Jazzschool Winter 2018 Catalog by Sheryl Lynn Thomas

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

CLASSES • WORKSHOPS • CONCERTS

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azzschool

2018 WINTER CATALOG

An Open Letter from Susan Muscarella to Our Jazzschool Friends:

I am writing to share my gratitude for all that you have done to help make the California Jazz Conservatory all that it has become today: the only independent, accredited school in America completely devoted to the study and performance of jazz. This fall, as we celebrate our 20th anniversary and the opening of our new Fiddler Annex, I am asking for your support in moving us into our third decade. While the advent of Fiddler Annex brings added opportunities for our future, it also brings significant added costs. With your help, Fiddler Annex will soon house state-of-the-art classrooms, practice rooms, a library, a student lounge and our new performance space, Rendon Hall. When you add the cost of finishing Fiddler Annex to our continuing and growing operating costs, you’ll understand that now, more than ever, we need your financial support. Please play your part in our future by making a generous contribution, so that we can continue to provide the highest level of jazz education and performance to our community and beyond. You can make your tax-deductible contribution: • Online (cjc.edu/PAP) • By Mail (CJC, 2087 Addison Street, Berkeley, CA 94704) • By Contacting Development Associate Mary D’Orazi (mary @ cjc.edu or 510.845.5373 ext. 19) On behalf of the California Jazz Conservatory family, I cannot thank you enough for your generosity! Yours in jazz,

Susan Muscarella, President and Dean of Instruction

Welcome to our third decade of teaching you jazz! We're celebrating the 20th anniversary of the Jazzschool, 20 years of successfully teaching jazz to people of all ages, at all levels of ability. Turn the page for a quick guide to what's inside, then check out our classes, workshops and concerts for winter 2018, starting on page 8. You can get all the latest news from the Jazzschool and the California Jazz Conservatory by signing up for our e-newsletter at cjc.edu. Or, feel free to call us at 510.845.5373 if you have any questions.

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Welcome to our third decade of teaching you jazz and enjoy this winter at the Jazzschool!

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

Over 150 opportunities to learn jazz are in your hands right now! Welcome to our Winter 2018 Jazzschool Catalog, where you'll find more than 20 Adult Performance Ensembles, 60 Classes, 35 Workshops, 35 Concerts and more. . .over 150 opportunities for you to learn jazz at the Jazzschool, many of them brand new this winter! Here's a quick guide to what's inside:

If you're looking for...

See...

An Application Form

Page 70

Adult Performance Ensembles

Page 8

Adult Instrumental Classes

Page 14

Women's Jazz & Blues Camp

Page 23

Theory, Improv, Composition

Page 24

Adult Vocal Classes

Page 26

Young Musician's Program

Page 37

CJC Degree Programs

Page 40

Summer Camps & Intensives Preview

Page 43

Workshops

Page 45

CJC Concert Series

Page 60

School Closure

Faculty

Page 62

MLK Jr. Day, January 15

Board of Directors / Staff

Page 69

Map

Page 7 1

How You Can Help

Page 72

Winter Performance Series

Donors

cjc.edu

March 20 – 29

Everything Else

cjc.edu

New Classes / Workshops

The Jazzschool Winter 2018 Calendar 2018 Jazzschool Winter Quarter January 8 – March 19

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Heads up! Many opportunities fill early, so sign up soon. If you're not sure which class or workshop is right for you, please contact us for guidance. We're here to help! Susan Muscarella, President and Dean of Instruction susan@cjc.edu Rob Ewing, Director, Jazzschool rob@cjc.edu Laurie Antonioli, Chair, Vocal Program laurie@cjc.edu Erik Jekabson, Director, Jazzschool Young Musicians Program erik@cjc.edu 510.845.5373

SUSAN MUSCARELLA

ERIK JEKABSON

LAURIE ANTONIOLI

ROB EWING

Contents INTRODUCTION Calendar The California Jazz Conservatory The Jazzschool

2 4 6

ADULT PERFORMANCE ENSEMBLES Jazz Latin Brazilian Blues World Funk

8 12 12 13 13 13

ADULT INSTRUMENTAL CLASSES Piano and Keyboards Guitar Harmonica Bass Drums and Percussion

14 16 18 19 20

WOMEN'S JAZZ & BLUES CAMP Jazz & Blues Camp Info

THEORY, IMPROVISATION, COMPOSITION Theory and Improvisation Composition

24 24

ADULT VOCAL CLASSES Vocal Technique Performance Young Singers Vocal Mentor Program Vocal Workshops

24 24 31 33 45

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

JAZZSCHOOL YOUNG MUSICIANS PROGRAM Introduction Program Requirements Placement and Audition Requirements Instrumental Ensembles Voice Summer Camps & Intensives Preview

37 37 38 39 42 43

WORKSHOPS Health Music Technology Vocal World Guitar Theory and Improvisation

45 45 45 46 47 50

WORKSHOPS SERIES Contemporary Jazz Improvisation Improvising on Jazz Standards Guitar Master Class Series Drum Set Master Class Series

52 54 56 58

CJC Concert Series

Jazzschool Faculty

Board and Staff

Instructions and Application Form

Map

How You Can Help

Inside Front Cover and Page 72

WINTER 2018 CATALOG PRODUCTION Cover

Jesse Rimler, illustration

Design

Poulson Gluck Design

Editorial

Rob Ewing, Laurie Antonioli, Paul Fingerote

Photography

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

Photo research

Sheryl Lynn Thomas

Printing

FolgerGraphics

The California Jazz Conservatory The California Jazz Conservatory is the only independent, accredited school in America completely devoted to the study and performance of jazz. The California Jazz Conservatory honors the contributions of past masters and promotes artistic innovation, bringing together a diverse music community to develop practical skills, acquire artistic sensibility, realize creative potential and find artistic voice. Founded as the Jazzschool in 1997 and accredited by the National Association of Schools of Music in 2009, the California Jazz Conservatory offers two distinct education programs: The California Jazz Conservatory, a postsecondary degree-granting program; and the Jazzschool, a non-degreegranting community education program.

â&#x20AC;˘ The California Jazz Conservatory offers the aspiring professional jazz musician a 4-year Bachelor of Music degree in Jazz Studies with optional concentrations in Brazilian Jazz, Audio Production and North American Roots Music; Our 2-year Associate of Arts degree in Jazz Studies offers the same effective faculty, teaching the same 100% jazz relevant courses at half the cost and half the time commitment; â&#x20AC;˘ The Jazzschool offers long-term Classes, short-term Workshops, and one- and two-week Camps and Intensives for youths and adults. In addition, the California Jazz Conservatory's year-round CJC Concert Series offers a wide array of performances by students and professionals in our intimate concert venues, both open to the public.

The Conservatory houses a popular JazzcaffĂ¨, offering light fare and a range of beers, wines and other beverages year-round. The CJC Bookstore, adjacent to the JazzcaffĂ¨, offers jazz-related reading and listening materials with books, recordings, videos and accessories available to students, faculty and visitors throughout the year. Located in the heart of Berkeley's vibrant Downtown Arts District, the California Jazz Conservatory campus is easily accessible by car and public transportation. The downtown Berkeley BART station and AC Transit bus stops are located within a block of campus. Public parking is available in nearby garages, in addition to metered street parking available throughout the neighborhood.

The Jazzschool The Jazzschool is the California Jazz Conservatory's community music school, serving students of all ages and levels for over 20 years. The Jazzschool offers instrumentalists and vocalists long-term Performance Ensembles/Classes, as well as short-term Workshops, Camps and Intensives throughout the year, including: * Adult instrumental and vocal Performance Ensembles/Classes in fall, winter and spring (10 weeks), and summer (6 weeks); * Short-term Workshops on weekends throughout the year; * Youth instrumental and vocal Perforâ&#x20AC;&#x201C; mance Ensembles in fall, winter, spring (10 weeks) and summer (6 weeks); * Youth instrumental and vocal Summer Camps and Intensives in summer (1 â&#x20AC;&#x201C; 2 weeks); * Adult instrumental and vocal Camps and Intensives throughout the year (1 week).

Instrumental Classes Jazzschool instrumental classes provide study of a specific instrument in a group setting. Classes are available for saxophone, harmonica, piano/keyboard, guitar, bass and drums/percussion. Instruction is available for beginners (covering basic technique and instrumental skills) and also for more advanced players (focused on jazz style, harmony, improvisation and more). Vocal Classes Jazzschool vocal classes provide an opportunity for singers at all levels to improve style and technique in a group setting. Performance classes are offered in jazz, Latin, blues, R&B and pop genres. Beginners, singers returning to music, and more advanced vocalists can all find classes appropriate for their interests. Theory, Improvisation and Composition The Jazzschool offers a number of classes covering areas of theory, improvisation, ear training, composition and arranging, music production, music business and more.

Ensembles and Classes (Audition required for Ensembles) The Jazzschool offers a wide range of long-term Performance Ensembles and Classes for beginning, intermediate and advanced instrumentalists and vocalists. Ensembles focus on a wide range of styles including, but not limited to jazz, blues, funk, Afro-Caribbean and South American music. Classes include instrumental and vocal technique, music theory, jazz improvisation and more. Workshops (No audition required) The Jazzschool offers a variety of short-term Workshops throughout the year, available in single sessions or as a series. Workshops are taught by professional artists/educators and focus on specific approaches to strengthening technical ability, understanding and applying theoretical concepts to improvisation, and enhancing live performance skills, in addition to other jazz-related topics. Jazzschool Young Musicians Program (Placement audition required) The Jazzschool Young Musicians Program offers a range of classes for middle and high school students. Young Musicians Program ensembles are available for beginning, intermediate and advanced instrumentalists. The program includes small groups focused on improvisation, and big bands that delve into style and repertoire. Vocal performance classes are also available. Jazzschool Young Musicians Program ensembles have repeatedly been honored in the DownBeat Magazine student music awards and at prestigious jazz festivals, both here and abroad.

Camps and Intensives (Audition required) The Jazzschool offers Camps and Intensives in the spring and summer in one- and two-week sessions for adult and youth instrumentalists and vocalists at all levels. Faculty Jazzschool classes, ensembles, workshops, camps, intensives and other programs are led by a distinguished faculty of professional musicians who have played with some of the music worldâ&#x20AC;&#x2122;s biggest names. More importantly, our faculty consists of musicians and vocalists who excel in education, with a focus on teaching students not just how to play, but how to perform, transforming talented musicians into recognized artists. Enrollment Jazzschool class size is limited and many classes â&#x20AC;&#x201D; available on a first-come, firstserved basis â&#x20AC;&#x201D; fill up quickly. We encourage you to register early and guarantee your spot! You can enroll online at cjc.edu or call 510.845.5373. An application form also appears on page 71.

Adult Performance Ensembles Jazzschool Performance Ensembles delve into a wide range of styles including jazz (standards, hard bop, post-bop, fusion), Latin jazz, Brazilian, blues, R&B and funk. Ensembles are available for instrumentalists and vocalists at the beginning, intermediate  and advanced levels. Groups range in size from the trio to the big band. A placement audition is required for all Performance Ensembles.

JAZZ BEGINNING JAZZ ENSEMBLE Put theory into practice by learning jazz standards, while developing improvisation and ensemble skills. For all instruments. Prerequisites: knowledge of basic jazz theory and ability to keep time and read music. Section I: Mondays 6:30 – 8 pm Section II: Mondays 8:15 – 9:45 pm 1/8 – 3/19 (10 weeks) no class 1/15 Steve Erquiaga • $395 Section III: Thursdays 6:30 – 8 pm 1/1 1 – 3/15 (10 weeks) Rob Ewing • $395

JAZZ STANDARDS FOR GIGS Auditions Students are placed in Performance Ensembles by audition and require– ments may include the following: Playing selected scales; playing and/ or improvising over a piece of your choice; improvising over a 12-bar blues or other pieces provided at the audition; and sight-reading. Drummers are asked to play various grooves and solo; bassists are asked to play bass lines. For more information please contact Jazzschool Director Rob Ewing at rob@cjc.edu or 510.845.5373 x14. You can schedule an audition online at cjc.edu.

Develop the skills and repertoire needed for typical jazz gigs through the study and performance of common jazz styles including swing, bossa, jazz waltz and ballads. Instructor covers repertoire, essential arranging concepts (intros, endings, etc.), relevant jazz harmony and tips for soloing. Prerequisites: knowledge of basic jazz theory and ability to keep time and read music. Some previous ensemble experience. Section I: Thursdays 6:30 – 8 pm 1/1 1 – 3/15 (10 weeks) Section II: Saturdays 10 – 11:30 am Section III: Saturdays 11:45 am – 1:15 pm Section IV: Saturdays 1:30 – 3 pm 1/13 – 3/17 (10 weeks) Glenn Richman • $395

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

2018 Winter Quarter / January 8 – March 19 / cjc.edu

DAVE SCOTT JAZZ ENSEMBLE

MUSIC OF THE MASTERS

A small jazz ensemble (rhythm section and horns) focusing on standards and jazz tunes with custom arrangements by the instructor.

Dig into the music of John Coltrane, Thelonious Monk, Wayne Shorter and other jazz masters. Learn and internalize a variety of essential grooves while developing improvisation skills through the rehearsal of challenging repertoire.

Thursdays 4:30 – 6 pm 1/11 – 3/15 (10 weeks) Dave Len Scott • $395

HARD BOP ENSEMBLE Study and perform music melding bebop with R&B, gospel and the blues as developed by mid-century masters including Horace Silver, Art Blakey, Cannonball Adderley, Miles Davis, Jimmy Smith and others. Thursdays 6:30 – 8 pm 1/11 – 3/15 (10 weeks) Dave Lefebvre • $395

Section I: Mondays 8:15 – 9:45 pm 1/8 – 3/19 (10 weeks) no class 1/15 Section II: Thursdays 8:15 – 9:45 pm 1/1 1 – 3/15 (10 weeks) Glenn Richman • $395

POST-BOP ENSEMBLE Explore the repertoire of Chick Corea, Joe Henderson, Wayne Shorter, John Coltrane and other post-bop jazz composers from the 1960s to the present. Strong emphasis placed on group communication and interaction. Wednesdays 6:30 – 8 pm 1/10 – 3/14 (10 weeks) Steve Erquiaga • $395

glenn richman

Adult Performance Ensembles

ODD METER ENSEMBLE An intermediate to advanced ensemble exploring a variety of material in odd meters ranging from 5/4 to 19/8 and possibly beyond if "time" permits! Wednesdays 8:15 – 9:45 pm 1/10 – 3/14 (10 weeks) Frank Martin • $395

HIP-HOP/JAZZ ENSEMBLE Learn the material of some of today’s most innovative artists and hip-hop groups while enhancing performance skills in this ensemble dedicated to hip-hop jazz. Study and perform songs from groups such as Anderson.Paak, KING, Hiatus Kaiyote, A Tribe Called Quest, The Internet, Thundercat, Bilal, Robert Glasper and Erykah Badu. With an emphasis on stylistic integrity, as well as melodic, harmonic, and rhythmic accuracy, the instructor guides the band and vocalists through the history of hip-hop jazz, in a course geared towards an end-of-quarter performance. Wednesdays 6:30 – 8 pm 1/10 – 3/14 (10 weeks) Lilan Kane • $395

FREE JAZZ ENSEMBLE: new THE MUSIC OF DEREK BAILEY MILES DAVIS/WAYNE SHORTER ENSEMBLE Explore the music of Miles Davis and Wayne Shorter from the mid-60s through the 80s. Repertoire is drawn from farreaching classic albums including Miles Smiles, ESP, Filles de Kilimanjaro, Speak No Evil, Bitches Brew, In a Silent Way, Native Dancer and Jack Johnson. Strong emphasis placed on group communication and interaction.

If you're a musician interested in stretching the boundaries of harmony and form, join us for the Free Jazz Ensemble, as we focus on the music and improvisational concepts of a variety of master musicians each quarter. This term, we investigate the music of one of the architects of contemporary free improvisation, British guitarist Derek Bailey. Thursdays 6:30 – 8 pm 1/1 1 – 3/15 (10 weeks) Jason Levis • $395

Wednesdays 8:15 – 9:45 pm 1/10 – 3/14 (10 weeks) Steve Erquiaga • $395

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Adult Performance Ensembles

ERQUIAGA ENSEMBLE I

PIANO TRIO

In this Ensemble l class, you'll work on improvising over chord changes, playing with good time and learn the other skills needed to perform with other musicians. Class emphasis is on standard mainstream styles: blues, standards, swing, bebop, ballads and bossa novas.

Develop performance skills in the piano, bass and drums trio format. Open to four pianists and one drummer with accom paniment provided by a professional upright bassist.

