocalists learn how to direct the group, create arrangements on the spot, listen and respond to the instrumentalists and step outside of the box on standard material. Students also work on writing original songs and lyrics. Rhythm section accompaniment provided. Maximum enrollment: 6 vocalists.

Prerequisites: phone consultation and or/consent of instructor.

Tuesdays 8:15 – 9:45 pm LAURIE ANTONIOLI (10 weeks) $380

Vocal Training for Young Musicians An introductory vocal technique class for young musicians (ages 14–18) focusing on a range of styles, including jazz, blues, contemporary popular and world music.

Singers gain essential vocal technique to strengthen their voices in both solo and group formats. Performance techniques are also covered including how to use a microphone and sing to a large audience.

Singers work with their peers and receive one-on-one coaching from the vocal instructor. This is a fun and supportive class for students who want to enrich their singing experience.

Thursdays 4:45 – 6:15 pm JESSICA NEIGHBOR (10 weeks) $360

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NEW CLASS!!! Soul Jazz, Gospel and Blues Sampler Students are introduced to these three exciting vocal styles over the 10-week quarter.

1. NICOLAS BEARDE — THE SOULFUL SIDE OF JAZZ In addition to his high-profile role with Bobby McFerrin’s Voicestra — the innovative a cappella group of which Nicolas was a founding member — and SoVoSo, the artistic offshoot of Voicestra, with whom he’s toured and recorded since the mid1990s, Bearde has worked steadily with an array of artists from Patti Austin, Michael Bolton and Janis Siegel to Bobby McFerrin, John Handy, Chris Camozzi, and his own group, the Right Groove.

April 9, 16, 23 2. VERNON BUSH — GOSPEL SONGS AND VOCAL STYLE Vernon Bush is a singer/songwriter and recording artist who has worked with Whitney Houston and jazz legend and song stylist Nancy Wilson. His two groups, “The Vernon Bush Group” and “VSOUL,” have opened for artists including Gladys Knight, Stanley Jordan, Mickey Hart, and Michael Franti & Spearhead and have toured throughout Europe. He is also a featured vocalist with the Glide Ensemble at the world-renowned Glide Memorial Church in San Francisco as well as the Musical Director of the Glide Teen (Performing Arts) Choir (GTC). A passionate singer as well as a consummate voice teacher and coach, Vernon has taught in New York, Los Angeles, London and San Francisco.

April 30, May 7 & 14 3. FRANKYE KELLY — THE BLUES IN ALL OF ITS COLORS One of the San Francisco Bay area’s top jazz and blues vocalists and recording artists, Frankye Kelly has performed at Yoshi’s, “Top of the Mark” with pop superstar Ricardo Scales, Jazz at Pearl’s, Kimball’s East, Kimball’s West and at the Ritz Carlton Hotels in Half Moon Bay and San Francisco. She has sung at many jazz festivals including the San Francisco Jazz Festival, the San Jose Jazz Festival and the

Fillmore Jazz Festival. In addition, she has performed in France, Mexico, Japan and China.

May 21, 28, June 4, 11 Thursdays 8:15 pm $400

world music Eastern European Songs and Vocal Techniques Join singers from the world-renowned women’s vocal ensemble KITKA as they introduce music from Bulgaria, Croatia, Ukraine, Russia, Albania and other Eastern European countries. Explore the mechanics of “open voice” singing and ornamentation and learn to produce the sweet and strident sounds and luscious harmonies made famous by Le Mystère des Voix Bulgares. Experience the pure joy of traditional drone and melody singing and vocal pyrotechnics such as yips, hollers and glissandos. Work on blending, intonation and vocal tone in small groups and individually. Songs are framed in their cultural and historical contexts with anecdotal information about the cultures and traditions of Eastern Europe. Prerequisite: none. Singers of all levels welcome! Maximum enrollment: 10 students.

Mondays 4:45 – 6:15 pm JANET KUTULAS (10 weeks) $360

VOICE

ensembles Vocal Jazz Ensemble A class devoted to the study and performance of jazz harmony. Repertoire includes original arrangements, incorporating fresh harmonizations of familiar pop and jazz tunes. Each singer is individually mic’d.

Thursdays 8:15 – 9:45 GREG MURAI (10 weeks) $360

Party Dance Band!

See ensembles, p. 18 Wednesdays 6:30 – 8 pm JEAN FINEBERG (10 weeks) $360

Blues and Groove Workshop See ensembles, p. 15 Saturdays 1:30 – 3 pm DANNY CARON (10 weeks) $360

Brazilian Ensembles See ensembles, p.

SECTION I

Tuesdays 6 – 7:30 pm

SECTION II

Tuesdays 7:45 – 9:15 pm

SECTION III Wednesdays 6 – 7:30 pm SECTION IV Wednesdays 7:45 – 9:15 pm SECTION V

Thursdays 12:30 – 2 pm

SECTION VI Fridays 10:30 am – 12 noon SECTION VII Fridays 1 – 2:30 pm MARCOS SILVA (10 weeks) $360

Salsa Workshop I & II

A Modern Approach to Singing Latin Standards

See ensembles, p. 17

A class for intermediate to advancedlevel vocalists interested in developing a repertoire of Latin American folk songs.

Students sing lush boleros, cha-chas, guarachas, son, milongas, Argentinian zambas, and other Latin American classics performed by vocalists including Omara Portuondo, and Eliades Ochoa from the Buena Vista Social Club. Class focuses on phrasing, interpretation, melodic alternatives, lyrics, emotional and creative expression, as well as ensemble and individual singing. Trio accompaniment provided.

Prerequisite: consent of instructor.

Mondays 6:30 – 8 pm MARIA MARQUEZ (10 weeks) $360

SECTION II Tuesdays 8:15 – 9:45 pm

SECTION I Tuesdays 6:30 – 8 pm DAVID BELOVE (10 weeks) $360

The Music of Sting See ensembles, p. 18 Thursdays 8:15 – 9:45 pm FRANK MARTIN (10 weeks) $360

The Music of Steely Dan See ensembles, p. 18 Mondays 6:30 – 8 pm WAYNE WALLACE (10 weeks) $360

Stevie Wonder Ensemble See ensembles, p. 18 Thursdays 6:30 – 8 pm VICTORIA THEODORE (10 weeks) $360

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On Being Vocal Vocal Jazz Workshops

In the Spotlight!: Workshops with Clairdee and Ken French Do you feel like “a deer in the headlights” onstage? Imagine standing in front of your audience feeling at ease and enjoying their rapt attention. Transcend technique and tap directly into your natural presence to master the ability to engage your listeners. In this performance workshop for vocalists, students explore and discover how to present themselves confidently and naturally, as well as how to prepare for a performance. All levels welcome. Maximum student enrollment: 10; maximum number of auditors: 10.

Prerequisite: no jazz singing experience necessary. Students must bring at least 4 songs with accompanying sheet music to class.

Sunday, April 5, 2009 noon – 3 pm CLAIRDEE

&

KEN FRENCH

$65, Auditors: $40

Sweet Dreams: The Art of the Lullaby In these busy times it’s easy to forget the tender tradition of singing our children to sleep.

Lullabies are cherished the world over for lulling little ones into dreamland while allowing us moments of quiet intimacy. In this workshop we will uncover the natural gift we all possess for singing lullabies, and their calming benefits — on children, and us! Learn how to relax and enjoy singing the simple melodies and gentle lyrics of songs written for babies.

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Lullabies from different traditions will be taught. Recommended for mothers-to-be, grandparents, babysitters.

No experience necessary.

Sunday May 31, 3 – 6 pm ANN DYER $50

The Jazz Singer: A Workshop with Ed Reed “A jazz singer must access a wide range of emotions, material, experience, language, technique and intention.” — Ed Reed Singer, recording artist, and educator Ed Reed conducts a threepart series which covers, at a very personal and in-depth level, the aspects that make a singer truly authentic in the jazz tradition. Each workshop consists of an interactive lecture with exercises that promote self-evaluation. Each workshop also offers ample opportunity to perform and interpret class material. Maximum student enrollment: 10; maximum number of auditors: 10. Prerequisite: no jazz singing experience necessary. Students must bring at least 4 songs with accompanying sheet music to class.

Sunday May 17, noon – 3 pm ED REED $50 Ed Reed has had many years of performing experience. He has taught health education at Kaiser Permanente for over 15 years as well as at other health and educational institutions. His last recording was rated the number one new release of 2007 on KCSM. Andy Gilbert of the San Jose Mercury News selected his CD among best new albums of the year. Ed’s personal experience, musical success and educational background make this an invaluable workshop series for any serious student of jazz and life!

Concert Preparation & Performance For Vocalists

A mentor program designed to prepare the aspiring professional singer for a public performance. Three singers are chosen per quarter to participate in this individually custom-designed course. Singers participate both in the classroom and privately with Vocal Program Director, Laurie Antonioli. Tuition: $650.00.

For more information contact Laurie@jazzschool.com Concert Preparation and Performance for Vocalists includes the following: •

A 2-set concert in the Jazzschool Concert Series.

•

A professional-quality, live recording.

•

A professional sound technician.

•

A professional photographer.

•

3 group lessons with Laurie Antonioli focusing on selecting repertoire, creating arrangements, putting together a budget, selecting band personnel and developing artistic intention and image.

•

Two 2-hour supervised rehearsals with full band.

•

A 1-hour consultation/private vocal lesson.

•

Ongoing communication with instructor.

•

Advertising and marketing in the Jazzschool catalog and media outlets used for Jazzschool performances.

•

One meeting with Jazzschool Marketing Director, Sheryl Lynn Thomas.

Featured students this spring

Jeannine Bonstelle

Andrea Claburn

Rick Gordon

CONCERT ON FRIDAY JUNE 5, 8 PM

CONCERT ON SATURDAY JUNE 6, 8 PM

CONCERT ON SATURDAY JUNE 13, 5 PM

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S p r i n g 2 0 0 9 Workshops In the Spotlight! — Workshops with Clairdee and Ken French See voice, p. 44 Sunday, April 5 noon – 3 pm CLAIRDEE & KEN FRENCH $65, Auditors: $40

Melodic Minor Made Easy See theory, p. 27 Sunday May 3, 11:45 am – 1:45 pm MARK LEVINE

$30 Jazzschool students, $45 others

The Role of the Flute in AfroCuban Music: 1900 — Present

‘Comping’ Techniques by the Masters

See woodwinds, p. 28 Sunday April 5, 2 – 4 pm

See piano, p. 27 Sunday May 3, 2 – 4 pm

ANDREA BRACHFELD

MARK LEVINE

$30 Jazzschool Students/$45 others

$30 Jazzschool students, $45 others

Exploring World Winds with Suzanne Teng

Trumpet Master Class — Increasing

See woodwinds, p. 28 Saturday April 11, 3:30 – 5:30 pm

Your Range, Power and Endurance See brass, p. 11 Sunday May 10, 2 – 4 pm

SUZANNE TANG

DAVE SCOTT

$30 Jazzschool Students/$45 others

Jazz Trombone Master Class with Ed Neumeister See brass, p. 10 Saturday April 11, 3:30 – 5:30 pm ED NEUMEISTER

$30 Jazzschool Students/$45 others

Cooler Chords with Taylor Eigsti

$30 Jazzschool students, $45 others

Ed Reed Workshop See voice, p. 44 Sunday May 17, noon – 3 pm ED REED $50

Jazz Piano Style Series See piano, p. 25

See piano, p. 25 Sunday April 12, 11:45 am– 1:45 pm

1. SWING ERA PIANO STYLE Sunday April 26, 2 – 4 pm

TAYLOR EIGSTI

2.

$30 Jazzschool students, $45 others

Sunday May 10, 2 – 4 pm

Jazz Improvisation Workshop See theory, p. 27 Saturday April 18, 3:30 – 5:30 pm MARK SHERMAN

$30 Jazzschool Students/$45 Others

Jazz Manouche — The Fundamentals and Beyond of Gypsy Jazz Guitar See guitar, p. 20 Sunday April 26, noon–2pm PAUL MEHLING

3.

