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2018 SPRING CATALOG

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 spring 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.

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

Welcome to our third decade of teaching you jazz!

azzschoolthe

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

All of us at the California Jazz Conservatory are excited to announce the Grand Opening of our new Jerry Fiddler Annex!

We thank all who have contributed to this significant step forward in the future of the Conservatory.

Visit Fiddler Annex for a tour of:

• Rendon Hall, a classic, comfortable 85-seat performance space with the latest in sound technology from Meyer Sound;

• Five state-of-the-art Wenger practice rooms;

• The Jennifer A. Maxwell Music Library, with thousands of LPs, CDs and books;

• Our 16-station keyboard lab and more!

Please join us for our Grand Opening Week Concerts, February 25th through March 4th (see page 54), and for upcoming concerts in both Rendon Hall and Hardymon Hall (see pages 60 – 61). Jerry Fiddler Annex is located at 2040 Addison Street, directly across the street from our current home.

Drop by and say hi!

Susan Muscarella, President and Dean of InstructionCalifornia Jazz Conservatory

An Open Letter from Susan Muscarella to Our Jazzschool Friends:

INTRODUCTION

Calendar 2

The California Jazz Conservatory 4

The Jazzschool 6

ADULT PERFORMANCE ENSEMBLES

Jazz 8

Latin 12

Brazilian 12

Blues 13

Funk 13

World 13

ADULT INSTRUMENTAL CLASSES

Piano and Keyboard 14

Guitar 16

Harmonica 18

Woodwinds 18

Bass 19

Drums and Percussion 20

THEORY, IMPROVISATION, COMPOSITION

Theory and Improvisation 22

Composition 23

ADULT VOCAL CLASSES

Vocal Technique 24

Performance 24

Young Singers 29

Vocal Mentor Program 30

Vocal Workshops 32

JAZZSCHOOL YOUNG MUSICIANS PROGRAM

Introduction 36

Program Requirements 36

Placement and Audition Requirements 37

CJC Degree Programs 38

Instrumental Ensembles 40

Voice 41

WORKSHOPS

Vocal Workshops 32

General Workshops 42

JAZZSCHOOL CAMPS AND INTENSIVES

Summer Camps & Intensives Preview 55

Summer Youth Program 56

High School Jazz Intensive 57

Girls' Jazz & Blues Camp 58

Summer Vocal Intensive 59

CONCERTS

CJC Concert Series 60

Jazzschool Faculty 62

Board and Staff 69

Instructions and Application Form 70

Map 71

How You Can Help 72

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

SPRING 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

Contents Over 100 opportunities to learn jazz

are in your hands right now!Welcome to our Spring 2018 Jazzschool Catalog, where you'll find more than 20 Adult Performance Ensembles, 55 Classes,

20 Workshops, 30 Concerts and more. . .over 100 opportunities for you to learn jazz at the Jazzschool, many of them brand new this spring!

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

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

An Application Form Page 70

Adult Performance Ensembles Page 8

Adult Instrumental Classes Page 14

Theory, Improv, Composition Page 22

Adult Vocal Classes Page 24

Vocal Mentor Program 0

Young Musician's Program Page 36

CJC Degree Programs Page 38

Workshops Page 42

Jazzschool Camps & Intensives Page 55

Summer Youth Program Page 56

High School Jazz Intensive Page 57

Girls' Jazz & Blues Camp Page 58

Summer Vocal Intensive Page 59

CJC Concert Series Page 60

Faculty Page 62

Board and Staff Page 69

Map Page 71

Support CJC Page 72

Donors cjc.edu

Everything Else cjc.edu

New Classes / Workshops new

The Jazzschool Spring 2018

Calendar

2018 Jazzschool

Spring Quarter

April 9 – June 11

School Closure

May 28

Spring Performance

Series

June 8 – 21

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

Rob Ewing, Director, [email protected]

3

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: 510.845.5373.

We're here to help!

Laurie Antonioli, Vocal ProgramChair [email protected]

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

4 5

The California Jazz Conservatory

The California Jazz Conservatory is

the only independent, accredited

school in America completely

devoted to the study and

performance of jazz.

The California Jazz Conservatory honors

the contributions of past masters and

promotes artistic innovation, bringing

together a diverse music community to

develop practical skills, acquire artistic

sensibility, realize creative potential and

find artistic voice.

Founded as the Jazzschool in 1997 and

accredited by the National Association of

Schools of Music in 2009, the California

Jazz Conservatory offers two distinct

education programs:

The California Jazz Conservatory, a

postsecondary degree-granting program;

and the Jazzschool, a non-degree-

granting community education program.

• The California Jazz Conservatory

offers the aspiring professional jazz

musician a 4-year Bachelor of Music

degree in Jazz Studies with optional

concentrations in Brazilian Jazz, 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;

• The Jazzschool offers long-term

Classes, short-term Workshops,

and one- and two-week Camps and

Intensives for youths and adults.

In addition, the California Jazz Conserva-

tory's year-round CJC Concert Series

offers a wide array of performances by

students and professionals in our intimate

concert venues: our new Rendon Hall in

Fiddler Annex and our long-established

Hardymon Hall, next to which you'll find

our popular Jazzcaffè, offering light fare

and a range of beers, wines and other

beverages year-round.

Located in the heart of Berkeley's vibrant

Downtown Arts District, the California

Jazz Conservatory campus is easily

accessible by car and public transporta-

tion. The downtown Berkeley BART

station and AC Transit bus stops are

located within a block of campus. Public

parking is available in nearby garages,

in addition to metered street parking

available throughout the neighborhood.

6 766

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

of long-term Performance Ensembles

and Classes for beginning, intermediate

and advanced instrumentalists and

vocalists. Ensembles focus on a wide

range of styles including, but not limited

to, jazz, blues, funk, Afro-Caribbean and

South American music. Classes include

instrumental and vocal technique, music

theory, jazz improvisation and more.

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

short-term Workshops throughout the

year, available in single sessions or as

a series. Workshops are taught by

professional artists/educators and focus

on specific approaches to strengthening

technical ability, understanding and

applying theoretical concepts to

improvisation, and enhancing live

performance skills, in addition to other

jazz-related topics.

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

offers a range of classes for middle and

high school students. Young Musicians

Program ensembles are available for

beginning, intermediate and advanced

instrumentalists. The program includes

small groups focused on improvisation,

and big bands that delve into style and

repertoire. Vocal performance classes

are also available. Jazzschool Young

Musicians Program ensembles have

repeatedly been honored in the DownBeat Magazine student music awards and at

prestigious jazz festivals, both here and

abroad.

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

sives in the spring and summer in one- and

two-week sessions for adult and youth

instrumentalists and vocalists at all levels.

Faculty Jazzschool classes, ensembles, workshops,

camps, intensives and other programs are

led by a distinguished faculty of profes-

sional musicians who have played with

some of the music world’s biggest names.

More importantly, our faculty consists of

musicians and vocalists who excel in

education, with a focus on teaching

students not just how to play, but how to

perform, transforming talented musicians

into recognized artists.

Enrollment Jazzschool class size is limited and many

classes — available on a first-come, first-

served basis — fill up quickly. We encour-

age you to register early and guarantee

your spot! You can enroll online at cjc.edu

or call 510.845.5373. An application form

also appears on page 71.

The Jazzschool is the California

Jazz Conservatory's community

music school, serving students of

all ages and levels for over 20 years.

The Jazzschool offers instrumentalists

and vocalists long-term Performance

Ensembles/Classes, as well as short-term

Workshops, Camps and Intensives

throughout the year, including:

* Adult instrumental and vocal

Performance Ensembles/Classes in

fall, winter and spring (10 weeks),

and summer (6 weeks);

* Short-term Workshops on weekends

throughout the year;

* Youth instrumental and vocal Perfor–

mance Ensembles in fall, winter, spring

(10 weeks) and summer (6 weeks);

* Youth instrumental and vocal Summer

Camps and Intensives in summer

(1 – 2 weeks);

* Adult instrumental and vocal Camps and

Intensives throughout the year (1 week).

Instrumental ClassesJazzschool instrumental classes provide

study of a specific instrument in a group

setting. Classes are available for saxophone,

harmonica, piano/keyboard, guitar, bass

and drums/percussion. Instruction is

available for beginners (covering basic

technique and instrumental skills) and also

for more advanced players (focused on jazz

style, harmony, improvisation and more).

Vocal ClassesJazzschool vocal classes provide an

opportunity for singers at all levels to

improve style and technique in a group

setting. Performance classes are offered

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

Beginners, singers returning to music,

and more advanced vocalists can all find

classes appropriate for their interests.

Theory, Improvisation and CompositionThe Jazzschool offers a number of classes

covering areas of theory, improvisation, ear

training, composition and arranging, music

production, music business and more.

6

The Jazzschool

98

“Dave Scott has great patience when explaining new concepts. I always felt encouraged to play what I could, or felt, rather than play exactly what was on the page.”

Adult Performance Ensembles

Jazzschool Performance Ensembles

delve into a wide range of styles

including jazz (standards, hard

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

Brazilian, blues, R&B and funk.

Ensembles are available for

instrumentalists and vocalists

at the beginning, intermediate

and advanced levels. Groups

range in size from the trio to the

big band. A placement audition

is required for all Performance

Ensembles.

AuditionsStudents are placed in Performance

Ensembles by audition and require–

ments may include the following:

Playing selected scales; playing and/

or improvising over a piece of your

choice; improvising over a 12-bar

blues or other pieces provided at

the audition; and sight-reading.

Drummers are asked to play various

grooves and solo; bassists are

asked to play bass lines. For more

information please contact Jazzschool

Director Rob Ewing at [email protected]

or 510.845.5373 x14. You can

schedule an audition online at cjc.edu.

JAZZ

BEGINNING JAZZ ENSEMBLEPut theory into practice by learning jazz

standards, while developing improvisation

and ensemble skills. For all instruments.

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

Section I: Mondays 6:30 – 8 pmSection II: Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28Steve Erquiaga • $375

Section III: Thursdays 6:30 – 8 pm 4/12 – 6/7 (9 weeks)

Rob Ewing • $375

JAZZ STANDARDS FOR GIGS Develop the skills and repertoire needed

for typical jazz gigs through the study and

performance of common jazz styles includ-

ing 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: Tuesdays 8:15 – 9:45 pm4/10 - 6/5 (9 weeks)

Section II: Thursdays 6:30 – 8 pm4/12 – 6/7 (9 weeks)

Section III: Saturdays 10 – 11:30 am

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

Section V: Saturdays 1:30 – 3 pm4/14 – 6/9 (9 weeks)

Glenn Richman • $375

DAVE SCOTT JAZZ ENSEMBLEA small jazz ensemble (rhythm section

and horns) focusing on standards and jazz

tunes with custom arrangements by the

instructor.

Thursdays 4:30 – 6 pm4/12 – 6/7 (9 weeks)

Dave Len Scott • $375

HARD BOP ENSEMBLEStudy and perform music melding

bebop with R&B, gospel and the blues

as developed by mid-century masters

including Horace Silver, Art Blakey,

Cannonball Adderley, Miles Davis,

Jimmy Smith and others.


Dave Lefebvre • $375

MUSIC OF THE MASTERSDig into the music of John Coltrane,

Thelonious Monk, Wayne Shorter and

other jazz masters. Learn and internalize

a variety of essential grooves while

developing improvisation skills through

the rehearsal of challenging repertoire.

Section I: Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28

Section II: Thursdays 8:15 – 9:45 pm4/12 – 6/7 (9 weeks)


POST-BOP ENSEMBLEExplore the repertoire of Chick Corea, Joe

Henderson, Wayne Shorter, John Coltrane

and other post-bop jazz composers from

the 1960s to the present. Strong emphasis

placed on group communication and

interaction.