Tuesdays 4:30 – 6 pm 1/9 – 3/13 (10 weeks) Steve Erquiaga • $395

ERQUIAGA ENSEMBLE II This Ensemble II class focuses on slightly faster tempos and more involved tunes! Unusual keys, uncommon tune structures and more complex melodies are presented along with standard repertoire. Includes the music of Miles Davis, Jobim, Art Blakey, Cal Tjader and many 60s Blue Note–era artists. Original compositions are encouraged! Tuesdays 6:30 – 8 pm 1/9 – 3/13 (10 weeks) Steve Erquiaga • $395

Section I: Mondays 5 – 6:30 pm Section II: Mondays 6:45 – 8:15 pm Section III: Mondays 8:30 – 10 pm 1/8 – 3/19 (10 weeks) no class 1/15 Peter Horvath • $425 Section IV: Fridays 1:30 – 3 pm Section V: Fridays 3:30 – 5 pm 1/12 – 3/16 (10 weeks) Debbie Poryes • $425

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

BIG BAND This 19-piece ensemble covers classic and contemporary repertoire for big band. Original compositions by ensemble members are also workshopped and performed. Full 3-quarter commitment required (fall, winter, spring). Thursdays 8:15 – 10:15 pm 1/1 1 – 3/15 (10 weeks) Dave Lefebvre • $285

jason levis

Adult Performance Ensembles

LATIN

BRAZILIAN

SALSA ENSEMBLE I

BRAZILIAN ENSEMBLE

Rehearse and perform classic salsa repertoire including the music of Tito Puente, Cal Tjader, Eddie Palmieri and others. Prerequisites: familiarity with and ability to play standard Afro-Caribbean grooves as applied to your instrument.

Study and perform the classic and contemporary Brazilian jazz repertoire of Ivan Lins, Dori Caymmi, Toninho Horta, Antonio Carlos Jobim and instructor Marcos Silva. Vocalists welcome! Audition with Marcos Silva is required. Call 510.845.5373 to schedule your audition.

Tuesdays 6:30 – 8 pm 1/9 – 3/13 (10 weeks) David Belove • $395

SALSA ENSEMBLE II Rehearse and perform more advanced salsa repertoire. Vocalists interested in participating should sign up for Salsa Singing (see p. 31). The two courses work together throughout the term developing a full set of high energy dance music for performance. Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) David Belove • $395

VENEZUELAN MUSIC ENSEMBLE 360 Explore traditional and contemporary Venezuelan music styles, with a particular focus on Afro-Venezuelan repertoire. Exciting rhythms including calypso, joropo and golpe de tambor will be covered. The ensemble will culminate in a performance at the Jazzschool in Hardymon Hall! Open to all instruments: percussion (congas, hand percussion), Venezuelan cuatros, vocals, woodwind and brass instruments, piano, bass, and drumset. Highly recommended for students who have taken the AfroVenezuelan percussion and Venezuelan cuatro classes with Jackie Rago in the past. Prerequisites: intermediate to advanced technique and the ability to play standard grooves. Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) Jackie Rago • $395

Section I: Tuesdays 6:15 – 7:45 pm Section II: Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) Section III: Wednesdays 6:30 – 8 pm Section IV: Wednesdays 8:15 – 9:45 pm 1/10 – 3/14 (10 weeks) Section V: Thursdays 1 – 2:30 pm 1/1 1 – 3/15 (10 weeks) Marcos Silva • $395

Adult Performance Ensembles

FUNK FUNK ENSEMBLE This high-energy ensemble explores repertoire ranging from James Brown to Tower of Power. For all rhythm section instruments, horns and vocalists. Prerequisites: intermediate technical facility and ability to read charts and standard notation. Thursdays 8:15 – 9:45 pm 1/1 1 – 3/15 (10 weeks) Marc Van Wageningen • $395

WORLD WORLD GROOVE ENSEMBLE: AFRICAN

marc van wageningen

BLUES BLUES AND GROOVE ENSEMBLE Learn to play the blues and blues-related styles. Emphasis on the groove as found on recordings of Charlie Christian, T-Bone Walker, Albert Collins, Jack McDuff, Louis Jordan and other “jump” blues and New Orleans masters. Prerequisites: knowledge of 12-bar blues.

The African Ensemble is the Winter Term offering in the World Groove Ensemble series. Explore Afrobeat, soukous, highlife, juju, South African, Zimbabwean, Malian, Senegalese, Ethiopian, Congolese or other styles. Emphasis is on listening to each other, learning the specific rhythms and grooves, and understanding the cultural contexts of the songs. Open to vocalists and all instrumentalists. Materials and arrangements provided by instructor. Prerequisites: intermediate instrumental and/or vocal proficiency; ability to read charts and standard notation. Thursdays 8:15 – 9:45 pm 1/1 1 – 3/15 (10 weeks) Jennifer Jolly • $395

Saturdays 1:30 – 3 pm 1/13 – 3/17 (10 weeks) Danny Caron and Anthony Paule • $395

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Adult Instrumental Classes PIANO II For those with some experience on keys, Piano II picks up wherever you left off in your pianistic pursuits and challenges you to go farther with your musical endeavors. Ensemble and solo music is selected to match your own level and ability on the piano. This class presents individual guidance as well as group performance opportunities. Required text: Bastien Piano for Adults II (available at the CJC Bookstore). Prerequisites: Piano I or equivalent experience. Saturdays 11:45 am – 1:15 pm 1/13 – 3/17 (10 weeks) Jeanne Walpole • $395

APPLIED KEYBOARD HARMONY

bob karty

PIANO AND KEYBOARD PIANO I If you've ever wanted to play the piano, now is your chance! Sign up for Piano I and you'll learn how to read music, play scales, perform a piece, play duets, discover what musical forms and keys are all about, read a jazz chart and play ensemble music with fellow students. No experience necessary. Concurrent enrollment in the Introduction to Music Theory course is suggested. Required texts: Mastering Piano Method 1A, Mastering Theory 1A, Janet Vogt (available at the CJC Bookstore).

Learn tonic-dominant chord progressions, basic turnarounds and chord inversions in all keys, while developing the ability to play standard tunes using those basic progressions in leadsheet format. This course prepares students for Jazz Piano I and is recommended for pianists with a classical background interested in breaking free of the printed page and learning how to interpret leadsheets as well as learning how to improvise. Handouts provided. Prerequisites: basic keyboard knowledge. Saturdays 1:30 – 3 pm 1/13 – 3/17 (10 weeks) Jeanne Walpole • $395

Saturdays 10 – 11:30 am 1/13 – 3/17 (10 weeks) Jeanne Walpole • $395

steve blum

Adult Instrumental Classes

JAZZ PIANO I Learn to play jazz standards and the 12-bar blues through the study of jazz chord voicings and improvisation techniques. Prerequisites: basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in all keys, ability to read treble and bass clefs. Mondays 6:30 – 8 pm 1/8 – 3/19 (10 weeks) no class 1/15 Bob Karty • $395

JAZZ PIANO II In this continuation of Jazz Piano I, you'll learn more advanced chord voicings and soloing techniques, as well as standard re-harmonization techniques. Prerequisites: ability to play 3-note voicings with proper voice leading through a jazz standard (e.g., “All The Things You Are” or similar), ability to improvise on a 12-bar blues in time, playing 3rds and 7ths in the left hand. An audition is required; please call 510.845.5373 to schedule your audition.

JAZZ PIANO COMPING

Mondays 8:15 – 9:45 pm 1/8 – 3/19 (10 weeks) no class 1/15 Bob Karty • $395

Wednesdays 6:30 – 8 pm 1/10 – 3/14 (10 weeks) Frank Martin • $395

JAZZ PIANO CHORD VOICINGS

PIANO BLUES: WRITE YOUR OWN

(FOR PIANISTS AND NON-PIANISTS) Explore a wide range of jazz piano chord voicings in this new hands-on course. From simple “shell” voicings to the rich chord shapes used by Bill Evans, Herbie Hancock and other contemporary jazz masters. For pianists and instrumentalists/vocalists interested in exploring jazz piano harmony. Prerequisites: basic keyboard proficiency and knowledge of chord structures (triads and 7th chords). Thursdays 6:30 – 8 pm 1/11 – 3/15 (10 weeks) Steve Blum • $395

In order to function effectively in an ensemble or as an accompanist, jazz pianists need to develop the ability to comp in a wide range of settings. This course provides techniques for comping in a variety of styles including straight ahead and contemporary jazz, R&B, funk, blues, Latin jazz and Brazilian. Emphasis on groove! Prerequisites: Jazz Piano I or the equivalent.

new

A great class for budding songwriters, vocalists, and non-singing piano players alike! In this class you’ll learn the most common blues musical forms and lyric structures, study excerpts from some classics, and write your own tune (with or without lyrics). You’ll get lots of support and constructive feedback from fellow class members and the instructor throughout the course. Materials provided by instructor. Prerequisites: basic keyboard proficiency; ability to read charts and standard notation. Tuesdays 6:30 – 8 pm 1/9 – 3/13 (10 weeks) Jennifer Jolly • $395

Adult Instrumental Classes

GUITAR BEGINNING GUITAR If you're interested in learning how to play the guitar, this course will help you develop a strong foundation in basic skills, learning the essentials, including tuning the guitar, finding notes and basic chords on the fretboard, proper hand positions, scale fingerings, simple songs, reading music and more! Your instructor will answer questions about equipment selection (guitars, strings, amps, picks, etc.). Required text: Modern Guitar Method Vol. One, Mel Bay (available at the CJC Bookstore). Prerequisites: none, for complete beginners! Students must bring a guitar to class. Saturdays 10 – 11:30 am 1/13 – 3/17 (10 weeks) Danny Caron and Anthony Paule • $395

SOUL JAZZ KEYBOARDS

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Soul jazz is the blend of blues, gospel, funk, R&B, and jazz made famous by Jimmy Smith, Herbie Hancock, Horace Silver, Ramsey Lewis, Les McCann, Joe Sample, and others. Learn the soul jazz vocabulary and a number of soul jazz tunes that are essential to every jazz keyboardist’s repertoire. Materials provided by instructor. Prerequisites: basic keyboard and music reading proficiency; familiarity with major and minor chords and scales. Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) Jennifer Jolly • $395

JAZZ GUITAR I If you're a guitarist with a background in another style and you're interested in exploring jazz and blues this course is for you! You'll gain hands-on experience playing jazz and blues while learning basic jazz theory, scales, chords, arpeggios and songs. You'll have fun while learning and playing! Prerequisites: two years playing experience, knowledge of major and pentatonic scales and all seventh chords. Wednesdays 6:30 – 8 pm 1/10 – 3/14 (10 weeks) Jeff Massanari • $395

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Adult Instrumental Classes

JAZZ GUITAR II In this fun and fast-paced continuation of the concepts explored in Jazz Guitar I, you'll dive into more complex harmonic and melodic concepts, scales and chord voicings, with lots of hands-on playing time and personal guidance for everyone. This course is designed for guitarists with some jazz playing experience looking to take their playing to the next level. Prerequisites: Jazz Guitar I or equivalent; knowledge of scale and chord theory and some familiarity with jazz repertoire. Wednesdays 8:15 – 9:45 pm 1/10 – 3/14 (10 weeks) Jeff Massanari • $395

MUSIC THEORY AND FRETBOARD KNOWLEDGE FOR GUITAR Learn the basics of music theory as applied to guitar, developing familiarity with the fretboard through chord, scale and arpeggio practice. Topics include:

• Overview of chord and scale types and where they are located

• Chord progressions commonly used in jazz and related styles

• Comping patterns • Scale and arpeggio practice in various positions

• Reading charts and standard notation (treble clef)

• Transcribing music from recordings • Basics of melodic improvisation

jeff massanari

For students with some playing experience, knowledge and facility, but who have never seriously practiced or studied music theory or the guitar fretboard. Prerequisites: ability to play basic barre chords and some familiarity with playing scales. Students should bring a medium or heavy flat pick and be ready to learn how to use it! Mondays 8:15 – 9:45 pm 1/8 – 3/19 (10 weeks) no class 1/15 Danny Caron • $395

Danny Caron is an excellent teacher, especially for beginners. His instruction is clear, concise and energetic. Most important, he motivated us to excel and move forward every week. He is the BEST. — Skye Ward 17

Adult Instrumental Classes

JAZZ GUITAR COMPING

BLUES AND SWING GUITAR

This hands-on course provides the intermediate-to-advanced guitarist with the tools, concepts and techniques essential to creative and effective contemporary comping.

Learn chord voicings, fingerboard harmony and single string soloing techniques, with a variety of styles covered, from the urban blues of B.B. King and Albert Collins to the more complex swing of Charlie Christian and Aaron “T-Bone” Walker. Dive into alternate chord cycles and rhythm playing and work with transcriptions to develop strong melodic solos. Prerequisites: familiarity with the 12-bar blues progression, ability to play barre chords in several shapes, basic knowledge of the minor pentatonic scale, some picking facility.

Topics include:

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

• Rhythmic anticipation and syncopation:

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

Prerequisites: knowledge of chord/scale theory; ability to play major, dominant and minor seventh chords and the ii–V–I progression in all keys. Thursdays 8:15 – 9:45 pm 1/11 – 3/15 (10 weeks) Steve Erquiaga • $395

BRAZILIAN GUITAR Learn Brazilian music styles including samba, baião, bossa nova and choro, and the techniques used to play them. Primary focus is on learning repertoire, while developing the following areas: stylistically appropriate comping rhythms, chord melody playing, creating solo arrangements, right hand finger-style techniques and melodic soloing approaches. Prerequisites: ability to read music notation. Sundays 2 – 3:30 pm 1/14 – 3/18 (10 weeks) Ricardo Peixoto • $395

Saturdays 11:45 am – 1:15 pm 1/13 – 3/17 (10 weeks) Danny Caron and Anthony Paule • $395

HARMONICA BEGINNING DIATONIC HARMONICA You'll recognize the diatonic harmonica as the small harmonica used in blues, rock, folk and even jazz. In this course, you'll learn how to hold the instrument, breathe effectively, play chords, single notes and bends and develop familiarity with song forms such as the 12-bar blues and 3-chord folk, rock and country tunes. Required text: Harmonica for Dummies, second edition. Prerequisites: bring a 10-hole diatonic harmonica in the key of C (contact winslow@cjc.edu for info). Saturdays 10 – 11:30 am 1/13 – 3/17 (10 weeks) Winslow Yerxa • $395

Adult Instrumental Classes

WOODWINDS BEGINNING SAXOPHONE An introduction to the saxophone utilizing simple ensemble arrangements to get a head start on fingerings, sound production and reading in a fun and musical way. All saxophones are welcome! Prerequisites: none, for complete beginniners, but instructor consultation is required. Please call 510.845.5373. Mondays 6:30 – 8 pm 1/8 – 3/19 (10 weeks) no class 1/15 Bill Aron • $395

BASS BEGINNING BASS Learn the fundamentals of bass technique, applicable to all styles of music. Topics include:

• Tuning • Getting a good sound • Left and right hand technique • Familiarity with the fingerboard • Music reading fundamentals • Introduction to walking bass lines,

ricardo peixoto JAZZ BASS

bossa nova, jazz waltzes and ballads

• Equipment (basses, strings, amps) Open to electric and upright bassists. This course serves as a preparation for the Jazz Bass course. Prerequisites: none, for complete beginners! Students must bring a bass to class. Thursdays 4:45 – 6:15 pm 1/11 – 3/15 (10 weeks) Glenn Richman • $395

Learn a variety of essential techniques for constructing strong jazz bass lines on blues, jazz standards in 4/4 and 3/4, modal tunes, rhythm changes, and ballads. Techniques for soloing are also covered. Perform bass lines in class each week with piano accompaniment provided by the instructor. Recommended for upright and electric bassists interested in participating in the Jazzschool’s ensemble program. Prerequisites: intermediate technical facility and some ability to read music. Tuesdays 6:30 – 8 pm 1/9 – 3/13 (10 weeks) Glenn Richman • $395

2018 Winter Quarter / January 8 – March 19 / cjc.edu

21ST CENTURY BASS Perhaps no chair in the average band has changed as much as the bass over the last decade. Technology and tastes have introduced a new set of responsibilities to the bass role, and in some styles staying relevant means integrating effects, sound-design, and synthesis into the average gig. While it might seem intimidating at first, a deep dive into the myriad ways bass players can mangle and sculpt their sound is ultimately among the most rewarding steps bassists can take. In 21st Century Bass, we'll survey the whole effects spectrum, going deep into how effects work and ways to combine them to cop classic sounds and innovate new ones. Plus, we'll tackle how to get the iconic keybass sounds of players like Stevie Wonder, Bernie Worrell, and modern hip-hop and dance music with an introduction to subtractive synthesis. Mondays 8:15 – 9:45 pm 1/8 – 3/19 (10 weeks) no class 1/15 Jonathan Herrera • $395

DRUMS AND PERCUSSION THE VERSATILE DRUMMER The contemporary drummer is called upon to play many styles of music on any given gig, session or recording. This class familiarizes drummers with a solid mix of essential drum set grooves including: samba, bossa, baião, “2” feel, bebop, swing, mambo, cha-cha, bembe, funk, hip-hop and numerous variations, with an emphasis on sound and feel. Prerequisites: functional drum set technique. Mondays 6:30 – 8 pm 1/8 – 3/19 (10 weeks) no class 1/15 Alan Hall • $395

LATIN PERCUSSION I This introductory course will help you develop a solid foundation in each of the primary Latin percussion instruments. You'll learn effective technique on congas, bongos, timbales, bells and auxiliary instruments, while studying many of the Latin grooves typical of son, salsa, and Latin jazz. Soloing techniques, typical breaks, song forms and historical information are also discussed. Prerequisites: none, open to all! Wednesdays 6:30 – 8 pm 1/10 – 3/14 (10 weeks) Omar Ledezma • $395