BEBOP/HARD-BOP PIANO STYLE

MODERN PIANO STYLE

Sunday May 31, 2 – 4 pm DAN ZEMELMAN

Each workshop: $30 Jazzschool students, $45 others

Sweet Dreams: The Art of the Lullaby See voice, p. 44 Sunday May 31, 3 – 6 pm ANN DYER $50

$30 Jazzschool students, $45, others

Jazz Flute Workshop Trumpet Embouchure Workshop See brass, p. 11 Sunday May 3, 2 – 4 pm DAVE SCOTT

$30 Jazzschool students, $45 others 46

See woodwinds, p. 28 Saturday June 27, 3:30 – 5:30 pm ALI RYERSON

$30 Jazzschool Students/$45 others

The The Jazzschool’s wooden folding chairs are “on their last legs” so we are mounting a campaign to replace all of them with a permanent set of Musician Chairs.

Campaign

Jazzschool

“Musical Chairs”

The Musician Chair made by Wenger Corporation, is especially designed to improve and enhance the musician’s posture. This chair is so effective, it has become the most popular music chair in history! Musician Chairs are durable, handsome, comfortable multi-purpose, stackable chairs that may be used in the classroom as well as at concerts.

Large quantities of them are easily and quietly moved from one location to another within the Jazzschool via a custom-made cart. These chairs will last a lifetime, completely eliminating the expense and hassle of replacing aging wooden folding chairs each year. A uniform set of chairs will also bring a polished, uniform appearance to the Jazzschool program.

I wish to purchase ______ Musician Chair(s) @ $75 per chair.

I am enclosing a check for $________.

Please charge $______ to my VISA or MASTERCARD number: ______________________________________ exp. _______________ _________________________________________________________ Signature as it appears on card:

I wish to have the following name(s) listed on the back of each chair: 1. ______________________________________________________ 2. ______________________________________________________

You can help the Jazzschool’s “Musical Chairs” Campaign by making a contribution of $75 to the Jazzschool and in return, we will list your name or the name of an honoree on the back of each chair you have helped the Jazzschool purchase. Our goal is to purchase 75 chairs by fall of 2009. Please fill out this form.

3. ______________________________________________________ 4

______________________________________________________

I wish to list the following honoree’s name on the chair back: 1. In honor of ____________________________________________ 2. In honor of ____________________________________________ 3. In honor of ____________________________________________ 4. In honor of ____________________________________________

Thank you so much for your support of the Jazzschool “Musical Chairs” Campaign. We look forward to hearing from you!

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JAZZSCHOOL CONCERTS Spring 2009 Concert Series The Spring 2009 Concert Series has been made possible in part by a generous gift from Wells Fargo.

Friday April 3, 8 pm

LEN LYONS: CELLULOID IN BLUE —IIIII A RARE LOOK AT JAZZ ON FILM ($15)I From “The Jazz Singer” (1927) to “Mo’ Better Blues” (1990) movies have a long tradition of confronting the subject of jazz and its meaning to Americans. In doing so, they shed light on both America’s perception of the music, its musicians, and the troubling role of racial politics in America. In a 90-minute show, Len Lyons presents clips of both dramatic and documentary films from the ‘20’s through the ‘90’s, including “Stormy Weather,” “Cabin in the Sky,” “Bird,” “Lady Sings the Blues,” “‘Round Midnight” and many more. There is plenty of music to be heard, much of it unavailable elsewhere.

Saturday April 4, 8 pm DOUBLE BILL! DISAPPEAR INCOMPLETELY—THE RADIOHEADI PROJECT & KAPOWSKI ($10–15 SLIDING SCALE)I

Disappear Incompletely The music of Radiohead re-imagined for electro-jazz ensemble.

Featuring Rob Ewing, trombone, lead arranger; Kasey Knudsen and Patrick Cress, saxophones; Michael Coleman, piano and electronics; Joe Bagale, bass and lead vocals; Jamie Moore, drums and percussion. www.disappearincompletely.com

Kapowski Local indie/pop band influenced by ‘60s British Invasion, Rodgers and Hart and The Velvet Underground. Playing songs from their upcoming debut album. Featuring Jesse Rimler, piano/vocals; John O’Hara; bass/guitar, Nunzio Randazzo, organ/percussion; Jacob Rimler, drums. www.myspace.com/kapowskiband Sunday April 5, 4:30 pm

CLAIRDEE: “SOMETHING WONDERFUL” ($18/15)I Singer Clairdee showcases her narrative integrity and mesmerizing stage presence. With songs from her new CD (coming Spring 2009) produced by legendary pianist Norman Simmons (Anita O’Day, Carmen McRae, Joe Williams). Featuring Ken French, piano; Geoff Brennan, bass; Jim Zimmerman, percussion.

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CAFE • BAR • CATERING • EVENT PRODUCTION

SERVING DINNER/DRINKS EVERY PERFORMANCE

Friday April 10, 8 pm

ED NEUMEISTER ($15)I Ed Neumeister Quartet plays music from his recent CDs and more.

Featuring Ed Neumeister, trombone; Frank Martin, piano; John Shifflett, bass; Jason Lewis, drums.

Saturday April 11, 8 pm

TAYLOR EIGSTI —SOLO PIANOI WITH ELECTRONICS ($20)III IIIII Taylor Eigsti has been recognized world-wide for his innovative, intense improvisation and his unique, electrifying rhythmic touch.

In recent concerts, he has integrated electronic effects, receiving rave reviews at venues such as the Hollywood Bowl and the Montreal Jazz Festival.

Friday April 17, 8 pm

THURSDAY AND SATURDAY NIGHT BIG BANDS ($10)I Performing a wide variety of standard and original compositions for big band.

Join the Jazzschool big bands in their first-ever performance together.

Dave LeFevbre and Keith Johnson, Directors.

Saturday April 18, 8 pm

MELANIE O’REILLY & “TIR NA MARA” ($15/12)I Internationally performing singer/songwriter, recording artist and radio broadcaster Melanie O’Reilly is now firmly established in the pantheon of modern Irish artists. Her unique “Celtic jazz” sound is an exhilarating blend of Irish traditional music and jazz that has captivated audiences worldwide. Named one of the East Bay Express’ “Best Of the Bay” in 2007, she is also the winner of the National Radio Award (Ireland) for her radio show Jazz on the Bay, on RTE Radio 1. She has also been chosen as one of Ireland’s foremost jazz ambassadors by Downbeat.

Featuring Frank Martin, piano; Michael O’Neill, sax; Sam Bevan, bass.

Sunday April 19, 4:30 pm

R&B/JAZZ/SOUL ARTIST MS. MONET:I MUSIC AND INTERVIEW ($15/12)I One of the most respected singers in the business, Ms. Monet brings her virtuosic approach to her favorite jazz standards. Stay for the post-show interview! Ms. Monet has toured and recorded with Celine Dion, Jennifer Lopez, Tim McGraw, Huey Lewis, and Boz Scaggs and recently sang backup for Faith Hill at Barack Obama’s inauguration. Featuring Matt Clark, piano; Dave Scott, trumpet; Marcus Shelby, bass; Jeff Marrs, drums.

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JAZZSCHOOL CONCERTS Spring 2009 Concert Series The Spring 2009 Concert Series has been made possible in part by a generous gift from Wells Fargo.

Sunday April 19, 8 pm

riff-raff ($10)I ‘riff-raff’ began as an advanced Jazzschool ensemble, under the guidance of bassist Seward McCain. The group performs ‘not-so-standard’ standards along with some ‘standard’ standards for a truly interesting and expressive night of jazz.

Friday April 24, 8 pm

TAMAR SELLA ($10)I Join Rising Star vocalist Tamar Sella for a riveting night of music. With her rich, heartfelt voice, Tamar explores songs spanning swing, bebop, modal and contemporary jazz, alongside Mediterranean music and original compositions and lyrics. Featuring Kai Siedenburg, piano; Ryan Finch, bass; Mark Faicol, drums.

Saturday April 25, 8 pm

WAKEFIELD JAZZ QUARTETIIIIIIIIIIIIIII ANNIVERSARY CONCERT ($18/15)I Celebrating a 10-year anniversary, this Jazzschooloriginated band plays from the Great American Songbook, jazz standards, jazzy blues and bossa novas. Featuring Pete Greenstein, saxes; Jazzschool Board Director Richard Lyons, guitar; Ed Elliott, bass and vocals; Kathy Dodge, drums.

Sunday April 26 4:30 pm

LE JAZZ HOTI($15)I This trio carries on the hot, sophisticated and effervescent French Gypsy swing tradition, taking their cue from the legendary Django Reinhardt and the Hot Club of France.

CAFE • BAR • CATERING • EVENT PRODUCTION

SERVING DINNER/DRINKS EVERY PERFORMANCE

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WORD

WEEKEND

Friday May 1, 8 pm

JAZZ AND THE WORDI($15)I “Lay it down” at edge of keen. Jazz — poetic exploration.

Michael McClure w/George Brooks; Avotcja w/Eugene Warren; Richard Silberg; Opal Palmer Adisa w/percussion. With “his hat on the floor,” Master of Ceremony, George W. Davis II. Saturday May 2, 8 pm

MICHAEL ZILBER’S BILLY COLLINS PROJECT ($15)I Eleven poems by Billy Collins, America’s most beloved poet, set to music.

Composer/performer Zilber draws from a wide range of musical influences — pop, jazz, folk, contemporary classical, blues — to bring Collins’ words to musical life. With Andy Kirshner, an astonishing singer who mixes pop and soul with a voice recalling Johnny Hartman, this new, heartfelt work appeals to lovers of jazz, poetry and song. Featuring Michael Zilber, saxophones; Andy Kirshner, vocals; John R. Burr, piano; John Shifflett, bass; Jason Lewis, drums. The evening begins with a reading by poet John Ellis.

Sunday May 3, 4:30 pm

GEORGE BROOKS’ DOUBLE MOIRÉ ($15)I A new work of jazz and poetry by George Brooks and Michael McClure, inspired by Double Moiré for Francis Crick, McClure’s visionary poem of nature and the universe, and dedicated to Crick, elucidator of the DNA molecule. The premiere of Double Moiré has been made possible by a grant from the San Francisco Bay Area Chapter of the American Composers Forum.

Friday May 8, 8 pm

PUSAKA SUNDA GAMELANI DEGUNG ($15/10)I Led by suling flute master Burhan Sukarma, Pusaka Sunda’s 10-piece gamelan ensemble presents a night of West Javanese music and dance. The evening features music from the ensemble’s most recent CD as well as a new composition to celebrate Pusaka Sunda’s 20th anniversary season. Gamelan Musicians: Daniel Kelley, Ray Lapuz, Laura McColm, Gretchen McPherson, Kenneth Miller, Danni Redding-Lapuz, Olivia Sears, Henry Spiller, Rae Ann Stahl. Director: Burhan Sukarma. Dancer: Margot Lederer.

Saturday May 9, 8 pm

NATASHA MILLER ($18/15)I “Unchain My Heart: Celebrating the Bobby Sharp Songbook” Featuring performances by Natasha Miller, Jamie Davis, Bobby Sharp and more!

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JAZZSCHOOL CONCERTS March 17 – April 2 JAZZSCHOOL CONCERTS Spring 2009 Concert Series

The Spring 2009 Concert Series has been made possible in part by a generous gift from Wells Fargo.