Wednesdays 6:30 – 8 pm4/11 – 6/6 (9 weeks)

Steve Erquiaga • $375

2018 Spring Quarter / April 9 – June 11 / cjc.edu

1110

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

improvising over chord changes, playing

with good time and learn the other skills

needed to perform with other musicians.

Class emphasis is on standard mainstream

styles: blues, standards, swing, bebop,

ballads and bossa novas.

Tuesdays 4:30 – 6 pm4/10 – 6/5 (9 weeks)


ERQUIAGA ENSEMBLE IIThis Ensemble II class focuses on slightly

faster tempos and more involved

tunes! Unusual keys, uncommon tune

structures and more complex melodies

are presented along with standard

repertoire. Includes the music of Miles

Davis, Jobim, Art Blakey, Cal Tjader

and many 60s Blue Note–era artists.

Original compositions are encouraged!



ESBJÖRN SVENSSON new ENSEMBLE This quarter, Frank Martin’s ensemble

focuses on the music of the late Swedish

pianist known for his work with his trio

E.S.T., Pat Metheny and Michael Brecker.

Wednesdays 8:15 – 9:45 pm4/11 – 6/6 (9 weeks)

Frank Martin • $375

HIP-HOP/JAZZ ENSEMBLELearn 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.


Steve Hogan • $375

FREE JAZZ ENSEMBLE: THE MUSIC OF PHAROAH SANDERSIf 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 spring we investigate

the music of saxophonist Pharoah Sanders,

a leading figure in free jazz and beyond

from his mid 60's collaborations with

John Coltrane to the present day.


Jason Levis • $375

PIANO TRIODevelop performance skills in the piano,

bass and drums trio format. Open to four

pianists and one drummer with accom-

paniment provided by a professional

upright bassist.

Section I: Mondays 5 – 6:30 pm

Section II: Mondays 6:45 – 8:15 pm

Section III: Mondays 8:30 – 10 pm4/9 – 6/11 (9 weeks) no class 5/28Peter Horvath • $400

Section IV: Fridays 1:30 – 3 pm

Section V: Fridays 3:30 – 5 pm4/13 – 6/8 (9 weeks)

Debbie Poryes • $400

BIG BANDThis 19-piece ensemble covers classic and

contemporary repertoire for big band.

Original compositions by ensemble

members are also workshopped and

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

Thursdays 8:15 – 10:15 pm4/12 – 6/7 (9 weeks)

Dave Le Febvre • $270

Adult Performance Ensembles Adult Performance Ensembles

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

Wayne Shorter from the mid-60s through

the 80s. Repertoire is drawn from far-

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

Native Dancer and Jack Johnson. Strong

emphasis placed on group communication

and interaction.




“Dave Le Febvre is a great asset to the school — very knowledgeable, encouraging to student composers, and dedicated to the big band program.”

dave le febvre

1312

LATIN

SALSA ENSEMBLE IRehearse and perform classic salsa

repertoire including the music of Tito

Puente, Cal Tjader, Eddie Palmieri and

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


David Belove • $375

SALSA ENSEMBLE IIRehearse and perform more advanced salsa

repertoire. Vocalists interested in participat-

ing should sign up for Salsa Singing (see

p. 28). The two courses work together

throughout the term developing a full set of

high energy dance music for performance.

Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)

David Belove • $375

VENEZUELAN MUSIC ENSEMBLE 360Explore traditional and contemporary

Venezuelan music styles, with a particular

focus on Afro-Venezuelan repertoire.

Exciting rhythms including calypso, joropo

and golpe de tambor will be covered. The

ensemble will culminate in a performance

at the Jazzschool in Hardymon Hall! Open

to all instruments: percussion (congas, hand

percussion), Venezuelan cuatros, vocals,

woodwind and brass instruments, piano,

bass, and drumset. Highly recommended

for students who have taken the Afro-

Venezuelan percussion and Venezuelan

cuatro classes with Jackie Rago in the past.

Prerequisites: intermediate to advanced technique and the ability to play standard grooves.


Jackie Rago • $375

BLUES

BLUES AND GROOVE ENSEMBLELearn to play the blues and blues-related

styles. Emphasis on the groove as found on

recordings of Charlie Christian, T-Bone

Walker, Albert Collins, Jack McDuff, Louis

Jordan and other “jump” blues and New

Orleans masters. Prerequisites: knowledge of 12-bar blues.

Saturdays 1:30 – 3 pm4/21 – 6/16 (9 weeks)

Danny Caron and Anthony Paule • $375

BRAZILIAN

BRAZILIAN ENSEMBLEStudy and perform the classic and

contemporary Brazilian jazz repertoire of

Ivan Lins, Dori Caymmi, Toninho Horta,

Antonio Carlos Jobim and instructor

Marcos Silva. Vocalists welcome! Audition with Marcos Silva is required. Call 510.845.5373 to schedule your audition.

Section I: Tuesdays 6:15 – 7:45 pm

Section II: Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)

Section III: Wednesdays 6:30 – 8 pm

Section IV: Wednesdays 8:15 – 9:45 pm4/11 – 6/6 (9 weeks)

Section V: Thursdays 1 – 2:30 pm4/12 – 6/7 (9 weeks)

Marcos Silva • $375

FUNK

FUNK ENSEMBLEThis high-energy ensemble explores

repertoire ranging from James Brown

to Tower of Power. For all rhythm section

instruments, horns and vocalists. Prerequi-sites: intermediate technical facility and ability to read charts and standard notation.


Daniel Parenti • $375

WORLD AND BEYOND

WORLD GROOVE ENSEMBLE: NEW ORLEANS & LOUISIANA The World Groove Ensemble emphasizes

the overall groove and how everyone fits

in together. The New Orleans & Louisiana

ensemble may include New Orleans R&B

and funk, zydeco and Cajun, brass band,

second-line, and trad jazz. Sample artists

include Dr. John, The Meters, Clifton Chenier,

Irma Thomas, Jon Cleary, The Dirty Dozen

Brass Band, and Sidney Bechet. This course

may be taken independently of the Carib-

bean and African World Groove classes.

All vocalists and instrumentalists welcome.

Materials provided by instructor. Prerequi-sites: ability to read charts and standard notation.


Jennifer Jolly • $375

STEVE REICH AND new JOHN CAGE ENSEMBLEThis new course explores the rhythm-based

music of 20th-century composers Steve

Reich and John Cage. It’s a perfect

fit for all instrumentalists and vocalists who

read rhythm notation and want to develop

their rhythm skills and musical range

through this unique repertoire. Keyboardists

and percussionists are especially welcome.

Pieces will include Reich’s classic body

percussion composition, Clapping Music.

Other pieces may include excerpts from

John Cage’s Living Room Music, and Reich’s

Nagoya Marimbas (transcribed for key-

boards as needed), Music for Pieces of Wood (played on claves), Six Pianos, or

related repertoire. Prerequisites: ability to read rhythm notation.

Tuesdays 8:15 – 9:45 pm4/10 - 6/5 (9 weeks)


Adult Performance Ensembles Adult Performance Ensembles

“I study Salsa with David Belove. He is a terrific teacher and musical director!”

david belove

daniel parenti

1514

JAZZ PIANO IIIn this continuation of Jazz Piano I, you'll

learn more advanced chord voicings and

soloing techniques, as well as standard

re-harmonization techniques. Required text:

Jamey Aebersold play-along Vol. 54, Maiden Voyage; The Jazz Piano Book by Mark

Levine (Sher Music Co.); music manuscript

paper and pencil. Prerequisites: ability to play 3-note voicings with proper voice leading through a jazz standard (e.g., “All The Things You Are” or similar), ability to improvise on a 12-bar blues in time, playing 3rds and 7ths in the left hand. An audition is required; please call 510.845.5373 to schedule your audition.

Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28Bob Karty • $375

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

Explore a wide range of jazz piano chord

voicings in this hands-on course. From

simple “shell” voicings to the rich chord

shapes used by Bill Evans, Herbie Hancock

and other contemporary jazz masters. For

pianists and instrumentalists/vocalists

interested in exploring jazz piano harmony.

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


Colin Hogan • $375

IMPROVISATION FOR new PIANISTSExplore a broad range of concepts and

methodology for playing changes and

modal improvisation. Also includes ideas

for soloing on the blues and developing

facility in odd meters. Intermediate level.


Frank Martin • $375

ROCK AND R&B new KEYBOARDSIn this lively hands-on class, students

learn the nuts and bolts of various rock

and R&B keyboard styles by playing

quintessential tunes from the ‘50s through

the present. Students may also request

one tune each which the class will explore

together. In recognition of the enormous

musical legacy of Tom Petty and The

Heartbreakers, this year’s class will include

a special look at the style of renowned

keyboardist Benmont Tench. Materials

provided by instructor. Prerequisites: ability to read standard notation; familiar-ity with major and minor chords.



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 Music level 1A,

Piano Town Lessons Level 1 (available at the CJC Bookstore).

Saturdays 10 – 11:30 am4/14 – 6/9 (9 weeks)

Jeanne Walpole • $375

PIANO IIFor those with some experience on keys,

Piano II picks up wherever you left off in

your pianistic pursuits and challenges you

to go farther with your musical endeavors.

Ensemble and solo music is selected to

match your own level and ability on the

piano. This class presents individual

guidance as well as group performance

opportunities. Required text: Bastien Piano for Adults Book 2 (available at the CJC

Bookstore). Prerequisites: Piano I or equivalent experience.

Saturdays 11:45 am – 1:15 pm4/14 – 6/9 (9 weeks)


APPLIED KEYBOARD HARMONY Learn tonic-dominant chord progressions,

basic turnarounds and chord inversions

in all keys, while developing the ability

to play standard tunes using those basic

progressions in leadsheet format. This

course prepares students for Jazz Piano 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.



JAZZ PIANO I Learn to play jazz standards and the 12-bar

blues through the study of jazz chord

voicings and improvisation techniques.

Required text: Jamey Aebersold play-along

Vol. 54, Maiden Voyage; music manuscript

paper and pencil. 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 pm4/9 – 6/11 (9 weeks) no class 5/28Bob Karty • $375

Adult Instrumental Classes

bob karty



16 17

GUITARBEGINNING GUITARIf you're interested in learning how to play

the guitar, this course will help you

develop a strong foundation in basic skills,

learning the essentials, including tuning

the guitar, finding notes and basic chords

on the fretboard, proper hand positions,

scale fingerings, simple songs, reading

music and more! Your instructor will

answer questions about equipment

selection (guitars, strings, amps, picks,

etc.). Required text: Modern Guitar Method Grade 1, Mel Bay (available at the CJC

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



JAZZ GUITAR IIf you're a guitarist with a background

in another style and you're interested in

exploring jazz and blues this course is

for you! You'll gain hands-on experience

playing jazz and blues while learning basic

jazz theory, scales, chords, arpeggios and

songs. You'll have fun while learning and

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


Jeff Massanari • $375

JAZZ GUITAR IIIn this fun and fast-paced continuation of

the concepts explored in Jazz Guitar I,

you'll dive into more complex harmonic

and melodic concepts, scales and chord

voicings, with lots of hands-on playing

time and personal guidance for everyone.

This course is designed for guitarists with

some jazz playing experience looking to

take their playing to the next level.

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


Jeff Massanari • $375

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

applied to guitar, developing familiarity

with the fretboard through chord, scale

and arpeggio practice. Topics include:

• Overview of chord and scale types

and where they are located

• Chord progressions commonly

used in jazz and related styles

• Comping patterns

• Scale and arpeggio practice

in various positions

• Reading charts and standard

notation (treble clef)

• Transcribing music from recordings

• Basics of melodic improvisation

For students with some playing experience,

knowledge and facility, 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 pm4/9 – 6/11 (9 weeks) no class 5/28Danny Caron • $375

BLUES AND SWING GUITARLearn 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.