Adult Instrumental Classes

LATIN PERCUSSION II If you are already familiar with the fundamentals of Latin percussion rhythms and techniques, this continuation of the Latin Percussion I course will give you lots of hands-on practice time and a clear explanation of how all of the various instruments work together in salsa bands and other Latin music ensembles. Wednesdays 8:15 – 9:45 pm 1/10 – 3/14 (10 weeks) Omar Ledezma • $395

DRUM SOLOS This course provides an overview of concepts and techniques for soloing on the drum set. These techniques are applicable to a range of styles, from rock, funk, straight-ahead jazz and fusion to various world styles (Brazilian, Afro-Cuban), and non-idiomatic free improvisation. Students develop solo vocabulary drawn from rudimental and other sources, developing 4-limb independence through improvisation over various ostinato patterns. Topics include trading fours and an introduction to polyrhythmic drum set applications. Prerequisites: functional drum set technique. Mondays 8:15 – 9:45 pm 1/8 – 3/19 (10 weeks) no class 1/15 Alan Hall • $395

BRAZILIAN DRUM SET Learn the signature drum set grooves of contemporary Brazilian music including samba, baião, bossa nova and choro, and the techniques used to play them. Emphasis on gaining an authentic Brazilian sound and feel. Highly recommended for drummers interested in joining one of the Jazzschool’s Brazilian ensembles! Prerequisites: functional drum set technique.

omar ledezma PANDEIRO: The Brazilian Tambourine While it may be Brazil's most iconic percussion instrument, the versatile pandeiro fits into almost any style of music. Instructor Brian Rice likes to call it a "laptop batucada" for its diversity of sounds and ability to emulate all the instruments of the samba bateria. This course covers all the basics and conventions of samba and choro as well as music from the northeast of Brazil, while delving into modern adaptations of funk rhythms, odd time signatures and extended techniques. Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) Brian Rice • $395

Fridays 10 – 11:30 am 1/12 – 3/16 (10 weeks) Marcos Silva • $395 2018 Winter Quarter / January 8 – March 19 / cjc.edu

most influential were Tim Emmons and Ed Lucie, and then after moving to the Bay Area, Kai Eckhardt.

jonathan herrera

FACULTY PROFILE

Jonathan Herrera Jonathan Herrera is a graduate of the University of Southern California and the Los Angeles Music Academy and is a Senior Contributing Editor of Bass Player Magazine. His playing credits include: Cathedrals, MoeTar, Zigaboo Modeliste, Stanley Jordan, Brain, Oz Noy, Garaj Mahal, Miguel Migs, Cyrus Chestnut, Cathy Richardson, Michael Lee Firkins, Jon Fishman, Kai Eckhardt, Matthew Charles Heulitt, Dynamic, Rick Musallum, Levy's Love Lounge, and many more. Tell us a bit about how you got started playing and engineering and who some of your important teachers and mentors have been along the way. I started playing piano when I was about five, but switched my focus to bass around my 12th birthday. Growing up in LA, I was fortunate to go to USC and LACM, where my teachers were real working musicians making a living in the city. Among the

Who are some musicians that currently inspire you? My all-time favorite bass players are Steve Swallow, Anthony Jackson, and Pino Palladino. Recently I've been more drawn to electronic music and pop and jazz that embraces that broad soundscape. Artists like Son Lux, Thundercat, Jamie Lidell, and Kendrick Lamar. Can you tell us a little about what your 21st Century Bass class will be like? The course is primarily about helping bass players expand their palette beyond the traditional meat-and-potatoes support role, sonically, but it's beneficial to all musicians. Nowadays, musicians are often called on to play some synth, trigger tracks and samples, and contribute more broadly to a band's sound. The course explores effects, synthesis, and recording technology to empower musicians to get more work and, hopefully, find new inspiration in their instruments. Who do you think would benefit from taking this class? Any musician that's intrigued by the technology of music and wants to expand their voice. Is there anything else you would like to add? As much as it's easy to be discouraged by trends in the music industry, it's actually never been a more exciting time to play. The democratization of access to potent sound-sculpting tools is an exciting new opportunity for anyone that's inspired to learn.

2018 Winter Quarter / January 8 â&#x20AC;&#x201C; March 19 / cjc.edu

WOMEN’S JAZZ & BLUES CAMP March 19 – 23, 2018 Monday – Friday 9:30am – 3 pm Free concert: Friday, March 23, 6 pm An exciting five-day program focused on the study and performance of jazz and blues. Women develop technical ability, style and improvisation skills in a supportive environment while networking with others who share their passion for music. Prerequisites: some facility on your instrument. Directed by Jean Fineberg & Ellen Seeling, with an all-women faculty from the Montclair Women’s Big Band. Open to women instrumentalists and vocalists at all levels. Camp includes:

• Jazz Combo • Blues & Soul Band

• R&B Choir • Warmup / Master Class • Theory & Improvisation • Percussion

• Vocal Skills • Private Consultation • Blues & Soul Band • Lunchtime Open Jam

• Latin Group • Back by popular demand: Jazz Choir and New Orleans Ensemble Tuition • $499 Enrollment: Open (Closes when camp is full) Financial Aid: Limited funds available Program info: cjc.edu/womenscamp Email: womenscamp@cjc.edu Phone: 510.758.2200 Registration: cjc.edu/womensreg

Theory, Improvisation, Composition BEGINNING JAZZ IMPROVISATION A friendly, supportive atmosphere in which to practice the basics of jazz improvisation. Start with the blues then progress to jazz standards, learning essential scales and chords, playing at every session, trading licks, learning patterns and building solos. Ideal for classical players or anyone aspiring to jam or perform with a jazz ensemble. Vocalists welcome! Required text: Jazz Improvisation: A Pocket Guide by Dan Haerle (available at the CJC Bookstore). Prerequisites: facility on an instrument and ability to play all major scales from memory. Thursdays 6:30 – 8 pm 1/1 1 – 3/15 (10 weeks) Dave Len Scott • $395

dave len scott

THEORY AND IMPROV INTRODUCTION TO MUSIC THEORY Learn the basic skills needed to begin any serious study of music. Topics include: music notation, time signatures, key signatures, rhythmic training, major scales, intervals, transposition, chord structure, harmonic progression, ear training and an introduction to musical form and composition. Required texts: Practical Theory Complete by Sandy Feldstein, and Jazz Improvisation: A Pocket Guide by Dan Haerle (available at the CJC Bookstore). Prerequisites: none, open to all instrumentalists and vocalists.

INTERMEDIATE JAZZ IMPROVISATION I This course gives students a strong foundation in the Great American Songbook repertoire and the ability to improvise over chord progressions with correct notes and good phrasing. Several compositions will be used as vehicles to study basic chord structures, scale structures and non-diatonic neighboring tones. Emphasis is placed on utilization of basic harmonic concepts, thereby turning exercises into melody. A step-by-step conceptual approach is used and a new concept is added with each new tune. Prerequisites: beginning Jazz Improvisation or equivalent. Mondays 6:30 – 8 pm 1/8 – 3/19 (10 weeks) no class 1/15 Glenn Richman • $395

Thursdays 8:15 – 9:45 pm 1/11 – 3/15 (10 weeks) Dave Len Scott • $395

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Theory, Improv and Composition

INTERMEDIATE JAZZ IMPROVISATION II This new course is a continuation of Intermediate Jazz Improvisation I, designed for musicians interested in developing their jazz improvisation skills in a focused, hands-on setting. Develop familiarity with melodic material, based on jazz standards and composed by the instructor, making use of chord, scale, and non-diatonic tones. Compose and perform etudes based on these concepts for in-class critique. Study solos recorded by influential jazz musicians, identifying essential jazz vocabulary elements to be applied in the construction of new solos, to be written and performed in class each week. Additional areas of study include playing and improvising in 3/4 (jazz waltz) time and ballad playing. The instructor also presents a range of common jazz phrases (licks) to be practiced in all keys. Prerequisites: Intermediate Jazz Improvisation I. Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) Glenn Richman • $395

COMPOSITION SONGWRITING Explore melody writing, basic harmony, more adventurous chord progressions, song form, rhyme schemes and the instrumental component of songwriting — all with the purpose of honing your unique voice as a composer. Most importantly, develop two or three songs to be workshopped and refined in real time over the course of the term. Tuesdays 1 – 2:30 pm 1/9 – 3/13 (10 weeks) Rachel Efron • $395

nahuel bronzini ARRANGING FOR SONGWRITERS

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This new course provides a practical overview of the various elements that go into crafting a compelling song arrangement. Whether orchestrating for chamber ensemble, big band or acoustic guitar and voice, the arranging choices we make impact the listener’s perception of a piece of music and can either help or hinder the listening experience. Through the exploration of arranging techniques applied to numerous musical settings, students gain a set of tools and listening skills to help make better writing choices. The goal of this course is to assist arrangers in embracing a song’s intrinsic qualities, providing methods for amplifying its effect on the listener. Thursdays 6:30 - 8 pm 1/1 1 – 3/15 (10 weeks) Nahuel Bronzini • $395

Adult Vocal Classes

PERFORMANCE jazz FOR THE LOVE OF SINGING Learn breathing and vocal techniques to be applied to songs of your choice, while making friends with the microphone and learning basic performance skills. This course is particularly suited for those who may have temporarily put aside their vocal dreams due to education, career or family obligations. Open to all. Saturdays 10 – 11:30 am 1/13 – 3/17 (10 weeks) Kyra Gordon • $450

FOR STARTERS — JAZZ & BLUES SINGING

pamela rose

VOCAL TECHNIQUE VOCAL TECHNIQUE ESSENTIALS Learn a variety of vocal exercises designed to condition and strengthen your voice. Range, intonation, breath management, balancing vocal registers, body alignment, vowel formation and dynamics are all enhanced through technical exercises. Applicable to all contemporary vocal styles. Prerequisites: none, open to all! Section I: Tuesdays 4:45 – 6:15 pm 1/9 – 3/13 (10 weeks) Sandy Cressman • $400 Section II: Thursdays 4:45 – 6:15 pm 1/11 – 3/15 (10 weeks) Andrea Claburn • $400

You used to sing a lot but now find yourself relegated to the shower and in-the-car jam sessions. Or — you love to sing — but feel terribly shy at the idea of singing in public. Explore and release your inner rock, jazz or blues vocalist in this encouraging, safe environment. Designed to give you confidence through group singing, while also bolstering your repertoire with individual song development. Accompanist provided. No previous experience required. Wednesdays 4:45 – 6:15 pm 1/10 – 3/14 (10 weeks) Pamela Rose • $450

Pamela is an exceptional teacher — supportive, inspiring and SERIOUSLY FUN! She worked with students across a range of comfort levels... and brought out the best in us.

2018 Winter Quarter / January 8 – March 19 / cjc.edu

— Richard Bunce

Adult Vocal Classes

INTERMEDIATE JAZZ SINGING This class covers a range of jazz vocal essentials including lyric interpretation, style, rhythm, and feel. Students explore improvisation and harmony in depth while also learning to create their own arrangements. The instructor will suggest repertoire and help students find interesting songs that are best suited for their voice and ability. There will be a student performance at the end of the term. Open to students who have taken the "Beginning Jazz Singing" class or have approval from the Chair or the instructor. Mondays 6:30 – 8 pm 1/8 – 3/19 (10 weeks) no class 1/15 Cecilia Engelhart • $450

VOCAL JAZZ PERFORMANCE

frankye kelly BEGINNING JAZZ SINGING The class was designed to help the singer create a focused, relaxed, skilled, and unique performance. You'll work on basic musicianship starting with warm-up exer– cises, improvisation skills, understanding and singing in different “grooves,” and progress to finding new songs, ascertaining the correct key, understanding song form, preparing a leadsheet, and making practice tracks. We’ll be joined midway through the course by a professional pianist to further develop the songs we’ve chosen by working on sub-text, song interpretation, communicating our intentions to an accompanist, singing in different “feels” including rubato, and setting up and counting off songs. This class includes an end-of-quarter performance. This is a supportive and structured environment for students with a burning desire to sing! Mondays 4:45 – 6:15 pm 1/8 – 3/19 (10 weeks) no class 1/15 Cecilia Engelhart • $450

Work on numerous aspects of jazz performance from interpretation and phrasing to improvisation and working with an accompanist. Each week the instructor will bring in a variety of exercises and repertoire for the class to work on in a group setting. Students will also have time to bring in one song per class to perform. The instructor and accompanist will help students find the right key and create on-the-spot arrangements in preparation for the student concert at the end of the term. Thursdays 6:30 – 8 pm 1/1 1 – 3/15 (10 weeks) Frankye Kelly • $450

For auditions and more information about our Vocal programs please contact laurie@cjc.edu or call Laurie Antonioli, 510.845.5373 ext 21

Adult Vocal Classes

COMPARATIVE JAZZ SINGING STYLES

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From Billie Holiday and Sarah Vaughan to Mark Murphy, Kurt Elling, Gretchen Parlato and beyond, the various styles of jazz singing cover a lot of territory. This class explores several versions of the same jazz standard as sung by a range of masterful singers, both classic and contemporary, exploring the musical and stylistic devices employed by these great artists. Students gain new ideas to aid in the development of a unique style while preparing for an end-of-quarter performance. A professional accompanist joins the group for the final three class sessions and for the performance. Prerequisites: some jazz singing experience. Tuesdays 6:30 – 8 pm 1/9 – 3/13 (10 weeks) Sandy Cressman • $450

BACKDOOR BEBOP Learn the ins and outs of scat singing. Topics covered include syllable choice, understanding song form, selecting tempos, working on articulation, storytelling, rhythm and more. Learn classic bebop repertoire including contrafacts (new melodies over pre-existing chord progressions) “trade fours,” and have fun while developing a deeper understanding of how to function confidently as a jazz vocalist. Open to all levels. Thursdays 8:15 – 9:45 pm 1/11 – 3/15 (10 weeks) Azure McCall • $450

laurie antonioli THE CONTEMPORARY JAZZ SINGER Focus on an array of creative jazz singing skills including developing a unique repertoire, communicating with the rhythm section and creating arrangements on the spot. Study phrasing, improvisation, interpretation and work on developing a personal sound. Rhythm section provided. You are welcome to bring in songs of your choice, write original lyrics or use material provided by the instructor. Prerequisites: consent of instructor — telephone consultation required. Call 510.845.5373 for more information. Section I: Tuesdays 6:30 – 8 pm Section II: Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) Laurie Antonioli • $460

Adult Vocal Classes

CONTEMPORARY VOCAL STYLES Learn proper vocal technique (vocal health, maintenance and developing a practice routine) useful for singing in any style from jazz to pop, rock, R&B, blues and beyond. Class topics also include chart writing, stage presence and microphone technique. This class culminates in an end-of-quarter performance. Open to all levels, genres and backgrounds.

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This class provides a unique opportunity for singers to study with one of the great vocal accompanists in jazz. Learn how to communicate effectively with a pianist/ accompanist about simple arranging techniques and other essentials including count-offs, finding keys, setting up intros and endings, rubato interpretation and more. Students should bring their own repertoire to class. Focus on selections from the Great American Songbook is recommended. Prerequisites: some singing experience is recommended.