Sunday May 10, 4:30 pm

SOUL OF THE MAHALA ($15/12)I An evening of Balkan Romani (“Gypsy”) Music with Orkestar Sali, featuring Rumen “Sali” Shopov and Angel Shopov Authentic Romani “Gypsy” music from the Orkestar Sali, led by Rumen and Angel Shopov, a talented father and son duo. Hailing from the Turkish-Romani community of Goce Delchev, a crossroads town in southwestern Bulgaria, the band’s traditional and original repertoire features complex meters and highly expressive improvised solos. Faced with prejudice, the virtuoso Romani musicians of the Balkans have been forced to interpolate many styles, including Arabic, Slavic, Klezmer, resulting in a rich musical tradition that never loses its distinctly Romani sense of soulful groove.

Jazzschool instructor Rumen Shopov (tambura, percussion, vocals) became a professional wedding musician as a teenager. He later served as concertmaster of Bulgaria’s first national folk ensemble, The Nevrokopski Ensemble, for 20 years. Since 2002, he has lived in the U.S., teaching, performing, and touring with Yuri Yunakov’s Romani Wedding Band, Edessa, Ziyia, Kitka and other ensembles. Rumen’s son, Angel (violin, tambura, oud, saz, keyboards), is the first Romani musician to be admitted to Bulgaria’s most famous musical conservatory, the Plovdiv Academy. Featuring Peter Jaques, clarinet (Brass Menazeri, Stellamara, Gamelan X, Black Olive Babes, The Gonifs); Dan Cantrell (Toids, Megaband); Djordje Stijepovic, bass (Fishtank Ensemble, Head Cat); Sean Tergis (Deli Kanli).

Friday May 15, 8 pm

DOUBLE BILL!

JEN SHYU & SCHUMANN’S HUMANNS ($15)I Jen Shyu Classically trained vocalist, composer, multi-instrumentalist, and performance artist Jen Shyu presents original music influenced by her long tenure with Steve Coleman’s band, avant-garde jazz, and the aboriginal music of Taiwan.

Schumann’s Humanns Using Schumann’s Kinderszenen as springboards for improvisation, Schumann’s Humanns creates a spontaneous sound while preserving the feel of the master’s elegant pieces. Featuring Michael Coleman, piano/keyboards, Kasey Knudsen, alto sax, Gabe Davis, bass; Hamir Atwal, drums.

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CAFE • BAR • CATERING • EVENT PRODUCTION

SERVING DINNER/DRINKS EVERY PERFORMANCE

Saturday May 16, 8 pm

ED REED — CELEBRATING 80 YEARS! ($18)I Enjoy the Great American Songbook interpreted by an extraordinary song stylist, now in his 80th year. “Reed’s voice is rich, flexible, and filled with a myriad of hues and colors...he croons through a handful of obscure Ellington gems that wax and wane with unbearable delight.”

AAJLA/jazzweekly.com Friday May 22, 8 pm

WILCOX/BROWN/BOWMAN TRIO ($15/12)I This adventurous trio finds improvisational inspiration from all over. Free jazz, funk tunes and original compositions stand comfortably alongside improvisational arrangements of classical themes by Brahms, Fauré and Bartok. Featuring Michael Wilcox, six-string basses; Sheldon Brown, reeds; Brian Bowman, drums.

Saturday May 23, 8 pm

GRANT MILLIKEN SEXTET ($10)I Comprised of rising talent from across the Bay Area, the Grant Milliken Sextet draws on the history of jazz, bridging the gap between old and new in a fresh and exciting way. Expect re-imaginations of classic standards along with new and original material — a memorable night of funk, jazz, and fusion. Don’t miss this chance to see young talent at the Jazzschool! Featuring Grant Milliken, piano; Saba Fazeli, bass; Harry Meyerson, drums; Cameron Mitchell, guitar; Harrison Reinisch, alto sax; Zach King (not pictured), tenor sax.

Sunday May 24, 4:30 pm

ART LANDE: JAZZ MEMORIAL DAY CONCERT ($15)I A special Memorial Day concert in honor of recently lost greats Oscar Peterson, Freddie Hubbard and the Bay Area’s own Mel Graves.

Featuring Art Lande, piano; Paul McCandless, reeds; Bruce Williamson, reeds, Peter Barshay, bass; Alan Hall, drums.

Friday May 29, 8 pm

STEPHANIE CRAWFORD ($15)I With a pinch of Vaughan’s lush timbre, a bit of Carmen’s biting irony, Billie’s poignancy and more than a cup of Betty Carter’s endlessly daring melodic invention, Stephanie Crawford brews a potent mix of the leading high priestesses of vocal jazz. Her interpretation of the Great American Songbook is at once mature, inspired, and giddy with delight.

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JAZZSCHOOL CONCERTS Spring 2009 Concert Series The Spring 2009 Concert Series has been made possible in part by a generous gift from Wells Fargo.

Saturday May 30, 8 pm

LAURIE ANTONIOLI — AMERICAN DREAMS ($18)I An evening of songs from the internal and external landscapes we call home. Featuring Sheldon Brown, saxophone and clarinet; Dave McNab, guitar; Matt Clark, piano; John Shifflett, bass; Jason Lewis, drums.

“Musically, the singer crosses the boundaries between styles and cultures, folk and jazz, east and west. Such an organic and original combination of all these elements is seldom achieved.” — Fono Forum, Germany Sunday May 31, 4:30 pm

THIRD ANNUAL MIDDLE SCHOOL INVITATIONALI ($5 GENERAL, FREE TO STUDENTS)IIIIIIIIIIIIIIIIIIIIIIIIIII An evening showcasing three outstanding middle school bands from throughout the Bay Area.

Come support the future of jazz!

Friday June 5, 8 pm

JEANNINE BONSTELLE: SEARCH FOR PEACE ($12)I Songs reflecting a lifelong musical journey with compositions by Horace Silver, Stanley Clarke, Joni Mitchell, Antonio Carlos Jobim, Herbie Hancock and Flora Purim.

Saturday June 6, 8 pm

ANDREA CLABURN — KEYS TO LIFE ($12)I The child of a classical pianist mother and jazz aficionado father, Andrea grew up playing classical piano but wound up singing jazz. She interprets the music of the great jazz pianists with a rich, fluid style and improvisational energy. Expect an evening of Ellington, Monk, Evans and more, with original lyrics, new interpretations and a fresh perspective.

Sunday June 7, 4:30 pm

SAMORA AND ELENA PINDERHUGHES ($10)I Samora and Elena Pinderhughes performed their first jazz concert at ages 13 and 9, respectively, and have been dazzling Bay Area audiences ever since. Their musicality, passion and energy have thrilled audiences from the Fillmore Jazz Fest to Carnegie Hall and the White House.

Featuring Gary Johnson, bass; Forest Mitchell, drums.

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Saturday June 13, 5 pm

RICK GORDON ($12)I Rick’s improvisational vocal style is influenced by Monk, Coltrane, Dolphy, Shorter, and Bird — as well as the traditional bebop scatters. With his formidable technique, Gordon takes an instrumentalist’s approach without ever losing sight of the lyric. Featuring wordless renditions, original lyrics to instrumental standards and original songs. A surprise celebration of Rick’s father’s 100th birthday! Please come and celebrate!

Saturday June 13, 8 pm

DICK CONTE QUARTET ($15)I Dick and friends celebrate his birthday in a benefit concert to support the Dick Conte Jazz Piano Scholarship Fund. Scholarship recipient announced at the concert!

Monday June 15, 8 and 10 pm

JAZZSCHOOL STUDIO BANDS AT YOSHI’SIIIII JACK LONDON SQUARE ($15/5)IIIIIIII IIII Keith Johnson, Director Join recent finalists at the 2009 Monterey Jazz Festival Next Generation Festival in their final concert of the 2008–09 season. Showcasing some of the Bay Area’s finest high school musicians, these award-winning ensembles present an exciting evening of new and standard compositions for big band in the Bay Area’s top jazz venue. Join these fine musicians for two shows at 8:00 pm and 10:00 pm with surprise guest artists! Tickets available by calling the Jazzschool at (510) 845-5373 and online at www.yoshis.com.

Yoshi’s in Oakland is located at 510 Embarcadero West, Oakland, CA 94607 June 16 – 23

JAZZSCHOOL STUDENT PERFORMANCE SERIES (FREE ADMISSION)I Visit the Jazzschool online for a complete schedule: www.jazzschool.com Friday June 26, 6:30 pm

SUMMER YOUTH PROGRAM EXTRAVAGANZA! (FREE ADMISSION)I The 8th Annual Jazzschool Summer Youth Program (a 2-week day program for young musicians entering grades 6–9) culminates in a public performance for friends and family. Open to All! Saturday June 27, 8 pm

MARK LEVINE & THE LATIN TINGE: MOSTLY MOACIRI WITH SPECIAL GUEST ALI RYERSON ($18/15)I Grammy-nominated pianist and bandleader Mark Levine plays the joyous music of Moacir Santos.

Featuring Mark Levine, piano; Ali Ryerson, flute; John Wiitala, bass; Paul van Wageningen, drums; Michael Spiro, percussion.

TICKETS AVAILABLE ONLINE! www.jazzschool.inhousetickets.com

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2008 Individual Gifts (received from January 1, through December 31, 2008) The Jazzschool wishes to thank the following individuals for their generous support enabling us to offer a comprehensive, high quality educational program and ensuring our future.

SUSTAINING BENEFACTORS The following generous donors have made a long-term commitment to support the Jazzschool during its second decade.

Jerry Fiddler and Melissa Alden J. Tyler and Melanie Johnston Amy & Eddie Orton Ed & Camille Penhoet Gregg Perloff of Another Planet Entertainment Jim & Ruth Reynolds The Silent Gong Fund DIRECTORS CIRCLE ($25,000 – $49,000)

Anonymous Susan Muscarella & Robert Cole Amy & Eddie Orton BENEFACTORS CIRCLE ($10,000 – $24,999)

Jeffrey Goodby J. Tyler & Melanie Johnston Lorna Lee & James Keefe Edward & Camille Penhoet Gregg Perloff Jim & Ruth Reynolds M. David Sherrill PATRONS CIRCLE ($5,000 – $9,999)

Susan & Jeffrey Brand Sherie Friedlander Sy & Bonnie Grossman John & Barbara Papini Walter P. Riley & Barbara Rhine David & Elizabeth Sawi SPONSORS CIRCLE ($1,000 – $4,999)

Anonymous Jamey Aebersold Jackson Bontemps Russ & Dawn Comer Martin & Eva Ewing Joseph & Sherry Felson Brian & Patricia Herman 56

Barbara Ivins Terry A. Kupers & Arlene Shmaeff Eric & Simone Lang Bertram Lubin & Vivian Scharlach Richard & Christine Lyons Larry Marcus Bobby & Debra McFerrin Robert Mertens Diana Reichert Meyer, in honor of Mal Raff Ivan, Maris & Harry Meyerson Mal Raff & Connie Woods Helen Sibley Isabel Stover Dr. Craig Williams FRIENDS CIRCLE ($500 – $999)

John Adams & Deborah O’Grady Bill Aron — in memory of Richard Schmidt Dr. Margie Baker Earl & June Cheit Bruce Colman Janet & William Cronk Lori & Michael Ferguson Paul Fogel Paula Forney Vaughan Johnson Bruce T. Kaldor Sherry Keith Michael Korman Art Lazanoff Merideth Marschak Cere Muscarella Michael & Ann Parker Mike & Jill Rissi

Sara Sanderson Patricia & Kermit Smith Bud & Diana Spangler Dr. Jill Tarter & Jack Welch Michael Tilson Thomas Geoffrey Van Lienden & Sara Loyster – in honor of Amy & Eddie Orton Fred Weed Richard & Suzanne Weir A. Sydney Williams, MD Marcy Wong & Donn Logan Michael Zaninovich FRIENDS CIRCLE ($250 – $499)