Saturdays 11:45 am – 1:15 pm4/21 – 6/16 (9 weeks)


BRAZILIAN GUITARLearn Brazilian music styles including

samba, baião, bossa nova and choro, and

the techniques used to play them. Primary

focus is on learning repertoire, while

developing the following areas: stylistically

appropriate comping rhythms, chord

melody playing, creating solo arrange-

ments, right hand finger-style techniques

and melodic soloing approaches.

Prerequisites: ability to read music notation.

Sundays 2 – 3:30 pm4/15 – 6/10 (9 weeks)

Ricardo Peixoto • $375

JAZZ GUITAR COMPINGThis hands-on course provides the

intermediate-to-advanced guitarist with

the tools, concepts and techniques

essential to creative and effective

contemporary comping.

Topics include:

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

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

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

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



Adult Instrumental Classes Adult Instrumental Classes


1918

HARMONICA

BEGINNING DIATONIC HARMONICAYou'll recognize the diatonic harmonica as

the small harmonica used in blues, rock,

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

learn how to hold the instrument, breathe

effectively, play chords, single notes and

bends and develop familiarity with song

forms such as the 12-bar blues and

3-chord folk, rock and country tunes.

Required text: Harmonica for Dummies,

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

(contact [email protected] for info).


Winslow Yerxa • $375

WOODWINDS

BEGINNING SAXOPHONEAn introduction to the saxophone utilizing

simple ensemble arrangements to get a

head start on fingerings, sound production

and reading in a fun and musical way. All

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

Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28

Bill Aron • $375

BASS

BEGINNING BASSLearn the fundamentals of bass technique,

applicable to all styles of music.

Topics include:

• Tuning

• Getting a good sound

• Left and right hand technique

• Familiarity with the fingerboard

• Music reading fundamentals

• Introduction to walking bass lines,

bossa nova, jazz waltzes and ballads

• Equipment (basses, strings, amps)

Open to electric and upright bassists.

This course serves as a preparation for

the Jazz Bass course. Prerequisites: none, for complete beginners! Students must bring a bass to class.



JAZZ BASSLearn a variety of essential techniques

for constructing strong jazz bass lines

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

modal tunes, rhythm changes, and ballads.

Techniques for soloing are also covered.

Perform bass lines in class each week with

piano accompaniment provided by the

instructor. Recommended for upright and

electric bassists interested in participating

in the Jazzschool’s ensemble program.

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



FUNK AND R&B BASS: new HISTORY, ANALYSIS, AND TECHNIQUEWhile the bass guitar plays an essential

role in nearly every popular music style,

it’s in funk and R&B where it perhaps

finds its most dominant expression. From

James Brown to Sly & the Family Stone

to The Meters to Parliament Funkadelic

to Tower of Power to D’Angelo and many

more, the bass has grounded and helped

define the music that’s made countless

heads bob and booties shake. In this

course, we’ll explore the history of funk

and R&B bass playing, examine its most

iconic players, and dive deep into the

techniques, tones, and tips necessary

to deepen your pocket and expand your

groove awareness.

Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28Jonathan Herrera • $375

Adult Instrumental Classes Adult Instrumental Classes


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

glenn richman

20 21

DRUMS AND PERCUSSION

CREATIVE PERCUSSION new ENSEMBLEGot good pulse? Come join other drum-

mers and let's make some noise together!

We will explore fresh approaches to

percussion ensemble performance and

song structure with an eye towards

performing at the end of the quarter. Our

music will include fruit rhythms, improvisa-

tion, stick tricks, trades, rudiments, world

rhythms and alternative percussion

instruments. We will have focused fun

along the way. We will use drums,

cymbals, bells, shakers and wood blocks

from the American concert percussion,

Afro-Cuban, Brazilian, Asian and Middle

East traditions. Open to all levels.

Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28

Alan Hall • $375

DRILLS, RUDIMENTS AND new RITUALS FOR THE JAZZ DRUMMERMany students who’ve never dialed in a

disciplined practice routine wonder why

they feel limited or stuck in their creative

life. It is often through developing an

organized and disciplined practice regimen

that creativity can be unleashed. This

creative unleashing is the main goal of any

serious jazz musician. We will discuss what

kinds of drills, rudiments and rituals make

sense as musical, professional and personal

goals change and evolve. Alan will share

some of the rituals he has learned from his

teacher, the great Alan Dawson, in addition

to sharing some of his own approaches.

We will also discuss how you, the serious

student, can go about developing and

structuring your own set of routines.

Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28

Alan Hall • $375

RHYTHM TOUR OF BRAZIL new Best known for samba, Brazil has many

diverse and vibrant musical styles through-

out the country. In this class, we will learn

the percussion rhythms of the samba

school drum line, as well as other regions

of Brazilian percussion and see how to play

them in a jazz ensemble or band setting.

This includes bossa nova and samba from

Rio, Forró rhythms such as baião, côco and

forró from the northeast, congada rhythms

from Minas and the rhythmic connections

of the African diaspora that tie in Brazil,

Latin America and the U.S. Instruments

include pandeiros, conga drums, shakers,

tamborims, reco reco, triangle, caxixi, tan

tam, surdos, agogo, etc. etc. Bring your own instrument and instruments will be provided.


Ami Molinelli • $375

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

the primary Latin percussion instruments.

Learn effective technique on congas,

bongos, timbales, bells and auxiliary

instruments while studying many of the

Latin grooves typical of son, salsa, and

Latin jazz. The instructor also discusses

and demonstrates soloing techniques,

breaks, song forms and historical informa-

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


Omar Ledezma • $375

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

Percussion I (Salsa Afro-Cuban), focusing

on the South American percussion

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

and different rhythms. Class time includes

hands-on practice and clear demonstra-

tion and explanation of how all of the

various instruments work together in

Latin music ensembles and instrument set

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


Omar Ledezma • $375

BRAZILIAN DRUM SETLearn the signature drum set grooves

of contemporary Brazilian music including

samba, baião, bossa nova and choro,

and the techniques used to play them.

Emphasis on gaining an authentic

Brazilian sound and feel. Highly recom-

mended for drummers interested in

joining one of the Jazzschool’s Brazilian

ensembles! Prerequisites: functional drum set technique.

Fridays 10 – 11:30 am4/13 – 6/8 (9 weeks)

Marcos Silva • $375


omar ledezma


THEORY AND IMPROVINTRODUCTION TO MUSIC THEORYLearn the basic skills needed to begin any

serious study of music. Topics include:

music notation, time signatures, key

signatures, rhythmic training, major scales,

intervals, transposition, chord structure,

harmonic progression, ear training and

an introduction to musical form and

composition. Required texts: Practical Theory Complete by Sandy Feldstein,

and Jazz Improvisation: A Pocket Guide

by Dan Haerle (available at the CJC

Bookstore). Prerequisites: none, open to all instrumentalists and vocalists.



BEGINNING JAZZIMPROVISATIONA friendly, supportive atmosphere in

which to practice the basics of jazz

improvisation. Start with the blues

then progress to jazz standards, learning

essential scales and chords, playing at

every session, trading licks, learning

patterns and building solos. Ideal for

classical players or anyone aspiring to

jam or perform with a jazz ensemble.

Vocalists welcome! Required text: Jazz Improvisation: A Pocket Guide by Dan

Haerle (available at the CJC Bookstore).

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



Theory, Improvisation, Composition

22 2018 Spring Quarter / April 9 – June 11 / cjc.edu

INTERMEDIATE JAZZ IMPROVISATIONThis course gives students a strong

foundation in the Great American

Songbook repertoire and the ability

to improvise over chord progressions

with correct notes and good phrasing.

Several compositions will be used as

vehicles to study basic chord structures,

scale structures and non-diatonic neigh-

boring tones. Emphasis is placed

on utilization of basic harmonic concepts,

thereby turning exercises into melody.

A step-by-step conceptual approach is

used and a new concept is added with

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

Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Glenn Richman • $375

COMPOSITION ANDARRANGING

ARRANGING FOR SONGWRITERSThis new course provides a practical

overview of the various elements that go

into crafting a compelling song arrange-

ment. Whether orchestrating for cham-

ber 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 amplify-

ing its effect on the listener.


Nahuel Bronzini • $375

SONGWRITINGThis course is comprised of three main

elements. First, every week there is an

exploration of an important element of

songwriting: finding subject matter for

songs, lyric writing, melody composition,

how to combine words and melody,

constructing exciting chord progressions,

and song form. Second, tools are provided

for you to study the songs you love the

most so that you begin to learn directly

from your favorite songwriters. Lastly and

most importantly, a safe and inspiring

space is provided for you to receive

feedback on your original songs and

songs in progress. Over the nine weeks,

expect to learn a whole lot about music

from the particular perspective of how to

apply it to songwriting, to do a deep study

of a few of your favorite songs, and to

write 2–3 original songs.

Tuesdays 1 – 2:30 pm4/10 – 6/5 (9 weeks)

Rachel Efron • $375

23rachel efron

dave len scott

Adult Vocal Classes

24

Adult Vocal Classes

25

BEGINNING JAZZ SINGINGThe class was designed to help the singer

create a focused, relaxed, skilled, and

unique performance. You'll work on basic

musicianship starting with warm-up 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 pm4/9 – 6/11 (9 weeks) no class 5/28Cecilia Engelhart • $430

INTERMEDIATE JAZZ SINGINGThis class covers a range of jazz vocal

essentials including lyric interpretation,

style, rhythm, and feel. Students explore

improvisation and harmony in depth

while also learning to create their own

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 perfor-

mance 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.

Section I: Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Cecilia Engelhart • $430

Section II: Thursdays 4:45 – 6:15 pm4/12 – 6/7 (9 weeks)

Andrea Claburn • $430

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.


Andrea Claburn • $440

cecilia engelhart

Adult Vocal Classes

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!


Sandy Cressman • $380

Adult Vocal Classes

PERFORMANCE jazz

FOR THE LOVE OF SINGINGLearn breathing and vocal techniques to

be applied to songs of your choice, while

making friends with the microphone and

learning basic performance skills. This

course is particularly suited for those who

may have temporarily put aside their

vocal dreams due to education, career

or family obligations. Open to all.


Kyra Gordon • $430

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

relegated to the shower and in-the-car jam

sessions. Or — you love to sing — but feel

terribly shy at the idea of singing in public.

Explore and release your inner rock, jazz

or blues vocalist in this encouraging,

safe environment. Designed to give you

confidence through group singing, while

also bolstering your repertoire with

individual song development. Accompanist

provided. No previous experience required.


Pamela Rose • $430

andrea claburn


SUMMER VOCAL INTENSIVE

Laurie Antonioli / Theo Bleckmann

August 6 – 11, 2018 10 am – 4:30 pm

For more information, see page 59

For auditions and more information

about our vocal programs please contact

our Vocal Chair, Laurie Antonioli,

[email protected] or 510.845.5373 ext 21

Adult Vocal Classes

27

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

is for you. Sing your favorite solo and

ensemble songs from the 60s and early

70s. Learn songs made famous by

Aretha Franklin, Etta James, Roberta Flack,

Sam Cooke, Otis Redding, Marvin Gaye,

Smokey Robinson, Sly & The Family Stone

and vocal groups such as The Temptations,

The Supremes, and the O’Jays. 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.

Section I: Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)

Clif Payne • $440

Section II: Wednesdays 8:30 – 10 pm4/11 – 6/6 (9 weeks)

Clif Payne • $440

pop, blues and r&b

BLUES VOCAL FUNSHOP IFeel 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.



BLUES VOCAL FUNSHOP II — THE INS AND OUTSThis special 6-week skill-building course

is for the blues vocalist looking to

strengthen their skills in how to launch a

song, and how to land a perfect ending.

There are so many creative ways to

approach this often neglected skill set.

Each student will get much-focused

attention and practice time on repertoire

while learning new strategies and ideas.

Guitarist Danny Caron accompanies all

classes. Prerequisites: students must have taken Blues Vocal Funshop or receive permission from the instructor.