Mondays 8:15 – 9:45 pm 1/8 – 3/19 (10 weeks) no class 1/15 Amanda Addleman • $450

THE SINGER AND THE SONG: FOCUS ON JOHNNY MERCER Choosing material, developing arrangements, programming a set and writing and delivering interesting patter are all skills advanced singers need to master to grow their audience. In this class, we’ll focus on the music of Johnny Mercer and together we’ll put together an hour-long performance including songs and stories about the charming Mr. Mercer. Each student will choose two tunes from the Mercer catalog and we’ll concentrate on creating arrangements, communicating our ideas to other musicians and stage presence. Weeks two and three include a professional accompanist, while weeks four and five and the performance include a full trio. For intermediate to advanced singers. Prerequisites: consent of instructor-telephone consultation required. Call 510.845.5373 for more information. 5 Sundays Noon – 3 pm February 18, 25 March 4, 11, & 18 Maye Cavallaro • $450

WORKING WITH AN ACCOMPANIST

Saturdays 1:30 – 3 pm 1/13 – 3/17 (10 weeks) Mike Greensill • $400

pop, blues and r&b THE SONGS OF JIMMY WEBB

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Learn to sing classic songs by Jimmy Webb as both soloists and background singers in preparation for an end-ofquarter student performance. Sing Jimmy's classic hits "Wichita Lineman," "Up, Up and Away," "By The Time I Get To Phoenix" and more. The instructor will share information on proper vocal technique, stage presence, and interpretation while also helping students find the lyrics, appropriate keys and sheet music. Students are welcome to bring their favorite Jimmy Webb songs to sing via lyrics, sheet music, and tracks. A professional accompanist will play for the class. Open to all levels. Tuesdays 6:30 – 8 pm 1/9 – 3/13 (10 weeks) Clif Payne • $450

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Adult Vocal Classes

SOUL TOWN — CLASSIC RHYTHM & BLUES

edgardo cambón THE SONGS OF STEVIE WONDER Learn to sing classic songs by Stevie Wonder such as “Golden Lady,” “If It’s Magic,” and "Superstition" as both soloists and background singers in preparation for an end-ofquarter student performance. The instructor will share information on proper vocal technique, stage presence, and interpretation in addition to helping students find the lyrics, appropriate keys and sheet music. Students are welcome to bring their favorite Stevie Wonder songs to sing via lyrics, sheet music, and tracks. A professional accompanist will play for the class. Open to all levels. Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) Clif Payne • $450

If you’re a fan of classic R&B, this class is for you. Sing your favorite solo and ensemble songs from the 60s and early 70s. Learn songs made famous by Aretha Franklin, Etta James, Roberta Flack, Sam Cooke, Otis Redding, Marvin Gaye, Smokey Robinson, Sly & The Family Stone and vocal groups such as The Temptations, The Supremes, and the O'Jays. If center stage is not your thing, you can develop your background singing chops. Students are encouraged to bring in sheet music of their favorite songs in the appropriate key. Focus areas: roots of soul music, proper song and key selection, melodic phrasing, improvisation, harmonizing, band leading tips, preparation for live performance. The instructor will accompany this class each week. A rhythm section will be added for the end-of-quarter performance. Wednesdays 8:15 - 9:45pm 1/10 - 3/14 (10 weeks) Lilan Kane • $460

BLUES VOCAL FUNSHOP I Feel like singing the blues? Blues is the most primal, powerful part of your soul and singing it is more fun than you can possibly imagine. Students will explore the deep, authentic singing strategies of great blues singers from Jimmy Reed to Bonnie Raitt, while developing blues repertoire. No prior music experience necessary. Class is open to both the novice singer looking for a supportive, fun, instructive course, and to the more experienced singer looking to gain insight and control on the bandstand. Each class is taught by Bay Area's own jazz/blues diva Pamela Rose and accompanied by legendary blues guitarist Danny Caron. Wednesdays 8:15 – 9:45pm 1/10 – 3/14 (10 weeks) Pamela Rose • $450

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Adult Vocal Classes

BLUES VOCAL FUNSHOP II — Chicago Blues Muddy Waters, Willie Dixon, Buddy Guy, Jimmy Reed, Howlin’ Wolf, Koko Taylor — Chicago after 1940 was the nexus of urban electrified blues, with a driving rhythm and urgency that still delights and inspires. This 10-week course focuses on the singing styles of Chicago blues artists from 1940 to 1970. Guitarist Danny Caron accompanies all classes, with bass and drums joining for the final three class sessions and performance. Students will develop songs with the band for an end-of-term performance. Prerequisites: students must have taken Blues Vocal Funshop or receive permission from the instructor. Wednesdays 6:30 – 8 pm 1/10 – 3/14 (10 weeks) Pamela Rose • $460

latin SALSA SINGING Learn the style, rhythm and technique of salsa vocal music while learning to play Latin hand percussion instruments. Instructor provides instruments like guiro, maracas and claves to use each week. As the term progresses, join forces with the Salsa II instrumental ensemble (see page 12) as you work to develop a performance set. Representative songs include “Tres Días de Carnaval” (Celia Cruz), "La Rebelión” (Joe Arroyo) and “Brujería” (El Gran Combo). Prerequisites: previous singing experience or basic technique training. All songs are in Spanish but fluency is not required to participate. Tuesdays 8:15 – 9:45 pm 1/9 – 3/13 (10 weeks) Edgardo Cambón • $400

YOUNG SINGERS VOCAL PERFORMANCE FOR TEENS This is a fun course for teens, focusing on solo singing and everything needed to put on a great performance. Students receive coaching on vocal technique and stage presence, as well as receiving assistance in finding the best song for their level and interests. All genres welcome, from rock to classical, anything goes! Wednesdays 4:45 – 6:15 pm 1/10 – 3/14 (10 weeks) Kyra Gordon • $450

Adult Vocal Classes

ENSEMBLES

(FOR VOCALISTS AND INSTRUMENTALISTS)

WORLD GROOVE ENSEMBLE: AFRICAN The African Ensemble is the Winter Term offering in the World Groove Ensemble series. Explore Afrobeat, soukous, highlife, juju, South African, Zimbabwean, Malian, Senegalese, Ethiopian, Congolese or other styles. Emphasis is on listening to each other, learning the specific rhythms and grooves, and understanding the cultural contexts of the songs. Open to vocalists and all instrumentalists. Materials and arrangements provided by instructor. Prerequisites: intermediate instrumental and/or vocal proficiency; ability to read charts and standard notation. Thursdays 8:15 – 9:45 pm 1/11 – 3/15 (10 weeks) Jennifer Jolly • $395

HIP-HOP/JAZZ ENSEMBLE Learn from some of the most innovative artists and groups in hip-hop while enhancing your performance skills in this ensemble dedicated to hip-hop jazz. You'll study and perform songs from groups such as Anderson.Paak, KING, Hiatus Kaiyote, A Tribe Called Quest, The Internet, Thundercat, Bilal, Robert Glasper and Erykah Badu. Students will study the hip-hop culture and its influences and learn how to apply those studies to their own compositions. With an emphasis on stylistic integrity, as well as melodic, harmonic, and rhythmic accuracy, the instructor will guide the band and vocalists through the history of hip-hop jazz, in a course geared towards an endof-semester performance. Wednesdays 6:30 – 8 pm 1/10 – 3/14 (10 weeks) Lilan Kane • $395

lilan kane FUNK ENSEMBLE This high-energy ensemble explores reper– toire ranging from James Brown to Tower of Power. For all rhythm section instruments, horns and vocalists. Prerequisites: intermediate technical facility and ability to read charts and standard notation. Thursdays 8:15 – 9:45 pm 1/1 1 – 3/15 (10 weeks) Marc Van Wageningen • $395

Adult Vocal Courses

Adult Vocal Classes

VOCAL MENTOR PROGRAM CENTER STAGE — A Mentored Program for Concert Development with Maye Cavallaro and Laurie Antonioli Work through the process of presenting a full-length, public, professional-level concert. Candidates work with their mentor over the course of three or four months, preparing their concert by choosing songs, working out arrangements, deciding on sequencing, and developing patter and stage presence. Lessons also include making a budget, hiring and rehearsing musicians and developing a marketing plan. Candidates will be most successful if they are advanced students who have some performing experience in classes and workshops or in a professional environment. A repertoire of 15 to 20 memorized songs in various styles is recommended. This is a unique opportunity for singers to design a performance that reflects a personalized artistic vision. Concert dates are available throughout the year. This program also includes:

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

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

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

• Inclusion in California Jazz Conservatory advertising, marketing and publicity

• A percentage of the door/ ticket sales

Laurie Antonioli / Maye Cavallaro • $850 Contact the Chair of the Vocal Program, Laurie Antonioli, for more information on how to apply for this program: laurie @ cjc.edu

The Vocal Mentor Program with Maye Cavallaro gave me all the tools I needed to launch myself as a regularly gigging professional jazz singer. She covers everything: marketing, hiring & rehearsing the band, selecting material, developing arrangements, organizing set lists, wardrobe, stage presence and more — it is a very broad education. Having an experienced, supportive, friendly professional to guide me through the process was an invaluably helpful experience. It requires a lot of time, effort and dedication, but if you want your singing to make the quantum leap from performing at open mics and recitals to owning the stage for an entire show, there’s nothing better out there. — Will Hull 33

Adult Vocal Classes

VOCAL WORKSHOPS AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES — Unsung Gems 6 with Maye Cavallaro The Great American Songbook is a collection of tunes written from 1930 to 1950 and is a vital part of the repertoire of jazz musicians. While many songs by the Gershwins, Harold Arlen, Cole Porter and Irving Berlin are well known, there are countless other composers and lyricists whose songs are not performed as often. This 3-part workshop focuses on these less frequently performed pieces. Workshop time includes listening to recorded examples by jazz greats to develop ideas for new arrangements. Instructor Maye Cavallaro provides 10 leadsheets for songs including practice backing tracks. An accompanist joins the group during the third session, for students to perform arrangement ideas.

maye cavallaro

A warm, charismatic stage performer and accomplished musician, Maye Cavallaro has traveled extensively in Japan and the U.S., both performing and teaching. She has released several CDs as a leader and has been a favorite vocal instructor at the Jazzschool for many years. 3 Sundays, January 14, 21, 28 Noon – 3 pm $295 advance, $310 day of workshop

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

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Adult Vocal Classes

CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTS with Lee Brenkman A workshop in survival skills to help instrumentalists and singers get the best results from their sound equipment — from a single microphone to a complete sound system — and how to successfully interact with sound technicians at venues with sound systems. Learn the “tricks of the trade” from Lee Brenkman, one of the Bay Area’s preeminent sound technicians, to get the best sound on your gig. Topics covered include the different types of microphones and their functions, evaluating equipment for purchase, and how to set up a small sound system. Brenkman also addresses how best to communicate with sound technicians and making efficient use of sound check time. This workshop is attendee-driven — any and all questions welcome! Lee Brenkman has been a top sound technician at multiple Bay Area venues for several decades including the California Jazz Conservatory, Great American Music Hall and Stanford Jazz Workshop. Sunday February 25, 11 am – 1 pm $30 advance, $45 day of the workshop

lee brenkman

andrea claburn STAGE PRESENCE 101: The Art and Craft Of Live Performance with Andrea Claburn

You’ve done the hard work, gotten your musical chops together, rehearsed with the band. Now, how do you make your presentation interesting in between the songs? How do you connect with the audience, create an engaging, well-paced set, and maintain an element of surprise essential to the art form? What sets you apart as a performer and makes your concert a must-see event? This workshop will give you the tools you need to hone your stage presence, create an electrifying concert, magnify your own unique style, and express your authentic self in live performance. Open to all. Sunday, February 11, Noon – 3 pm $50 advance, $65 day of workshop

Adult Adult Vocal Vocal Classes Classes

APPLYING R&B, POP AND SOUL STYLES TO A JAZZ REPERTOIRE with Kalil Wilson Jazz singing has become a crossroads where many styles and genres inform approach, phrasing, ornamentation and technique. This workshop focuses on applying stylistic approaches from R&B, pop and soul genres to the performance of music from the Great American Songbook. Students should bring one or two songs with charts in their proper key to perform in class. Open to all levels.

kalil wilson VOCAL TECHNIQUE FOR THE CONTEMPORARY SINGER

Vocalist Kalil Wilson is gifted with a powerful yet nuanced voice and a technical versatility that positions him comfortably in jazz, R&B, pop, and classical, and has captivated audiences from Barcelona to Berkeley in performances that defy easy categorization. With honors degrees in Vocal Performance and Ethnomusicology from UCLA, he has sung numerous lead opera roles, oratorio concerts, and at many jazz clubs and festivals. He has performed with Herbie Hancock, Carlos Santana, Kenny Burrell, the Buena Vista Social Club, Esperanza Spaulding, Renée Fleming, the L.A. Opera, L.A. Philharmonic, and the Oakland East Bay Symphony. Sunday, March 18, Noon - 3 pm $75 advance, $90 day of workshop

with Kalil Wilson Vocalist Kalil Wilson shares strategies for developing a balanced vocal sound. This method works for singers of all genres interested in developing a contemporary approach, including those with a classical singing background. Open to all levels. Sunday, January 14, Noon – 2 pm $40 advance, $55 day of workshop

I loved being at the

Jazzschool — seeing other musicians (and aspiring musicians) of all ages, hearing the sounds of jazz waft through the space. — Ben Golven

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Young Musicians Program

Jazzschool Young Musicians Program The Jazzschool Young Musicians Program is a year-round comprehensive music education and performance program designed for instrumental and vocal students between the ages of 11 and 18. The Young Musicians Program has been at the center of the Jazzschool’s educational and artistic goals since 1997. Its curriculum provides students with the opportunity to work with professional jazz artists and educators, strengthening performance skills, expanding knowledge of jazz theory and improvisation, and learning more about the foundations of jazz and related styles of music. Students participate in after-school classes and in master classes with nationally known jazz artists, as well as performing in venues throughout the San Francisco Bay Area and beyond.

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

erik jekabson 2018 PROGRAM REQUIREMENTS Jazzschool Young Musicians Program ensembles require a commitment of three quarters (fall, winter and spring). Students unable to commit to a full school year are still encouraged to audition; however, priority will be given to those who can remain in the program for the entire school year. Students wishing to audition mid-year will be placed in the program based on availability of open spots in ensembles and the student’s ability level. Please note that, while it is our mission to find a place for everyone in our Young Musicians Program, we may not be able to accommodate all students who apply.

— Dylan Everingham

Young Musicians Program

PLACEMENT AND AUDITION REQUIREMENTS WINTER 2018

INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS

AUDITION MATERIALS

jazz standards. Please state the name of each piece before you play it. • Download one of the two improvisation tracks at cjc.edu/youth_auditions for the improvisation portion of your audition. Two choruses required. • On the video, it is important that your playing is heard louder than anything else, including any accompanying tracks.

Entering musicians are asked to prepare two skill-level appropriate jazz standards, improvise over a 12-bar blues (optional) or rhythm changes (for high school students only) and sight-read.

HOW TO SCHEDULE AN AUDITION To schedule an audition, please fill out an application online at: cjc.edu/youth_auditions After your application is received, you will be contacted within 1 – 2 weeks with an audition time. Auditions are scheduled on a first-come, first-served basis and will be scheduled at the earliest available time. Students will be contacted with placement information following the audition.

AUDITION DATES: Ongoing AUDITION BY VIDEO (OPTIONAL) Students have the option of submitting an online video audition rather than scheduling an in-person audition. Students submitting their audition online are still required to fill out an online application (see above). On the application form, please select live audition or video submission. Please note: online video submissions are not available for the Studio Band or Advanced High School Jazz Workshops.

• Student should be clearly visible (and audible) on the video.

• Perform two skill-level appropriate

PIANO AND GUITAR PLAYERS Follow the above instructions with only one change: after improvising, please demonstrate comping/voicings on a blues or rhythm changes.

DRUMMERS Please demonstrate the following styles: • swing, bossa nova, funk/rock • Demonstrate each style at various tempos (i.e., slow, medium, fast) • On each style/tempo please “trade fours” with yourself (4 bars of time, 4 bars of solo, etc.) • Play at least 16 bars of each example After you have completed your video, upload your audition to YouTube and title the video with your name (Example: John Smith Jazzschool Audition). You should make this a private video (unless you don’t mind it being available to the public). Once the video is uploaded, send a link to erik @cjc.edu. You may also upload the video to a private website and email a link. Please do not email audition videos as attachments. For more information about the Jazzschool Young Musicians Program placement process, please visit cjc.edu/youth_auditions or contact us at erik @ cjc.edu and 510.845.5373.

Young Musicians Program

INSTRUMENTAL ENSEMBLES High school and middle school jazz ensembles are offered Monday through Thursday in the late afternoon and early evening and during the day on Saturday. While we make every effort to accommodate scheduling requests, specific placements are based on the results of an audition. Note: all prices listed are per quarter.

large performance ensembles

small performance ensembles ADVANCED HIGH SCHOOL JAZZ WORKSHOP Explore the post-bop harmonic, melodic, rhythmic and formal innovations of Coltrane, Shorter, Corea, Hancock, Brecker and others in this multiple DownBeat award-winning ensemble. For advancedlevel high school student players, competent in the bebop language. Record at Fantasy Studios and participate in various competitions and festivals. Section I: Mondays 4:45 – 6:15 pm 1/8 – 3/19 (10 weeks) no class 1/15 Michael Zilber • $395 Section II: Mondays 4:45 – 6:15 pm 1/8 – 3/19 (10 weeks) no class 1/15 Erik Jekabson • $395

STUDIO BAND Develop technique, knowledge of jazz style and an ability to improvise through standard and contemporary big band repertoire. This highly-selective ensemble records at Fantasy Studios, performs frequently and participates in competitions throughout the U.S. The Studio Band has played at Yoshi’s and Savanna Jazz, as well as jazz festivals in California, New York, Seattle, Idaho, the Vienne Jazz Festival in France and the Montreux Jazz Festival in Switzerland. Full school year commitment is required. Instrumentation: 5 saxes, 5 trumpets, 5 trombones, guitar, piano, bass and drums.

dave eshelman

Mondays 6:30 – 8 pm 1/8 – 3/19 (10 weeks) no class 1/15 Dave Eshelman • $225

What degree of jazz artist do you want to be? The California Jazz Conservatory is the only independent accredited school in America completely devoted to the study and performance of jazz. We offer two paths to your degree in Jazz Studies. Both offer a 100% jazz relevant curriculum. Both are taught by an effective faculty of top jazz artists/educators. Both offer a preeminent artistic and academic experience in the center of the vibrant Bay Area arts scene. And both offer you the opportunity to transform yourself, from a burgeoning musician to a respected artist.

Bachelor of Music Degree in Jazz Studies A 4-year, 100% jazz-relevant degree program offering unique optional areas of concentration in Brazilian Jazz, North American Roots Music, and Audio Production in partnership with Fantasy Studios.

Associate of Arts Degree in Jazz Studies A 2-year program, offering the same effective faculty and the same 100% jazz-relevant courses taught in the first two years of our Bachelor program, but at half the tuition investment and half the time commitment to get you started in your career in jazz. What degree of jazz artist do you want to be? Contact our President and Dean, Susan Muscarella, to find the best fit for you: susan@cjc.edu or 510.845.5373.

In a Musician, Out an Artist!