Addison Street Band Denny Abrams Lauren & Steve Adams David Altshul Jennifer Burroughs James Casella & Blue Note Music Thomas & Marcie Charlesworth Kyle Davy & Karen Yencich Mary Fettig David & Lucia Gill Thomas Herman Angharad Jones Seymour (Sy) Kaufman Sakiko Kono R. & L. Korsan Francisco & Masako Leon Rachel & Todd Lorenz K. & P. McArdle Ann & William Monty Alan Okada Nick Phillips & Diana Lang Paul Radosevich & Elise Thomas Carl Resnikoff Ted Sopher Ruth Tabancay & Michael Austin Brian Wood Diane L. Wyatt FRIENDS CIRCLE ($100 – $249)

Anonymous Karen Ling Aczon Demetrios Agretelis Bayard & Nancy Allmond Peter Anastos Hans & June Andersen

Richard Anderson Donald Arbitblitt & Jill Suttie Charles Axthelm Valerie Bach David Backenstoe Debra & Arthur Bakal John D. Barron Donna Brookman & Bob Knight Madeleine Butler Robert (Bob) Calo Bert & Lois Carelli Jo Cazenave Ann Lee Dyer Cervantes Norris Clement Margaret Coate Lawrence E. Crooks Dr. Michael Darby & Dr. Toni Martin Julie Dickson Brent Donaldson Ayman Fawaz & Rania Rayes Surya Voinar Fowler Mimi Fox Greg Galli Peter Garabedian & Samuela Evans Lisa Gaspari Mary & Peter Gealey Marjorie Gelb & Mark Aaronson Andy & Sharon Gillin Phyllis Goldsmith, John Link & Eli Goldlink Steve & Cathy Goldsmith Dent Hand, Jr. Brad Haywood Jimmy & Mona Heath Dr. Karen Hobbs David Hodul Susan Horn Heather Huxley Betty Ishida Bob Jarman Dwight Joseph Tim & Anne Kahn Lloyd & Catherine Kamins Patricia Kates & Henry Brady Dr. Philippa Kelly & Paul Dresher Emily Klion & George Brooks Carol Kusmierski Art Lande Rita Largman Kathryn Lee

Richard Lenson Yehudit Lieberman Barbara Lilley Beatrice Lopez Mary MacRae Laura Mahanes & Steven Weissman Susan Marinoff & Thomas Schrag Sandra Marlowe Alvaro Martinez Dmitri Matheny Thomas McHugh Kathleen McNulty & Omar Brubaker Bill Morris & Rebecca Kaminsky Robert & Judith Murphy Virginia Musante Joe & Mary Muscarella—in memory of Cere Muscarella Barbara Oliver Michael & Susan Oyama Lambros Paraschos Gerald Pearlman Christina Perna Ruth Phillips Dr. Ditsa Pines Allen Pittman Douglas Quale Dave Ramet Barry Robertson Ahni & Kit Robinson Deborah Robison & Dennis Cohen Monica Rohrer Pamela Rose Milton Schaefer—in honor of Dr. Craig Williams Richard Schindler Peter & Rebecca Mendoza Scott Mal & Sandra Sharpe Steven Shatz & Nina Rivkind Madeline Sheron Tom Silva Michael Sohigian Janet Stephens Frank & Donna Sumares Jean Swearingen Paul & Bonnie Swinderman Elizabeth (Liz) Tjader Merrilee Trost Frances Varnhagen Douglas Weber 57

2008 INDIVIDUAL GIFTS (continued) Received from November 1, 2007 through November 1, 2008 ($100 – $249 continued )

Janice & Lanny Weingrod Howard Weiser Katherine Westine & George Davis Loy Weise Michael Wolff Gordon & Evelyn Wozniak John Xepoleas FRIENDS CIRCLE ($50 – $99)

Ruth Belikove Dick Berk Michael Bettinger & Robert Goldstein Cherilyn M. Brunetti Jim Cassell Michael Chanowitz & Alice Supton Geraldine Davis Jon Eriksen Joan Finton Robb Fisher Joan Getz Jeffrey Glenn Roger Glenn Jim & Maureen Hogan Julie & Chris Huson—in memory of Ben Randall Leah Kaizer & David Salk

Michael Katz Christina Kellogg Vince Lateano Deborah Lesser Mark Levine Paul & Sandra Little Judith & Stanley Lubman William McLean Curt Moore Don Ontiveros Rita Papini Mario B. Pola—In memory of Cere Muscarella John Rosenberg M.D. Poncho Sanchez Mike Schulist Ellen Seeling Charlotte Sundelson— in honor of my granddaughter, Lucy Beth Ann Ward Kimberly Ware Helen F. Wittmer–in memory of Claude Brent Wilson, Jr. Ellen Zucker GIFTS IN-KIND: January 1, 2008 – December 31, 2008

Anonymous Aurora Theatre Company Clif Bar & Company

Katherine Collins Comcast Valerie Conwright John Cummins Tracy Curtis and Wells Fargo Foundation Brent Donaldson Donsuemor Madeleines Dreyer’s Grand Ice Cream East Bay Express James Ellis & Wells Fargo Bank Jacquelin Ewing Susan Fischer Freight and Salvage John Gordon & Janis Mitchell Selma & Martin Graham Hafner Vineyard Jazzcaffé James Knox Andrew Lion Doug Lee Poulson Gluck Design ScanArt Digital Resources See’s Candies Sherie Friedlander Insurance Company Helen Sibley Elizabeth Tjader Zoe’s Cookies

The Jazzschool welcomes your contributions to our various scholarship funds.

Please call the Jazzschool at 510.845.5373 to learn how you can support a deserving student.

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GIFTS FROM FOUNDATIONS, CORPORATIONS, AND GOVERNMENT AGENCIES Received from January 1, 2008 through December 31, 2008 DIRECTOR’S CIRCLE ($25,000 – $49,000) Koret Foundation The Silent Gong Fund of the Calvert Foundation Wells Fargo Foundation BENEFACTOR’S CIRCLE ($10,000 – $24,000) Another Planet Entertainment National Endowment of the Arts The Bernard Osher Foundation William Ellis Robinson Foundation PATRON’S CIRCLE ($5,000 – $9,999) City of Berkeley – Civic Arts Fund Zellerbach Family Foundation

SPONSOR’S CIRCLE ($1,000 – $4,999) Catalyst Foundation Community Foundation of Santa Cruz County East Bay Community Foundation National Academy of Recording Arts & Sciences San Francisco Foundation Zalec Familian & Lillian Levinson Foundation FRIENDS CIRCLE ($100 – $999) Aebersold Charitable Lead Trust BMI Foundation Clorox Corporation Chapel of the Chimes — Skylawn Chevron Humankind Matching Gift Program Citi Foundation Mechanics Bank Vanguard Public Foundation VISA International Employee Giving Campaign

JAZZSCHOOL SCHOLARSHIP FUNDS Gifts made January 1 through December 31, 2008

DICK CONTE JAZZ PIANO SCHOLARSHIP FUND FRIENDS CIRCLE ($100 – $999)

Kathleen Lawton

Art Lazanoff Merrilee Trost

PATRICIA LUCAS MEMORIAL SCHOLARSHIP FUND FRIENDS CIRCLE ($500 – $999)

E. Ray Lucas

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JAZZSCHOOL SCHOLARSHIP FUNDS (continued) Gifts made January 1 through December 31, 2008

BLACK YOUTH SCHOLARSHIP FUND

Established by Kim Nalley, San Francisco Bay Area jazz and blues performing artist to forward the music education of deserving Black youth.

SPONSORS CIRCLE ($1,000 – $4,999)

FRIENDS CIRCLE ($150 – $499)

Mary Helene Lolli – in memory of BJ Papa

Sally & Brian Legakis – in memory of BJ Papa

MARIAN McPARTLAND SCHOLARSHIP FUND FOR WOMEN IN JAZZ

Established in honor of living legend and internationally renowned jazz pianist Marian McPartland.

FRIENDS CIRCLE ($100 – $249)

Ellen Seeling

CERE R. MUSCARELLA MEMORIAL SCHOLARSHIP FUND

A scholarship fund for aspiring pianists in their golden years – in honor of the Jazzschool’s trusted friend and longtime pillar of support, Cere R. Muscarella, who began taking piano lessons at age 80.

FRIENDS CIRCLE ($250 – $499)

Andreina Jasinski FRIENDS CIRCLE ($100 – $249)

Mary Fettig Diana Reichert Meyer Merrilee Trost

Lisa Feldman

THE SCOTT MORRIS MEMORIAL SCHOLARSHIP FUND FRIENDS CIRCLE ($250 – $499)

Paul van Wageningen Lisa Zinkan & Steven Kopp — in memory of Bruce Wayne Felter

Dean & Joanne Muench — in memory of Bruce Wayne Felter .Joseph Romero — in memory of Ben Randall

($100 – $249)

($25 – $99)

Charles Axthelm International Brotherhood of Electrical Workers Local Union 6 — in memory of Bruce Wayne Felter Douglas Lutgen — in memory of Bruce Wayne Felter

Ron & Margaret Kagehiro — in memory of Bruce Wayne Felter Theresa Parella — in memory of Bruce Wayne Felter Madeline Sheron — in memory of Bruce Wayne Felter

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2008 – 2009 Jazzschool Faculty Directory Laurie Antonioli (Voice) Chair, Jazzschool Vocal Jazz Studies. BA, (in progress).

Studied at Mt. Hood College and Cal State Long Beach.

Student of Joe Henderson, Mark Murphy; Professor, Vocal Jazz Studies, Kug U., Graz, Austria; Nabel Records recording artist; international performing and recording artist/clinician; performed and recorded with George Cables, Bobby McFerrin, Richie Beirach, Joe Bonner; bandleader, Foreign Affair; lyricist of Pauer-Antonioli Songbook, released 2008. www.laurieantonioli.com.

Bill Aron (Woodwinds) M. Mus. in Saxophone Performance, San Francisco State U.; BA in Music, UC Berkeley. Angel Records recording artist; co-founder, San Francisco Saxophone Quartet; has performed nationally and internationally since 1977.

Joe Bagale (Drums, Bass, Voice, Piano) Eastman School of Music (1 1/2 yrs.). Record producer; Manager, Coast Recorders, SF; awarded “Outstanding Rhythm Section Player” by Wynton Marsalis; studied with Rich Thompson, Steve Gadd, Ben Monder, Clay Jenkins, Ron Carter, Darmon Meader, Scott Amendola; played with Fred Wesley (James Brown); leader, Joe Bagale Band.

Margie Baker (Voice) BA in Education, MA in History, SFSU; Ph.D. in English, USF. Mentored by Dizzy Gillespie; recording artist with Consolidated Artist Productions, NY; international performances in Australia and France; appeared with Dizzy Gillespie, Red Holloway, John Handy, Richie Cole, Buddy DeFranco, Bobby Shew, John Heard, Bill Berry, Bruce Foreman, Vince Lateano, Jules Broussard, Tee Carson and more.

Peter Barshay (Bass) Studied at San Francisco Conservatory of Music; Manhattan School of Music. HOTTEA Productions & Platform Recordings artist; has performed nationally and internationally with Milt Jackson, Freddie Hubbard, Sonny Stitt, Eddie Henderson, Woody Shaw, Pharoah Sanders, Blue Mitchell, Tony Williams, Joe Henderson, Joe Lovano, Johnny Griffin, Bobby McFerrin.

Nicolas Bearde (Voice) Founding member of Bobby McFerrin’s Voicestra; founding member of SoVoSo; performed with Patti Austin, Michael Bolton, Janis Siegel and John Handy. International performing artist, recording artist and actor for stage, screen; studied acting with Jean Shelton; voice-over work for television and radio. www.nicolasbearde.com.