26

BACKDOOR BEBOPLearn the ins and outs of scat singing.

Topics covered include syllable choice,

understanding song form, selecting

tempos, working on articulation, story–

telling, 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.


Azure McCall • $450

THE SINGER AND THE SONG:All the best jazz singers are master

musicians and storytellers. This class will

focus on developing our skills as singers,

artists and song interpreters. Topics

include choosing the right song; using

various grooves, tempos and arrange-

ments; learning and memorizing the

melody and lyrics; phrasing; improvisation

skills; communicating with an accompanist;

and stage presence. In this supportive and

challenging environment, students work

on these skills and create arrangements for

songs, culminating in an end-of-quarter

performance. Weeks 2 and 3 include a

professional accompanist, while the last

two classes and performance include a full

trio. For intermediate to advanced singers. Prerequisites: consent of instructor — tele-phone consultation required, 510.845.5373.

Sundays Noon – 3 pm5/13, 5/20, 5/27, 6/3, 6/10 (5 weeks)

Maye Cavallaro • $450

JAZZ AND CONTEMPORARY STYLESSing jazz and interpret songs from pop,

rock, r&b and other contemporary genres

in a jazz style. The instructor can recom-

mend songs and also coach students on

songs of their choice. Topics covered

include healthy vocal technique, arranging

techniques and chart writing. The class

concludes with a public performance!

For intermediate-level singers.

Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28

Amanda Addleman • $430

JAZZ DUOS — BASS AND VOICE PERFORMANCE The dialogue between a vocalist and

bassist can be an intimate, creative and

exciting opportunity to stretch out and

create a personal sound. We’ll listen to

examples of great duos for inspiration,

such as Sheila Jordan and Harvie S., Nancy

King and Glen Moore among others. This

class provides a chance to dig deeper into

the music, listen to and communicate with

a bassist. Singers will work on vocal

technique, finding the correct keys, stage

presence, interpretation and developing

a personal style. Students will perform

weekly in class and learn the skills needed

to communicate and interpret songs in a

duo setting. Please bring a couple of tunes

to work on. Songs will also be provided.

There will be a final performance, open to

the public.


Daria • $440

Adult Vocal Classes


clif payne

Adult Vocal Classes

28

Adult Vocal Classes

29

latin

SALSA SINGINGLearn the style, rhythm and technique of

salsa vocal music while learning to play

Latin hand percussion instruments.

Instructor provides instruments like guiro,

maracas and claves to use each week. As

the term progresses, join forces with the

Salsa II instrumental ensemble (see page

12) as you work to develop a performance

set. Representative songs include “Tres

Días de Carnaval” (Celia Cruz), “La

Rebelión” (Joe Arroyo) and “Brujería”

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


Edgardo Cambón • $380

BOSSA NOVA FOR JAZZ SINGERSThis fascinating course explores the

roots of Brazilian bossa nova and samba.

Instructor Sandy Cressman teaches singers

the signature rhythmic grooves of Brazilian

music as a foundation for the interpretation

of standard and not-so-standard bossa

novas. Vocal phrasing and Portuguese

pronunciation are also covered (in addition

to a few carefully chosen English transla-

tions). A pianist or guitarist accompanies

the class each week, and the course

concludes with an end-of-quarter

performance.


Sandy Cressman • $430

world

THE IRISH SONG TRADITIONIrish music has enjoyed a resurgence of

popularity in recent years. In this class

students are introduced to a variety of Irish

songs exploring different styles, from slow

laments to songs of celebration, Celtic

chants to “lilting,” (“mouth music”), and

from sean-nós (old style) to modern Irish

traditional popular songs, and the songs of

the Irish diaspora. Students sing in English

and Gaelic, in both ensemble and individual

settings. Specific vocal techniques will aid

students in the exploration and expression

of Irish singing, such as tone, breathing,

ornamentation, and phrasing, while also

learning the historical significance and

cultural background of each song. Students

sing a cappella style, as well as with pro–

fessional accompaniment. Class concludes

with a concert in the Jazzschool Student

Performance Series. Prerequisites: none. Singers of all levels are welcome. Please note that Gaelic is taught phonetically.


Melanie O'Reilly • $430

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!



COMPOSITION

SONGWRITINGThis course is comprised of three main

elements. First, every week there is an

exploration of an important element of

songwriting: finding subject matter for

songs, lyric writing, melody composition,

how to combine words and melody,

constructing exciting chord progressions,

and song form. Second, tools are provided

for you to study the songs you love the

most so that you begin to learn directly

from your favorite songwriters. Lastly

and most importantly, a safe and inspiring

space is provided for you to receive

feedback on your original songs and

songs in progress. Over the nine weeks,

expect to learn a whole lot about music

from the particular perspective of how to

apply it to songwriting, to do a deep study

of a few of your favorite songs, and to

write 2–3 original songs.

Tuesdays 1 – 2:30 pm4/10 – 6/5 (9 weeks)

Rachel Efron • $375

ARRANGING FOR SONGWRITERSThis new course provides a practical

overview of the various elements that go

into crafting a compelling song arrange-

ment. 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 amplify-

ing its effect on the listener.


Nahuel Bronzini • $375

Adult Vocal Classes

nahuel bronzini


30 31

Adult Vocal Classes Adult Vocal Courses Adult Vocal Classes


Learn how to take Center Stage like a pro from two of the Bay Area’s most respected professional vocalists/educators in this comprehensive development course!

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

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 Vocal Chair, Laurie Antonioli, for

more information on how to apply for this

program: laurie @ cjc.edu, 510.845.5373

VOCAL MENTOR PROGRAM

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

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

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

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

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

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

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

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

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

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

artistic vision. Concert dates are available throughout the year.

32 33

Adult Vocal Classes

VOCAL WORKSHOPS

BASS AND VOICE DUO WORKSHOP with Kavita Shah and François MoutinThis workshop focuses on the possibilities

inherent in a duo performance setting

employing the intriguing combination

of bass and voice. Vocalists will work

on solidifying foundational skills and

expanding vocal technique. Bassists will

work on extending comping vocabulary

and will develop a singing approach to

bass playing, by strengthening the

correlation between what the bassist

hears and what the bassist plays.

Hailed by NPR for her “amazing dexterity for musical languages,” vocalist/composer Kavita Shah, a native New Yorker of Indian descent fluent in Spanish, Portuguese, and French, incorporates strands of Latin American, West African, and Asian folk music traditions into her original reper-toire. She has toured with her band throughout the US, Canada and Europe. Her debut album, “Visions,” co-produced by Lionel Loueke, was released in 2014 on

Adult Vocal Classes

sandy cressman


Greg Osby’s Inner Circle Music label to critical acclaim; Shah’s second album “Interplay,” due for release by Dot Time Records in February, 2018, is a program of standards in duet with bassist François Moutin with special appearances by pianist Martial Solal and Shah’s mentor, NEA Jazz Master Sheila Jordan.

François Moutin, a virtuosic bassist, was born in Paris and received a doctorate in physics at the age of 24, before choosing to become a professional musician. He was a member of the legendary Martial Solal Trio and, at 29, began co-leading the Quintet Moutin with his twin brother Louis, a project which later evolved into the Moutin Reunion Quartet. François has worked with such musicians as Jean- Michel Pilc, Randy Brecker, Dave Liebman, Toots Thielemans, James Moody, Terri Lyne Carrington, Michel Legrand and many others. www.moutin.com

Sunday, April 8, Noon - 3 pm$75 advance, $90 day of workshop

VOCALS AND PERCUSSIONwith Sandy Cressman and Ami MolinelliFundamentals of rhythm and vocals coor-

dinated together. We will take vocal warm-

up exercises and practice to different body

percussion grooves (Latin, Brazilian 3/4,

r&b, etc.) Instructors will explain the vari-

ous rhythms and unlock how to practice

while vocalizing. We will learn some basic

body percussion exercises that are great

practice techniques for vocalists. Also,

instructors will supply auxiliary percussion

that is appropriate for vocalists and make

recommendations on specific instruments.

We will learn lyrics in Spanish and Portu-

guese and how to play shakers, clave, and

tambourines. We will cover a bossa, samba,

cha cha, 3/4, 6/8, zydeco beat, baiao,

r&b, swing and learn basics of American

rhythms like hambone, juba, and swing.

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

Ami Molinelli is a professional percussion-ist and educator specializing in Brazilian and Latin percussion, especially the pandeiro. She is the co-leader of the Brazilian choro and jazz ensemble, Grupo Falso Baiano. Her extensive performance and recording credits include theater, television (NBC) and live performances with artists such as Luciana Souza, Jovino Santos-Neto, Mike Patton, George Duke, Allessandro Penezzi, Mike Marshall, Hamilton de Holanda, Teka, John Santos, and Michael Spiro.

Part I: Sunday, April 29, 2 – 4 pmPart II: Sunday, May 6, 2 – 4 pm

$120 for the 2-part workshop,

or $60 per workshop (advance);

$135, $75 day of workshop

françois moutin and kavita shah

Adult Vocal ClassesAdult Vocal Classes

34 35

Adult Vocal Classes

34

DISCOVERING JAZZ VOCAL STYLEwith Sandy CressmanFrom 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 master-

ful singers, both classic and contemporary.

We will explore, sing, and absorb the musi-

cal and stylistic devices employed by these

great artists, and then each student will

have a chance to sing the tune with piano

accompaniment. Students gain new ideas

to help develop their own unique style of

jazz singing. Repertoire will be provided

in the class.

Sunday, April 15, 1 – 4 pm$50 advance, $65 day of workshop

INTERPRETATION AND PHRASINGwith Stephanie CrawfordIt’s not what you sing but how you sing it.

In this master class setting, students will

explore how the lyric informs the phrasing

and interpretation of a song. Each singer

should bring two songs in their key with the

appropriate sheet music. Open to all levels.

Stephanie Crawford’s consummate skill as a storyteller, arranger, and improviser has brought her worldwide recognition. She was the 1993 recipient of the prestigious French award “Django D’Or” for Best International Jazz Vocalist. From 1989 until 1996, Ms. Crawford was Professor of Jazz Vocals at Centre D'Informations Musicales (CIM) and Institute D'Art, Culture et Perception (IACP) in Paris, France. During her tenure, she nurtured and mentored numerous jazz vocalists from the burgeoning French jazz scene, while recording and performing to mesmerized audiences. Prior to her work in Europe, Ms. Crawford had received her Bachelor of Fine Arts degree from Wayne State University and subsequently studied Vocal Jazz Theory, Technique, Esthetics,

Performance, and Craft with jazz luminar-ies Barry Harris and Frank Foster at the Cultural Jazz Center, New York. During this time she performed throughout the East Coast in countless venues, from jazz clubs to major festivals and special events.

Sunday, April 22, Noon – 3 pm$75 advance, $90 day of workshop

stephanie crawford

CONNECTEDVOICE: VOCAL TECHNIQUE AND APPLICATION with Sandy CressmanThis workshop will explore the exercises

and principles of ConnectedVoice tech-

nique, which is a way of developing con-

nected and consistent sound from low to

high range, with a choice of dynamics and

colors. In the morning session, we will learn

exercises designed to work through vocal

transitions, connecting the speaking and

singing voice. These exercises also connect

voice development with ear training, using

various patterns based on jazz chords,

scales, and jazz vocabulary. After the lunch

break, we will learn how to apply the exer-

cises and techniques to songs. Please bring

in those problem songs! We will work both

as a group and individually, to pinpoint

solutions to individual vocal issues.

Sunday, May 20, 11 am – 4 pm$100 advance, $115 day of workshop

IMPROV ZOO: GAMES AND TOOLS FOR CREATIVE GROWTHwith Jennifer Jolly

For full desciption, see p. 53

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

INSIDE THE LYRICS with Ed ReedMaster jazz vocalist Ed Reed guides stu-

dents through the art of interpreting a lyric.

