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2017 FALL CATALOG

We're celebrating the 20th anniversary of the Jazzschool this Fall, 20 years of successfully teaching jazz

to people of all ages, at all levels of ability.

Turn the page for a quick guide to what's inside, then check out our classes, workshops and concerts

for Fall 2017, starting on page 8.

You can get all the latest news from the Jazzschool and the California Jazz Conservatory by signing up

for our e-newsletter at cjc.edu.

Or, feel free to call us at 510/845-5373 if you have any questions.

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

Welcome to our third decade of teaching you jazz!

azzschoolthe

at C A L I F O R N I A J A Z Z C O N S E R V A T O R YCJC Degree Programs / Jazzschool Classes and Workshops / Concerts

2087 and 2040 Addison Street / Berkeley / 510.845.5373 / cjc.edu

INTRODUCTION

Calendar 2

The California Jazz Conservatory 4

The Jazzschool 6

ADULT PERFORMANCE ENSEMBLES

Jazz 8

Latin 12

Brazilian 13

Blues 13

World 13

Funk 13

ADULT INSTRUMENTAL CLASSES

Piano and Keyboards 14

Guitar 16

Harmonica 18

Bass 19

Drums and Percussion 20

THEORY, IMPROVISATION, COMPOSITION

Theory and Improvisation 22

Composition 22

ADULT VOCAL CLASSES

Vocal Technique 24

Performance 24

Ensembles 29

Composition 30

Young Musicians 30

Vocal Mentor Program 3 1

Vocal Workshops 32

JAZZSCHOOL YOUNG MUSICIANS PROGRAM

Introduction 39

Program Requirements 39

Placement and Audition

Requirements 40

Instrumental Ensembles 41

Voice 44

WORKSHOPS

Bass 45

Guitar 46

Drums and Percussion 48

Woodwinds 50

Piano 52

Technology 55

Theory and Improvisation 55

Music Business 59

Fall 2017 CJC Concert Series 60

Jazzschool Faculty 62

Board and Staff 69

Instructions and Application Form 70

Map 71

How You Can Help 72

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

FALL 2017 CATALOG PRODUCTION

Design Poulson Gluck Design

Editorial Rob Ewing, Laurie Antonioli, Paul Fingerote

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

Photo research Sheryl Lynn Thomas

Printing FolgerGraphics

Cover Jesse Rimler, illustration

Contents Over 100 opportunities to learn jazzare in your hands right now!

Welcome to our Fall 2017 Jazzschool Catalog, where you'll find

more than 20 Adult Performance Ensembles, over 60 Classes, more than

20 Workshops, 40 Concerts and more. . .over 100 opportunities for you

to learn jazz at the Jazzschool, many of them brand new this Fall!

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

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

An Application Form Page 70

Adult Performance Ensembles Page 8

Adult Instrumental Classes Page 14

Theory, Improv, Composition Page 22

Adult Vocal Classes Page 24

Young Musicians Program 9

CJC Degree Programs Page 42

Workshops Page 45

CJC Concert Series Page 60

Faculty Page 62

Board of Directors / Staff Page 69

Map Page 71

How You Can Help Page 72

Donors cjc.edu

Everything Else cjc.edu

New Classes / Workshops new

The Jazzschool Fall 2017 Calendar

2017 Jazzschool Fall Quarter

September 18 – December 3

School Closure

Thanksgiving Week

November 20 – 26

Fall Performance Series

December 4 – 14

Heads up! Many opportunities fill early, so sign up soon. If you're not sure which class

or workshop is right for you, please contact us for guidance. We're here to help!

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

Rob Ewing, Director, [email protected]

Laurie Antonioli, Chair, Vocal Program [email protected]

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

510.845.5373 SUSAN MUSCARELLA ERIK JEKABSON LAURIE ANTONIOLI ROB EWING

4 5

The Conservatory houses a popular

Jazzcaffè, offering light fare and a range

of beers, wines and other beverages

year-round. The CJC Bookstore, adjacent

to the Jazzcaffè, offers jazz-related

reading and listening materials with

books, recordings, videos and accessories

available to students, faculty and visitors

throughout the year.

Located in the heart of Berkeley's vibrant

Downtown Arts District, the California

Jazz Conservatory is easily accessible

by car and public transportation. The

downtown Berkeley BART station and

AC Transit bus stops are located within

a block of campus. Public parking is

available in nearby garages, in addition

to metered street parking available

throughout the neighborhood.

The California Jazz Conservatory

The California Jazz Conservatory is

the only accredited independent

school in America completely

devoted to the study and

performance of jazz.

The California Jazz Conservatory honors

the contributions of past masters and

promotes artistic innovation, bringing

together a diverse music community to

develop practical skills, acquire artistic

sensibility, realize creative potential and

find artistic voice.

Founded as the Jazzschool in 1997 and

accredited by the National Association of

Schools of Music in 2009, the California

Jazz Conservatory offers two distinct

education programs:

The California Jazz Conservatory, a

postsecondary degree-granting program;

and the Jazzschool, a non-degree-

granting community education program.

• The California Jazz Conservatory

offers the aspiring professional jazz

musician a 4-year Bachelor of Music

degree in Jazz Studies with optional

concentrations in Brazilian Jazz, Audio

Production and North American Roots

Music.

Our 2-year Associate of Arts degree in

Jazz Studies offers the same effective

faculty, the same 100% jazz relevant

courses at half the cost and half the

time commitment.

• The Jazzschool offers long-term

Classes, short-term Workshops,

and one- and two-week Camps and

Intensives for youths and adults.

In addition, the California Jazz

Conservatory's year-round CJC Concert Series offers a wide array of performances

by students and professionals in our

intimate concert venue, open to the public.

6 766

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

of long-term Performance Ensembles

and Classes for beginning, intermediate

and advanced instrumentalists and

vocalists. Ensembles focus on a wide

range of styles, including but not limited

to jazz, blues, funk, Afro-Caribbean and

South American music. Classes include

instrumental and vocal technique, music

theory, jazz improvisation, and more.

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

short-term Workshops throughout the

year, available in single sessions or as

a series. Workshops are taught by

professional artists/educators and focus

on specific approaches to strengthening

technical ability, understanding and

applying theoretical concepts to

improvisation, and enhancing live

performance skills, in addition to other

jazz-related topics.

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

offers a range of classes for middle and

high school students. Young Musicians

Program ensembles are available for

beginning, intermediate and advanced

instrumentalists. The program includes

small groups focused on improvisation,

and big bands that delve into style and

repertoire. Vocal performance classes

are also available. Jazzschool Young

Musicians Program ensembles have

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

prestigious jazz festivals, both here and

abroad.

.

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

Intensives in the Spring and Summer

in one- and two-week sessions for adult

and youth instrumentalists and vocalists

at all levels.

Faculty Jazzschool classes, ensembles, work-

shops, camps, intensives and other

programs are led by a distinguished

faculty of professional musicians who have

played with some of the music world’s

biggest names. More importantly, our

faculty consists of musicians and vocalists

who excel in education, with a focus on

teaching students not just how to play, but

how to perform, transforming talented

musicians into recognized artists.

Enrollment Jazzschool class size is limited and

many classes — available on a first-come,

first-served basis — fill up quickly. We

encourage you to register early and

guarantee your spot! You can enroll

online at cjc.edu or call 510.845.5373. An

application form also appears on page 71.

The Jazzschool is the California

Jazz Conservatory's community

music school, serving students of

all ages and levels for over 20 years.