Doug Beavers (Trombone) BA in Music, California State U., East Bay. Studied trombone with San Francisco Opera bass trombonist Dave Ridge, and jazz arranging with renowned trombonist and arranger Dave Eshelman. 2006 Grammy award-winner for his work on Eddie Palmieri’s release Listen Here. Has performed and recorded with Eddie Palmieri, Rosemary Clooney, Mingus Big Band, Spanish Harlem Orchestra, Arturo Sandoval, Brian Culbertson, Pete Escovedo and others. His production Jazz, Baby! (2007, Origin Records), was dedicated to young fans of jazz and big band swing and has received extensive radio airplay in the US, in addition to being reviewed by a wealth of jazz and children’s publications. He is adjunct professor of music at Los Medanos College in Pittsburg, CA and Professor of 62

Jazz Trombone, California State University, East Bay. www.dougbeavers.com

David Belove (Bass) Studied at San Francisco State and San Francisco Conservatory of Music. Recorded and/or performed with Pete Escovedo, John Santos and The Machete Ensemble, Danilo Perez, Tito Puente, Francisco Aguabella, Rebeca Mauleón, Ray Obiedo, Marcos Silva, Joe Henderson, Max Roach, Blue Mitchell, Eddie Harris, Mark Levine, Pat Metheny, Larry Coryell, Zakir Hussain.

Bicasso (emcee) Bicasso is a Bay Area-based artist and musician/emcee.

He is a member of the die-hard indie-underground hip hop crew The Living Legends. He has also released five solo works, and has guested on numerous recordings. Bicasso is currently working on a project melding the jazz and hip hop realms of Black music in collaboration with several of the Bay Area’s top musicians.

Wil Blades (Hammond B-3 Organ) BA in Jazz Studies, New College of California. Played, recorded, studied with John Lee Hooker, Dr. Lonnie Smith, Melvin Sparks, Idris Muhammad, Eddie Marshall, Herbie Lewis, Will Bernard.

Lee Brenkman (Recording, Sound) Sound system operation, design. Sound engineer, Avalon Ballroom, Family Dog Productions; head sound technician, Great American Music Hall, Stanford Jazz Workshop, Dick Bright’s SRO Band; mixed live shows for Bill Evans Trio, Stephane Grappelli, Count Basie Orchestra, Sarah Vaughan, Van Morrison, Astor Piazzolla, Duke Ellington Orchestra, Oregon; engineered recordings

by Ed Blackwell, Betty Carter, Tito Puente, Woody Herman, Hampton Hawes, Carmen McRae.

Sheldon Brown (Tenor and Soprano Saxophones, Clarinet) Leader, Sheldon Brown Group. National and international performances at North Sea, Moers, Vancouver, Jazz d’Or Spoleto and SF Jazz Festivals; performed, recorded with Omar Sosa; member of SF’s Club Foot Orchestra, Hemispheres, Clarinet Thing, Realistic Orchestra, Graham Connah Group.

Danny Caron (Guitar) BA in English and Music, Oberlin College and Conservatory; graduate of Howard Roberts Program, Guitar Institute of Technology, Los Angeles; Music Director with pianist/vocalist Charles Brown.

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

Deszon Claiborne (Drums) Recorded, performed with Don Cherry, Ornette Coleman, Bo Didley, Phyllis Hyman, Jay McShann, Michael White, Andy Narell, Alex Acuna, Ray Obiedo, Alphabet Soup, Charles Brown, Dave Ellis, Rodney Franklin; student of Ralph Humphrey, James Levi, Billy Cobham, Richard Peterson, Barry Jekowsky, Kenneth Nash.

Clairdee (Voice/Performance) International performing and recording artist.

Performances include Monterey Jazz Festival, The Jazz Cruise, Playboy Jazz at the Rose Bowl, SFJAZZ Summerfest; performed with Boz Scaggs, Cyrus Chestnut, Bucky Pizzarelli, Dave Frishberg, Red Holloway and others; opened for Count Basie Orchestra, David Sanborn, Etta James; former vocal jazz instructor UC Berkeley Jazz Ensembles and Diablo Valley College; teaching artist for San Francisco Symphony’s “Adventures in Music” and Healdsburg Jazz Festival’s “Operation Jazz Band”; model and voice-over talent for Apple Computers, Bank of America, California State Lottery, Coca-Cola and Discover Channel’s Fit TV. www.clairdee.com

Jennifer Clevinger (Piano)

Trio Paradiso; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.

Rob Ewing (Trombone, Drums, Bass) Jazzschool Academic Program Administrator. Jazzschool Summer Youth Program Director. BA in Religious Studies, Naropa U.; 2 years, Berklee College of Music in Jazz Trombone and Drum Set. Adjudicator for the 2008 Reno Jazz Festival. Leader of Disappear Incompletely — The Radiohead Project. Performances with The Latin Giants of Jazz, Ray Vega, Wayne Wallace, Joe Bagale, The Slip, Kasey Knudsen Sextet, Jazzschool Composers Collective, Contemporary Jazz Orchestra.

Jean Fineberg (Saxophone, Flute)

Jeremy Cohen (Violin). Studied at Sonoma State U. and Brooklyn College. Member, Turtle Island String Quartet 1991–93; founder, Quartet San Francisco; member, Violinjazz Quartet; faculty, Henry Mancini Institute, UCLA; faculty, Stanford Jazz Workshop; student of Anne Crowden, Itzhak Perlman.

M.Ed. in Secondary Education, BS in Science; BA 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.

Stephanie Crawford (Voice)

Kaila Flexer (violin)

BFA, Wayne State U. Studied at Cultural Jazz Center in NYC with Barry Harris and Frank Foster; professor of vocal jazz at Centre D’Informations Musicales in Paris, France; recording and performing artist; recipient of the Django D’Or Award for Best International Jazz Vocal, 1993.

BA in Performance UC Santa Cruz. Recording artist for Compass Records, founder of Klezmer Mania! and Pomegranates and Figs: A Feast of Jewish Music. Half of the duo Teslim, leader of Third Ear, Next Village, Kaila Flexer’s Fieldharmonik, former member of Club Foot Orchestra, Tumbao y Cuerdas, Bay Area Jazz Composer’s Orchestra

BM in Music Composition, U. of Washington, Seattle.

AA in Jazz Studies, Cornish School of Allied Arts, Seattle.

Ann Dyer (Voice) Vocalist, lyricist, composer, international performing and recording artist, yoga instructor. Leader, “Ann Dyer & No Good Time Fairies.” Recordings, Sunnyside, Premonition Records. Studies with Pandit Mukesh, Desai, Shweta Jhaveri, Dhanshree Pandit, Mark Murphy. B.A. in Dance and Psychology, Mills College. www.anndyer.com

Madeline Eastman (Voice) Artist in Residence, Vocal Program. National and international performing and recording artist; developed and heads the Vocal Department, Stanford Jazz Workshop, Stanford U.; Artistic Director, Jazz Camp West; Brubeck Jazz Colony, U. of Pacific; Vocal Clinician, Monterey Jazz Traveling Clinician Program; developed and heads the Voiceshop and Voiceshop Retreats.

Taylor Eigsti (Piano) Artist in Residence, Instrumental Program. Studied music at U. of Southern California. 2-time Grammy nominee; Concord Recording Artist; faculty, Stanford Jazz Workshop since 1999; leader, Taylor Eigsti Group with 5 albums as a leader; featured on BET jazz channel; performed with Ernestine Anderson, Dave Brubeck, Diane Schuur, James Moody, Bobby Hutcherson, Frederica Von Stade, Patti Austin, Christian McBride, Red Holloway, Dave Koz, David Benoit, Rufus Reid, Alan Broadbent; featured on Marian McPartland’s Piano Jazz on NPR; featured in Downbeat, Billboard, Jazziz, Jazz Times, and Keyboard Magazines.

Steve Erquiaga (Guitar) National and international recording and performing 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,

Mimi Fox (Guitar) Advisor, Guitar Program. International recording/performing artist and five-time Downbeat magazine International Critics Poll Winner. Performed throughout Europe, Asia, the Caribbean and Australia. Festivals include Montreal, Monterey, Guinness Cork, Perth and North Wales International Jazz Guitar Festival. Adjunct professor of Jazz Studies at NYU; guest clinician/artist in residence at Alaska Jazz Workshop, Britt Music Festival, Yale U., CalArts, Cornish College of the Arts, U. of Oregon, USC and Berkeley College of Music; featured artist on Marian McPartland’s Piano Jazz on NPR; featured artist, Kennedy Center. Performed with Charlie Byrd, Kenny Burrell, Branford Marsalis, David Sanchez and Diana Krall.

David Frazier (Percussion) BA Humanities with emphasis on Theological Ethnomusicology; AA in Music, New College of California. National and international performing and recording artist.

Juliet Green (Voice) B.Mus. from University of the Pacific; vocalist, lyricist and recording artist; has performed internationally with vocal jazz groups +4db and Vocal Flight; vocalist with A Touch of Brass big band. www.julietgreen.com

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.

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2008 – 2009 Jazzschool Faculty Directory

(continued)

Terri Hinte (Music Publicity)

Orrin Keepnews (Record Production, Jazz History)

Independent publicist whose current clients include the Jazzschool, Dave Holland, Danilo Perez, the Panama Jazz Festival, Bobby Broom, Clifton Anderson, Ed Reed, Anthony Brown and the Asian American Orchestra, the Hot Club of San Francisco, and (since 1978) Sonny Rollins. Served as Fantasy Records’ Director of Press & Public Information for more than 30 years. Recipient of a 2006 “A Team” Award from the Jazz Journalists Association. www.terrihinte.com

Acclaimed jazz record producer and label owner active since the early 1950’s. Produced classic jazz albums by Thelonious Monk, Bill Evans, Cannonball Adderley, Joe Henderson, Sonny Rollins and many others. Co-founder of Riverside Records and Milestone Records. Founder of Landmark Records. Worked as director of jazz A&R at Fantasy Records. Winner of several Grammy awards.

Peter Horvath (Piano) MA, Berklee College of Music; Béla Bartók 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; arranged and recorded for Aretha Franklin.

Erik Jekabson (Trumpet) MA 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. Recorded a solo album “Intersection” on Fresh Sound/New Talent label. Currently teaches at Berkeley City College and Los Medanos College.

Darren Johnston BA in Jazz performance, Cincinnati Conservatory of Music; MA in Composition, Mills College. Has taught for over 15 years. Performed and/or recorded with Fred Frith, Myra Melford, Ben Goldberg, Mark Dresser, ROVA Saxophone Quartet, Marcus Shelby, Brass Menazeri (Balkan brass-band), and many more. Has received commissions to compose for dance companies such as Robert Moses’ Kin, Amy Seiwert’s Im’ij-re, Smuin Ballet, and others. His latest CD : The Edge of the Forest, is now available on Clean Feed Records. He leads the award winning Nice Guy Trio, the Darren Johnston Quintet, and the United Brassworkers Front. In 2007 Darren was mentioned as one of “25 trumpeters for the future,” by Downbeat magazine.

Keith Johnson (Trumpet) Jazzschool Young Musicians Program Director. BA in Music, San Jose State U. (in progress). Director, Jazz Bands, Portola Middle School (2003–06); awards at CMEA Jazz Festival, 2005–06; Santa Cruz Jazz Festival, 2005–06; Folsom Jazz Festival, 2006; Reno Jazz Festival, 2005–06; Vancouver Heritage Music Festival, 2006; NY Heritage Festival, 2007; Lionel Hampton Jazz Festival, 2008 and Monterey Jazz Festival, 2008.

Jennifer Jolly (Piano, Hammond B3) BA in Environmental Science, UC Berkeley. Co-founded Jolly Gibsons, Jolly/Steinkoler Duo; performed with Hot Links, Johnny Harper’s Carnival, Broken Angels; performed, recorded with Phil Lesh, Barbara Dane, David Grisman; faculty, Cazadero Performing Arts Camp.

Bob Karty (Piano) BA in Biology, Reed College. Performing and recording artist; founding member, Orquesta La Moderna Tradición; performs with Candela; performed with Pete Escovedo Orchestra, Ray Obiedo; studied with Art Lande, Mark Levine, Andrew Hill, hucho Valdes.