Topics include pronunciation, breathing

and phrasing as suggested by the nature

of the lyric, as well as methods of commu-

nicating the story of the lyric to highlight

emotion, nuance and irony. An inspiration

to all he meets, Ed Reed leaves an indelible

impression. Students of all levels are wel-

come and each should be prepared to sing

a song of their choice, with a professional

accompanist. Open to all.

While Ed Reed has been singing since he was a child, he didn’t release his first album until 2006 at the tender age of 78. He’s

since released two others, including “I’m A Shy Guy” in 2013. Along the way, he’s gained recognition from DownBeat as Rising Star Male Vocalist five times from 2008–2013, and the prestigious Jazz Journalists Association named him Local Jazz Hero in 2011. Reed’s ability to get inside a lyric has been noted by numerous reviewers including DownBeat: “When Ed Reed sings, look for an intimate story every time… he establishes a connection to the lyrics and phrasing that is both beautiful and uncanny.”

Sunday, May 27, Noon – 3pm$75 advance, $90 day of workshop

STARDUST: THE MUSIC OF HOAGY CARMICHAEL with Maye Cavallaro

Part of the American Songbook Composer Workshop SeriesHoagland Howard “Hoagy” Carmichael

(1899–1981) was an American composer,

pianist, singer, actor, and bandleader. He

penned some of the most beloved tunes in

the American songbook including “Star-

dust,” “Georgia On My Mind,” “Skylark,”

“Lazy River” and many more. In this work-

shop we’ll explore and sing the beautiful

music of Hoagy Carmichael. We’ll also

listen to how some jazz greats have inter-

preted these songs and get ideas for our

own arrangements. Students are provided

with 10 leadsheets for songs including

practice-backing tracks. In the final week,

we’ll work with an accompanist and sing

these songs trying out our own arrange-

ment ideas. Lots of singing for all 3 weeks.

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, April 8, April 22, April 29, Noon – 3 pm$275 advance, $290 day of workshoped reed


Young Musicians ProgramYoung Musicians Program

36 37

PLACEMENT AND AUDITION REQUIREMENTS SPRING 2018

AUDITION MATERIALSEntering musicians are asked to prepare

two skill-level appropriate jazz standards,

improvise over a 12-bar blues (optional) or

rhythm changes (for high school students

only) and sight-read.

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

online at: cjc.edu/youth_auditions

After your application is received, you will

be contacted within 1 – 2 weeks with an

audition time. Auditions are scheduled on

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

scheduled at the earliest available time.

Students will be contacted with placement

information following the audition.

AUDITION DATES: Ongoing

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

online video audition rather than scheduling

an in-person audition. Students submitting

their audition online are still required to fill

out an online application (see above). On

the application form, please select video

submission. Please note: online video submis-

sions are not available for the Studio Band

or Advanced High School Jazz Workshops.

INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS

• Student should be clearly visible

and audible on the video.

• Perform two skill-level appropriate

jazz standards. Please state the name

of each piece before you play it.

• Download one of the two improvisation

tracks at cjc.edu/youth_auditions

for the improvisation portion of your

audition. Two choruses required.

• On the video, it is important that your

playing is heard louder than anything

else, including any accompanying tracks.

PIANO AND GUITAR PLAYERS Follow the above instructions with only

one change: after improvising, please

demonstrate comping/voicings on a

blues or rhythm changes.

DRUMMERSPlease demonstrate the following styles:

• swing, bossa nova, funk/rock

• Demonstrate each style at various

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

• On each style/tempo please “trade

fours” with yourself (4 bars of time,

4 bars of solo, etc.)

• Play at least 16 bars of each example

After you have completed your video,

upload your audition to YouTube and title

the video with your name (Example: John

Smith Jazzschool Audition). You should make

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

being available to the public). Once the video

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

website and email a link. Please do not

email audition videos as attachments.

For more information about the Jazzschool

Young Musicians Program placement process,

please visit cjc.edu/youth_auditions or

contact Program Director, Erik Jekabson,

[email protected] or 510.845.5373.

The Jazzschool Young Musicians

Program is a year-round,

comprehensive, music education

and performance program

designed for instrumental and

vocal students between the ages

of 11 and 18. The Young Musicians

Program has been at the center

of the Jazzschool’s educational

and artistic goals since 1997. Its

curriculum provides students

with the opportunity to work

with professional jazz artists

and educators, strengthening

performance skills, expanding

knowledge of jazz theory and

improvisation, and learning more

about the foundations of jazz

and related styles of music.

Students participate in after-school

classes and in master classes with

nationally known jazz artists, as

well as performing in venues

throughout the San Francisco

Bay Area and beyond.

2018 PROGRAM REQUIREMENTS

Jazzschool Young Musicians Program

ensembles require a commitment of

three quarters (fall, winter and spring).

Students unable to commit to a full

school year are still encouraged to

audition; however, priority will be given to

those who can remain in the program for

the entire school year. Students wishing

to audition mid-year will be placed in the

program based on availability of open

spots in ensembles and the student’s

ability level. Please note that, while it is

our mission to find a place for everyone

in our Young Musicians Program, we may

not be able to accommodate all students

who apply.

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


erik jekabson

Jazzschool Young Musicians Program

38 39

What degree of jazz artist do you want to be?

The California Jazz Conservatory is the only

independent accredited school in America completely

devoted to the study and performance of jazz.

We offer two paths to your degree in Jazz Studies.

Both offer a 100% jazz relevant curriculum.

Both are taught by an effective faculty

of top jazz artists/educators.

Both offer a preeminent artistic and academic

experience in the center of the vibrant

Bay Area arts scene.

And both offer you the opportunity

to transform yourself,

from a burgeoning musician

to a respected artist.

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

unique optional areas of concentration in Brazilian Jazz,

North American Roots Music, and Audio Production

in partnership with Fantasy Studios.

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

and the same 100% jazz-relevant courses taught in

the first two years of our Bachelor program, but at

half the tuition investment and half the time commitment

to get you started in your career in jazz.

What degree of jazz artist do you want to be?

Contact our President and Dean, Susan Muscarella, to

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

Our campus is located at 2087 and 2040 Addison Street,

Berkeley, CA, 94704 / 510.845.5373 / cjc.edu

In a musicianOut an artist

41

Young Musicians Program

40

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 4/9 – 6/11 (9 weeks) no class 5/28Raffi Garabedian • $375

Section II: Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Colin Hogan • $375

Section III: Tuesdays 4:45 – 6:15 pm 4/10 – 6/5 (9 weeks)

Charles Hamilton • $375

Section IV: Wednesdays 4:45 – 6:15 pm4/11 – 6/6 (9 weeks)

Rob Ewing • $375

Section V: Wednesdays 6:30 – 8 pm4/11 – 6/6 (9 weeks)

Rob Ewing • $375

Section VI: Thursdays 4:45 – 6:15 pm4/12 – 6/7 (9 weeks)


Section VII: Saturdays 11:45 am – 1:15 pm 4/14 – 6/9 (9 weeks)


Section VIII: Saturdays 11:45 am – 1:15 pm4/14 – 6/9 (9 weeks)

Darren Johnston • $375

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 pm4/9 – 6/11 (9 weeks) no class 5/28Colin Hogan • $375

Section II: Wednesdays 4:45 – 6:15 pm 4/ 11 – 6/6 (9 weeks)

Erika Oba • $375

Section III: Thursdays 4:45 – 6:15 pm 4/12 – 6/7 (9 weeks)

Erika Oba • $375

Section IV: Saturdays 11:45 am – 1:15 pm4/14 – 6/9 (9 weeks)

Isaac Narell • $375

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

Sly Stone and others. Vocalists and horns

welcome! Music is learned by ear. Also open

to advanced middle-school musicians.

Section I: Saturdays 10 – 11:30 amSection II: Saturdays 11:45 am – 1:15 pm4/14 – 6/9 (9 weeks)

Joe Bagale • $375

VOICE

VOCAL PERFORMANCE FOR TEENSDelve into songs as a means of storytelling

while simultaneously developing a personal

connection to a lyric. All styles of music are

welcome and students are encouraged to

bring in songs of their choice. The instruc-

tor can also suggest repertoire suitable for

individual students. Build vocal technique

through a variety of warm-up, ear-training

and musicianship exercises.



rob ewing

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.

Please note that all ensemble

prices on pages 40 – 41 are

priced for the quarter.

large performance ensembles

STUDIO BANDDevelop technique, knowledge of jazz

style and an ability to improvise through

standard and contemporary big band

repertoire. This highly-selective ensemble

records at Fantasy Studios, performs

frequently and participates in competi-

tions throughout the U.S. The Studio Band

has played at Yoshi’s and Savanna Jazz,

as well as jazz festivals in California, New

York, Seattle, Idaho, the Vienne Jazz

Festival in France and the Montreux Jazz

Festival in Switzerland. Full school year

commitment is required. Instrumentation:

5 saxes, 5 trumpets, 5 trombones, guitar,

piano, bass and drums.

Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Dave Eshelman • $225

small performance ensembles

ADVANCED HIGH SCHOOL JAZZ WORKSHOP Explore the post-bop harmonic, melodic,

rhythmic and formal innovations of

Coltrane, Shorter, Corea, Hancock, Brecker

and others in this multiple DownBeat

award-winning ensemble. For advanced-

level high school student players,

competent in the bebop language.

Record at Fantasy Studios and participate

in various competitions and festivals.

Section I: Mondays 4:45 – 6:15 pm4/9 – 6/11 (9 weeks) no class 5/28Michael Zilber • $375

Section II: Mondays 4:45 – 6:15 pm4/9 – 6/11 (9 weeks) no class 5/28Erik Jekabson • $375

dave eshelman


42 43

WorkshopsWorkshops

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.

CONNECTIVE TISSUES: THE ART OF THE RHYTHM SECTIONwith Pete MalinverniA discussion and demonstration of the

elements each member of the rhythm

section (piano, guitar, bass, drums)

should focus on in order to achieve a

cohesive, free and swinging collaboration

on the stage and in the studio. Jazz is a

collaborative art form in which the single

gifts of each participant must serve the

whole. This is a hands-on workshop open

to all rhythm section players!

Pianist Pete Malinverni has performed or recorded with a wide range of jazz luminaries including Joe Lovano, Vernel Fournier, Mel Lewis and many others. He appeared twice on NPR’s “Piano Jazz” with Marian McPartland, and many of his thirteen recordings as a leader have earned four-star reviews and inclusion on best-of lists in several publications including DownBeat Magazine. Pete is a Steinway Artist and serves as head of jazz studies at Purchase College Conservatory of Music in New York.


EXPANDING OUR RHYTHMIC FREEDOM with Anton SchwartzHow many of us feel trapped by our own

rhythmic habits when we improvise? Our

rhythmic ideas fit neatly into the measures

like nicely stacked boxes. We know our

playing could be much freer and more

exciting, but we just can’t seem to find a

path to get there. Perhaps we’ve tried to

introduce polyrhythms into our playing but

find that things fall apart when we attempt

them. In this workshop, we’ll explore poly-

rhythmic elements and learn to assimilate

them in an incremental process, whereby

we can avoid the brain meltdown that

can come from attempting a new poly-

rhythm all at once. The result is a rhythmic

concept that is both freer and more solid.

Bring your instrument (optional).

Saxophonist Anton Schwartz has won critical acclaim for each of five albums released since 1998. He has performed across the country in major venues from the Monterey Jazz Festival to Yoshi’s, SFJAZZ, Blues Alley and the Blue Note in New York. See Anton’s bio at antonjazz.com.

Saturday, April 14, 3:15 – 5:15 pm$30 advance, $45 day of workshop

pete malinverni

BASS AND VOICE DUO WORKSHOP with Kavita Shah and François MoutinThis workshop focuses on the possibilities

inherent in a duo performance setting

employing the intriguing combination

of bass and voice. Vocalists will work

on solidifying foundational skills and

expanding vocal technique. Bassists will

work on extending comping vocabulary

and will develop a singing approach to

bass playing, by strengthening the

correlation between what the bassist

hears and what the bassist plays.