The Jazzschool offers instrumentalists

and vocalists long-term Performance

Ensembles/Classes, as well as short-term

Workshops, Camps and Intensives

throughout the year, including:

* Adult instrumental and vocal

Performance Ensembles/Classes in

Fall, Winter and Spring (10 weeks),

and Summer (6 weeks).

* Short-term Workshops on weekends

throughout the year.

* Youth instrumental and vocal Perfor–

mance Ensembles in Fall, Winter, Spring

(10 weeks) and Summer (6 weeks).

* Youth instrumental and vocal Summer

Camps and Intensives in Summer

(1 – 2 weeks).

* Adult instrumental and vocal Camps and

Intensives throughout the year (1 week).

Instrumental ClassesJazzschool instrumental classes provide

study of a specific instrument in a group

setting. Classes are available for saxophone,

harmonica, piano/keyboard, guitar, bass

and drums/percussion. Instruction is

available for beginners (covering basic

technique and instrumental skills) and also

for more advanced players (focused on jazz

style, harmony, improvisation and more).

Vocal ClassesJazzschool vocal classes provide an

opportunity for singers at all levels to

improve style and technique in a group

setting. Performance classes are offered

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

Beginners, singers returning to music,

and more advanced vocalists can all find

classes appropriate for their interests.

Theory, Improvisation and CompositionThe Jazzschool offers a number of classes

covering areas of theory, improvisation, ear

training, composition and arranging, music

production, music business and more.

6

The Jazzschool

2017 Fall Quarter / September 18 – December 3 / cjc.edu

98

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

Adult Performance Ensembles

Jazzschool Performance Ensembles

delve into a wide range of styles

including jazz (standards, hard-

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

Brazilian, blues, R&B and funk.

Ensembles are available for

instrumentalists and vocalists

at the beginning, intermediate

and advanced levels. Groups

range in size from the trio to the

big band. A placement audition

is required for all Performance

Ensembles.

AuditionsStudents are placed in Performance

Ensembles by audition and require–

ments may include the following:

Playing selected scales; playing and/

or improvising over a piece of your

choice; improvising over a 12-bar

blues or other pieces provided at

the audition; and sight-reading.

Drummers are asked to play various

grooves and solo; bassists are

asked to play bass lines. For more

information please contact Jazzschool

Director Rob Ewing at [email protected]

or 510.845.5373 x14. You can

schedule an audition online at cjc.edu.

JAZZ

BEGINNING JAZZ ENSEMBLEPut theory into practice by learning jazz

standards, while developing improvisation

and ensemble skills. For all instruments.

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

Section I: Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Steve Erquiaga • $395

Section II: Thursdays 6:30 – 8 pm 9/21 – 11/30 (10 weeks) no class 11/23Rob Ewing • $395

JAZZ STANDARDS FOR GIGS Develop the skills and repertoire needed

for typical jazz gigs through the study

and performance of common jazz styles

including swing, bossa, jazz waltz and

ballads. Instructor covers repertoire,

essential arranging concepts (intros,

endings, etc.), relevant jazz harmony and

tips for soloing. Prerequisites: knowledge of basic jazz theory and ability to keep time and read music. Some previous ensemble experience.

Section I: Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23

Section II: Saturdays 10 – 11:30 am

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

Section IV: Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25Glenn Richman • $395

DAVE SCOTT JAZZ ENSEMBLEA small jazz ensemble (rhythm section

and horns) focusing on standards and jazz

tunes with custom arrangements by the

instructor.

Thursdays 4 – 5:30 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Len Scott • $395

HARD-BOP ENSEMBLEStudy and perform music melding

bebop with R&B, gospel and the blues

as developed by mid-century masters

including Horace Silver, Art Blakey,

Cannonball Adderley, Miles Davis,

Jimmy Smith and others.

Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Lefebvre • $395

MUSIC OF THE MASTERSDig into the music of John Coltrane,

Thelonious Monk, Wayne Shorter and

other jazz masters. Learn and internalize

a variety of essential grooves while

developing improvisation skills through

the rehearsal of challenging repertoire.

Section I: Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20

Section II: Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Glenn Richman • $395

POST-BOP ENSEMBLEExplore the repertoire of Chick Corea, Joe

Henderson, Wayne Shorter, John Coltrane

and other post-bop jazz composers from

the 1960s to the present. Strong emphasis

placed on group communication and

interaction.

Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Steve Erquiaga • $395

glenn richman


1110

FREE JAZZ ENSEMBLE: new THE MUSIC OF ALBERT AYLERIf you're a musician interested in stretching

the boundaries of harmony and form, join

us for the Free Jazz Ensemble, as we

focus on the music and improvisational

concepts of a variety of master musicians

each quarter. This term, we investigate

the music of the masterful icon of classic

1960s free jazz, saxophonist Albert Ayler.

Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Jason Levis • $395

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

improvising over chord changes, playing

with good time and learn the other skills

needed to perform with other musicians.

Class emphasis is on standard mainstream

styles: blues, standards, swing, bebop,

ballads and bossa novas.

Tuesdays 4:30 – 6 pm9/19 – 11/28 (10 weeks) no class 11/21Steve Erquiaga • $395

ERQUIAGA ENSEMBLE IIThis Ensemble II class focuses on slightly

faster tempos and more involved

tunes! Unusual keys, uncommon tune

structures and more complex melodies

are presented along with standard

repertoire. Includes the music of Miles

Davis, Jobim, Art Blakey, Cal Tjader and

many 60s Blue Note–era artists. Original

compositions are encouraged!

Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21Steve Erquiaga • $395

JEAN-LUC PONTY new ENSEMBLEViolinist Jean-Luc Ponty made his

American debut at the Monterey Jazz

Festival in 1967, playing to thunderous

appreciation and making his mark as one

of the leading innovators of the early

jazz-rock fusion era. Noted for his work

with Frank Zappa, John McLaughlin's

Mahavishnu Orchestra and others, he has

maintained a successful career as a solo

artist for many decades and continues to

be an active performer, recently working

with Stanley Clarke, Bela Fleck, Chick

Corea’s Return to Forever and others.

This ensemble draws on Jean-Luc Ponty's

compositions from throughout his career

and reflects his innovative approach

to jazz.

Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Frank Martin • $395

HIP-HOP/JAZZ ENSEMBLE newLearn the material of some of today’s

most innovative artists and hip-hop groups

while enhancing your performance skills in

this ensemble dedicated to hip-hop jazz.

You'll study and perform songs from

groups such as Anderson.Paak, KING,

Hiatus Kaiyote, A Tribe Called Quest, The

Internet, Thundercat, Bilal, Robert Glasper

and Erykah Badu. Students will study

hip-hop culture and its influences, while

applying those studies to their own

compositions. With an emphasis on

stylistic integrity, as well as melodic,

harmonic, and rhythmic accuracy, the

instructor will guide the band and vocalists

through the history of hip-hop jazz, in a

course geared towards an end-of-quarter

performance.

Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Lilan Kane • $450

PIANO TRIODevelop performance skills in the piano,

bass and drums trio format. Open to four

pianists and one drummer with accom-

paniment provided by a professional

upright bassist.

Section I: Mondays 5 – 6:30 pm

Section II: Mondays 6:45 – 8:15 pm

Section III: Mondays 8:30 – 10 pm9/18 – 11/27 (10 weeks) no class 11/20Peter Horvath • $425

Section IV: Fridays 1:30 – 3 pm

Section V: Fridays 3:30 – 5 pm9/22 – 12/1 (10 weeks) no class 11/24Debbie Poryes • $425

GUITAR TRIOFocus on group interaction and dynamics,

soloing, comping for bass solos, trading

with a drummer, building repertoire and

more in the guitar, bass and drums trio

format. Open to five guitarists, one bassist

and one drummer.

Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20Steve Erquiaga • $395

BIG BANDThis 19-piece ensemble covers classic and

contemporary repertoire for big band.

Original compositions by ensemble

members are also work-shopped and

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

Thursdays 8:15 – 10:15 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Lefebvre • $285

Adult Performance Ensembles Adult Performance Ensembles

Debbie Poryes is such a gifted player and teacher. Her passion is contagious.— Anonymous

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

Wayne Shorter from the mid-60s through

the 80s. Repertoire is drawn from far-

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

Native Dancer and Jack Johnson. Strong

emphasis placed on group communication

and interaction.

Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Steve Erquiaga • $395


1312

LATIN

SALSA ENSEMBLE IRehearse and perform classic salsa

repertoire including the music of Tito

Puente, Cal Tjader, Eddie Palmieri and

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

Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21David Belove • $395

SALSA ENSEMBLE IIRehearse and perform more advanced

salsa repertoire. Vocalists interested in

participating should sign up for Salsa

Singing (see p. 28). The two courses work

together throughout the term developing

a full set of high energy dance music for

performance.

Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21David Belove • $395

VENEZUELAN MUSIC ENSEMBLE 360Explore traditional and contemporary

Venezuelan music styles, with a particular

focus on Afro-Venezuelan repertoire.

Exciting rhythms including calypso, joropo

and golpe de tambor will be covered. The

ensemble will culminate in a performance

at the Jazzschool in Hardymon Hall! Open

to all instruments: percussion (congas,

hand percussion), Venezuelan cuatros,

vocals, woodwind and brass instruments,

piano, bass, and drumset. Highly recom-

mended for students who have taken the

Afro-Venezuelan percussion and Venezu-

elan cuatro classes with Jackie Rago in

the past. Prerequisites: Intermediate to advanced players with the ability to play standard grooves as applied to your instrument.

Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Jackie Rago • $395

BRAZILIAN

BRAZILIAN ENSEMBLEStudy and perform the classic and

contemporary Brazilian jazz repertoire of

Ivan Lins, Dori Caymmi, Toninho Horta,

Antonio Carlos Jobim and instructor

Marcos Silva. Vocalists welcome!

Audition with Marcos Silva is required.

Section I: Tuesdays 6:15 – 7:45 pm

Section II: Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21

Section III: Wednesdays 6:30 – 8 pm

Section IV: Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22

Section V: Thursdays 1 – 2:30 pm9/21 – 11/30 (10 weeks) no class 11/23

Section VI: Fridays 12 – 1:30 pm9/22 – 12/1 (10 weeks) no class 11/24

Marcos Silva • $395

BLUES

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

styles. Emphasis on the groove as found

on recordings of Charlie Christian, T-Bone

Walker, Albert Collins, Jack McDuff, Louis

Jordan and other “jump” blues and New

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

Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25

Danny Caron and Anthony Paule • $395

WORLD

WORLD GROOVE ENSEMBLE: CARIBBEAN Explore the irresistibly deep grooves of

Jamaica, Trinidad, and other islands of the

West Indies in The Caribbean Ensemble, a

course open to vocalists and instrumental-

ists featuring styles ranging from calypso

to soca, reggae, ska, zouk, biguine, and

more. Delve into music by artists such

as Lord Kitchener, Calypso Rose, The

Skatalites, Bob Marley, Malavoi, Kassav

and others. Class members learn the

cultural context and rhythmic structure

of each tune. This ensemble is one of

three consecutive classes comprising

the World Groove Ensemble; students

may enroll in any one or all three.

Prerequisites: intermediate instrumental proficiency; ability to read charts and notation.

Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Jennifer Jolly • $395

FUNK

FUNK ENSEMBLEThis high-energy ensemble explores

repertoire ranging from James Brown

to Tower of Power. For all rhythm

section instruments, horns and vocalists.

Prerequisites: Intermediate technical facility and ability to read charts and standard notation.

Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Daniel Parenti • $395


marcos silva



daniel parenti

1514

JAZZ PIANO I Learn to play jazz standards and the

12-bar blues through the study of jazz

chord voicings and improvisation tech-

niques. Prerequisites: basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in all keys, ability to read treble and bass clefs.

Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Bob Karty • $395

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

learn more advanced chord voicings and

soloing techniques, as well as standard

re-harmonization techniques. Prerequisites: ability to play 3-note voicings with proper voice leading through a jazz standard (e.g., “All The Things You Are” or similar), ability to improvise on a 12-bar blues in time, playing 3rds and 7ths in the left hand. An audition is required; please call 510-845-5373 to schedule your audition.

Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20Bob Karty • $395

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

Explore a wide range of jazz piano chord

voicings in this new hands-on course. From

simple “shell” voicings to the rich chord

shapes used by Bill Evans, Herbie Hancock

and other contemporary jazz masters. For

pianists and instrumentalists/vocalists

interested in exploring jazz piano harmony.

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

Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Steve Blum • $395

LEFTY — THE LEFT HANDA look to the left is the focus in this course

designed to develop jazz piano techniques

for the left hand. Work on tertian (3rds),

quartal (4ths) and quintal (5ths) voicings;

blues and rhythm changes; and walking

bass lines. Improvisation, ostinatos for

soloing and some stride piano techniques

are also covered. Right hands are

welcome, but only as observers!

Prerequisites: ability to play major, minor, and dominant 7th chords in all keys, knowledge of jazz harmony.

Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Frank Martin • $395

KEYBOARD IMPROV ZOO: newGames and Tools for Creative GrowthThis adventure-filled class offers a wide

range of fun, interactive, non-traditional

games and creative challenges for

keyboardists at all levels. Sample exercises

include body percussion warm-ups, call

and response, playing with prompts,

chance elements, ostinati, free improvisa-

tion, soundtracking, passing the baton,

walkabouts, conducted improvisation,

and other experiences. Students can

expect to stretch creatively and feel

more free playing on their own and with

others. Materials provided by instructor.

Prerequisites: basic proficiency in key-board playing and reading.

Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21Jennifer Jolly • $395

Adult Instrumental Classes

PIANO & KEYBOARDS

PIANO I If you've ever wanted to play the piano,

now is your chance! Sign up for Piano I

and you'll learn to how to understand

musical notation, how to play a scale,

perform a piece of music, play duets,

discover what musical forms and keys

are all about, read a jazz chart and play

ensemble music with fellow students.

No experience necessary. Concurrent

enrollment in the Introduction to Music

Theory course is suggested. Required

texts: Mastering Piano Method 1A,

Mastering Theory 1A, Janet Vogt

(available at the CJC Bookstore).

Saturdays 10 – 11:30 am9/23 – 12/2 (10 weeks) no class 11/25Jeanne Walpole • $395

PIANO IIFor those with some experience on keys,

Piano II picks up wherever you left off in

your pianistic pursuits and challenges you

to go farther with your musical endeavors.

Ensemble and solo music is selected to

match your own level and ability on the

piano. This class presents individual

guidance as well as group performance

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

store). Prerequisites: Piano I or equivalent experience.

Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Jeanne Walpole • $395

APPLIED KEYBOARD HARMONY Learn tonic-dominant chord progressions,

basic turnarounds and chord inversions

in all keys, while developing the ability

to play standard tunes using those basic

progressions in leadsheet format. This

course prepares students for Jazz Piano I

and is recommended for pianists with a

classical background interested in breaking

free of the printed page and learning how

to interpret leadsheets as well as learning

how to improvise. Handouts provided.