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

Oliver P. Kent (Guitar) BA in Professional Music, Berklee College of Music; Faculty, Oakland Public Conservatory; Faculty, International School of Music and Fine Arts, Prague Cz; performed at Sonoma Jazz Festival; studied with Mick Goodrick, Mimi Fox, Phil Wilson and others.

KITKA (Vocal Ensemble) A vocal ensemble dedicated to producing concerts, recordings and educational programs that develop new audiences for music rooted in Eastern European women’s vocal traditions. www.kitka.org

Kasey Knudsen (Saxophone) BA in Jazz Composition, Berklee College of Music. Bay Area performer, composer; leader of her own trio and sextet; faculty, Young Musicians Program, UC Berkeley, 2004–06.

Dave LeFebvre (Woodwinds) Associate Director UC Jazz Ensembles 1984–89; performed with Joe Williams and Don Ellis.

Jay W. Lehman (Trumpet) MA in Trumpet Performance, Cal State Hayward, East Bay; BA in Music, UC Davis. California Lifetime Teaching Credential; Chairman, Laney College Music Department; Director, Laney Summer Music Program; performed at the Monterey Jazz Festival and with Don Menza, Bill Watrous; studied with John Cage.

Mark Levine (Piano) BA in Music, Boston U.; national and international performing and recording artist; Grammy Nominee, 2004; author, Jazz Piano Book and Jazz Theory Book (Sher Publications); member, Jazzschool Advisory Board.

Melecio Magdaluyo (Sax, Flute, Clarinet) Teaching in the Bay Area, San Francisco School of the Arts. Performed with Pete Escovedo, John Santos & Machete, Eddie Palmieri. Recording credits include Tito Puente, Wayne Wallace, Bobby Brown and the Whisperers.

Maria Marquez (Voice) B. Mus. in Professional Music, Berklee College of Music.

National and international performer, composer, arranger, educator; studied with Judy Davis; performed with John Santos, Ricardo Peixoto, Omar Sosa, Frank Harris, Wild Mango; music programmer, KRCB FM.

Jeff Marrs (Drums)

Kim Nalley (Voice)

BA and MA in Jazz Performance from The New England Conservatory; works regularly with Marcus Shelby Jazz Orchestra, The Mel Martin Quartet, The “Dynamic” Ms. Faye Carol; has performed with Dr. Lonnie Smith, Marc Cary and George Russell; part time faculty member, Los Medanos College, Diablo Valley College, and UC Berkeley.

Awarded one of the “Ten Most Influential African Americans in the Bay Area”; internationally acclaimed jazz and blues vocalist; actress and owner of Jazz at Pearl’s.

Frank Martin (Piano, Keyboards) Music Director for Narada Michael Walden, Patti Austin, Angela Bofill; Asst. Musical Director, KPIX 5 1985–86; Carnegie Hall appearances with Sting, James Taylor, Elton John; record producer, arranger for Al Jarreau, Turtle Island String Quartet, Angela Bofill, Joey DeFrancesco, Mimi Fox, SoVoSo, Madeline Eastman, Deuce, Tuck & Patti; performed, recorded with John McLaughlin, Buddy Montgomery, Joe Farrell, Dizzy Gillespie, John Handy, Bobby McFerrin, Herbie Hancock, Stanley Jordan, Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves; faculty, UC Berkeley Jazz Ensembles; owner, Hive Recording.

Damien Masterson (Chromatic Harmonica) Univ. of São Paulo and Univ. Livre da Música, São Paulo, Brazil; San Francisco State University. Clinician: SPAH National Harmonica Convention, 2002; touring/recording artist with Charles Brown, E.C. Scott, Ricky Encarnación (Menudo), Kitty Margolis, Ray Obiedo, Spacetime Continuum and more; Hohner and Audix endorsee; 3 solo CDs: www.damienmasterson.com.

Seward McCain (Bass) National and international performing and recording artist. Toured with Vince Guaraldi, Jackie Cain and Roy Kral, Diane Schuur; performed with Ernie Watts, Kenny Barron, Herb Ellis, Jack Sheldon, Richie Cole; performs with Dick Hindman Trio, Cleo Laine, John Dankworth, Mark Murphy.

Adam Messinger (Financial Planning) BA in Economics, UC Berkeley. CFP(R) certificant, a designation awarded by the Certified Financial Planner Board of Standards, Inc.

Curt Moore (Drums) BA in Jazz and Percussion Studies, San Jose State U. Author, Afro-Cuban Drumset DVD Grooves You Can Use; founder, Soul Sauce; on over 100 recordings including Grammy-nominated Bogie with Jackie and Roy; performed with Francisco Aguabella, Count Basie Orchestra, Chuck Berry, Ray Brown, Joyce Cooling, John Clayton, Richard Davis, Pete Escovedo, Bruce Forman, Vic Firth, Mimi Fox, Jimmy Haslip, Jimmy Heath, Andy Narell, Rufus Reed, Wayne Wallace, San Jose Orchestra.

Greg Murai (Piano) BA in Music Composition, San Jose State U. Composer, arranger, performer and recording artist. Directed, Vocal Underground, Oakland Jazz Choir, San Jose State Jazz Singers, San Francisco State Vocal Jazz Ensemble; Composer-in-Residence, Lafayette Orinda Presbyterian Church.

Susan Muscarella (Piano) BA in Music Composition, UC Berkeley. Founder, Director and CEO, Jazzschool Inc.; Chair, Jazzschool Instrumental Program; Director, UC Jazz Ensembles program 1984–89; composer, arranger and recording artist; featured on Marian McPartland’s Piano Jazz on NPR.

Jessica Neighbor (Voice) BA in Theater, UCLA; California Emergency Teaching Credential. Studied with Jane Sharp, Judy Davis, Frank Martin, Steve Seskin, Eve Burges; founder, leader, Jessica Neighbor and the Hoods.

Melanie O’Reilly (Voice) NEW BA in Arts, Brendan Smith Theater Academy, Dublin.

Internationally performing singer-songwriter, bandleader and recording artist; awarded “Best Of the Bay Area”

by East Bay Express in 2007; host of “Jazz on the Bay,” for RTE Radio 1, winner of PPI Radio Award for Music Specialist Program of the Year; chosen as one of Ireland’s foremost jazz ambassadors by Downbeat.

Brian Pardo (Guitar) MA, Mills College. Student of Pat Martino; performed and/or recorded with Jack McDuff, Chuck Israels, Eddie Harris, Stan Getz, Bonnie Raitt, Tom Waits.

Ricardo Peixoto (Guitar) Bio Under Construction

David Pinto (Bass) B.S. in Engineering, Universidad Nacional del Callao, Lima, Peru. Best-known for his work with Afro-Peruvian diva Susana Baca (Grammy award 2002) as bassist, arranger and music director; performed internationally in over 700 world and jazz music festivals; formerly a member of Perujazz, one of the most innovative music groups in the fusion of Peruvian rhythms and jazz. Now a Bay Area resident, he has collaborated with Wayne Wallace on Kat Parra’s CD Azucar de Amor.

Debbie Poryes (Piano) Teaching credential in Jazz Studies, Netherlands. Faculty, two Dutch music conservatories; national and international performing and recording artist (Timeless Records); performed with John Clayton; 25 years private instruction in jazz, classical piano.

Joyce Pricco (Voice) B.Mus in Education, Voice, San Francisco State U.; Certificate of Completion in Multimedia Studies, Diablo Valley College. Bay Area freelance musician, 17 years; performed with Oakland Opera Theater, Opera on the Lawn; private instruction, 20 years.

Jackeline Rago (Cuatro, Afro-Venezuelan Percussion) Multi-instrumentalist, national and international performer, composer, arranger, educator; Music Director, Venezuelan Music Project; awarded CAC Artist In Residence Grant.

Ed Reed (vocalist) Performing artist for over 60 years; released his first CD Ed Reed Sings Love Stories in 2007; and The Song is You in 2008. Appeared on Marian McPartland’s Piano Jazz on NPR; concert and club appearances in the Bay Area, New York and Boston; educator and lecturer for 20 years at Kaiser Hospital and other health care institutions. www. edreedsings.com

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2008 – 2009 Jazzschool Faculty Directory

(continued)

Brian Rice (Percussion)

Dave Scott (Trumpet)

B.M. in Percussion Performance and Ethnomusicology from the Oberlin Conservatory of Music. Studied pandeiro with Luis Guello, Marcos Suzano, Airto, Claudio Bueno and Clarice Magalhaes. Performed with Mike Marshall and Choro Famoso, Jorge Alabe, Wake the Dead, Paulo Sergio Santos, Danilo Brito, Dudu Maia, Regino Jimenez, Paul McCandless, Mike Manring, Dann Zinn Banned, Willie and Lobo, the Santa Rosa Symphony and with the Broadway musical The Lion King.

Percussion instructor at the California Brazil Camp, California Coast Music Camp and the Puget Sound Guitar Workshop. Guest lecturer at Stanford University, Oberlin Conservatory, Queens College and the University of Washington. Founder and directer Samba Seattle, and the Afrocuban Folkloric Collective in Seattle, WA.

MA in Trumpet Performance, U. of Northern Colorado; BA in Instrumental Music, U. of Michigan. National performing and recording artist, jazz, classical idioms; lead trumpet, Contemporary Jazz Orchestra, The Realistic Orchestra, Marcus Shelby Jazz Orchestra; performs with Boz Scaggs, Glide Memorial Church Change Band, Brass Monkey Band; founder of Trumpet Supergroup, Dave Scott Jazz Quartet.

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.

Pamela Rose (Voice) Studied at UC Berkeley. National and international jazz and blues vocalist and recording artist; performed with Merl Saunders, Zasu Pitts Memorial Orchestra, Nate Ginsberg, Tony Stead, Jim Pugh, Montclair Women’s Big Band and Danny Caron; two BAMMIE Award nominations; headliner, Copenhagen Jazz Festival; featured on NPR’s All Things Considered.

Michele Rosewoman (Voice/Performance) International performing and recording artist. Most recent album The Inside Out features Mark Shim and Miguel Zenon. Has performed with Billy Hart, Terri Lyne Carrington, Robin Eubanks, Steve Coleman. Has recorded for Soul Note, Enja, Evidence, Toshiba/EMI and Blue Note. Has appeared at jazz festivals throughout the world, received numerous composition grants, and held teaching positions at NYU, the New School, and Berklee College of Music.

John Santos (Percussion) Multi Grammy nominee (4), percussionist, producer, composer, writer and historian. Founder and director, The Machete Ensemble, 1985-2006. Performed with Dizzy Gillespie, Tito Puente, Cachao, Eddie Palmieri, Max Roach, McCoy Tyner, Steve Turre, Omar Sosa, Pete Escovedo and Linda Tillery.

Anton Schwartz (Saxophone) MS in Computer Science, Stanford U.; National Science Foundation Fellow; BA in Mathematics and Philosophy, Harvard U., magna cum laude, Phi Beta Kappa. Faculty, Stanford Jazz Workshop; clinician, Brubeck Institute; performer, composer and recording artist; headliner, Blue Note, Yoshi’s, Blues Alley and Monterey Jazz Festival; featured artist on NPR’s JazzSet, 2005.

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Ellen Seeling (Trumpet, Flugelhorn) 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.

Rumen Shopov (Balkan and Romani Drums and Percussion) Bulgarian recording and performing artist specializing in contemporary Balkan drum kit styles, as well as the older, more traditional styles of drumming on the dumbek (hand drum), the tupan (double-headed drum), and the defi and daire (frame drum and tambourine).

Adam Shulman (Piano) B.A. in Music, UC Santa Cruz. Studied with Smith Dobson. Performance credits include Marcus Shelby, Eddie Marshall, Stefon Harris, Paula West, Bobby Hutcherson, Willie Jones III, Mike Zilber, Anton Schwartz. www.adamshulman.com

Saul Sierra (Bass) B.Mus. in Performance, Berklee College of Music. Studied with Oscar Stagnaro, Daniel Morris, Jim Stinnet; awarded the U.S. Scholarship Tour and Outstanding Performer; performed with John Santos, Jesus Diaz, Orestes Vilató, Mark Levine, Michael Spiro.