Hailed by NPR for her “amazing dexterity for musical languages,” vocalist/composer Kavita Shah, a native New Yorker of Indian descent fluent in Spanish, Portuguese, and French, incorporates strands of Latin American, West African, and Asian folk music traditions into her original reper-toire. She has toured with her band throughout the US, Canada and Europe. Her debut album, “Visions,” co-produced

by Lionel Loueke, was released in 2014 on Greg Osby’s Inner Circle Music label to critical acclaim; Shah’s second album “Interplay,” due for release by Dot Time Records in February, 2018, is a program of standards in duet with bassist François Moutin with special appearances by pianist Martial Solal and Shah’s mentor, NEA Jazz Master Sheila Jordan.

François Moutin, a virtuosic bassist, was born in Paris and received a doctorate in physics at the age of 24, before choosing to become a professional musician. He was a member of the legendary Martial Solal Trio and, at 29, began co-leading the Quintet Moutin with his twin brother Louis, a project which later evolved into the Moutin Reunion Quartet. François has worked with such musicians as Jean- Michel Pilc, Randy Brecker, Dave Liebman, Toots Thielemans, James Moody, Terri Lyne Carrington, Michel Legrand and many others. www.moutin.com

Sunday, April 8, Noon – 3pm$75 advance, $90 day of workshop

kavita shah and françois moutin

2018 Spring Quarter / April 9 – June 11 / cjc.eduanton schwartz

44 45

josh nelson

44 45

WorkshopsWorkshops

TELLING YOUR STORY — SOLO PIANO TECHNIQUES AND METHODS with Josh NelsonAcclaimed jazz pianist, composer, ar-

ranger and educator, Josh Nelson, will

discuss various styles and approaches

to solo jazz piano, and invite attendees

to perform their own short solo pieces.

He will explore concepts ranging from

daring harmonic substitutions to creating

rhythmic and melodic excitement within

a solo performance. Other topics include:

developing your own solo voice, utilizing

lyrical content in an instrumental setting,

and creating effective intros and endings.

Pianist Josh Nelson has performed with some of the most respected names in jazz, including Natalie Cole, Benny Golson, Sheila Jordan, Jeff Hamilton, John Clayton, Richard Galliano, Seamus Blake, Matt Wilson, Chris Potter, Dayna Stephens, Sara Gazarek, Lewis Nash, Greg Hutchinson, and George Mraz. Josh’s accolades over the years include the Louis Armstrong Award, the John Philip Sousa Award, and making the semi-final round in the prestigious 2006 Thelonious Monk International Jazz Piano Competition.


DISCOVERING JAZZ VOCAL STYLEwith Sandy CressmanFrom 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. We will explore, sing,

and absorb the musical and stylistic

devices employed by these great artists,

and then each student will have a chance

to sing the tune with piano accompani-

ment. Students gain new ideas to help

develop their own unique style of jazz

singing. Repertoire will be provided in

the class.


GETTING YOUR IMPROVISING INTO SHAPE: GUITAR IMPROVISATION WORKSHOPwith David BeckerLearn to use chord shapes — specifically

major, minor, diminished and augmented

triads — to build single line solos. Topics

covered include: utilizing chord shapes

to simplify playing over altered chords;

using chromatic notes to connect chord

shapes; and playing outside of the

changes. Prerequisites: knowledge of basic harmony and some facility on guitar.

Grammy-nominated guitarist, composer and producer David Becker has released 14 recordings, many topping the jazz and contemporary music charts. In 2005, Becker released a duo effort with guitar master Joe Diorio and has also performed with guitar greats Attila Zoller, Larry Coryell, John Abercrombie and Kenny Burrell. He has released three instructional books, Getting Your Improvising Into Shape, Playing in Shapes, and Rhythmic Motifs for Comping and Soloing.



“I have taken two classes and learned so very much, that I recently registered for a third!”

david becker

sandy cressman

dan zemelman

4746

Workshops

RHYTHMIC AND HARMONIC IDEAS FOR JAZZ MUSICIANSwith Dan ZemelmanAn exploration of the fundamentals of

rhythm (using beat subdivision, patterns

and hand separation exercises) and har-

mony (going through harmonic principles

and exercises based on classical theory,

diatonic regions, voice leading, minor

4–1, Neapolitan 6th chords and more)

and applying these concepts to jazz.

Dan Zemelman is a leading Bay Area-based jazz pianist, composer and teacher. He has performed throughout the U.S. and Europe with Lee Konitz, Marcus Shelby, Richard Davis, Mads Tolling and others, in addition to leading his own trio.

Sunday, April 15, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

VOICE LEADING, TONAL HARMONY AND SUBSTITUTIONSwith Dan ZemelmanTopics covered include: Voice leading as

applied to chords and chordal movement;

tonal harmony workout — finding chord

voicings for all diatonic modes, then

finding V–I’s for each of those, using

voice leading; chord substitutions — a

harmonic approach — diminished theory,

minor IV, etc.; an alternative approach to

chord substitutions as taught by pianist/

educator Kenny Werner.



INTERPRETATION AND PHRASINGwith Stephanie CrawfordIt’s not what you sing but how you sing

it. In this master class setting, students

will explore how the lyric informs the

phrasing and interpretation of a song.

Each singer should bring two songs in

their key with the appropriate sheet

music. Open to all levels.

Stephanie Crawford’s consummate skill as a storyteller, arranger, and improviser has brought her worldwide recognition. She was the 1993 recipient of the prestigious French award “Django D’Or” for Best International Jazz Vocalist. From 1989 until 1996, Ms. Crawford was Professor of Jazz Vocals at Centre D’Informations Musicales (CIM) and Institute D’Art, Culture et Perception (IACP) in Paris, France. During her tenure, she nurtured and mentored numerous jazz vocalists from the burgeoning French jazz scene, while recording and performing to mesmerized audiences. Prior to her work in Europe, Ms. Crawford had received her Bachelor of Fine Arts degree from Wayne State University and subsequently studied Vocal Jazz Theory, Technique, Esthetics, Performance, and Craft with jazz luminaries Barry Harris and Frank Foster at the Cultural Jazz Center, New York. During this time she performed throughout the East Coast in countless venues, from jazz clubs to major festivals and special events.


THE METRONOME IS YOUR FRIEND with Paul MehlingReturning with his popular workshop for

musicians and singers of all levels, Mehling

demonstrates a range of practice tech-

niques making creative use of the metro-

nome. Improve your productivity and

increase your musicianship! Open to all.

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

HOT CLUB JAZZ GUITAR with Paul MehlingThis workshop focuses on various aspects

of hot club-style jazz guitar in the tradi-

tion 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 con-

clusion 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.


paul mehling

“This place is the best. I love it and we’re all SO lucky that the Jazzschool exists.”


ORIGINS OF LATIN JAZZ, THE CUBAN MELODIC/RHYTHMIC CONNECTION + RARE JAZZ INSTRUMENTAL AND VOCAL GEMSwith Larry VuckovichMaster jazz pianist and long-time

veteran of the Bay Area jazz scene, Larry

Vuckovich, returns to the CJC and pres-

ents the Origins of Latin Jazz melodies

and rhythms. Cuba played a major

role in both of these elements. La

Habanera rhythm pattern was used in

the 19th century by the French composer

Bizet. Further on, combined with Afri-

can rhythms and Cuban rhythmic and

melodic elements, this music developed

into a sophisticated jazz influential form.

Larry Vuckovich will bring out the music

of famous Cuban composers such as

Ernesto Lecuona and Osvaldo Farrés. He

will also include and present the styles

and developments of Cuban music that

followed later. Hearing and experiencing

the modern version of this music first-

hand at the famed Black Hawk club in

San Francisco, by the great band that Cal

Tjader had, left a strong impression. Cal

Tjader’s quintet was one of the top Latin

bands in the country, having such person-

nel as Mongo Santamaria on congas,

Willie Bobo on timbales/drums, Al

McKibbon on bass and Vince Guaraldi

on piano. In the second part of this work-

shop, rare instrumental and seldom-heard

vocal gems, that left an important mark

in this art form, will be presented. As

always, Larry Vuckovich will demonstrate

a number of examples on the piano and

invite the attendees to participate.

Larry Vuckovich gained first-hand knowl-edge from performances or recordings with many of the jazz greats including Dexter Gordon, Charles McPherson, Charlie Haden, Tom Harrell, Bobby Hutcherson, Tony Bennett, Joe Williams,

Jon Hendricks, Bobby McFerrin, Billy Higgins, Philly Joe Jones and Elvin Jones. Larry has been associated with several piano icons such as Bud Powell, Red Garland, Bill Evans, Barry Harris, Tommy Flanagan, McCoy Tyner, Chick Corea. He was the only student of Vince Guaraldi.


larry vuckovich

SUPER CHOPS JAZZ GUITAR WORKSHOP with Mimi FoxLearn to play great jazz lines in the style

of Wes Montgomery, Pat Martino, Joe

Pass, and others while developing great

technique, aural skills, and sophisticated

vocabulary that can be added to your

musical palette. Focus on playing lines

everywhere on the neck in a logical

and musical way. For intermediate

to advanced students.

Internationally renowned guitarist/composer/recording artist Mimi Fox has been named a winner in 6 consecutive polls of international critics in DownBeat Magazine, and has been recognized by writers and colleagues alike as one of the most eloquent guitarists on today’s scene, as “a prodigious talent” by Guitar Player Magazine.

Mimi has performed/recorded with some of the music world’s most commanding players, including fellow guitarists Charlie Byrd, Stanley Jordan, and Charlie Hunter; Grammy-nominated saxophonists Branford Marsalis, David Sanchez, Houston Person, and the late Don Lanphere; vocalists Abbey Lincoln, Diana Krall, Kevin Mahogany, and Janis Siegel (Manhattan Transfer); B3 organ masters Joey DeFrancesco, Barbara Denerlein and Dr. Lonnie Smith; and powerhouse drummer, Terri Lyne Carrington. She has also performed with legends Stevie Wonder and John Sebastian and with Patty Larkin’s Vanguard Records– produced La Guitara project.


Workshops

mimi fox

Workshops

“Mimi Fox is a passionate teacher and a great communicator.”

5150

WorkshopsWorkshops Workshops

STARDUST: THE MUSIC OF HOAGY CARMICHAEL with Maye Cavallaro

Part of the American Songbook Composer Workshop SeriesHoagland Howard “Hoagy” Carmichael

(1899–1981) was an American composer,

pianist, singer, actor, and bandleader. He

penned some of the most beloved tunes in

the American songbook including “Star-

dust,” “Georgia On My Mind,” “Skylark,”

“Lazy River” and many more. In this work-

shop we’ll explore and sing the beautiful

music of Hoagy Carmichael. We’ll also

listen to how some jazz greats have inter-

preted these songs and get ideas for our

own arrangements. Students are provided

with 10 leadsheets for songs including

practice-backing tracks. In the final week,

we’ll work with an accompanist and sing

these songs trying out our own arrange-

ment ideas. Lots of singing for all 3 weeks.

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, April 8, April 22, April 29, Noon – 3 pm$275 advance, $290 day of workshop

SCALES! with Dan ZemelmanAn exploration of some of the more

unusual scale options in jazz and beyond.

Modal scales, diminished scales, whole-

tone scales, minor scales (melodic minor,

etc), augmented scale, 9 note scale, Mes-

siaen modes of limited transposition and

more. Learn how to apply these scales

and how to practice them (using patterns,

rhythmic variance, 2 hand varieties).