Our campus is located at 2087 and 2040 Addison Street, Berkeley, CA, 94704 / 510.845.5373 / cjc.edu

Young Musicians Program

HIGH SCHOOL JAZZ ENSEMBLE Gain a greater understanding of jazz theory and develop improvisation skills through the study and performance of challenging jazz repertoire. Section I: Mondays 4:45 – 6:15 pm 1/8 – 3/19 (10 weeks) no class 1/15 Raffi Garabedian • $395 Section II: Mondays 6:30 – 8 pm 1/8 – 3/19 (10 weeks) no class 1/15 Colin Hogan • $395 Section III: Tuesdays 4:45 – 6:15 pm 1/9 – 3/13 (10 weeks) Charles Hamilton • $395 Section IV: Wednesdays 4:45 – 6:15 pm 1/10 – 3/14 (10 weeks) Rob Ewing • $395 Section V: Wednesdays 6:30 – 8 pm 1/10 – 3/14 (10 weeks) Rob Ewing • $395 Section VI: Thursdays 4:45 – 6:15 pm 1/11 – 3/15 (10 weeks) Colin Hogan • $395 Section VII: Saturdays 11:45 am – 1:15 pm 1/13 – 3/17 (10 weeks) Colin Hogan • $395 Section VIII: Saturdays 11:45 am – 1:15 pm 1/13 – 3/17 (10 weeks) Darren Johnston • $395

MIDDLE SCHOOL JAZZ ENSEMBLE Learn to play jazz and improvise while covering a wide repertoire from John Coltrane, Sonny Rollins, Eddie Harris and other jazz masters. Section I: Mondays 4:45 – 6:15 pm 1/8 – 3/19 (10 weeks) no class 1/15 Colin Hogan • $395 Section II: Wednesdays 4:45 – 6:15 pm 1/10 – 3/14 (10 weeks) Erika Oba • $395

rob ewing Section III: Thursdays 4:45 – 6:15 pm 1/11 – 3/15 (10 weeks) Erika Oba • $395 Section IV: Saturdays 11:45 am – 1:15 pm 1/13 – 3/17 (10 weeks) Isaac Narell • $395

HIGH SCHOOL FUNK ENSEMBLE Learn the classic funk hits of James Brown, Sly Stone and others. Vocalists and horns welcome! Music is learned by ear. Also open to advanced middle-school musicians. Section I: Saturdays 10 – 11:30 am Section II: Saturdays 11:45 am – 1:15 pm 1/13 – 3/17 (10 weeks) Joe Bagale • $395

VOICE VOCAL PERFORMANCE FOR TEENS Delve into songs as a means of storytelling while simultaneously developing a personal connection to a lyric. All styles of music are welcome and students are encouraged to bring in songs of their choice. The instructor can also suggest repertoire suitable for individual students. Build vocal technique through a variety of warm-up, ear-training and musicianship exercises. Wednesdays 4:45 – 6:15 pm 1/10 – 3/14 (10 weeks) Kyra Gordon • $450

SUMMER 2018 PREVIEW

JAZZSCHOOL SUMMER CAMPS & INTENSIVES It’s time to start planning for summer 2018! We pride ourselves on offering some of the Bay Area’s most exciting summer jazz programs, for students who want to spend a week (or two) honing their skills in a focused environment.

Summer Programs for Young Musicians • Jazzschool Summer Youth Program June 18 – 29, 2018 Two 5-day sessions for instrumentalists entering grades 7 – 10

• High School Jazz Intensive July 23 – 27, 2018 A weeklong session for advanced high school jazz instrumentalists, directed by Dr. Michael Zilber

• Girls’ Jazz & Blues Camp July 30 – August 3, 2018 A weeklong program for singers and instrumentalists

Summer Programs for Adults • Jazzschool Vocal Intensive August 6 – 11, 2018 A weeklong session for jazz vocalists, directed by Laurie Antonioli with artist-in-residence Theo Beckmann

IN THE NAME OF LOVE

16th Annual Musical Tribute Honoring Dr. Martin Luther King, Jr. Sunday, Jan. 14, 2018, 7pm

Oakland Scottish Rite Center, 1547 Lakeside Dr.

SONGS OF CHANGE Nicolas Bearde • Kim Nalley • Tiffany Austin Amikaeyla Gaston • Jessica Lá Rel

Tammy Hall, Marcus Shelby, Allison Miller, Adam Theis, Terrance Brewer

Oakland Interfaith Gospel Choir Living Jazz Children’s Project w/ Oakland School of the Arts Ensemble Dana King, Mistress of Ceremonies Tickets: Adv: $25–40; children $8–12; Door: $30–48/$10–15

livingjazz.org/mlktribute Beneﬁting the Living Jazz Children’s Project

jazz in the neighborhood BUILDING A BRIDGE BETWEEN CLASSROOM AND STAGE

announces its Emerging Artists for 2017/18 William Berg Dante Billeci Isaac Coyle Shana Dinha Jayla Hernandez

Justis Jones Gio Mendez Dan Neville Zack Shubert Kate Williams

jazzintheneighborhood.org/emerging-artists-program/ /

Workshops HEALTH

MUSIC TECHNOLOGY

ALEXANDER TECHNIQUE FOR MUSICIANS with Laura Klein

CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTS with Lee Brenkman

Playing an instrument or singing is a complex process involving not just hands, embouchure, or voice, but your whole self. Habits of tension and misuse can hinder free musical expression. The Alexander Technique is a powerful tool for preventing injuries, improving overall ease, and increasing poise in performance. This method is taught at performing arts institutions all over the world, and can be applied to any activity. In this introductory workshop, select participants will receive demonstration hands-on work with their instrument. Musicians of all levels, from beginners to professionals, are welcome. Laura Klein is Associate Professor of the Alexander Technique at the CJC and has a private teaching practice in Berkeley. She is certified by the American Society of the Alexander Technique (AmSAT) and the Society of Teachers of the Alexander Technique (STAT). She is a pianist, composer and recording artist, co-leads FivePlay Jazz Quintet, and maintains a busy performing schedule. Sunday, February 11, 11:30 am – 1:30 pm $30 advance, $45 day of workshop

For description, see page 35 Sunday February 25, 11 am – 1 pm $30 advance, $45 day of workshop

VOCAL AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES — Unsung Gems 6 with Maye Cavallaro For description, see page 34 3 Sundays, January 14, 21, 28 Noon – 3 pm $295 advance, $310 day of workshop

STAGE PRESENCE 101: The Art and Craft Of Live Performance with Andrea Claburn For description, see page 35 Sunday, February 11, Noon – 3 pm $50 advance, $65 day of workshop

VOCAL TECHNIQUE FOR THE CONTEMPORARY SINGER with Kalil Wilson For description, see page 36 Sunday, January 14, Noon – 2 pm $40 advance, $55 day of workshop

APPLYING R&B, POP AND SOUL STYLES TO A JAZZ REPERTOIRE with Kalil Wilson For description, see page 36 Sunday, March 18, Noon - 3 pm $75 advance, $90 day of workshop

laura klein

Workshops

WORLD TANGO WORKSHOP with Alejandro Ziegler Explore the evolution of tango music from its beginnings in Buenos Aires in the 1880s through the mid-century golden age of tango, to Astor Piazzolla’s innovations in the 60s and ongoing developments today. Instructor Alejandro Ziegler will discuss and demonstrate musical tendencies in each time period including: rhythm patterns, melodic profile, harmonic structure, form, musical instruments and their role in the orchestra, orchestration and arrangements, and interpretive styles. Born in the city of Buenos Aires, Argentina, in 1978, Alejandro Ziegler graduated from “Universidad Católica Argentina”(UCA University) with a degree in composition. At the same institution he also studied orchestral conducting. As a composer he wrote several chamber and orchestral music works. He was selected when performing in auditions to join the “Orquesta Escuela de Tango,” an orchestra supported by the Buenos Aires City Government. There he performed for over two years under famous conductors Emilio Balcarce and Nestor Marconi. Alejandro Ziegler has given concerts, lectures and workshops on tango musicality and tango history in many universities and educational centers around the world. Sunday, February 11, 2 – 4 pm $30 advance, $45 day of workshop

almir côrtes BRAZILIAN MUSIC STYLES — RHYTHM AND PHRASING with Almir Côrtes This class aims to show how to play some of the main Brazilian styles. Mr. Côrtes will expose examples with audio and music notation, as well as playing and describing some Brazilian standards. After that part, he will do a hands-on class where students will play together and practice the main characteristics of the styles, such as the typical accompaniment and specific articulations, phrasing, rhythm patterns, modes and scales. A native of Bahia, Brazil, versatile multiinstrumentalist Almir Côrtes is equally at home on mandolin, acoustic & electric guitars, viola caipira (Brazilian ten-string guitar) and the rarely-seen Bahian guitar. His repertoire of styles is equally broad, including choro, frevo, samba, maxixe and Brazilian jazz among others. He has performed throughout Brazil as well as the United States, Europe and Cuba. Almir has performed with David Grisman, Mike Marshall, Nailor Proveta, Howard Alden, Armandinho Macêdo and many other luminaries, as well as leading his own Trio, featuring many of his original compositions. Saturday, January 20, 3:15 – 5:15 pm $30 advance, $45 day of workshop

Workshops

jan jakut

GUITAR CONCEPTS FOR SOLO GUITAR PERFORMANCE with Jan Jakut Explore the abundance of American popular music from Gershwin and Victor Young to Jimi Hendrix, Kurt Cobain and contemporary artist/performers like Esperanza Spalding from a solo guitar perspective. This workshop centers around an in-depth look at detailed transcriptions of Bill Frisell’s solo performances of jazz standards, traditionals and American popular music and also explores the innovations of Jim Hall, Julian Lage, Kurt Rosenwinkel and Joe Pass. A deeper look into harmonic and melodic concepts and context reveals straightforward and compelling ways to play a tune, taking advantage of the mechanics of the guitar fretboard. Additionally, arrangements featuring quartal harmony, negative harmony and other harmonization techniques reveal ways to incorporate counter-melodies, bass lines, reharmonizations and intricate chordal playing into songs like “Stella By Starlight,” “I’ll Be Seeing You,” “Strawberry Fields Forever,” “The Wind Cries Mary” and “In Bloom.”

Attendees are given methods of applying music theory to the fretboard and access to about 100 pages worth of professionally laid out transcriptions, arrangements and lessons (sheet music/TAB, PDF). Confronting the musical aesthetics of Hendrix and Cobain with textures derived from Jazz, 50s and 60s instrumental music, electric guitarist Jan Jakut explores contemporary genres in a jazz setting. He studied for his Masters degree in Jazz and Improvised Music with the Helen A. Reynolds Endowed Scholarship in Music and worked as Teaching Assistant at the University of Washington, Seattle. He’s a published author with Schott Music International. In 2016, he was the only finalist in Lee Ritenour’s Six String Theory Music Competition. With “Juju Music Edition,” Jakut publishes transcriptions of seminal solo guitar performances and educational material especially written for solo jazz & fingerstyle guitar. Jakut currently resides in the U.S. Sunday, January 21, 2 – 4 pm $30 advance, $45 day of workshop

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Workshops

matt davis HOW TO PLAY WALKING BASS LINES WITH CHORDS ON GUITAR with Matt Davis This workshop details a method for playing chords and bass lines at the same time on guitar in a straight-ahead jazz context — be it as a solo guitarist, a member of a duo with a vocalist or other instrument or as part of a larger ensemble as exemplified by Joe Pass and other guitar masters. Topics covered include: History (including listening and some transcription analysis); Chord Structures (7th chord inversions, intervallic voicings, etc.); Bass Line Construction, and finally, putting it all together to play chords and bass lines at the same time. Suggested Prerequisites: intermediate technical ability and some knowledge of jazz harmony. Please bring your guitar.

Matt Davis is a guitarist, teacher, and composer based in New York. Hailed as “inspired” by DownBeat Magazine, “incredible” by the Philadelphia Daily News, and “eloquent” by JazzTimes Magazine, Matt’s original jazz group, Aerial Photograph, has released three CDs and performs regularly in and around the New York area. Matt has shared the stage with notable musicians such as Odean Pope, Tyrone Brown, Mickey Roker, The Silk Road Ensemble, Dave Liebman, Dick Oatts, John Swana, Terrell Stafford, Jon Hollenbeck, and many others. Sunday, March 11, 11:30 am – 1:30 pm $30 advance, $45 day of workshop

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Workshops

SIGHT READING FOR GUITARISTS with Matt Davis Sight-reading is a challenge for many guitarists at all different levels. While we can’t wave a “magic wand” to quickly become a great reader, several approaches can significantly improve one’s proficiency. This workshop offers helpful tips, exercises, and strategies for overcoming technical and physical challenges on the journey to becoming an excellent sight-reader on guitar. Through discussion and demonstration, and by reading through a range of written music from Bach to Miles Davis, participants gain confidence and accuracy as readers. Suggested Prerequisite: intermediate technical ability, some ability to read music. Please bring your guitar. Sunday, March 11, 2 – 4 pm $30 advance, $45 day of workshop

paul mehling HOT CLUB JAZZ GUITAR with Paul Mehling

I like the Jazzschool because the faculty is top notch. My bandmates have commented on how my playing has improved. — Luis Rojas

This workshop focuses on various aspects of hot club-style jazz guitar in the tradition of the legendary Django Reinhardt. Topics include rhythm, picking, scales, arpeggios, chords, soloing, and more. One-on-one evaluation is available to all attendees, with a directed jam at the conclusion of the workshop (time permitting). Bring your instrument, recording device (or paper and pencil) and questions! Guitarist Paul Mehling is the leader of the Hot Club of San Francisco. Sunday, January 14, 11:30 am – 1:30 pm $30 advance, $45 day of workshop

Workshops

the danny fox trio

THEORY AND IMPROVISATION NEW SOUNDS FOR PIANO TRIO with The Danny Fox Trio The Danny Fox Trio has been described as “changing the sound and expectation of a jazz piano trio” (John Schaefer, WNYC’s New Sounds). A working band for nearly ten years, the trio has been developing a unique sound through motivic composition, creative arrangements, and interactive improvisation. This workshop will explore new ideas for the traditional piano trio format of piano, bass, and drums through compositional approaches, rehearsal strategies, incorporating diverse musical influences, and playing to each band member’s backgrounds and strengths. The trio will illustrate these ideas through live performance. Formed in 2008, the Danny Fox Trio, featuring pianist Danny Fox, bassist Chris van Voorst van Beest, and drummer Max Goldman, is a true working band hailed for reinventing the classic piano trio format

with genre-defying, uniquely personal original music. Whether holed up in a Brooklyn basement rehearsing or touring around the country crammed into a sedan, the trio has spent countless hours developing a rapport that’s immediately palpable in their music. Described as “cool but not modish“ (New York Times), the band mixes tight ensemble playing with highly interactive, attuned improvisation. Drawing on influences as varied as Ellington, Bartok, and The Meters, the music can switch gears at any moment yet remains cohesive thanks to strong motivic development and rigorous arrangements that challenge the traditional roles of the piano trio instruments. Having released the critically acclaimed albums “The One Constant” (Songlines) and “Wide Eyed” (Hot Cup), the trio is set to release their third album “The Great Nostalgist” (Hot Cup) in February, 2018. Saturday, February 10, 3:15 – 5:15 pm $30 advance, $45 day of workshop

2018 Winter Quarter / January 8 – March 19 / cjc.edu

THE METRONOME IS YOUR FRIEND with Paul Mehling Returning with his popular workshop for musicians and singers of all levels, Mehling demonstrates a range of practice techniques making creative use of the metronome. Improve your productivity and increase your musicianship! Open to all. Sunday, January 14, 2 – 4 pm $30 advance, $45 day of workshop

REHARMONIZING JAZZ STANDARDS USING MELODIC AND HARMONIC MINOR HARMONY with John Stowell Master guitarist and improviser John Stowell leads a workshop on reharmonization techniques applied both to composition and improvisation, integrating concepts developed from an in-depth exploration of melodic and harmonic minor harmony. Prerequisites: knowledge of jazz harmony suggested. Portland-based guitarist John Stowell has 35 years of international playing and teaching experience and has recorded/ performed with Milt Jackson, Lionel Hampton, Art Farmer, and many others. He has also published several instructional books and videos. Saturday, February 3, 3:15 – 5:15 pm $30 advance, $45 day of workshop

debbie poryes FROM TRANSCRIPTION TO SOLO with Debbie Poryes An analytical overview of transcribed solos by three jazz piano masters: Bill Evans, McCoy Tyner and Barry Harris. The instructor guides participants in identifying several of each of these pianists’ signature rhythmic, harmonic and melodic concepts to be applied to their own improvised solos. Open to all instrumentalists. Prerequisites: knowledge of the four types of triads and the major, dominant and minor seventh chords and their alterations. Pianist Debbie Poryes has performed at Yoshi’s, the Healdsburg Jazz Festival and various venues in Europe. She has released several albums as a leader, with over 30 years of experience teaching privately and at conservatories in the U.S. and Europe. Sunday, February 18, Noon – 3 pm $45 advance, $60 day of workshop

john stowell

Workshop Series CONTEMPORARY JAZZ IMPROVISATION This 4-part series of handson workshops directed by some of the Bay Area’s top jazz improvisers is designed to provide players with a range of contemporary jazz improvisation techniques. Get the tools for developing a modern sound, with a range of perspectives from each of these inspiring, cutting-edge players. Each session will be directed by a different instructor and will include plenty of inclass playing time, and Q & A! These workshops are open to all. Suggested prerequisites for those who will play during the session: facility on an instrument and knowledge of jazz theory.