Prerequisites: basic keyboard knowledge.

Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25Jeanne Walpole • $395


frank martin

steve blum

16 17

BLUES PIANO new TUNES FOR JAMS AND GIGSEvery blues musician needs a crash course

like this! Learn a set-full of the tunes you'll

most likely encounter at gigs, jams, open

mics, and living room parties. You'll learn a

variety of accompaniment styles for tunes

by artists like Chuck Berry, B.B. King,

Muddy Waters, Booker T & the MGs, Ray

Charles, Freddie King, Jimmy Reed, Louis

Jordan, and Stevie Ray Vaughan. Students

are encouraged to sing if they wish.

Materials provided by instructor.

Prerequisites: Ability to read and play two-handed keyboard parts.

Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Jennifer Jolly • $395

GUITARBEGINNING GUITARIf you're interested in learning how to play

the guitar, this course will help you

develop a strong foundation in basic skills,

learning the essentials, including tuning

the guitar, finding notes and basic chords

on the fretboard, proper hand positions,

scale fingerings, simple songs, reading

music and more! Your instructor will

answer questions about equipment

selection (guitars, strings, amps, picks,

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

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

Saturdays 10 – 11:30 am9/23 – 12/2 (10 weeks) no class 11/25Danny Caron and Anthony Paule • $395

JAZZ GUITAR IIf you're a guitarist with a background

in another style and you're interested in

exploring jazz and blues this course is

for you! You'll gain hands-on experience

playing jazz and blues while learning basic

jazz theory, scales, chords, arpeggios

and songs. You'll have fun while learning

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

Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Jeff Massanari • $395

JAZZ GUITAR IIIn this fun and fast-paced continuation of

the concepts explored in Jazz Guitar I,

you'll dive into more complex harmonic

and melodic concepts, scales and chord

voicings, with lots of hands-on playing

time and personal guidance for everyone.

This course is designed for guitarists with

some jazz playing experience looking to

take their playing to the next level.

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

Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Jeff Massanari • $395

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

applied to guitar, developing familiarity

with the fretboard through chord, scale

and arpeggio practice. Topics include:

• Overview of chord and scale types

and where they are located

• Chord progressions commonly

used in jazz and related styles

• Comping patterns

• Scale and arpeggio practice

in various positions

• Reading charts and standard

notation (treble clef)

• Transcribing music from recordings

• Basics of melodic improvisation

For students with some playing experi-

ence, knowledge and facility, but who

have never seriously practiced or studied

music theory or the guitar fretboard.

Prerequisites: ability to play basic barre chords and some familiarity with playing scales. Students should bring a medium or heavy flat pick and be ready to learn how to use it!

Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20Danny Caron • $395

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

jeff massanari

Adult Instrumental Classes Adult Instrumental Classes


danny caron

1918 2017 Fall Quarter / September 18 – December 3 / cjc.edu

JAZZ GUITAR COMPINGThis hands-on course provides the

intermediate-to-advanced guitarist with

the tools, concepts and techniques

essential to creative and effective

contemporary comping.

Topics include:

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

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

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

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

Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Steve Erquiaga • $395

BRAZILIAN GUITARLearn Brazilian music styles including

samba, baião, bossa nova and choro, and

the techniques used to play them. Primary

focus is on learning repertoire, while

developing the following areas: stylistically

appropriate comping rhythms, chord

melody playing, creating solo arrange-

ments, right hand finger-style techniques

and melodic soloing approaches.

Prerequisites: ability to read music notation.

Sundays 2 – 3:30 pm9/24 – 12/3 (10 weeks) no class 11/26Ricardo Peixoto • $395

BLUES AND SWING GUITARYou'll learn chord voicings, fingerboard

harmony and single string soloing

techniques, with a variety of styles

covered, from the urban blues of B.B. King

and Albert Collins to the more complex

swing of Charlie Christian and Aaron

“T-Bone” Walker. We'll dive into alternate

chord cycles and rhythm playing and we'll

work with transcriptions to develop strong

melodic solos. Prerequisites: familiarity with the 12-bar blues progression, ability to play barre chords in several shapes, basic knowledge of the minor pentatonic scale, some picking facility.

Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Danny Caron and Anthony Paule • $395

HARMONICABEGINNING DIATONIC HARMONICAYou'll recognize the diatonic harmonica as

the small harmonica used in blues, rock,

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

learn how to hold the instrument, breathe

effectively, play chords and single notes

and bend notes, as well as learning song

forms such as 12-bar blues and 3-chord

folk, rock and country tunes. Required

text: Harmonica for Dummies, second

edition. Prerequisite: Bring a 10-hole diatonic harmonica in the key of C

(contact [email protected] for info).

Saturdays 10 – 11:30 am9/23 – 12/2 (10 weeks) no class 11/25Winslow Yerxa • $395

BASSBEGINNING BASSLearn the fundamentals of bass technique,

applicable to all styles of music.

Topics include:

• Tuning

• Getting a good sound

• Left and right hand technique

• Familiarity with the fingerboard

• Music reading fundamentals

• Introduction to walking bass lines,

bossa nova, jazz waltzes and ballads

• Equipment (basses, strings, amps)

Open to electric and upright bassists.

This course serves as a preparation for

the Jazz Bass courses. Prerequisites: None. For complete beginners. Students must bring a bass to class.

Thursdays 4:45 – 6:15 pm9/21 – 11/30 (10 weeks) no class 11/23Glenn Richman • $395

JAZZ BASS LINESLearn what a bassist needs to know in

preparation for joining Jazzschool

performance ensembles: the essential

rhythm section styles, feels and bass

lines. You'll learn how to confidently read

down a real book style jazz chart in this

hands-on course. Prerequisites: facility on upright or electric bass and some knowledge of jazz harmony.

Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21Glenn Richman • $395

JAZZ BASS SOLOINGThis hands-on course will teach you the

essential skills a bass player needs to

know in order to confidently solo over

common jazz chord progressions found

in Jazzschool performance ensembles

and beyond. Prerequisites: facility on upright or electric bass and some knowledge of jazz harmony.

Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Glenn Richman • $395

Adult Instrumental Classes Adult Instrumental Classes

ricardo peixoto

20 21

21ST CENTURY BASS newPerhaps no chair in the average band has

changed as much as the bass over the

last decade. Technology and tastes have

introduced a new set of responsibilities

to the bass role, and in some styles

staying relevant means integrating effects,

sound-design, and synthesis into the

average gig. While it might seem intimidat-

ing at first, a deep dive into the myriad

ways bass players can mangle and sculpt

their sound is ultimately among the most

rewarding steps bassists can take. In 21st

Century Bass, we'll survey the whole

effects spectrum, going deep into how

effects work and ways to combine them

to cop classic sounds and innovate new

ones. Plus, we'll tackle how to get the

iconic keybass sounds of players like

Stevie Wonder, Bernie Worrell, and

modern hip-hop and dance music with

an introduction to subtractive synthesis.

Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20Jonathan Herrera • $395

DRUMS & PERCUSSION

JAZZ DRUMMING 101 newIf you're looking for a basic course in

the essential skills needed for ensemble

playing, this hands-on course covers

everything you need to know: proper

technique, common grooves (swing, Latin,

funk, ballad) sticks, brushes, trading 4's

and basic comping. Prerequisites: some drum set experience. Jazz experience not required.

Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20

Alan Hall • $395

JAZZ DRUMMING 201 newIf you have mastered the fundamentals

of jazz drumming, this course takes you

a step further, exploring intermediate

and advanced techniques and concepts,

a wider range of tempos, odd meters,

various signature grooves, the art of

setting up figures, playing stop time,

soloing, innovations of the contemporary

greats and more. Prerequisites: Jazz Drumming 101 or equivalent playing experience.

Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20

Alan Hall • $395


BRAZILIAN DRUM SETLearn the signature drum set grooves of

contemporary Brazilian music including

samba, baião, bossa nova and choro,

and the techniques used to play them.

Emphasis on gaining an authentic Brazilian

sound and feel. Highly recommended

for drummers interested in joining one

of the Jazzschool’s Brazilian ensembles!

Prerequisites: functional drum set technique.

Fridays 10 – 11:30 am9/22 – 12/1 (10 weeks) no class 11/24Marcos Silva • $395

LATIN PERCUSSION I This introductory course will help you

develop a solid foundation in each of the

primary Latin percussion instruments. You'll

learn effective technique on congas, bongos,

timbales, bells and auxiliary instruments,

while studying many of the Latin grooves

typical of son, salsa, and Latin jazz. Soloing

techniques, typical breaks, song forms and

historical information are also discussed. Prerequisites: None, open to all.

Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Omar Ledezma • $395

LATIN PERCUSSION IIIf you are already familiar with the

fundamentals of Latin percussion rhythms

and techniques, this continuation of the

Latin Percussion I course will give you lots

of hands-on practice time and a clear

explanation of how all of the various

instruments work together in salsa bands

and other Latin music ensembles.

Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Omar Ledezma • $395

PANDEIRO: new The Brazilian TambourineWhile it may be Brazil's most iconic

percussion instrument, the versatile

pandeiro fits into almost any style of

music. Instructor Brian Rice likes to call it

a "laptop batucada" for its diversity of

sounds and ability to emulate all the

instruments of the samba bateria. This

course covers all the basics and conven-

tions of samba and choro as well as music

from the northeast of Brazil, while delving

into modern adaptations of funk rhythms,

odd time signatures and extended

techniques.

Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Brian Rice • $395

alan hall

omar ledezma


jonathan herrera

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

serious study of music. Topics include:

music notation, time signatures, key

signatures, rhythmic training, major scales,

intervals, transposition, chord structure,

harmonic progression, ear training and

an introduction to musical form and

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

and Jazz Improvisation: A Pocket Guide

by Dan Haerle (available at the CJC

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

Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Len Scott • $395

BEGINNING JAZZIMPROVISATIONA friendly, supportive atmosphere in

which to practice the basics of jazz

improvisation. Start with the blues then

progress to jazz standards, learning

essential scales and chords, playing at

every session, trading licks, learning

patterns and building solos. Ideal for

classical players or anyone aspiring to

jam or perform with a jazz ensemble.

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

Haerle (available at the CJC Bookstore).

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

Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Dave Len Scott • $395

INTERMEDIATE JAZZ IMPROVISATIONThis course gives students a strong

foundation in the Great American

Songbook repertoire and the ability to

improvise over chord progressions with

correct notes and good phrasing. Several

compositions from the Great American

Songbook will be used as vehicles to

study basic chord structures, scale

structures and non-diatonic neighboring

tones. Emphasis is placed on utilization

of basic harmonic concepts, thereby

turning exercises into melody. A step-by-

step conceptual approach is used and

with each new tune, a different concept

is added.

Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Glenn Richman • $395

COMPOSITION

SONGWRITINGExplore melody writing, basic harmony,

more adventurous chord progressions,

song form, rhyme schemes and the

instrumental component of songwriting

— all with the purpose of honing your

unique voice as a composer. Most

importantly, develop two or three songs

to be workshopped and refined in real

time over the course of the term.

Tuesdays 2 – 3:30 pm9/19 – 11/28 (10 weeks) no class 11/21Rachel Efron • $395

Theory, Improvisation, Composition


CJC Bookstore

A unique collection of offerings for. . .

musicians students teachers collectors

510.845.5373bookstore @ cjc.edu

REAL BOOKS Sher New Real Book, Volume 1, 2, 3Sher Real Easy Book, Volume 1, 2, 3Real Book, Volume 1, 2, 3 Vocal Real Book, Volume 1 and 2Standards Real BookLatin Real BookBest of Sher Music Real BooksAll-Jazz Real Book“Mini” and CD-ROM Real Books

JAZZ EDUCATION & METHODSJazz Piano Book, Mark LevineGraduated Soloing, Mimi FoxThe Evolving Bassist, Rufus ReidThree Note Voicings, Randy VincentPlay-A-Longs, Jamey Aebersold

THEORY & IMPROVISATION TEXTS

SCALES, PATTERNS & EXERCISES

BOOKS — RARE EDITIONSMusic is My Mistress, Duke EllingtonTonight at Noon, Sue Graham MingusGood Morning Blues, Count BasieBird Lives!, Ross Russell

BOOKS — NEW & USEDThe Jazz Ear, Ben Ratliff Lush Life, David HajduMoving to Higher Ground, Wynton MarsalisThelonious Monk, Robin D.G. Kelley

POETRY, HISTORY & CRITICISM

CDs & DVDsBay Area Jazz Archives SeriesLarge selection of Fantasy, Riverside, Prestige — new and old stockFaculty, clinicians, and local artists

PHOTOGRAPHY & FINE ART

Mark LevineHal CrookDan Haerle

David BakerJoseph Viola Bill Dobbins

Al YoungIshmael ReedWhitney BalliettAshley Kahn

Leonard FeatherGary GiddinsEileen Southern

James KnoxLee Tanner

Jim StipovichDavid Belove

Jerry CokerDavid Liebman

Oliver NelsonNicolas Slonimsky

Adult Vocal Classes

24

Adult Vocal Classes

25

BEGINNING JAZZ SINGINGThe class was designed to help the singer

create a focused, relaxed, skilled, and

unique performance. You'll work on basic

musicianship starting with warm-up

exercises, improvisation skills, understand-

ing and singing in different “grooves,”

finding new songs that suit us, ascertain-

ing the correct key, understanding the

song form, preparing a leadsheet, and

making practice tracks. We’ll be joined

midway through the course by a profes-

sional pianist to further develop the songs

we’ve chosen by working on sub-text,

song interpretation, communicating our

intentions to an accompanist, singing in

different “feels” including rubato, and

setting up and counting off songs. This

class includes an end-of-quarter perfor-

mance. This is a supportive and structured

environment for students with a burning

desire to sing!

Section I: Mondays 4:45 – 6:15 pm9/18 – 11/27 (10 weeks) no class 11/20Maye Cavallaro • $450

Section II: Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Cecilia Engelhart • $450

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

yourself relegated to the shower and

in-the-car jam sessions. Or, you love to

sing, but feel terribly shy at the idea of

singing in public. Explore and release your

inner rock, jazz or blues vocalist in this

encouraging, safe environment. Designed

to give you confidence through group

singing, while also bolstering your

repertoire with individual song develop-

ment. Accompanist provided. No previous

experience required.

Wednesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Pamela Rose • $450

INTROS AND ENDINGS newFor full description, see p. 24

Wednesdays, 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Laurie Antonioli • $450

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

cecilia engelhart

Adult Vocal Classes

VOCAL TECHNIQUE

VOCAL TECHNIQUE ESSENTIALS Learn a variety of vocal exercises to

condition and strengthen your voice.

Range, intonation, breath management,

balancing vocal registers, body alignment,

vowel formation and dynamics are all

enhanced through technical exercises.