VOCALS AND PERCUSSIONwith Sandy Cressman and Ami MolinelliFundamentals of rhythm and vocals coordi-

nated together. We will take vocal warm-up

exercises and practice to different body

percussion grooves (Latin, Brazilian 3/4,

r&b, etc.) Instructors will explain the vari-

ous rhythms and unlock how to practice

while vocalizing. We will learn some basic

body percussion exercises that are great

practice techniques for vocalists. Also,

instructors will supply auxiliary percussion

that is appropriate for vocalists and make

recommendations on specific instruments.

We will learn lyrics in Spanish and Portu-

guese and how to play shakers, clave, and

tambourines. We will cover a bossa, samba,

cha cha, 3/4, 6/8, zydeco beat, baiao,

r&b, swing and learn basics of American

rhythms like hambone, juba, and swing.

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

Ami Molinelli is a professional percussion-ist and educator specializing in Brazilian and Latin percussion, especially the pandeiro. She is the co-leader of the Brazilian choro and jazz ensemble, Grupo Falso Baiano. Her extensive performance and recording credits include theater, television (NBC) and live performances with artists such as Luciana Souza, Jovino Santos-Neto, Mike Patton, George Duke, Allessandro Penezzi, Mike Marshall, Hamilton de Holanda, Teka, John Santos, and Michael Spiro.

Part I: Sunday, April 29, 2 – 4 pmPart II: Sunday, May 6, 2 – 4 pm

$120 for the 2-part workshop,

or $60 per workshop (advance);

$135, $75 day of workshop

2018 Spring Quarter / April 9 – June 11 / cjc.edu ami molinelli

“This place has improved the lives of thousands of people and created an incredible space for jazz music in the SF Bay Area! Thank you, Susan!”

53

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

52

CONNECTEDVOICE: VOCAL TECHNIQUE AND APPLICATIONwith Sandy CressmanThis workshop will explore the exer-

cises and principles of ConnectedVoice

technique, which is a way of developing

connected and consistent sound from low

to high range, with a choice of dynamics

and colors. In the morning session, we will

learn exercises designed to work through

vocal transitions, connecting the speak-

ing and singing voice. These exercises

also connect voice development with ear

training, using various patterns based on

jazz chords, scales, and jazz vocabulary.

After the lunch break, we will learn how

to apply the exercises and techniques

to songs. Please bring in those problem

songs! We will work both as a group and

individually, to pinpoint solutions to indi-

vidual vocal issues.

Sunday, May 20, 11 am – 4 pm$100 advance, $115 day of workshop

THE LIFE AND MUSIC OF BILL EVANS — A Documentary Film Screening and Jazz Piano Master Class with Dave ThompsonAn in-depth look at legendary jazz pianist

Bill Evans’ life, music and influence on the

world of jazz piano. The workshop will

include a screening of the recently released

Bill Evans documentary, “Time Remem-

bered,” produced and directed by award-

winning CBS producer Bruce Spiegel. The

documentary will be followed by a hands-

on masterclass, with analyses of Bill’s own

pieces, and his harmonically rich approach

to standards, providing clear insight into

his compositional talents and a working

understanding of his remarkable ability to

create such compelling richness and beauty.

Dave Thompson has been playing and teaching for 30 years. He is currently presenting master classes on the life and music of Bill Evans at various venues in Northern California, Los Angeles, Cleveland, New York and abroad. During his time in New York he studied with George Shearing and Joanne Brackeen. He has also com-posed film scores and his most recent solo CD, “Introspect,” was released to critical acclaim including reviews by Mark Myers of jazzwax.com and the Wall Street Journal.

Sunday, May 13, Noon – 3 pm$30 advance, $45 day of workshop

jennifer jolly

IMPROV ZOO: GAMES AND TOOLS FOR CREATIVE GROWTHwith Jennifer JollyWe all improvise in daily life, and yet we

often feel stuck in musical ruts. We may

feel limited in our expression and afraid

of playing something that sounds wrong.

This interactive workshop offers a host

of fun, non-traditional improv games

for instrumentalists and vocalists at all

levels. Participants can expect to stretch

creatively and feel freer playing on their

own and with others. Games may include

body percussion, playing with prompts

and chance elements, free improvisation,

soundtracking, walkabouts, conducted

improvisation, and other experiences.

We will cultivate a collective sense of

play in our playing! Prerequisites: basic proficiency on your instrument. Materials provided by instructor.

CJC faculty member Jennifer Jolly teaches keyboards, New Orleans/Louisiana and world music ensembles, and improvisation at the CJC, clinics, camps, after-school programs, and her private studio. She cur-rently performs with Kotoja, Zulu Spear, The Jolly Gibsons, Big B & His Snake Oil Saviors, The Bait & Switch Blues Band, and several other Bay Area groups. She plays for choruses, churches, and musical theater productions on keyboards, voice, flute, and percussion.


WorkshopsWorkshops

INSIDE THE LYRICS with Ed ReedMaster jazz vocalist Ed Reed guides stu-

dents through the art of interpreting a lyric.

Topics include pronunciation, breathing and

phrasing as suggested by the nature of the

lyric, as well as methods of communicating

the story of the lyric to highlight emotion,

nuance and irony. An inspiration to all he

meets, Ed Reed leaves an indelible impres-

sion. Students of all levels are welcome and

each should be prepared to sing a song of

their choice, with a professional accompa-

nist. Open to all.

For Ed’s bio, see p. 35

Sunday, May 27, Noon – 3pm$75 advance, $90 day of workshop

Workshops


dave thompson

START PLANNING YOUR SUMMER!

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

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

• Summer Youth Program 56

• High School Jazz Intensive 57

• Girls’ Jazz & Blues Camp 58

• Summer Vocal Intensive 59

Jazzschool Camps and Intensives


Marcos Silva

Group CJC Brazilian

Department Chair

Marcos Silva presents

an afternoon of original m

usic inspired by his Brazilian roots.

Jazzschool Young M

usiciansParticipants in our Young M

usicians Program

perform, led

by CJC Young Musicians

Program Director

Erik Jekabson.

CJC Blue and Green Ensem

blesFeaturing CJC’s advanced ensem

bles, students who excel in m

usicianship, artistic leadership and academ

ic excellence.

Jazz in the Neighborhood

Presents: W

il Blades / Scott Am

endolaW

il Blades and Scott Am

endola are the first artists in this weekly JITN showcase

at Fiddler Annex.

Montclair

Wom

en’s Big Band

This local treasure brings together som

e of the Bay Area’s best jazz wom

en in one of the W

est Coast’s m

ost formidable

ensembles.

Laurie Antonioli / Theo Bleckm

ann CJC Vocal Chair Laurie

Antonioli and CJC Artist-In-Residence

Theo Bleckmann

celebrate with an evening of contem

porary vocal m

usic with an all-star group.

Linda Tillery & The Cultural H

eritage Choir Featuring the rich m

usical traditions of African-Am

erican roots m

usic in a joyous evening of jazz.

Electric Squeezebox

Orchestra w

ith John Santos

Erik Jekabson leads this 17-piece big band

featuring many of the Bay

Area’s best players and arrangers, with special

guest John Santos.

Enjoy these Grand Opening Concerts from

the California Jazz Conservatory in our classic new venue,

Rendon Hall, located in our new

Jerry Fiddler Annex, 2040 Addison Street in Berkeley.

Tickets at cjc.edu or call 510.845.5373

Jazz in the Neighborhood concert series every Wednesday at 8:00 pm

($20; $10 for Students). Electric Squeezebox Orchestra (CJC resident ensemble)

every Sunday at 4:30 pm ($15; $10 for Students). ESO series m

ade possible in part by a generous contribution from Larry Dodge and Carol Shen.

Celebrate the Launch of Fiddler Annex with Our Grand Opening Concert Series!

$25

4:30 pm

2/25Sunday

$10

6:30 pm2/26

Monday

$25

8:00 pm2/27

Tuesday

$25

8:00 pm2/28

Wednesday

$25

8:00 pm3/1

Thursday

$25

8:00 pm3/2

Friday

$25

8:00 pm3/3

Saturday

$25

4:30 pm3/4

Sunday

yellow 18-2, purple c50 m

56 y25 k0 purple c50 m

56 y25 k0, yellow 18-2

seafoam 261-8, red 91-2

seafoam 261-8, yellow

18-2

gray-purple 137-8, red 91-2 gray-purple 137-8, orange 46-1

a zz california

conservatorya zz california

conservatory

a zz california


conservatory

a zz california


conservatory

HIGH SCHOOL JAZZ INTENSIVE

July 23 – 27, 201810 am – 4 pm

A Five-Day Intensivefor Advanced High School Jazz Instrumentalists!

Michael Zilber, Artistic Director

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

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

Openings for all rhythm section instruments and horns.

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

Tuition • $795

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

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

Students develop skills in ensemble playing, music reading, improvisation, instrumental technique, rhythm, jazz theory and more.

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

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

Please see cjc.edu / jsyp for complete details.

• Jazz Ensemble

• Funk Ensemble

• New Orleans Brass Band

• Visiting Clinicians

• Jam Sessions

• Jazz Theory

• Private Lessons

• Guest Performers

SUMMER YOUTH PROGRAM

Open to all instrumentalists entering 7th – 10th grades

Two Five–Day Sessions!

June 18 – 22 and June 25 – 29, 2018

Monday – Friday

9:30 am – 3 pm

All-camp performances each Friday evening at 6 pm


SUMMER VOCAL INTENSIVEAugust 6 – 11, 2018 • 10 am – 4:30 pm

A Five-Day Intensive Workshop with

Theo Bleckmann and Laurie Antonioli

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

July 30 – August 3, 2018Monday – Friday 9:30 am – 3 pm

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

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

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

• Jazz Combo

• Blues & Soul Group

• Latin Ensemble

• Pop Vocal Group

• Rhythm & Blues Choir

• Jazz Big Band

• “My Life” Spoken Word Poetry

• Songwriting

• Theory & Improv

• Vocal Skills

• Percussion (joins Latin)

• One Private Lesson

• Lunchtime Open Jam

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

Limit: 10 students (Open to intermediate

to advanced singers. International students

welcome! Contact [email protected])

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

Learn to create,

perform and sing

in a distinctive

and authentic

style!

58 59

4–11 various times California Jazz Conservatory Student Performances Free*

27 Sun 4:30pm Vocal Jam $10

23 Mon 7:30pm Dave Eshelman’s Jazz Garden Big Band $25

18 Fri 8pm Masaru Koga Group $18

JU

NE

30 Sat 8pm Laura Dreyer and the Manhattan/Rio Connection $20

16 Sat 8pm Dick Conte Quartet: Annual $20 CJC Piano Scholarship Benefit

22 Fri 6pm Jazzschool Summer Youth Program Free* Concert Week 1

15 Fri 8pm Calle Ocho & Nuevo Mundo: $15 An Evening of Cuban Heart & Soul

3 Sun 4:30pm Blues Vocal Jam Free*

2 Sat 8pm Sam Priven: On Self-Care $18

AKIRA TANA LAURA DREYERCALLE OCHO

7 Sat 8pm François Moutin & Kavita Shah Duo $20

13 Fri 8pm Ratatet’s “Heroes, Saints and Clowns” CD Release $18

21 Sat 8pm Sherie Julianne Friedlander $18 and Marcos Silva Quartet

8 Sun 4:30pm The Pete Malinverni Trio $20 with John Wiitala and Akira Tana

14 Sat 8pm Peck Allmond: Eddie Marshall Tribute $20

6 Fri 8pm Azure McCall: Songs & Verses $20

20 Fri 8pm Danny Bittker: DannyBoyBlue $15


AP

RIL


26 Sat 8pm 5th Annual Benefit Concert: $20 Angelo Montesano Scholarship Fund

61

15 Sun 4:30pm SFEMS—Les Violettes: Render Unto Caesar: $20 Music from the Court of Leopold I, Holy Roman Emperor

27 Fri 8pm Susan Muscarella Trio $20

Information and Tickets:

cjc.edu/concerts

MA

Y

28 Sat 8pm California Jazz Conservatory Senior Project $18

29 Sun 4:30pm California Jazz Conservatory Senior Project $18

KAVITA SHAH DAVE ESHELMAN SUSAN MUSCARELLA

19 Sat 8pm Center Stage: Jon Rosenthal $15

25 Fri 8pm David Slusser: Stray Horns Play Sun Ra $15

1 Fri 8pm People Power Band $15

8–10 various times Jazzschool Young Musicians’ Program Free* Performances

12–16 various times Jazzschool Community Music School Free* Student Performances

29 Fri 6pm Jazzschool Summer Youth Program Free* Concert Week 2

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

CJC Concert SeriesJoin us in our new Rendon Hall in Fiddler Annex for our weekly series of concerts!