Steve Erquiaga Saturday, January 13 3:15 – 5:15 pm

Frank Martin

Saturday, February 24 3:15 – 5:15 pm

Dann Zinn

Sunday, February 25 11:30 am – 1:30 pm

Ian Carey

Sunday, March 4 11:30 am – 1:30 pm

Series: $100 advance purchase for the four-part series Individual Workshops: $30 advance purchase / $45 day of workshop

Guitarist Steve Erquiaga has recorded and toured with such varied artists as Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, David Byrne, The Turtle Island String Quartet, Paulo Bellinati, Jim Nichols, Andy Narell, and Paul McCandless. In addition to being a long time faculty member here, Steve has been an instructor at Jamey Aebersold’s Summer Jazz Workshops for many years. Arranger/conductor/keyboardist Frank Martin has performed and/or recorded with a variety of artists including Andrea Bocelli, Sting, Stevie Wonder, Elton John, Steve

steve erquiaga

frank martin

Winwood, Whitney Houston, Ray Charles, Diana Ross, Chris Isaak, Tevin Campbell, Sheryl Crow, Philip Bailey, James Taylor, Joe Cocker, Billy Joel, and Madonna. Jazz performance credits include Flora Purim & Airto Moreira, Herbie Hancock, John McLaughlin, Narada Michael Walden, Stanley Jordan, Dizzy Gillespie, Mel Tormé, Bobby McFerrin, John Handy, Ramsey Lewis, Joe Farrell, and the Slide Hampton Big Band. Saxophonist Dann Zinn is well known as an instructor of jazz improvisation. His private students have included many of today’s leading players. Zinn has recorded and/or performed with Joe Henderson, Taylor Eigsti, Russ Ferrante, Jeff Tain Watts, Freddie Hubbard, Chuck Findley, Mary Wells, Martha and the Vandellas, Barry Finnerty, Frank Martin, among many others. He recently released a highly anticipated series of six books called Zinn and the Art of Saxophone. Trumpeter Ian Carey received a BA in Jazz and Contemporary Music from the New School in New York. After settling in the Bay Area, he was quickly recognized as a formidable improviser, performing with top-notch ensembles including the Electric Squeezebox Orchestra, the Contemporary Jazz Orchestra and many others. He has also put considerable focus on leading his own groups performing original music, as heard on his recently released album, Interview Music. Ian has also been named a rising star in the DownBeat critics poll for the past 3 years.

dann zinn

ian carey

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Workshop Series

IMPROVISING ON JAZZ STANDARDS This 5-part series of hands-on workshops directed by some of the Bay Area’s top jazz improvisers is designed to provide players with a range of techniques for improvising on jazz standards. Get some new tools for your improvisational toolkit, and gain a variety of perspectives on jazz improvisation from each of these wonderful musicians. Each session will be directed by a different instructor and focus on a particular jazz standard, including plenty of in-class playing time, and Q & A. These workshops are open to all. Suggested prerequisites for those who will play during the session: facility on an instrument and knowledge of jazz theory.

Anton Schwartz

Sunday, January 21 11:30 am – 1:30 pm

Charlie Gurke

Sunday, January 28 11:30 am – 1:30 pm

Henry Hung

Sunday, February 11 11:30 am – 1:30 pm

Greg Johnson

Sunday, February 25 11:30 am – 1:30 pm

Kasey Knudsen

Sunday, March 11 11:30 am – 1:30 pm

Series: $120 advance purchase for the five-part series Individual Workshops: $30 advance purchase / $45 day of workshop

Saxophonist Anton Schwartz has forged ties with some of jazz’s heaviest hitters, including pianists Russell Ferrante, Taylor Eigsti, Randy Porter, Josh Nelson, Art Lande and Eric Reed; guitarists Peter Bernstein, Bruce Forman, Ed Cherry, Julian Lage and Dan Balmer; trumpeters Dominick Farinacci, Thomas Marriott and Scott Wendholt; and vocalists Ed Reed, Jackie Ryan, Denise Donatelli and Rebecca Kilgore. His latest album, Flash Mob, surged to the sixth spot on the jazz radio charts and earned a coveted four-star review in DownBeat magazine.

2018 Winter Quarter / January 8 – March 19 / cjc.edu

anton schwartz

charlie gurke

henry hung

Saxophonist Charlie Gurke attended the New School in New York, studying with George Garzone and Billy Harper, among others and received a masters degree in jazz studies from the University of Oregon. Since settling in the Bay Area he has become an in-demand player, arranger and composer in numerous genres and styles. He can heard leading his own group, Gurkestra and is a member of the Electric Squeezebox Orchestra. He also serves as music director for We Players theater company and directs jazz ensembles at Laney College in Oakland. Trumpeter Henry Hung has extensive performance and recording experience spanning many genres. In 2013 he received a Grammy award as a member of the acclaimed Pacific Mambo Orchestra and co-leads the immensely creative Klaxon Mutant Allstars. Henry is also an accomplished music educator, and currently directs the band at School of the Arts in San Francisco.

greg johnson

Saxophonist Greg Johnson has appeared in concert and on recordings with jazz greats Curtis Fuller, Billy Taylor, Dick Oatts, Alan Pasqua, Peter Erskine, Bob Mintzer and many more. He has appeared on stage with pop and rock acts including Saint Motel, Robin Thicke and Barry Manilow at some of the biggest festivals and venues in the world. He is currently Director of Jazz Studies at the Marin School of the Arts. Saxophonist Kasey Knudsen currently performs with a number of notable ensembles and bandleaders including Charlie Hunter, Ben Goldberg, Fred Frith, Erik Jekabson, Ian Carey, The Montclair Womenâ&#x20AC;&#x2122;s Big Band, Adam Shulman, Nathan Clevenger, Aaron Novik, Michael Coleman, The Electric Squeezebox Orchestra and Jarrett Cherner.

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Workshops Series Workshop

GUITAR MASTER CLASS SERIES Join these fantastic guitarists for a series of open format guitar master classes. Topics covered in each two-hour workshop may include demonstration of techniques, styles and voicings, fingerings, listening to students play and offering personalized feedback. Develop new skills and get inspired by each of these exciting visiting instructors! These workshops are open to all with plenty of time for Q&A.

Matthew Heulitt

Saturday, January 27 3:15 – 5:15 pm

Jeff Massanari

Saturday, February 10 3:15 – 5:15 pm

Steve Erquiaga

Saturday, February 17 3:15 – 5:15 pm

Jordan Samuels Series: $100 advance purchase for the four-part series

Saturday, March 3 3:15 – 5:15 pm

Individual Workshops: $30 advance purchase / $45 day of workshop

Guitarist Matthew Charles Heulitt has been a studio ace and music educator in the San Francisco Bay Area since 1997. He has performed and recorded around the world with artists as varied as Sting, Sammy Hagar, Carlos Santana, Mickey Hart, Vusi Mahlasela, Keiko Matsui, Taj Mahal and many more. Heulitt is currently a member of legendary funk drummer Zigaboo Modeliste’s New Aahkesstra, The Narada Michael Walden Band, Magna Carta art/rock band MoeTar, and a host of other Bay Area bands at any given time. By the time Jeff Massanari was 17 he was performing and teaching jazz and blues in the Washington DC area when his love of jazz took him from DC to Boston’s Berklee School of Music. After studying performance and composition, Jeff moved to the San Francisco Bay Area and quickly became one of the area’s most in-demand guitarists. Jeff wears many stylistic hats including straight-ahead jazz, fusion, blues, rock and even

2018 Winter Quarter / January 8 – March 19 / cjc.edu

matthew heulitt

jeff massanari

has some serious country chops. He is at home playing complex jazz solo guitar arrangements as well as tearing up a plate full of blues on his Strat! Jeff has performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Guitarist Steve Erquiaga has recorded and toured with such varied artists as Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, David Byrne, The Turtle Island String Quartet, Paulo Bellinati, Jim Nichols, Andy Narell, and Paul McCandless. In addition to being a long time faculty member here, Steve has been an instructor at Jamey Aebersoldâ&#x20AC;&#x2122;s Summer Jazz Workshops for many years. Jordan Samuels is an accomplished guitarist who has been studying, performing and teaching throughout the San Francisco Bay Area for the last twenty years. While at San Francisco State University, he completed his formal training in music composition under the guidance of Ronald Caltabiano and Richard Festinger while simultaneously pursuing a jazz studies curriculum directed by Andrew Speight and John Calloway. He has studied guitar with Randy Vincent and Bruce Forman and is strongly influenced by Wes Montgomery, Kenny Burrell, Grant Green, Barney Kessel and Peter Bernstein. Since completing his studies in 2010, Jordan has become an in-demand jazz guitarist and can be seen performing regularly with the Hot Club of San Francisco, the Electric Squeezbox Orchestra, the Bay Area based organ trio Certified Organic and his own trio/quartet.

steve erquiaga

jordan samuels 57

Workshop Series

DRUM SET MASTER CLASS SERIES Join each of these incredible drummers for a series of open format drum set master classes. Topics covered in each two-hour workshop may include demonstration of techniques, styles, grooves, soloing, listening to students play and offering personalized feedback. Become a better drummer and get inspired by each of these exciting visiting instructors! These workshops are open to all with plenty of time for Q&A.

Series: $100 advance purchase for the four-part series

Alan Hall

Sunday, January 28 11:30 am – 1:30 pm

Julian Hogan

Sunday, February 11 2 – 4 pm

Deszon Claiborne

Sunday, February 25 2 – 4 pm

Jon Arkin

Saturday, March 10

3:15 – 5:15 pm

Individual Workshops: $30 advance purchase / $45 day of workshop

Alan Hall has performed and/or recorded with many jazz greats including: Paul McCandless, Russell Ferrante, Taylor Eigsti, Art Lande, Geoff Keezer, Jimmy Haslip, Kai Eckhardt, and vocalists Kenny Washington and Rebecca Parris. He’s worked with Cirque Du Soleil in NYC and Teatro Zinzanni in San Francisco. Alan taught drum set and ensembles at Berklee College of Music for seven years and he currently teaches drum set and ensembles at California Jazz Conservatory and Cal State University East Bay in Hayward. He is the author of several articles and a drum book entitled: Internalization: A Non-Reading Intensive Approach to Mastery of the Jazz Drumming Language. He is a proud endorser of Brooks Drums, Zildjian Cymbals, Aquarian Accessories and Vic Firth Sticks. While a student at Berkeley High School, drummer Julian Hogan played a key part in helping Berkeley’s High School Jazz Ensemble win the Monterey Jazz Festival High

2018 Winter Quarter / January 8 – March 19 / cjc.edu

alan hall

julian hogan

School Competition 2 years in a row. Hogan also was winner of the Outstanding Soloist Award on drum set. Julian continued his music studies at CSU Northridge where he performed with the acclaimed Jazz ‘A’ Band and studied with legendary drummer Gregg Bissonette. Julian prides himself on his versatility, being able to play a wide range of musical styles authentically. Julian has been fortunate enough to share the stage with artists such as Bobby Brown, Too Short, Ray J, The Drifters, Martin Luther and Miguel, among many others, and has opened for many notable artists including Tower of Power, Third Eye Blind, Talib Kweli and Hall & Oates. He is passionate about his ongoing involvement with The Hogan Brothers trio, which includes his brothers Steve on Bass and Colin on Keyboards. A native of the Bay Area, drummer Deszon Claiborne began his musical career at the age of ten. Virtually selftaught at the outset of his career, Deszon went on to study intensively with world renowned drummers such as Ralph Humphrey, James Levi, Richard Peterson, Billy Cobham and Kenneth Nash. These experiences provided him with a strong foundation in jazz, funk, rock, R&B and world music. Deszon has had the pleasure of performing or recording with Dr. Lonnie Smith, Boz Scaggs, Peter Apfelbaum, Charles Brown, Joe Locke, Les McCann, Robin Ford, Angela Bofill, Omar Sosa, Giovanni Hildalgo, Ernie Watts and Donald Harrison. Jon Arkin is an in-demand drummer on the Bay Area jazz scene and is highly regarded for his sense of feel, touch and creativity in jazz and other contexts. He routinely receives high praise from students taking his “Musical Drummer” course at the Jazzschool.

deszon claiborne

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CJC Concert Series Check out what’s happening in our intimate jazz club venue, featuring international stars and performances by faculty and students! Purchase tickets online at cjc.edu/concerts or at the Conservatory. CLAUDIA VILLELA

Fri

8pm

Steve Erquiaga & Frank Martin Duo $20

Sat

8pm

Marta Sanchez Quintet $20

12 Fri 8pm

The Daniel Lucca Quintet featuring $20 Tom Politzer from Tower of Power

Sat

8pm

Nell & Jim Band $20

Fri

8pm

Almir Côrtes Trio + Harvey Wainapel $20

Sat

8pm

Andrea Claburn/Jua Howard Sextet $20

21 Sun 4:30pm

SFEMS — The Alphabet Baroque Club— $20 “An English Country Garden”

Sun

7pm

Vocal Jam $10

Fri

8pm

Erik Jekabson Quintet $20

Sat

8pm

Claudia Villela with Vitor Gonçalves $25

Sun

4:30pm

Rising Star: Natalie Marshall $10

Fri

8pm

Michael Zilber/John Stowell Quartet $20

3 Sat 8pm 9

Fri

8pm

10 Sat 8pm 16

Fri

TERRANCE KELLY

8pm

Black History Month: John Calloway Quartet $20 with Special Guest Terrance Kelly Danny Fox Trio $18 Black History Month: Malachi Whitson $10 & Something with Soul Arje Shaw—“A Night with Sinatra” $20

ANDREA CLABURN

TRIO GARUFA

FEBRUARY

JANUARY

MALACHI WHITSON

JANICE MAXIE REID

JEAN FINEBERG

Black History Month: Janice Maxie Reid — Birthday $20 Tribute to Nancy Wilson & Cannonball Adderly

18 Sun 4:30pm SFEMS—Ensemble Bizarria — $20 The Vulnerable Wolfgang Amadeus

Sun

7pm

Vocal Jam $10

Fri

8pm

CJC Green Ensemble $20

24 Sat 8pm

Black History Month — Linda Tillery $20 and the Freedom Band present “Music of Protest and Resistance”

Fri

8pm

Laurie Antonioli $20

Sat

7pm

Steve Heckman & Matt Clark CD Release Party $18

Sun

4:30pm

Masaru Koga Group $18

Sun

7pm

Blues Vocal Jam Free (donations welcome)

Fri

8pm

Jean Fineberg & JAZZphoria $20

Sat

8pm

The Jolly Gibsons $18

20–22 various times Jazzschool Student Performances Free (donations welcome) 23 Fri 6pm

Women’s Jazz & Blues Camp Free Performance (donations welcome)

Matt Zebley’s Oversize Quartet $20

Sat

8pm

25 Sun 4:30pm

SFEMS — Flauti Diversi — $20 “Music in the Garden of Delight”

Vocal Jam $10

Sun

7pm

MARCH

16–18 various times Jazzschool Young Musicians’ Program Free (donations welcome)

FEBRUARY

17 Sat 8pm

ERIK JEKABSON

26–29 various times Jazzschool Student Performances Free (donations welcome)

Fri

8pm

Trio Garufa $20

Sat

8pm

Ridgeway Arts Presents Romain Pilon $18

info & tickets at cjc.edu/concerts

Jazzschool Faculty Amanda Addleman (voice) B.M. Performance from Berklee College of Music. Student of Mili Bermejo-Greenspan, Ken Cervenka, Greg Hopkins, Maggie Scott, Lee Strawn & Tierney Sutton. Professional musician with past residencies at The Palace Hotel, Savanna Jazz Club and more. Vocal Program Director at Sir Francis Drake High School and private music educator and clinician. Laurie Antonioli (voice) Studied at Mt. Hood College and Cal State Long Beach. Chair, Vocal Program, California Jazz Conservatory. Professor and Director of Vocal Jazz Department, Kug U., Graz, Austria. Private studies with Joe Henderson, and Mark Murphy. Origin Records recording artist; Nabel Records recording artist; performed and recorded with George Cables, Bobby McFerrin, Richie Beirach, Pony Poindexter, Joe Bonner; bandleader of the American Dreams Band; led international group Foreign Affair; lyricist for Richie Beirach; co-creator of the Pauer— Antonioli Songbook. www.laurieantonioli.com Bill Aron (saxophone) M.M. in Performance, SF State; B.A. in Music, UC Berkeley. Professional musician and music educator for 42 years; specializing in classical saxophone playing with the San Francisco Saxophone Quartet and San Francisco Symphony among others. Joe Bagale (drums) Eastman School of Music (1.5 years) currently lead vocalist, keyboardist, guitarist with Mickey Hart Band. Leads Joe Bagale band, performs with Jazz Mafia, Hot Einstein, Disappear Incompletely. www.joebagale.com David Belove (bass) Studied at SF State and San Francisco Conservatory of Music. Recorded or performed with Pete Escovedo, John Santos and The Machete Ensemble, Danilo Perez, Tito Puente, Francisco Aguabella, Rebeca Mauleon, Ray Obiedo, Marcos Silva, Joe Henderson, Max Roach, Blue Mitchell, Eddie Harris, Mark Levine, Pat Metheny, Larry Coryell and Zakir Hussain. Steve Blum (piano) B.M. CSU Long Beach, M.F.A. California Institute of the Arts. Performer, composer, music director and educator. Student of David Roitstein, Alfred Ladzekpo, Joe LaBarbera, Wadada Leo Smith, Larry Koonse, and Charlie Haden. Recorded and/ or performed with Vinny Golia, Tony Clifton, Blockrad, A Giraffe, Keen Inkling, Steve Blum’s Keyboarchestra, Disappear Incompletely, See-Saw Trio, and more.