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

Ben Stolorow (Piano) BA in Music, UC Berkeley. Recipient, Hertz Traveling Fellowship from Berkeley to study jazz piano, improvisation in New York with Gary Dial at Manhattan School of Music; studied in New York with James Williams, Stanley Cowell; performed with Joshua Redman.

Victoria Theodore (Piano) MA in Piano Performance, Stanford University, BA in Piano Performance and Computer Music, Oberlin Conservatory of Music, BA in Music History, Oberlin College; graduate of the UC Berkeley Young Musician’s Program; currently keyboardist and background singer for Stevie Wonder; accompanied Stevie Wonder and Tony Bennett on a grand piano in Madison Square Garden during a stop on the 2007 A Wonder Autumn’s Night

Tour; studied with Mark Levine, Bill Bell, Eugene Gash, Sedmara Zakarian Rutstein, Janice Maxie-Reid.

Marc van Wageningen (Bass) active studio and touring bassist. Member of the house band for ABC’s “The One”, VH1’s “But Can They Sing”, and “The Wayne Brady Show”. Toured with Tower of Power, Sheila E., Pete Escovedo. Recorded with Steve Winwood, Sheila E., David Garibaldi, and many others.

Wayne Wallace (Trombone) BA in Music Performance, San Francisco State U. (in progress). National and international performing artist, composer, arranger, educator; faculty, San Francisco State U., Stanford Jazz Workshop, San Jose State U., UC Berkeley, Jazz Camp West; grants, N.E.A., Zellerbach Foundation, San Francisco Arts Commission, Creative Work Fund; recording artist, producer, arranger for Angela Bofill, Celine Dion, Con Funk Shun, Pete Escovedo, Chris Isaak, Santana, Sister Sledge; performed with George Duke, Joe Henderson Big Band, Earl “Fatha” Hines, Bobby Hutcherson, Irakere, Dr. John, Eartha Kitt, Gladys Knight, Patti LaBelle, Tito Puente, John Santos and the Machete Ensemble, Sonny Rollins, The Temptations, James Taylor, McCoy Tyner Big Band, Los Van Van, Tony Williams, Dionne Warwick, Stevie Winwood, Stevie Wonder. Member, Jazzschool Advisory Board.

Jeanne Walpole (Piano) MA in Music Theory, San Francisco State U.; MA (in progress), Manhattan School of Music; BA, Smith College: studied with Dick Hindman 1990–2003; Pianist, Nordstrom.

Marty Wehner (Trombone) BA in Music, Berklee College of Music (in progress).

Grammy Award (Carlos Santana); performed with Dizzy Gillespie, Benny Carter, Jimmy Knepper, Joe Henderson, Phil Woods, Carla Bley, Don Byron, Gatemouth Brown, Dr. John; faculty, UC Jazz Ensembles, Berkeley High School.

Katherine Westine (Piano) Post-graduate studies in Early Music, Norddeutsche Orgelakademie, Bremen, Germany; MA in Organ Performance, Lone Mountain College, San Francisco; BA in Music History, U. of Washington, Seattle. Co-producer, Florio Street Concerts.

Michael Wilcox (Electric Bass) Adjunct Faculty, San Jose State U., clinician, Up With People, U. of Arizona, Pima Community College, Young Audiences of Arizona, SWR amplification, Tobias Guitars; published articles in Bass Player, Acoustic Guitar magazines; performed, recorded with Jazz Caliente, Sheldon Brown, Dave Creamer, The Fifth Dimension, Jerry Lee Lewis, Oakland East Bay Symphony.

Faith Winthrop (Voice) Singer, songwriter, recording artist and educator; student of Clara Shear, Boston Conservatory. Performed as house singer at SF’s hungry i, NY’s Village Vanguard; international appearances include Paris, Sydney and Rio; Founding Director, Glide Memorial’s Soulful Glide Ensemble; students include Al Jarreau, Ben Vereen, Holly Near, Madeline Eastman, LaVay Smith, Jacqui Naylor and Paula West; faculty member, Mills College and San Francisco of Conservatory of Music.

John Yi (Saxophone, Bass) MA in Composition, Interdisciplinary Computer Science, Mills College (in progress); BA in music, UC Berkeley.

Performed with Fatty Boom Boom, President’s Breakfast, Francisco Aguabella.

Dan Zemelman (Piano) BA in Spanish, U. of Wisconsin, Madison; studied at UW with Richard Davis and in Chicago with Michael Kocour, Alan Swain, and Annabelle Leviton; performed/recorded with Richard Davis, John Lee Hooker, Marcus Shelby and Adam Theis; awarded 1998 Jazz Ambassador tour through the US State Dept in India/Sri Lanka; performances at Kennedy Center for the Performing Arts and Fillmore and San Jose Jazz Festivals.

Michael Zilber (Saxophones)

Barry Warren (Voice) Barry has been creating lyrics for jazz instrumental compositions for over 30 years. He holds a Masters degree in English language and literature from the University of Chicago. In addition to writing lyrics, he has performed in and created arrangements for several vocal jazz groups. Currently he performs as a solo vocalist, with a repertoire that includes many of his own creations in addition to intriguing gems of the songwriters’ art from the standard repertoire and beyond.

Ph.D. in Composition, NYU; MM in Composition, Tufts U.; B.Mus. in Composition, New England Conservatory.

National and international performing and recording artist, composer, arranger, educator; performed with Dizzy Gillespie, Sonny Stitt, Dave Liebman, Miroslav Vitous, Bob Berg, Eddie Henderson, Fareed Haque, Geoffrey Keezer, Donald Harrison, John Handy, Dave Douglas, Rachel Z, James Genus, Narada Michael Walden, Barry Finnerty, Steve Smith, Bruce Barth.

Jazzschool Concert and Workshop Sponsorship Opportunities SUPPORT YOUR FAVORITE ARTIST! If you would like to add your name to the list of those who support the Jazzschool’s concert and workshop series, please call the Jazzschool at 510.845.5373 for more information.

Your gifts make these special events possible. Thank you!

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JAZZSCHOOL CLASS PLANNER

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Advanced High School Jazz Workshop III . . . . . . . . . . . . . . . . . . . . . . . 4:45 – 6:15 pm, see p. 30 Jazz Piano for Young Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:30 – 6 pm, see p. 32 Eastern European Songs and Vocal Techniques . . . . . . . . . . . . . . . . . . 4:45 – 6:15 pm, see p. 43 Piano Trio — Section I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 – 6:30 pm, see p. 16 Advanced High School Jazz Workshop II . . . . . . . . . . . . . . . . . . . . . . . . . . 5:30 – 7 pm, see p. 30 Advanced High School Jazz Workshop I . . . . . . . . . . . . . . . . . . . . . . . . . . 5:30 – 7 pm, see p. 30 A Modern Approach to Singing Latin Standards . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 43 The Music of Steely Dan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see. p.18 Flying Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 20 Drum Set Technique for Beginners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 12 Bebop Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 24 The Piano Trio — Section II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:45 – 8:15 pm, see p. 16 Advanced High School “Studio Band” A . . . . . . . . . . . . . . . . . . . . . . . . 7:15 – 9:15 pm, see p. 31 Advanced Jazz Drumming Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 – 9:30 pm, see p. 12 Songwriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 12 Rock & Funk Drumming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 12 Balkan and Romani (“Gypsy”) Rhythms . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 13 The Piano Trio — Section III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:30 – 10 pm, see p. 16 Jazz Outside The Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 15 Basics of Music Publicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 11

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McCain Jazz Ensemble I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:30 – 6 pm, see p. 14 New Orleans R&B Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:45 – 6:15 pm, see p. 24 Vocal Technique with Raz Kennedy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:45 – 6:15 pm, see p. 40 Beginning Bass Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 10 Organ Trio Plus Horns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:45 – 6:15 pm, see p. 15 Brazilian Ensemble — Section I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 – 7:30 pm, see p. 17 Vocal Improvisation 101 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 40 Improvising 8th Note Lines I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 26 McCain Jazz Ensemble II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 14 Blues Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 23 Blues Vocal Funshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 41 Jazz Bass Lines and Soloing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 10 Salsa Workshop I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 17 Brazilian Ensemble — Section II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7:45 – 9:15 pm, see p. 17 Improvising 8th Note Lines II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 26 McCain Jazz Ensemble III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 14 Salsa Workshop II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 17 68

The Improvisational Singer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 42 Pardo Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 15 Afro–Venezuelan Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:15 – 9:45 pm, see p. 13

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Middle School Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 – 5:30 pm, see p. 30 Advanced Middle School Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . .4 – 5:30 pm, see p. 30 High School Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4:30 – 6pm, see p. 30 Latin Drum Set Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4:45 – 6:15 pm, see p. 12 Brazilian Ensemble — Section III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 – 7:30 pm, see p. 17 Jazz Guitar I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 – 7 pm, see p. 20 The Creative Jazz Singer I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 42 Stick Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 12 Modal, Fusion, and Other Post Bebop Jazz Styles . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 16 Jazz Piano I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 23 Introduction to Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 25 Party Dance Band! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 18 Jazz Guitar II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7:15 – 8:15 pm, see p. 20 Brazilian Ensemble — Section IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7:45 – 9:15 pm, see p. 17 The Creative Jazz Singer II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 42 Miles Davis/Wayne Shorter Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 16 Jazz Drum Set Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 12 Salsa Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 25 Bebop Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 14 Beginning Theory & Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 26 Coltrane for Guitarists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:30 – 10 pm, see p. 20

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Vocal Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10:15 – 11:45 am, see p. 40 Brazilian Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12:30 – 2 pm, see p. 17 Middle School Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 – 5:30 pm, see p. 30 Intermediate Bass Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4:45 – 6:15 pm, see p. 10 Vocal Training for Young Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . .4:45 – 6:15 pm, see p. 32 Afro–Cuban Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4:45 – 6:15 pm, see p. 13 Beginning Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5:45 – 7:45 pm, see p. 14 Pandeiro and MORE! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 14 Jazz Standards for Gigs — Section I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 14 Hard Bop Boot Camp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 16 Pop Singing Technique Class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30 – 8 pm, see p. 40 Arranging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 11 Stevie Wonder Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 18 69

T

H U R S D A Y (CONTINUED)

Guitar Comping Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6:30 – 8 pm, see p. 20 Music of the Masters — Section I . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 14 Afro Cuban Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 17 Funky Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 24 The Music of Sting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 18 Thursday Night Big Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 10:15 pm, see p. 16 Introduction to Brazilian Rhythms . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 13 Soul Jazz, Gospel, & Blues Sampler . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 42 Vocal Jazz Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8:15 – 9:45 pm, see p. 43

F

R I D A Y

Jazz Piano II — Section I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11:30 am – 1 pm, see p. 24 Brazilian Ensemble — Section V . . . . . . . . . . . . . . . . . . . . . . . . . . 10:30 am – 12 noon, see p. 17 Piano for Seniors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:15 am – 12:15 pm, see p. 23 Brazilian Ensemble — Section VII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 – 2:30 pm, see p. 17 Advanced High School Big Band “Studio Band” B . . . . . . . . . . . . . . . . 4:45 – 6:45 pm, see p. 31