“Jazz in the Neighborhood Presents”A weekly showcase of local artists ($20/$10 for students)Every Wednesday night at 8:00 pm through June

Electric Squeezebox Orchestra Our 17-piece Resident Artist Big Band, led by Erik Jekabson ($15/$10 for students)

Every Sunday afternoon at 4:30 pm through JuneSupported by a generous donation from Larry Dodge and Carol Shen.

62 63

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

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

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

Joe Bagale (drums) Eastman School of Music (1.5 years) currently lead vocalist, keyboardist, guitarist with Mickey Hart Band. Leads Joe Bagale band, performs with Jazz Mafia, Hot Einstein, Disappear Incompletely. www.joebagale.com

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

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

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

Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-Residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Cressman has performed and recorded with Jovino Santos Neto, Marcos Silva, Weber Iago, Antonio Adolfo, and SpokFrevo. Cressmanmusic.com

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

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

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

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

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

Jazzschool Faculty

amanda addleman

Jazzschool FacultyJazzschool Faculty


Jazzschool Faculty

64 65

Jazzschool Faculty

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

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

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

Alan Hall (drums) Advisor/Associate Professor CJC Drum Program. former assistant professor at Berklee College of Music; lecturer at Cal State University East Bay; clinician; author; band leader composer for original sextet: Ratatet. Performed and/or recorded with Geoffrey Keezer, Ed Simon, Russell Ferante, Art Lande, Ernie Watts, Paul McCandless, Eddie Harris, Bruce Williamson, Rebecca Paris, Kai Eckhardt, Jimmy Haslip, Stuart Hamm; artist endorsement with Zildjian Cymbals, Vic Firth Sticks, Aquarian Accessories and Brooks Drums 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.. 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.

Steve Hogan (bass guitar, vocal percussion)BA U.C. Berkeley. Multi-Instrumentalist. Toured/performed/recorded with Goapele, Zion I, The Coup, Will Bernard, Hugh Masekela, Dave Chappelle, DJ Fuze, Thomas Pridgen, Ambrose Akinmusire, Raul Midón, Chuchito Valdez, Roberto Carcasses, Balawan, Faye Carol, Tuck and Patti, Linda Tillery, Keith Terry, Gamelan Sekar Jaya. Performed at Kennedy Center, SFJazz, Stern Grove, Hollywood Bowl, The Fillmore, Bali Arts Festival, Gunung Jazz Festival (Java). Founding member of Bay Area groups O-Maya, AguaLibre, Slammin All Body Band. Currently performs locally with Josh Jones Latin Ensemble, Keith Terry’s Free Dive, and primary project fusion group The Hogan Brothers, with brothers Colin 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 Saxo-phone Quartet, Meklit Hadero, and many others. Has led United Brassworker’s Front, Nice Guy Trio, Darren Johnston Quintet (featuring Ben Goldberg and Sheldon Brown), Trans-Global People’s Chorus, Broken Shadows, and others.

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

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

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

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

Jason Levis (percussion) Ph.D. and M.A. in Composition, UC Berkeley; B.A. in Music, Naropa University. Two-time Meet the Composer award recipient; Eisner Prize for Music winner; Outstanding Graduate Student Instructor (UC Berkeley); Interaktion Festival finalist (Berlin), drummer and composer Jason Levis has led and collaborated in numerous jazz, improvised music, and chamber ensembles in the San Francisco Bay Area and Berlin, Germany. These include the Heftpistole Chamber Ensemble; duo B.; Married Couple; DRY; live dub-reggae ensemble Joseph’s Bones; the Echo Chamber Ensemble; most recently the Berlin Boom Orchestra, and many more. www.jasonlevismusic.com

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


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Jazzschool Faculty

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

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, vocal coach. Payne’s debut solo album — “Welcome To My World” — was released in 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors, and Harvey Mason. He has opened for Tony Bennett, Johnny Mathis and Dionne Warwick and shared the stage with Dianne Reeves, The Commodores, Lionel Richie, Lakeside and Sheila E. www.clifpayne.org

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

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

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

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

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

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 arrange-ments for The Bordeaux Symphony Orchestra, The University of Trinidad and Tobago, The Metropole Orkest, Mizikopeyi Big Band and The Southwest Michigan Symphony Orchestra.

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

Melanie O’Reilly (voice) BA in Arts, Brendan Smith Theater Academy, Dublin. Internationally performing singer-songwriter, bandleader and recording artist; awarded “Best Of the Bay Area” by East Bay Express in 2007; host of “Jazz on the Bay,”for RTE Radio 1, winner of PPI Radio Award for Music Specialist Program of the Year; chosen as one of Ireland’s foremost jazz ambassadors by Downbeat.

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

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

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

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

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

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

Jazzschool Faculty


michael zilber

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Board and Staff

BOARD OF DIRECTORS

Tyler Johnston, Chairman

Susan Brand, Vice Chairman

Richard A. Lyons, Secretary

Neil Rudolph, Treasurer

Steve Baker

Clifford Brown, Jr.

Charles Charnas

James Ellis

Jerry Fiddler

Rita Hargrave

John Moss

Susan Muscarella

Gregg Perloff

Jerry Povse

Jim Reynolds

M. David Sherrill

Judy Walters

Kevin Whitman

Michael Yovino-Young

DIRECTORS EMERITUS

Denny Abrams

Sherie Friedlander

Sy Grossman

Vaughan Johnson

James J. Keefe

Bert Lubin

Larry Marcus

Ernie Mieger

Amy Orton

John Papini

Walter Riley

Danny Scher

Michael Zaninovich

ADVISORY BOARD

Tom Carr

Carole Davis

Paula Forney

Benny Green

Charles Hamilton

Stacey Hoffman

Mark Levine

Jason Olaine

Patricia Phillips

David Ring

Jayne Sanchez

Chuck Sher

Merrilee Trost

Wayne Wallace

Peter Williams

PROGRAM STAFF

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

Rob Ewing Director, Jazzschool

Laurie Antonioli Chair, CJC Vocal Program Director, Jazzschool Vocal Program

Erik Jekabson Director, Jazzschool Young

Musicians Program


ADMINISTRATIVE STAFF

Bill Aron Business Manager

Jesse Rimler Registrar and Custodian of Records, California Jazz Conservatory

Karen Shepherd Director of Financial Aid, California Jazz Conservatory

Zack Mondlick Assistant to the Dean, California Jazz Conservatory

Alejandra Carrasco-Zanini Assistant to the Director, Jazzschool

Samuel Priven Program Coordinator

Julie Birch Data Manager/ Systems Administrator

Paul Fingerote Marketing and Public Relations Director

Sheryl Lynn Thomas Digital Marketing Manager

Hollis Ashby Communications Consultant

Mary D’Orazi Development Associate/ Concert Booking Manager

Lauren Adams Development Consultant

Max Hodes Operations Director

Kim Nucci IT Systems Administrator

Technical Projects Director

Michael Golds, Aaron Hipschman and Alex Shapiro-Romano Operations Staff

Tatyana Dimitrova-Pelov House Manager

Lee Brenkman Sound Technician

Robert Sope Piano Technician

Poulson Gluck Design Graphic Design

Chris Hardy Photographer

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tyler johnston, cjc board of directors chair

70 Call 510.845.537370 Call 510.845.5373

Instructions and Application

To enroll in the Jazzschool

Spring Quarter, please read

these important instructions!

For courses that don’t require an audition or consultation, sign up online

at cjc.edu or complete the application

on page 71 and submit it along with full

tuition. Students may register online,

by phone (510.845.5373), mail, fax

(510.841.5373) or in person. Enrollment

is on a first-come, first-served basis

and cannot be guaranteed without full payment. Students applying for

courses that are full may be placed

on a waiting list. The Jazzschool

accepts checks (made payable to

California Jazz Conservatory), cash,

VISA, MasterCard or Discover.

Payment plans are available.

To register in courses requiring a consultation or audition please

call at 510.845.5373 for assistance

with placement.

PERFORMANCE ENSEMBLESAdmission is based on a confidential,

friendly 20-minute placement audition

to determine where students are best

suited to play or sing. Placement auditions

address students’ overall musicality,

technical ability, stylistic preference(s)

and availability.

Please fill out the online

ensemble application form

at cjc.edu/ensemble or call

the Jazzschool to schedule

an appointment (510.845.5373).

Please note: With the exception of the

Fall Quarter, students previously enrolled

in a performance ensemble have the

option of re-enrolling in that same course

again on a consecutive quarterly basis

within the academic year without having

to re-audition. New students wishing to

enroll in a performance ensemble in

winter, spring and/or summer quarters

must schedule a placement audition

or telephone consultation and will be

accepted on a parts-available basis.

JAZZSCHOOL FACULTY AND COURSE SCHEDULESGiven prestigious national and interna-

tional performance and/or lecture

opportunities that arise, Jazzschool

faculty, course offerings and/or class

schedules may be subject to change.

If these or similar circumstances arise,

the Jazzschool will make every effort to

provide its students with the optimal

educational experience possible.

REFUND POLICYCourse and ensemble tuition includes a

$50 non-refundable deposit. Requests to

drop must be received in writing within 48

hours of the first class meeting to qualify

for a refund; please visit the main office or

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

Refunds for remaining tuition are not

possible after the 48-hour drop deadline.

$100 per week of camp and intensive

tuition is non-refundable; the remainder

is refundable only until 30 days prior

to the start of the program. Tuition for

workshops is non-refundable. No excep-

tions please! Please note: Refunds may

take up to 30 days to process. Please visit

cjc.edu/policies for more information.

Enroll online at cjc.edu or call 510.845.5373

Please read instructions on facing page before completing application form.

Name (print) ____________________________ ____________________________________________

Address __________________________________________________________________________ Street City/State Zip

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

Cell phone ( ___ ) ________________________ Email __________________________________

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

_____________________( ) _____________________( ) _________________________( )

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

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

1. _____________________________________ 2. _____________________________________

3. _____________________________________ 4. ______________________________________

How did you hear about the Jazzschool? _____________________________________________

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

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

Charge my tuition to: ____ VISA ____ MasterCard ____ Discover

Card #_____________________________________________________ Exp. date _____________

3-digit security code ___________

Signature of cardholder ____________________________________________________________

Name as It appears on card _________________________________________________________

San Pablo Ave

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College Ave

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Sacramento

Channing

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

Shattuck Ave

70 7171

University Avenue

2087& 2040

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We invite you to make your mark on our future and the future of jazz with a contribution to

the California Jazz Conservatory.

You can add your name to a variety of opportunities.

We have multiple scholarship 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 ([email protected]).

If you’d like to learn more about how CJC can help your company or organization, please contact

Paul Fingerote ([email protected]).

For more information about supporting CJC, please visit our website at cjc.edu/support.

You’ll also find a list of contributors on our website.

We thank you and all of our donors for supporting our future and the future of jazz!

Make your mark on our future and the future of jazz!

72

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

Make your mark on our new Fiddler Annex —

support our future and the future of jazz!

Support an artist or a special cause like the Dick Conte Piano Scholarship with your contribution!

Reach thousands of prospects year-round with your company’s message!

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