amanda addleman Nahuel Bronzini (arranging) B.M. San Francisco Conservatory of Music, jazz studies at Escuela de Música Contemporánea and classical guitar at Conservatorio J.J. Castro (Argentina). Active music producer and arranger in the Bay Area music scene, having worked with groups and artists such as Tony Toni Toné!, Magik Magik Orchestra, Diana Gameros, D’Wayne Wiggins and Kendra McKinley. Board member for the Recording Academy SF Chapter and Committee member for AES SF Chapter. Nahuel works out of Airship Laboratories Studios in Richmond, CA. www.nahuelbronzini.com Edgardo Cambón (percussion, voice) Bandleader for 26 years of the renowned salsa band “Edgardo & Candela.” Toured throughout South America, Europe, and Africa since 1986. LP (Latin Percussion Co.) endorser. Performed or recorded with Jesús “Chucho” Valdés (Irakere), Eddie Palmieri, Carlos Santana, José Luis “Changuito” Quintana, Orestes Vilató, Salsa Romántica Stars Jerry Rivera and Eddie Santiago, Keith Terry and “Crosspulse,” Omar Sosa, Jeff Narell, Andy Narell, Sovosó (formerly Bobby McFerrin’s “Voicestra”) Mike Spiro, Karl Perazzo and Rebeca Mauleón. www.musicandela.com Danny Caron (guitar) B.A. in English and Music, Oberlin College and Conservatory; graduate of Howard Roberts Program, Guitar Institute of Technology, Los Angeles. Best known for being music director and guitarist for the legendary pianist and vocalist Charles Brown until his death in 2000. He has played and recorded with Van Morrison, Bonnie Raitt, Dr. John, Clifton Chenier, Donald Fagan, Hadda Brooks, Red Callender, and many others. www.dannycaron.com

Jazzschool Faculty Faculty Jazzschool

Maye Cavallaro (voice) Advanced degree in Education, UC Santa Barbara; B.A. in English Lit, UC Santa Barbara. Fellow NY Cabaret Symposium; faculty, Blue Bear School of Music; private coaching, 25 years; producer, 8 recordings; bandleader, recording artist; awarded Best of the Year in Jazz by the San Francisco Chronicle; visiting clinician, St. John’s U.; graphic artist, web designer. www.teachingjazz.com Andrea Claburn (voice) B.Mus. (in progress), California Jazz Conservatory; B.A. (High Honors, Humanities) University of California at Berkeley. Co-bandleader, Andrea Claburn/Jua Howard Group. Studied vocal technique and performance with Sandy Cressman, Laurie Antonioli, Raz Kennedy, Maye Cavallaro. www.andreaclaburn.com Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Featured artist with Ray Obiedo’s Mistura Fina and Jai Uttal’s Pagan Love Orchestra. Studio vocalist for Latin and world jazz styles, recently featured on Bossa Nova Dreams with Akira Tana, Branford Marsalis and Arturo Sandoval. Heard on a wide variety of commercials and soundtracks. www.cressmanmusic.com Rachel Efron (songwriting) B.A., Harvard U. (extensive coursework in both writing and music). Studied jazz piano with faculty at Berklee College of Music. Released three albums of original music and toured on both coasts. Bandleader of Rachel Efron Ensemble, which has performed locally at such venues as Yoshi’s, The Plush Room, The Independent, Freight & Salvage and Cafe Du Nord. www.rachelefron.com Cecilia Engelhart (voice) Education: San Francisco Conservatory, Mannes College of Music. Has performed/recorded with a wide range of artists including: Ruben Blades, Theo Bleckmann, Willie Colon, Santi Debriano, Paquito D’Rivera, Rinde Eckert, Tania Libertad, Meredith Monk, Oscar Castro Neves, Mario Rivera, Michael Spiro, Keith Terry, Tamba Trio, Wayne Wallace etc. As composer and arranger with “Tanaora,” “Free Dive” and “Trio 3.” Classical performance includes SF Symphony Chorus,“Conjunto Nuevo Mundo” early music ensemble.

Steve Erquiaga (guitar) National and international recording and 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, Trio Paradiso; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso. Dave Eshelman (trombone) From 1984 to 2007, Dave Eshelman served as Director of Jazz Studies at California State University, East Bay (formerly Cal State Hayward). Eshelman has performed extensively with many jazz groups in the Bay Area and has worked as a featured soloist in the big bands of Ray Brown, Joe Henderson, Tito Puente and Gerald Wilson. Various artists across the United States and Europe — such as Joe Henderson, Don Ellis, Bill Watrous, and Stan Kenton, the Swedish Radio Orchestra and the Airmen of Note — have performed his compositions and arrangements. Rob Ewing (trombone) Jazzschool Director. Jazzschool Summer Youth Program Director. B.A., Naropa U.; 2 years, Berklee College of Music. Leader of Disappear Incompletely — The Radiohead Project. Performances with STS9, Marcus Shelby Orchestra, Vinny Golia, Latin Giants of Jazz, Ray Vega, Wayne Wallace, Graham Connah, Joe Bagale, The Barr Brothers, Les Gwan Jupons, John Schott’s Typical Orchestra, Jazz Mafia Symphony, Oakland Active Orchestra, Half of Half, Leslie Helpert, Rebecca Griffin, Naytronix. www.robewingmusic.com Jean Fineberg (saxophone, flute) M.Ed. in Secondary Education, B.S. in Science; B.A. in Arts & Sciences, Pennsylvania State U. Founder, leader of Deuce and Saxophunk; Assistant Director, composer, arranger, Montclair Women’s Big Band; toured and recorded with Melba Liston, David Bowie, Laura Nyro, Chic, Sister Sledge; consultant, San Francisco Arts Commission; NEA Jazz Fellow; recipient, ASCAP music composition awards, Meet The Composer grants; featured on Marian McPartland’s Piano Jazz on NPR. Raffi Garabedian (saxophone) B.F.A. in Jazz Performance, The New School, NYC. Performs with Brass Magic, Raffi Garabedian Blues Band, and many others. Studies with Dann Zinn, Dayna Stephens, Mark Turner, Tony Malaby, Chris Cheek, Ben Street, & Bill McHenry.

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Jazzschool Faculty

Kyra Gordon (voice) Vocalist/B.Mus. in Jazz Vocal Performance, California Jazz Conservatory. Spent a year performing in Paris, France, at Les Carveau Des Oubliettes and The One Way. Performed with Martha High, Boney Fields, Lucky Peterson, Kenny Neal, and Vernon Bush with Taj Mahal. Soundtrack vocals for feature films “Owned” and “Bert.” Vocalist/keyboards with improvised hip-hop collective The Freeze, performing the Bay Area’s hit show “Mortified.” Mike Greensill (piano) Graduated from Leeds College of Music (England). Long-time musical director for acclaimed vocalist Wesla Whitfield. Resident pianist for Public Radio’s “West Coast Live.” Worked as an accompanist with Rita Moreno, Margaret Whiting, Madeline Eastman, Ann Hampton Callaway and many others. Alan Hall (drums) Advisor, Drum Program. Former assistant professor at Berklee College of Music; adjunct faculty at UC Berkeley; clinician; author; performed with Ernie Watts, Paul McCandless, Eddie Harris, Bruce Wilamson, Art Lande, Tom Coster, Kit Walker, Rebecca Parris, Kai Eckhardt, Stuart Hamm; artist endorsement with Zildjian Cymbals, Vic Firth Sticks, Aquarian Accessories. www.jazzdrumming.com. Charles Hamilton (trombone) Leader of the Berkeley High School Jazz Ensemble for 28 years. Has performed with Joe Henderson, Fred Berry, Karlton Hester, Khalil Shaheed, Marcus Shelby, and Babatunde Lea. Created the San Francisco Bay Jazz Band at the invitation of the U.S. State Department, taking them to Asia twice (Vietnam and China). Recently released “Charles Hamilton and Beyond: Mr Hamudah” for Global Recording Artists. Currently directing the UC Santa Cruz Big Band. Received the National Foundation for the Advancement of the Arts “Distinguished Teacher in the Arts” Award. Jonathan Herrera (bass) B.A. University of Southern California; Honors Graduate, Los Angeles Music Academy. 2012 Artist-in-Residence, Los Angeles College of Music. Current LACM faculty, teaching Synth Bass. Former Editor-in-Chief of Bass Player Magazine, current Senior Contributing Editor. Performed and recorded with Stanley Jordan, Brain, Oz Noy, Miguel Migs, Cathedrals, Jonas Hellborg, Cyrus Chestnut, MoeTar, and many more. Extensive international touring and clinic experience. Moog, MXR, DSI, Nordstrand, and Aguilar endorsing artist. Staff Producer and Studio B Chief Engineer, Airship Laboratories recording studios.

Colin Hogan (piano) B.A. Cal State East Bay. Performances with James Moody, Peter Erskine, Bob Brookmeyer, Roy Ayers, Maria Schneider and hip hop luminaries such as Too $hort, DJ QBert, Dan the Automator, and Lyrics Born. Performed with electric bass revolutionary Larry Graham of Sly and the Family Stone at the 2004 California Music Awards. Pianist and featured soloist on accordion with the Tommy Igoe Big Band in its first-ever weekly residency at Yoshi’s San Francisco. Currently involved in various projects including hip hop/R&B group Dynamic, jazz/groove/experimental collective the Jazz Mafia, international cafe music group Trio Zincalo and jazz/funk/fusion band The Hogan Bros., with brothers Steve and Julian. Peter Horvath (piano) M.A. Berklee College of Music; Bèla Bartôk Conservatory of Music, Budapest, Hungary; Vienna Conservatory of Music. Performed, toured, recorded with Victor Bailey Group, Bobby Hutcherson, Joe Henderson, Lalah Hathaway, Oakland Symphony, Bob Sheppard, Bennie Maupin, Richie Cole, Ray Obiedo, Lenny White, Randy Brecker, Marcus Miller, Bob Mintzer, Pee Wee Ellis, Arturo Sandoval, arranged and recorded for Aretha Franklin. www.peterhorvath.com Erik Jekabson (trumpet) M.A. in Composition, SF Conservatory of Music; B. Mus. in Trumpet, Oberlin Conservatory of Music. Toured with John Mayer, Illinois Jacquet and Galactic, and has composed for film and dance projects. Released several albums as a leader. www.erikjekabson.com Darren Johnston (trumpet) B.A. jazz performance — Cincinnati Conservatory of Music, M.A. composition — Mills College. Adjunct trumpet/jazz professor at UC Berkeley, private instructor at SF Community Music Center, Stanford Jazz Workshop. Performed/recorded with Fred Frith, Marcus Shelby, Myra Melford, ROVA Saxophone Quartet, Meklit Hadero, and many others. Has led United Brassworker’s Front, Nice Guy Trio, Darren Johnston Quintet (featuring Ben Goldberg and Sheldon Brown), Trans-Global People’s Chorus, Broken Shadows, and others.

darren johnston

Jazzschool Faculty

Frankye Kelly (voice) Vocalist, lyricist, composer, national and international performing artist and educator. Artist-inresidence with multiple school districts in the greater Bay Area. Led jazz seminars and workshops in Europe, China, Japan, Mexico and Thailand.

jennifer jolly Jennifer Jolly (keyboards) B.A. UC Berkeley. Keyboardist, melodica player, vocalist, composer, and educator (keyboards, world music, improvisation). Specialty in New Orleans R&B, African, Caribbean, blues, soul/funk, rock, Americana, jam bands, country swing, Cajun/zydeco, groove/ percussive and improvisational music. Currently performing with Zulu Spear, Babá Ken Okulolo & Friends, Big B and His Snake Oil Saviors, The Jolly Gibsons, and several reggae/ska, blues/ R&B, and Americana groups; frequent sub with Tom Rigney & Flambeau. Current accompanist for choruses, churches, and musical theater productions. Previous performance credits include Phil Lesh, Kotoja, Barbara Dane, and Hot Links. Long-time faculty instructor at the CJC, Cazadero Family Camp, after-school programs, and private studio. Secondary instruments include steel drums, flute, and percussion. Lilan Kane (voice) B.M. Music Business and Management, Berklee College of Music (voice principal); faculty San Domenico School (Chorus, Rock Band, Songwriting); Founder of Own The Mic Summer Singing Camp; private vocal coach 12 years; Bandleader of Hella Fitzgerald; recording and performing artist; Featured performer at New Orleans French Quarter Festival, Fillmore Jazz Festival, Novato Art & Wine Festival, San Jose Winter Jazz Fest, Great American Music Hall, Sweetwater Music Hall, The Mint LA, the Whisky A Go-Go, among others. She has opened for Hall & Oates, Sharon Jones, Trombone Shorty, and Morgan James. www.lilankane.com Bob Karty (piano) B.A. Biology, Reed College. Pianist, composer, recording engineer, producer. Performs with Ray Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Conjunto Karabalí (led by Michael Spiro & Santana percussionist Karl Perazzo). Founding member of Orquesta La Moderna Tradición, one of the few authentic charanga orchestras outside of Cuba, with whom he performed for over 15 years and recorded three albums. www.bobkarty.com

Omar Ledezma Jr. (percussion, voice) Diploma, Performance, Berklee College of Music 2003. B.S. Law School, Santa Maria University, Caracas, Venezuela 1995. Active local performer, teacher, Grammy nominee and world class musician. Toured with renowned artists in USA, Europe, the Caribbean and South America. Has participated in more than 35 recordings, DVDs and books. Pearl Percussion Artist. www.omarledezmajr.com Dave Le Febvre (saxophone) Recipient of an NEA Grant for Jazz Education. Dave has recorded 6 albums as a bandleader and has performed at many Bay Area Jazz Festivals and in Europe. Musicians who have recorded or performed in Dave’s group include Billy Childs, John Patitucci, Clay Jenkins, Dave Crigger, Eddie Marshall, Seward McCain and many others. Dave’s big band compositions have been performed by Freddie Hubbard, Richie Cole, and the BBC Big Band. www.jazzwest.com/davelefebvre Jason Levis (percussion) Ph.D. and M.A. in Composition, UC Berkeley; B.A. in Music, Naropa University. Two-time Meet the Composer award recipient; Eisner Prize for Music winner; Outstanding Graduate Student Instructor (UC Berkeley); Interaktion Festival finalist (Berlin), drummer and composer Jason Levis has led and collaborated in numerous jazz, improvised music, and chamber ensembles in the San Francisco Bay Area and Berlin, Germany. These include the Heftpistole Chamber Ensemble; duo B.; Married Couple; DRY; live dub-reggae ensemble Joseph’s Bones; the Echo Chamber Ensemble; most recently the Berlin Boom Orchestra, and many more. www.jasonlevismusic.com Frank Martin (piano, keyboards) Music Director for Narada Michael Walden, Patti Austin, Angela Bofill; Carnegie Hall appearances with Sting, James Taylor, Elton John; Record producer/arranger for Al Jarreau, Turtle Island String Quartet, Joey DeFrancesco, Mimi Fox, Mary Jenson, Molly Holm, Deuce, Tuck & Patti, Karen Blixt; performed/recorded with John McLaughlin, Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Larry Coryell, Herbie Hancock, Stanley Jordan, Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, UC Berkeley Jazz Ensembles. ww.frankmartinproductions.com

Jazzschool Faculty

Jeff Massanari (guitar) Four years performance and composition coursework at Berklee College of Music. Performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Appeared at the Umbria Jazz Festival, Beijing Conservatory, Davies Symphony Hall, Stern Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz Festival, San Jose Jazz Festival and Theatre Works. Taught at UC Berkeley, The Jazzschool, Redwood High, Bruce Forman’s Jazzmaster series, Jazz Camp West and Blue Bear School of Music. Azure McCall (voice) Performed with Ray Brown, Freddie Hubbard, Frank Morgan, and Dizzy Gillespie. Many years of performance experience in Hawaii and on jazz cruises. Isaac Narell (saxophone) BFA from California Institute of the Arts. Performed with Karim Ziad, The WDR Big Band, Mokhtar Samba, Afia Mala, Thierry Fanfant, Andy Narell, Josh Jones, Jeff Narell, Jenna Mammina, Silvestre Martinez, Alfred Ladzekpo, Miguelito Martinez, The Southwest Michigan Symphony Orchestra, The Pacific Mambo Orchestra and The Electric Squeezebox Orchestra. Isaac has written arrangements for The Bordeaux Symphony Orchestra, The University of Trinidad and Tobago, The Metropole Orkest, Mizikopeyi Big Band and The Southwest Michigan Symphony Orchestra. Erika Oba (piano, flute) M.A. in Music Composition, Mills College, B.M. in Jazz Piano Performance, Oberlin Conservatory. Composer, pianist/flutist, and educator based in the East Bay. Member of the Montclair Women’s Big Band, the Mara Performance Collective, Ends Meat’ Catastrophe Jazz Ensemble, and the Oba/ Bastian duo. Anthony Paule (guitar) A.A. Degree from CCSF. Has toured and/or recorded with Maria Muldaur, Boz Skaggs, Charlie Musselwhite, Barbara Lynn, Earl King, Big Jay McNeely, Johnny Adams and many others. Released three solo albums, “Big Guitar,” “Hiding In Plain Sight” and “You Don’t Know Nothing,” the latter with soul singer Frank Bey. Has performed at festivals including Monterey Jazz, Umbria Jazz, San Francisco Blues, Mississippi Valley Blues, Du Maurier Jazz, Waterfront Blues, S.F. Jazz, Atlanta Olympic Games. www.anthonypaule.com