Applicable to all contemporary vocal

styles. Prerequisites: None, open to all!

Section I Tuesdays 4:45 – 6:15 pm9/19 – 11/28 (10 weeks) no class 11/21Sandy Cressman • $400

Section II: Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Andrea Claburn • $400

Adult Vocal Classes

For auditions and more information

about our Vocal programs please

contact [email protected] or call

Laurie Antonioli, 510/845-5373 ext 21

INTROS AND ENDINGS newDirecting a band and creating introductions

and endings are some of the most difficult

skills for a vocalist to master. In this class,

you'll learn how to employ the common

language used in jazz settings in a variety

of intros and endings (vamps, turnarounds,

and rubato techniques). Students will

develop the skills necessary to direct and

lead a band including finding and commu-

nicating tempos for ballads, Latin and

swing songs. A pianist will accompany

the group for the first part of the quarter

and the class will be joined by a full band

as the term progresses. Students will

prepare several songs of varying styles

in the class. Open to all levels.

Wednesdays, 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Laurie Antonioli • $450

PERFORMANCE jazz

FOR THE LOVE OF SINGINGLearn breathing and vocal techniques to

be applied to songs of your choice, while

making friends with the microphone and

learning basic performance skills. This

course is particularly suited for those who

may have temporarily put aside their

vocal dreams due to education, career

or family obligations. Open to all.

Saturdays 10 – 11:30 am9/23 – 12/2 (10 weeks) no class 11/25Kyra Gordon • $450

andrea claburn


Adult Vocal Classes

27

BACK DOOR BEBOP newLearn the ins and outs of scat singing.

Topics covered include syllable choice,

understanding song form, selecting

tempos, working on articulation, storytell-

ing, rhythm and more. Learn classic bebop

repertoire including contrafacts (new

melodies over pre-existing chord progres-

sions) “trade fours,” and have fun while

developing a deeper understanding of

how to function confidently as a jazz

vocalist. Open to all levels.

Tuesdays 6:30 – 8 pm9/19 – 11/28 (10 weeks) no class 11/21Azure McCall • $450

THE SINGER AND THE SONGLearn the hallmark of a professional

vocalist: how to create a focused, relaxed,

skilled, and unique performance. Topics

include choosing the right song; using

various grooves, tempos and arrange-

ments; learn ing and memorizing the

melody and lyrics; phrasing; improvisation

skills; communicating with an accompa-

nist; and stage presence. In this supportive

and challenging environment, students

will work on these skills and create

arrangements for songs, culminating in

an end-of-quarter performance. Weeks 2

and 3 include a professional accompanist,

while the last two classes and performance

include a full trio. For intermediate to

advanced singers. Prerequisites: consent of instructor is required. Call 510-845-5373 for more information.

Sundays Noon – 3 pm10/29, 11/5, 11/12, 11/19, 12/3 (5 weeks)

Maye Cavallaro • $450

THE ELLA FITZGERALD newSONGBOOKElla Fitzgerald is the focus in this course

of songs from the Great American Song-

book, studying specific versions of studio

and live recordings by the great songstress.

Singers will focus on phrasing, interpreta-

tion, per–formance, and incorporate basic

improvisation while developing a repertoire

of 2-3 songs through personal selections

and teacher recommendations. The instruc-

tor and accompanist will help students find

the right key for the selected tunes.

Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Lilan Kane • $450

CONTEMPORARY VOCAL STYLESLearn proper vocal technique (vocal health,

maintenance and developing a practice

routine) and apply these approaches to

singing in any style from jazz to pop, rock,

r&b, blues and beyond. Class topics also

include chart writing, stage presence and

microphone technique. This course culmi-

nates in an end-of-quarter performance.

Open to all levels, genres and backgrounds.

Mondays 8:15 – 9:45 pm9/18 – 11/27 (10 weeks) no class 11/20

Amanda Addleman • $450

amanda addleman

26

MUSIC OF THE HARLEM RENAISSANCEThe music of the Harlem Renaissance

was the foundation from which various

American musical genres grew. This

course defines the era and highlights its

beginnings with the greatest songs from

that time by Fats Waller, Eubie Blake,

George Gershwin, Duke Ellington and

more. Students are encouraged to bring

in their favorite songs by these composers

for instruction on technique, harmony,

phrasing, solo or ensemble singing, key

selection, and performance. The ability

to read music is not necessary. A profes-

sional accompanist will play for the class.

Open to all levels.

Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25Clif Payne • $450

MODERN JAZZ SONGS newThis performance class focuses on

adapting instrumental modern jazz

repertoire to a vocal setting. Instructor

Andrea Claburn will share music (with

lyrics) of modern jazz innovators pianist

Thelonious Monk, saxophonist Wayne

Shorter, guitarist Pat Metheny and others.

Original compositions are also encour-

aged. Explore vocal improvisation, deepen

musicianship and develop bandleading

skills. An end-of-quarter performance is

included. Prerequisites: some experience singing jazz.

Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Andrea Claburn • $450

INTERMEDIATE new JAZZ SINGINGThis class covers a range of jazz vocal

essentials including lyric interpretation,

style, rhythm, and feel. Students explore

improvisation and harmony in depth while

also learning to create their own arrange-

ments. The instructor will suggest

repertoire and help students find interest-

ing songs that are best suited for their

voice and ability. There will be a student

performance at the end of the term. Open

to students who have taken the "Begin-

ning Jazz Singing" class or have approval

from the Chair or the instructor.

Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Cecilia Engelhart • $450

THE CONTEMPORARY JAZZ SINGER Focus on an array of creative jazz singing

skills including developing a unique

repertoire, communicating with the

rhythm section and creating arrangements

on the spot. Study phrasing, improvisation,

interpretation and work on developing a

personal sound. Rhythm section provided.

You are welcome to bring in songs of your

choice, write original lyrics or use material

provided by the instructor. Prerequisites: consent of instructor — telephone consultation required. Call 510-845-5373 for more information.

Section I Tuesdays 6:30 – 8 pm

Section II Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21

Laurie Antonioli • $460


Adult Vocal Classes

Adult Vocal Classes

28

Adult Vocal Classes

29

pop

MUSIC OF BURT BACHARACHIn this course, both soloists and back-

ground singers will explore and sing

classic songs by Burt Bacharach in

preparation for an end-of-quarter student

performance. Learn proper vocal tech-

nique, stage presence and interpretation,

while learning how to find the appropriate

keys, sheet music and tracks. Participants

are welcome to bring in their favorite Burt

Bacharach songs to sing. The ability to

read music is not necessary. A professional

accompanist will play for the class. Open

to all levels.

Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Clif Payne • $450

blues

BLUES VOCAL FUNSHOP I Feel like singing the blues? Blues is the

most primal, powerful part of your soul

and singing it is more fun than you can

possibly imagine. Students will explore the

deep, authentic singing strategies of great

blues singers from Jimmy Reed to Bonnie

Raitt, while developing blues repertoire.

No prior music experience necessary.

Class is open to both the novice singer

looking for a supportive, fun, instructive

course, and to the more experienced

singer looking to gain insight and control

on the bandstand. Each class is taught by

Bay Area's own jazz/blues diva Pamela

Rose and accompanied by legendary

blues guitarist Danny Caron.

Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Pamela Rose • $450

BLUES VOCAL FUNSHOP II — Chicago BluesMuddy Waters, Willie Dixon, Buddy Guy,

Jimmy Reed, Howlin’ Wolf, Koko Taylor

- Chicago after 1940 was the nexus of

urban electrified blues, with a driving

rhythm and urgency that still delights and

inspires. This 10-week course focuses on

the singing styles of Chicago blues artists

from 1940 to 1970. Guitarist Danny Caron

accompanies all classes, with bass and

drums joining for the final three class

sessions and performance. Students will

develop songs with the band for an

end-of-term performance. Prerequisites: students must have taken Blues Vocal Funshop or receive permission from the instructor.

Wednesdays 8:15 – 9:45 pm9/20 – 11/29 (10 weeks) no class 11/22Pamela Rose • $460

latin

SALSA SINGINGLearn the style, rhythm and technique

of salsa vocal music while learning to

play Latin hand percussion instruments.

Instructor provides instruments like guiro,

maracas and claves to use each week.

As the term progresses, join forces with

the Salsa II instrumental ensemble (see

page 12) as you work to develop a

performance set. Representative songs

include “Tres Días de Carnaval” (Celia

Cruz), "La Rebelión” (Joe Arroyo) and

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

Tuesdays 8:15 – 9:45 pm9/19 – 11/28 (10 weeks) no class 11/21Edgardo Cambon • $400

BOSSA NOVA FOR JAZZ SINGERSA fascinating course exploring the roots

of Brazilian bossa nova and samba.

Instructor Cecilia Engelhart teaches singers

the signature rhythmic grooves of Brazilian

music as a foundation for effective

interpretation of standard and not-so-

standard bossa novas. Vocal phrasing and

Portuguese pronunciation are covered (in

addition to a few carefully chosen English

translations). Live piano or guitar accompa-

niment is provided each week and the

course concludes with a performance.

Thursdays 6:30 – 8 pm9/21 – 11/30 (10 weeks) no class 11/23Cecilia Engelhart • $450

ENSEMBLES(FOR VOCALISTS AND INSTRUMENTALISTS)

WORLD GROOVE ENSEMBLE: CARIBBEAN Explore the irresistibly deep grooves

of Jamaica, Trinidad, and other islands

of the West Indies in The Caribbean

Ensemble, a course open to vocalists and

instrumentalists featuring styles ranging

from calypso to soca, reggae, ska, zouk,

biguine, and more. Delve into music by

artists such as Lord Kitchener, Calypso

Rose, The Skatalites, Bob Marley, Malavoi,

Kassav and others. Class members learn

the cultural context and rhythmic struc-

ture of each tune. This ensemble is one of

three consecutive classes comprising the

World Groove Ensemble; students may

enroll in any one or all three. Prerequisites: intermediate instrumental proficiency; ability to read charts and notation.

Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Jennifer Jolly • $395

HIP-HOP/JAZZ ENSEMBLE new Learn from some of the most innovative

artists and groups in hip-hop while

enhancing your performance skills in this

ensemble dedicated to hip-hop jazz. You'll

study and perform songs from groups

such as Anderson.Paak, KING, Hiatus

Kaiyote, A Tribe Called Quest, The

Internet, Thundercat, Bilal, Robert Glasper

and Erykah Badu. Students will study the

hip-hop culture and its influences and

learn how to apply those studies to their

own compositions. With an emphasis on

stylistic integrity, as well as melodic,

harmonic, and rhythmic accuracy, the

instructor will guide the band and

vocalists through the history of hip-hop

jazz, in a course geared towards an

end-of-semester performance.

Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22

Lilan Kane • $450


clif payne

30 31

Adult Vocal Classes

rachel efron

Adult Vocal Courses

VOCAL MENTOR PROGRAM

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

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

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

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

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

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

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

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

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

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

artistic vision. Concert dates are available throughout the year.

FUNK ENSEMBLEThis high-energy ensemble explores

reper–toire ranging from James Brown to

Tower of Power. For all rhythm section

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

Thursdays 8:15 – 9:45 pm9/21 – 11/30 (10 weeks) no class 11/23Daniel Parenti • $395

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

styles. Emphasis on the groove as found

on recordings of Charlie Christian, T-Bone

Walker, Albert Collins, Jack McDuff, Louis

Jordan and other “jump” blues and New

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

Saturdays 1:30 – 3 pm9/23 – 12/2 (10 weeks) no class 11/25Danny Caron & Anthony Paule • $395

COMPOSITION

SONGWRITING Explore melody writing, basic harmony,

more adventurous chord progressions,

song form, rhyme schemes and the

instrumental component of songwriting

— all with the purpose of honing your

unique voice as a composer. Most

importantly, develop two or three songs

to be workshopped and refined in real

time over the course of the term.

Tuesdays 2 – 3:30 pm9/19 – 11/28 (10 weeks) no class 11/21Rachel Efron • $395

YOUNG MUSICIANS

VOCAL PERFORMANCE FOR TEENS This is a fun course for teens, focusing on

solo singing and everything needed to put

on a great performance. Students receive

coaching on vocal technique and stage

presence, as well as receiving assistance

in finding the best song for their level

and interests. All genres welcome, from

rock to classical, anything goes!

Wednesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Kyra Gordon • $450

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

This program also includes:

• A professional sound technician

and quality live recording of your

performance

• Staff at the door and on-site during

the performance

• Guidance in marketing and promo-

tion, including how to prepare

publicity materials

• Inclusion in California Jazz Conser-

vatory advertising, marketing and

publicity

• A percentage of the door/ ticket sales

$850

Contact the Chair of the Vocal

Program, Laurie Antonioli, for more

information on how to apply for

this program: laurie @ cjc.edu

Adult Vocal Classes


Adult Vocal ClassesAdult Vocal Classes

VOCAL WORKSHOPS

OLD, NEW, BORROWED & BLUESwith Jeff BakerThe music is always changing. New

sounds, new techniques, new possibilities

make for an ever-evolving landscape

in which to create. Jazz stands at the

forefront of this evolution, its roots firmly

planted in every genre of contemporary

music. Jazz vocalists have a unique

opportunity to capture this and apply an

understanding of harmony, lyrical interpre-

tation, and improvisation to truly create

something new! Participants will explore

techniques to modernize standard jazz

repertoire and bring contemporary music

into the jazz idiom. Students should bring

one or two songs in their key. Open to all.

"I want students to not only think outside

the box, but to think about entirely new

shapes for constructing their music and

sound. Jazz isn't meant to be placed on

the top shelf like some fragile old artifact.

It's a living, breathing thing. Let's take it

down, dust it off, and see what's possible!"

— Jeff Baker

Vocalist Jeff Baker has headlined numer-ous festivals and clubs, and has shared the billing and played with some of jazz music’s top artists including: Ray Brown, Gene Harris, Brian Blade, John Patitucci, Steve Wilson, Bobby Hutcherson and many more!

Sunday, October 8, Noon – 3 pm$50 advance, $65 day of workshop

jeff baker

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

Adult Vocal Classes

BRAZILIAN VOCAL MASTER CLASSwith Paula Santoro and Ian Faquini

Sing with a masterful accompanist

and receive guidance and

suggestions from an accomplished

vocalist. Topics covered include

song interpretation, pronunciation,

feel, Brazilian rhythms, arranging

and performance. Open to

students of all levels.

A graduate of the California Jazz Conservatory, Ian Faquini has become one of the most unique and respected guitarists specializing in Brazilian music in the San Francisco Bay Area, demonstrating rare chordal technique and a special delicate touch on very difficult pieces. His last few summers have been spent in Brazil, where he has performed and studied with some of that country's greatest guitarists, including Marcus Tardelli, Guinga, and others. Ian recently joined the faculty at the California Jazz Conservatory and is a long time faculty member of California Brazil Camp.