S

A T U R D A Y

Afro-Peruvian Music Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 11:30 am see p. 19 Balkan Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 – 11:30 am, see p. 19 Beginning Guitar for Adults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 – 11:30 am, see p. 19 Piano I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 – 11:30 am, see p. 23 For the Love of Singing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 – 11:30 am, see p. 41 High School Funk Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 – 11:30 am, see p. 30 Middle School Big Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 – 11:30 am, see p. 31 Vocal Jazz Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:45 am – 1:15 pm, see p. 40 High School Big Band — “Lab Band” . . . . . . . . . . . . . . . . . . . . . .11:45 am – 1:15 pm, see p. 31 4–way Coordination for Drum Set . . . . . . . . . . . . . . . . . . . . . . . . .11:45 am – 1:15 pm, see p. 13 Chromatic Harmonica 101 — Section I (beg) . . . . . . . . . . . . . . . .11:45 am – 1:15 pm, see p. 21 Blues and Swing Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:45 – 1:15 pm, see p. 19 Piano II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:45 am – 1:15 pm, see p. 23 Jazz Piano II — Section II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11:45 am – 1:15 pm, see p. 24 Jazz Standards for Gigs — Section II . . . . . . . . . . . . . . . . . . . . . .11:45 am – 1:15 pm, see p. 14 Music of the Masters — Section II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:30 – 3pm, see p. 14 Blues and Groove Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:30 – 3 pm, see p. 15

Jazzschool Student Performances Please visit www.jazzschool.com for an updated schedule of concerts 70

Piano III: Applied Keyboard Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:30 – 3 pm, see p. 23 Harmonica Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:30 – 3 pm, see p. 22 Jazz Theory & Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:30 – 3 pm, see p. 26 Solo Jazz Piano Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1:30 - 3 pm, see p. 24 Beg. Guitar for Young Musicians — Section I (Middle School) . . . . . . .3:15 – 4:15 pm, see p. 19 Chromatic Harmonica 101 — Section II (int/adv) . . . . . . . . . . . . . . . . .3:15 – 4:45 pm, see p. 21 Jazz Piano I — Section II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3:15 – 4:45 pm, see p. 23 Creative and Compositional Approaches to Practicing Jazz . . . . . . . . . 3:15 – 4:45 pm, see p. 27 The Contemporary Bassist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:30 – 5 pm, see p. 10 Saturday Night Big Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 – 5:30 pm, see p. 17 Beg. Guitar for Young Musicians — Section II (High School) . . . . . . . 4:30 – 5:30 pm, see p. 19

S

U N D A Y

Jazz Record Production with Orrin Keepnews . . . . . . . . . . . . . . . . . . . Noon – 1:30 pm, see p.11 Power Vocals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Noon – 1:30 pm, see p. 40 Musician, Singer, Artist, Storyteller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12:30 – 2 pm, see p. 41 Orrin Keepnews presents: Great artists I have known and worked with . . . . . . . . . . . . . . . . . . . . . . . 2 – 3:30 pm, see p. 22 The Art of Jazz Singing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:30 – 4 pm, see p. 41

Special Class Discount for Jazzschool Students Spring 2009!

Register for one class at the Jazzschool and receive 10% off all additional classes of equal or lesser value. (Workshops not included.)

Hurry, offer ends March 30th!

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IMPORTANT

To Apply for the SPRING 2009 Quarter: PLEASE READ THE FOLLOWING INSTRUCTIONS BEFORE SUBMITTING YOUR APPLICATION

To register for Jazzschool classes with no prerequisite or for Jazzschool workshops, please complete the application on page 73 and submit it along with full tuition plus a non-refundable quarterly registration fee of $25. Students may register by phone, mail, fax, or in person. Enrollment is based on a first-come, first-served basis and cannot be guaranteed without full payment. Students applying for classes that are full may be placed on a waiting list. The Jazzschool accepts checks (made payable to the Jazzschool), cash, VISA or MASTERCARD. To register for Jazzschool performance ensembles, or any class that has a prerequisite, please call the Jazzschool at 510.845.5373 for assistance with placement.

PLACEMENT AUDITIONS FOR PERFORMANCE ENSEMBLES Admission into performance ensembles is based on a placement audition or telephone consultation. Please see calendar for audition periods. Please call the Jazzschool to schedule an appointment.

Performance ensembles are open to students of all ages and all levels. Admission is based on a confidential, friendly 20-minute placement audition or telephone consultation 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 note: With the exception of the fall quarter, students previously enrolled in a performance ensemble have the option of reenrolling in that same class 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 “first-

come, first-served,” “parts-available” basis.

Please note: All classes begin on time!

JAZZSCHOOL FACULTY AND CLASS SCHEDULES Given prestigious national and international performance and/or lecture opportunities that arise, Jazzschool faculty, class offerings and/or class schedules may be subject to change. The Jazzschool makes every effort to provide its students with the optimal educational experience possible under these or any other circumstances at all times.

REFUND POLICY Registration fee and first class tuition are non-refundable. The deadline for dropping a class is 48 hours after the first class meeting. Refunds for remaining tuition are not available after the 48-hour drop deadline. Registration fee and tuition for workshops are nonrefundable. No exceptions please!

Please note: Refunds may take up to 30 days to process.

T h e Ja z z s c ho ol , 2 0 8 7 A d d i s o n S t r e e t , B e r k e l e y , C A 9 4 7 0 4 phone: 510.845.5373 fax: 510.841.5373

e-mail: swing@jazzschool.com website: www.jazzschool.com

Thank You KCSM FM 91!!

The Jazzschool faculty, staff and students wish to extend a heartfelt thanks to the entire staff at radio station KCSM FM 91 for all of your generous support in helping to “keep jazz alive” at the Jazzschool and in the San Francisco Bay Area.

72

JAZZSCHOOL — SPRING 2009 QUARTER APPLICATION APRIL 6 — JUNE 23 Please read instructions on facing page before completing application form.

NAME (PLEASE PRINT) ADDRESS CITY/STATE

STREET PHONE – HOME PHONE – CELL

( ____ )

PHONE – WORK

( ____ )

INSTRUMENTALIST

—

( ____ )

E-MAIL

—

LIST INSTRUMENT(S) PLAYED AND YEARS STUDIED/PERFORMED:

_____________________( VOCALIST

ZIP

)

_____________________(

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 FIRST AT 510.845.5373 (TEL); 510.841.5373 (FAX)

Please enclose full tuition costs for all classes plus a non-refundable $25 registration fee.

Please note: Enrollment cannot be guaranteed without full payment.

____ VISA

Please charge my tuition to:

____ MasterCard

Card #_______________________________________________ Exp. Date ________________ Signature of Cardholder _____________________________________________________ Name as it Appears on Card __________________________________________________

24

College Ave Telegraph Ave

87

20

UC Campus

Fulton

Ashby

Channing

Durant

Bancroft

Kittredge

Allston

Center

Addison

University Avenue

P

Sacramento 580/80

580

Shattuck Ave BART

San Pablo Ave

THE JAZZSCHOOL: 2087 ADDISON ST. (ENTRANCE JUST WEST OF SHATTUCK)

E S

N W

73

JAZZSCHOOL PROGRAM & ADMINISTRATIVE STAFF

Sherie Friedlander

Terri Hinte

Assistant, Brazilian Studies Program

Public Relations

Susan Muscarella

Sheryl Lynn Thomas

Rob Ewing

Ambrose Akinmusire Madeline Eastman Taylor Eigsti

Academic Program Administrator

Artists in Residence

Business Manager

Josh Brandt-Young

Mark Faicol, Gary Johnson, David Wozniak, Tamar Sella

Executive Director

General Manager

Laurie Antonioli

Administrative Assistants

Vocal Program Director

Michael Zisman

Keith Johnson

Organization Consultant

Young Musicians Program Director

Connie Woods

Anthony Brown

Volunteer Coordinator

Jazz Languages Residency Program

Sue Fischer Grant Writing & Development

Marketing Director

Bill Aron Laurie Miller Finance Officer

Lee Brenkman Sound Technician

Robert Soper Piano Technician

Dean Muench Manager, The Bassment

Jesse Rimler Admin. Assistant/Receptionist

Kristine Seinsch

Jazzschool Board of Directors

Owner, Jazzcaffè

Poulson Gluck Design

Susan Brand (Director and Chair of the Board), Ed.D. Clinical Psychologist

Graphic Design

James Ellis (Director), Branch Manager, University Branch Center, Wells Fargo

Hali McGrath

Jerry Fiddler (Director), Wind River Systems

Staff Photographer

Sherie Friedlander (Director), Sherie Friedlander Insurance Agency Sy Grossman (Director, Assistant Secretary), Chief of Gastroenterology, Oakland Kaiser Permanente, retired

LaSandra Hunt (Director), Financial Specialist, Wachovia Bank Tyler Johnston (Director), Executive Vice President, Marketing, Dreyer’s Grand Ice Cream, Inc.

James J. Keefe (Director), President and Owner, BCC Corporation Bertram Lubin, M.D. (Director), Senior Vice President, Director of Medical Research, Childrens Hospital Oakland Research Institute

Richard A. Lyons (Director, Secretary), Partner, Wendel, Rosen, Black & Dean, LLP, Attorneys at Law

Susan Muscarella (President), Pianist/Composer/Arranger, and Founder and Director, the Jazzschool

Larry Marcus (Director), Managing Director, Walden Venture Capital Amy Orton (Director and CFO), Attorney at Law, inactive John Papini (Director), Real Estate Investor Gregg Perloff (Director), Founder and CEO, Another Planet Entertainment Walter Riley (Director), Attorney at Law M. David Sherrill (Director), Sherrill, Seybolt & Meizels Private Wealth Group of Wachovia Securities

Michael Zaninovich (Director), Vice President/Senior Investment Manager, Wells Fargo

*Vaughan Johnson (Director), M.A.T., M.D., F.A.C.S., Emeritus

Advisory Board Dave Brubeck Tom Carr Carole Davis Paula Forney Benny Green Charles Hamilton Richard Hindman Stacey Hoffman Mark Levine Eddie Marshall Marian McPartland Patricia Phillips David Ring Jayne Sanchez Chuck Sher Bud Spangler Merrilee Trost Wayne Wallace Peter Williams

*Denny Abrams (Director), Partner, Abrams-Millikan Design Construction Development, Emeritus

*Danny Scher (Director), President, Dansun Productions, Vice President Bill Graham Presents, retired, Emeritus 74

GREEN BUSINESS PROGRAM

Spring09_Cov

2/18/09

3:19 PM

Page 75

REAL BOOKS

A Unique Collection of Offerings for . . .

Sher New Real Book, Volume 1, 2, 3 Sher Real Easy Book, Volume 1, 2, 3 Real Book, Volume 1, 2, 3 Vocal Real Book, Volume 1 and 2 Standards Real Book Latin Real Book Best of Sher Music Real Books All-Jazz Real Book “Mini” Real Books

MUSICIANS

JAZZ EDUCATION AND METHODS

THEORY AND IMPROVISATION TEXTS

Mark Levine Hal Crook Dan Haerle

David Baker Jerry Bergonzi Scott Reeves

SCALES, PATTERNS, AND EXERCISES

Jerry Coker David Liebman

Oliver Nelson Nicolas Slonimsky

BOOKS — RARE, FIRST EDITIONS

Music is My Mistress, Duke Ellington Tonight at Noon, Sue Graham Mingus Good Morning Blues, Count Basie Bird Lives!, Ross Russell

Coltrane — The Story of a Sound, Ben Ratliff Lush Life, David Hajdu Moving to Higher Ground, Wynton Marsalis Raise Up Off Me, Hampton Hawes Oxford Companion to Jazz Stompin' the Blues, Albert Murray POETRY, HISTORY, AND CRITICISM

Al Young Quincy Troupe Ishmael Reed

Clarence Major Gene Lees Gary Giddins

CDS AND DVDS

Jazz Icons Series Large Selection of Fantasy, Riverside, Prestige releases Faculty, Clinicians, and Local artists PHOTOGRAPHY AND FINE ART

(exhibit changes quarterly) James Knox Lee Tanner Barry Ebner

Jim Stipovich David Belove

JAZZSCHOOL BOOKS & RECORDS

BOOKS — NEW AND USED

the bassment

Jazz Piano Book, Mark Levine Guitar Arpeggio Studies, Mimi Fox Latin Bass Book, Oscar Stagnaro

STUDENTS TEACHERS COLLECTORS

510 845-5373 EXT. 6 bassment@ jazzschool.com