Clif Payne (voice) Evershift recording artist, international concert vocalist, and vocal coach, Clif studied jazz with legendary educator David Baker at Indiana University and Speech Level Singing vocal technique with Chip Hand and Robert Burnley in LA. Recording projects include a collaboration with former Kurt Elling music director Laurence Hobgood. Payne’s debut solo album — “Welcome To My World” — was released in 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors and Harvey Mason. Clif has opened in concert for Tony Bennett, Johnny Mathis and Dionne Warwick. Clif has shared the stage with Dianne Reeves, The Commodores, Lionel Richie, Lakeside and Shelia E. www.clifpayne.org Ricardo Peixoto (guitar) Native of Rio de Janeiro, graduated from Berklee College of Music, studied with Pat Metheny. Also studied classical guitar with George Sakellariou at SF Conservatory. Adventure Music recording artist, composer, arranger, has performed nationally and internationally with Claudia Villela, Terra Sul, Carlos Oliveira, Airto, Flora Purim, Guinga, Dori Caymmi, Bud Shank, Dom Um Romão, Claudio Roditi. Debbie Poryes (piano) National and international performing artist including Yoshi’s, Healdsburg Jazz Festival, Bim House and Concertgebouw in Amsterdam, New Morning in Paris, Quasimodo in Berlin, released several albums as a leader, studied at UC Berkeley and Hilversum Conservatory in the Netherlands: has a teaching credential in Jazz Studies, Netherlands; was a tenured faculty member for 7 years in 2 Dutch music conservatories, Hilversum and Arnhem; toured with John Clayton Big Band; 30 years private instruction in jazz piano and jazz/ classical theory. www.debbieporyes.com Jackie Rago (percussion) B.A. Music and Arts Institute of SF, artistic and musical director of the Venezuelan Music Project and a founding member of the VNote Ensemble (formerly The Snake Trio) bands, which she travels and performs with on an ongoing basis. She was also a founding member of Altazor (Nueva Canción ensemble), Wild Mango (world beat music), Keith Terry & Crosspulse (world percussion) and Trio Altamira (contemporary Latin American music). www.jackelinerago.com

2018 Winter Quarter / January 8 – March 19 / cjc.edu

Jazzschool Faculty

Brian Rice (percussion) B.M. Oberlin Conservatory of Music. Brazilian music specialist. Performed and/or recorded with Jovino Santos Neto, Spok, Clarice Assad, Paulo Sergio Santos, Dudu Maia, Alessandro Penezzi, Jorge Alabe, Almir Côrtes, Rogerio Souza, Mike Marshall and recently toured with master choro mandolinist, Danilo Brito. Co-founder and artistic director of the Berkeley Festival of Choro and a member of the Berkeley Choro Ensemble and Choro Famoso. Brian has taught clinics at Oberlin, Cantareira College (São Paulo) and University of Campinas, Percussive Arts Society International Convention (PASIC), Stanford University, Southern Oregon University, University of Washington, Georgetown University, Indiana University. Glenn Richman (bass) Mannes School of Music (1 yr); Berklee College of Music (2 yrs). Advisor, Jazzschool Bass Program; student of Buster Williams, George Mraz and Mike Longo; performed with Bobby Hutcherson, Jon Hendricks, Dave Liebman, Chet Baker, Benny Green, Dakota Staton, Chris Connor, Tom Harrell, Eddie Henderson, John Hicks, Mike Clark, Jack Wilkins, Billy Hart, Larry Willis, George Coleman and Mickey Roker; faculty, Brubeck Institute, UC Berkeley and Chabot College. www.glennrichman.com Pamela Rose (voice) B.A. UC Berkeley. Jazz and blues vocalist, songwriter, recording artist. Recent performances include Monterey Jazz Festival, SFJAZZ, Grammy Foundation, Copenhagen Jazz Festival and Cal Performances. Featured on NPR’s “All Things Considered.” Her latest project “Wild Women of Song” (highlighting the work of women jazz and blues songwriters) has Rose touring, speaking and performing at universities and performing arts centers nationwide, and resulted in the publication of a book on the topic. www.pamelarose.com Dave Len Scott (trumpet) M.A. in Trumpet Performance, U. of Northern Colorado; B.A. in Instrumental Music, U. of Michigan. National performing and recording artist, jazz, classical idioms. Performs with: Glide Memorial Church Change Band; Brass Monkey Brass Band; TRUMPETSUPERGROUP (founder); Dave Scott Jazz Quartet. Currently adjunct faculty at Sonoma State University (Instructor of Trumpet); Berkeley City College (Humanities Department/Jazz History); and San Francisco State University (Brass Methods, Jazz Arranging). www.davescott.org Ellen Seeling (trumpet) B.M. in Jazz Studies, Indiana U. Composer, arranger and recording artist. Founder and Director, Montclair Women’s Big Band; featured on Marian McPartland’s Piano Jazz on NPR and Grammy

Foundation; performed with Thad Jones/Mel Lewis Big Band, Joe Cocker, Ray Barretto, Patti LaBelle; consultant, San Francisco Arts Commission.

Marcos Silva (piano) Adviser, California Jazz Conservatory Brazilian Program. National and international performing and recording artist, composer, arranger, producer, educator; performed with Leny Andrade, Emilio Santiago, Marcio Montarroyos, Jon Lucien, Claudio Roditi; Music Director, arranger, keyboards for Flora Purim, Airto, Toninho Horta, Paquito D’Rivera, Bud Shank, Ricardo Silveira, Dori Caymmi, Nana Caymmi, Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Silva and Intersection. www.marcossilva.com Marc Van Wageningen (bass) San Francisco Bay Area electric bassist and recording artist specializing in funk, Latin and jazz. Performed with Diane Reeves, Tower of Power, Pee Wee Ellis/Maceo Parker, Steve Smith, Stan Getz, George Duke, Francisco Aquabella, Pete Escovedo, Eddie Marshall, Sheila E. and the E. Train and Andy Narell among others. Recorded with Steve Winwood, Sheila E., Tom Grant, David Garibaldi, Pete Escovedo, Ray Obiedo, Linda Tillery, Cornelius Bumpus and Teresa Trull and Barbara Higby. Served as house band member for The Wayne Brady Show, But Can They Sing and The One. Marc has a debut recording out under the VW Brothers name titled Muziekon Patois Records. www.vwbrothers.com Jeanne Walpole (piano) M.A. in Music Theory, San Francisco State U.; M.A. Studies in Piano Manhattan School of Music; B.A., Smith College: studied with Dick Hindman 1990–2003; Pianist, Nordstrom. Winslow Yerxa (harmonica)  Author of Harmonica for Dummies, advice columnist at Bluesharmonica.com, and president of the Society for the Preservation and Advancement of the Harmonica. Over 30 years experience in a wide variety of styles. Performs with SF Harmonica Ensemble and Tuula Tossavainen. www.winslowyerxa.com Michael Zilber (saxophone) Ph.D. in Composition, NYU; M.M. in Composition, Tufts U.; B.Mus. in Composition, New England Conservatory. Currently co-leads a quartet with guitar great John Stowell, and is completing a recording project in New York with Mike Clark, James Genus and Rachel Z. Co-led a group with drumming legend Steve Smith for 8 years. Has performed, toured or recorded with everyone from Dave Liebman to Dizzy Gillespie, including Miroslav Vitous, Bob Berg, Eddie Henderson, Fareed Haque, Geoffrey Keezer, Donald Harrison, John Handy, Dave Douglas, Barry Finnerty, Bruce Barth, and Clarence Penn. www.michaelzilber.com

Welcome to the Bay Area’s Only Jazz Bookstore! The California Jazz Conservatory Bookstore is the only bookstore in the Bay Area exclusively devoted to jazz. Whether you’re a student, educator, musician, collector, or fan, we have everything you need, from new, used and rare books to CDs and DVDs to cool CJC logo merchandise. We specialize in Jazz Education and Method books by Jamey Aebersold, Mark Levine, Mimi Fox, Rufus Reid and many more artists and educators. We offer a large selection of Music Textbooks focusing on jazz theory, classical theory, improvisation, scales, patterns and exercises. We stock an array of Fake Books that include just about any jazz song you can imagine, with dozens of Aebersold Play-A-Long titles, the Hal Leonard and Sher Music Real Book series and more. We carry a variety of books on jazz artists, history, art and photography. We also feature rare jazz CDs, with an emphasis on Latin titles, Bay Area and CJC artists, plus titles from the Prestige, Fantasy and Riverside labels. Whatever you’re looking for in the world of jazz, check out the Bay Area’s only 100% jazz bookstore!

CJC Bookstore 2087 Addison Street bookstore@cjc.edu 510.845.5373 10:00 am – 4:00 pm Monday through Thursday 11:00 am – 3:00 pm on Sundays James Knox Jim Stipovich Also available by appointment Lee Tanner

David Belove

Board and Staff BOARD OF DIRECTORS

DIRECTORS EMERITUS

ADVISORY BOARD

Tyler Johnston, Chairman Susan Brand, Vice Chairman Richard A. Lyons, Secretary Neil Rudolph, Treasurer Steve Baker Clifford Brown, Jr. Charles Charnas James Ellis Jerry Fiddler Rita Hargrave John Moss Susan Muscarella Gregg Perloff Jerry Povse Jim Reynolds M. David Sherrill Judy Walters Kevin Whitman Michael Yovino-Young

Denny Abrams Sherie Friedlander Sy Grossman Vaughan Johnson James J. Keefe Bert Lubin Larry Marcus Ernie Mieger Amy Orton John Papini Walter Riley Danny Scher Michael Zaninovich

Tom Carr Carole Davis Paula Forney Benny Green Charles Hamilton Stacey Hoffman Mark Levine Jason Olaine Patricia Phillips David Ring Jayne Sanchez Chuck Sher Merrilee Trost Wayne Wallace Peter Williams

PROGRAM STAFF

ADMINISTRATIVE STAFF

Susan Muscarella President and Dean of Instruction, California Jazz Conservatory (CJC)

Bill Aron Business Manager

Lauren Adams Development Consultant

Jesse Rimler Registrar and Custodian of Records, California Jazz Conservatory

Alejandra Carrasco-Zanini Program Coordinator

Rob Ewing Director, Jazzschool Laurie Antonioli Chair, CJC Vocal Program Director, Jazzschool Vocal Program Erik Jekabson Director, Jazzschool Young Musicians Program

Karen Shepherd Director of Financial Aid, California Jazz Conservatory Zack Mondlick Assistant to the Dean, California Jazz Conservatory Julie Birch Data Manager/ Systems Administrator Paul Fingerote Marketing and Public Relations Director

Max Hodes Operations Director Kim Nucci Operations Manager/ CJC Bookstore Michael Golds, Aaron Hipschman and Alex Shapiro-Romano Operations Staff Tatyana Dimitrova-Pelov House Manager Lee Brenkman Sound Technician

Sheryl Lynn Thomas Digital Marketing Manager

Robert Soper Piano Technician

Hollis Ashby Communications Consultant

Poulson Gluck Design Graphic Design

Mary Dâ&#x20AC;&#x2122;Orazi Development Associate/ Concert Coordinator

Chris Hardy Photographer

Instructions and Application To enroll in the Jazzschool Winter Quarter, please read these important instructions! For courses that donâ&#x20AC;&#x2122;t require an audition or consultation, sign up online at cjc.edu or complete the application on page 71 and submit it along with full tuition. Students may register online, by phone (510.845.5373), mail, fax (510.841.5373) or in person. Enrollment is on a first-come, first-served basis and cannot be guaranteed without full payment. Students applying for courses that are full may be placed on a waiting list. The Jazzschool accepts checks (made payable to California Jazz Conservatory), cash, VISA, MasterCard or Discover. Payment plans are available. To register in courses requiring a consultation or audition please call at 510.845.5373 for assistance with placement.

PERFORMANCE ENSEMBLES Admission is based on a confidential, friendly 20-minute placement audition to determine where students are best suited to play or sing. Placement auditions address studentsâ&#x20AC;&#x2122; overall musicality, technical ability, stylistic preference(s) and availability. Please fill out the online ensemble application form at cjc.edu/ensemble or call the Jazzschool to schedule an appointment (510.845.5373).

70 70

Call 510.845.5373

Please note: With the exception of the Fall Quarter, students previously enrolled in a performance ensemble have the option of re-enrolling in that same course again on a consecutive quarterly basis within the academic year without having to re-audition. New students wishing to enroll in a performance ensemble in winter, spring and/or summer quarters must schedule a placement audition or telephone consultation and will be accepted on a parts-available basis.

JAZZSCHOOL FACULTY AND COURSE SCHEDULES Given prestigious national and international performance and/or lecture opportunities that arise, Jazzschool faculty, course offerings and/or class schedules may be subject to change. If these or similar circumstances arise, the Jazzschool will make every effort to provide its students with the optimal educational experience possible.

REFUND POLICY Course and ensemble tuition includes a $50 non-refundable deposit. Requests to drop must be received in writing within 48 hours of the first class meeting to qualify for a refund; please visit the main office or e-mail drop@cjc.edu to request a refund. Refunds for remaining tuition are not possible after the 48-hour drop deadline. $100 per week of camp and intensive tuition is non-refundable; the remainder is refundable only until 30 days prior to the start of the program. Tuition for workshops is non-refundable. No exceptions please! Please note: Refunds may take up to 30 days to process. Please visit cjc.edu/policies for more information.

Enroll online at cjc.edu or call 510.845.5373

Please read instructions on facing page before completing application form. Name (print) ________________________________________________________________________ Address___________________________________________________________________________

Street

City/State

Zip

Home phone ( ___ )_ _____________________ Work phone ( ____ ) ______________________ Cell phone ( ___ )_________________________ Email___________________________________ Instrumentalist — list instrument(s) played and years studied/performed: _____________________(

) _____________________(

Vocalist — years studied/performed:

) _________________________(

)

____ new student ____ returning student

I will enroll in (list by class title; see class listings): 1. _____________________________________

2. _____________________________________

3. _____________________________________

4. ______________________________________

How did you hear about the Jazzschool? _____________________________________________ For courses requiring audition or consultations, please call the Jazzschool prior to submitting your application at 510.845.5373 Please enclose full tuition for all courses. Note: Enrollment cannot be guaranteed without full payment. Charge my tuition to:

____ VISA

____ MasterCard

____ Discover

Card #_____________________________________________________ Exp. date _____________ 3-digit security code ___________ Signature of cardholder ____________________________________________________________ Name as It appears on card _________________________________________________________ 24

College Ave Telegraph Ave

UC Campus

Fulton

Ashby

Channing

Durant

Bancroft

Kittredge

Allston

Center

Addison

University Avenue

2087 & 2040

580

Shattuck Ave BART

Sacramento San Pablo Ave

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S W

580/80

CALIFORNIA JAZZ CONSERVATORY:

2087 AND 2040 ADDISON STREET, JUST WEST OF SHATTUCK AVENUE, IN BERKELEY

Make your mark on our future and the future of jazz! We invite you to make your mark on our future and the future of jazz with a contribution to the California Jazz Conservatory. We have naming opportunities available in our new Fiddler Annex, opening this winter, and in our current Addison Street home. You can add your name to a variety of opportunities — from a music note on our ’Round Midnight sculpture to hosting our year-round CJC Concert Series and more! We have multiple scholarships funds, offering you opportunities to support one or more of our education and performance programs. And, we are pleased to introduce a number of ways in which your company or organization can join us in partnership. If you’d like to learn more about how you can help CJC, please contact Mary D’Orazi (mary@cjc.edu). If you’d like to learn more about how CJC can help your company or organization, please contact Paul Fingerote (paul@cjc.edu). For more information about supporting CJC, please visit our website at cjc.edu/support. You’ll also find a list of contributors on our website. We thank you and all of our donors for supporting our future and the future of jazz!

Make your mark on our new Fiddler Annex â&#x20AC;&#x201D; support our future and the future of jazz!

Support an artist or a special cause like the Mark Murphy Vocal Scholarship with your contribution!

Reach thousands of prospects year-round with your companyâ&#x20AC;&#x2122;s message!

Your contribution will ensure that our future and the future of jazz is in good hands!

the

CELEBRATING

cjc.edu

Classes, Workshops and Concerts may sell out! Enroll or buy tickets online now at cjc.edu. Auditions for Ensembles are ongoing.

• Instrumental and Vocal Classes • Beginning, Intermediate, Advanced Levels • Youth and Adult Programs • Performance Ensembles • Workshops and Classes • Technique and Musicianship • Theory and Improvisation • Composition and Arranging • Concerts

January 8 – March 19

JAZZSCHOOL WINTER QUARTER 2018

2087 Addison Street Berkeley CA 94704 510.845.5373 info @ cjc.edu

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

azzschool

YEARS

IN HOME BY NOV 18

NON-PROFIT ORGANIZATION U.S. POSTAGE PAID BERKELEY, CA PERMIT NO. 1494