With a career spanning more than twenty years, Paula Santoro has shared the stage and studio with some of Brazil’s most notable musicians including Chico Buarque, Edu Lobo, Milton Nascimento, Guinga, Yamandú Costa, Toninho Horta, Joyce and Jaques Morelenbaum. She has toured throughout the US, India and Europe and appeared on "Later ... with Jools Holland." With a degree in Speech Therapy and years of vocal training, recording and touring, Paula also has a busy career in education with on-going students in Europe, the United States and Brazil.

Saturday, September 16, Noon – 3 pm$50 advance,

$65 day of workshop

ian faquini

paula santoro


Adult Vocal Classes

CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTS with Lee BrenkmanA workshop in survival skills to help

instrumentalists and singers get the best

results from their sound equipment —

from a single microphone to a complete

sound system — and how to successfully

interact with sound technicians at venues

with sound systems. Learn the “tricks of

the trade” from Lee Brenkman, one of

the Bay Area’s preeminent sound techni-

cians, to get the best sound on your gig.

Topics covered include the different types

of microphones and their functions,

evaluating equipment for purchase, and

how to set up a small sound system.

Brenkman also addresses how best to

communicate with sound technicians and

making efficient use of sound check time.

This workshop is attendee-driven — any

and all questions welcome!

Lee Brenkman has been a top sound technician at multiple Bay Area venues for several decades including the California Jazz Conservatory, Great American Music Hall and Stanford Jazz Workshop.

Sunday, October 15, 11 am – 1 pm$30 advance, $45 day of the workshop

ConnectedVoice: Vocal Technique and Application with Sandy Cressman This workshop will explore the exercises

and principles of ConnectedVoice

technique, which is a way of developing

connected and consistent sound from low

to high range, with a choice of dynamics

and colors. In the morning session, we will

learn exercises designed to work through

vocal transitions, connecting the speaking

and singing voice. These exercises also

connect voice development with ear

training, using various patterns based on

jazz chords, scales, and jazz vocabulary.

After the lunch break, we will learn how

to apply the exercises and techniques to

songs. Please bring in those problem

songs! We will work both as a group

and individually, to pinpoint solutions

to individual vocal issues.

Sunday, November 5, 11:30 am – 4 pm

$100 advance, $115 day of workshop

Note: There will be a 30-minute lunch

break. Please bring your lunch or plan to

eat in the cafe.

lee brenkman

Adult Vocal Classes


AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIESThe Sixties and Beyondwith Maye CavallaroThe Great American Songbook is

a collection of tunes written from

1930–1960 and is a vital part of the

repertoire of jazz musicians. There

are also many songs written after

1960 that qualify as “standards,”

and are equally beloved by jazz

musicians. Songs by such artists

as Bob Dylan, Stevie Wonder, The

Beatles, Leonard Cohen, Laura Nyro,

Joni Mitchell & Steely Dan are

interpreted in many different ways

by vocalists and instrumentalists.

In this workshop we’ll explore the

music of several different compos-

ers and add some “pop” tunes to

your repertoire. We’ll also listen

to how some jazz greats have

interpreted these songs and get

ideas for our own arrangements.

Students are provided with 10

leadsheets for songs including

practice-backing tracks. In the

final week, we’ll work with an

accompanist and sing these songs

trying out our own arrangement

ideas. Lots of singing for all

3 weeks.

Mentor and professional vocalist Maye Cavallaro has presented over 30 concerts with various artists at the California Jazz Conservatory.

3 Sundays, October 1, 8 & 15noon to 3 pm$295 advance,

$310 day of workshop

maye cavallaro

maye cavallaro

36

kate mcgarry

KATE MCGARRY VOCAL MASTERCLASS

A rare opportunity to participate in a masterclass with Kate and her band!

More concerned with the essence of a song than idiomatic limitations, vocalist Kate

McGarry, guitarist Keith Ganz and pianist Gary Versace have managed to attract the

attention of tomorrow’s jazz fans. Beyond an obvious affinity for swing, their eclectic

repertoire, cinematic approach to arranging — together with Kate's signature contralto

— convey a message with crystal clarity that precludes the need for gimmick or effect.

Students should bring two songs in the appropriate key with 3 copies of each song

for Kate and the group. Open to intermediate and advanced vocal students.

Kate McGarry's musical collaborations have included projects or performances with jazz luminaries Fred Hersch, Kurt Elling, Maria Schneider and John Hollenbeck. She performs at jazz clubs and festivals throughout the US and abroad, and teaches at Manhattan School of Music.

Jazz organist, pianist, and accordionist Gary Versace has quickly become one of the busiest and most versatile musicians on the music scene, playing in bands led by John Scofield, John Abercrombie, Maria Schneider, Kurt Elling, Lee Konitz, Regina Carter, Ellery Eskelin, Madeleine Peyroux, Ralph Alessi, and many others.

Guitarist Keith Ganz has performed and recorded with top jazz artists Luciana Souza, Christian McBride, Andy Bey, Chris Potter, Russell Malone, Bruce Barth, Donny McCaslin, and most recently, Kurt Elling and Harry Connick Jr.

Sunday, November 12, Noon – 3 pm$100 advance purchase, $115 day of workshop


VOCALS AND PERCUSSIONwith Sandy Cressman & Ami Molinelli Learn how to play light percussion and

sing Latin jazz styles such as bossa nova,

samba, son, cha-cha-chás, as well as R&B

and Motown tunes. Participants will be

sent a link in advance with repertoire

selections to prep for the workshop.

Instructors will explain the various rhythms

and unlock ways to practice while

vocalizing. Students are encouraged to

bring their own instruments and instruc-

tors will also have a variety of instruments

that students can use in the workshop.

Open to all levels.

Adult Vocal Classes

37

sandy cressman

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

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

Sunday, November 19, 2 – 4 pm$30 advance, $45 day of workshop

Adult Vocal Classes

38

INTRODUCTION TO IRISH SONGwith Melanie O'Reilly An introductory workshop exploring the

diverse Irish song tradition, enjoying a

prominent place in world music today.

Students will learn Irish songs of celebra-

tion, love, everyday life, emigration, as

well as sean-nós ("old-style") and will

be encouraged to sing in Gaelic (to be

learned phonetically), as well as in

English. Drawing on both the old tradition

and contemporary songs, students will

also be introduced to "lilting" or "mouth

music," and songs created throughout

the Irish diaspora.

Dublin native Melanie O'Reilly is an internationally known Celtic jazz performer/singer, songwriter and music educator. She has recorded eight albums for the label Mistletoe Music, and hosts an award-winning radio show "Jazz on the Bay" for RTE, Ireland's National Broadcasting station. Melanie has taught voice at the Oakland School of the Arts, Walton's New School of Music in Ireland and is vocal coach for many Youth Theater schools in the East Bay.

Sunday, November 19, Noon – 3 pm$50 advance, $65 day of workshop melanie o'reilly

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

— Anonymous

Young Musicians Program

The Jazzschool Young Musicians

Program is a year-round

comprehensive music education

and performance program

designed for instrumental and

vocal students between the ages

of 11 and 18. The Young Musicians

Program has been at the center

of the Jazzschool’s educational

and artistic goals since 1997. Its

curriculum provides students

with the opportunity to work

with professional jazz artists

and educators, strengthening

performance skills, expanding

knowledge of jazz theory and

improvisation, and learning more

about the foundations of jazz

and related styles of music.

Students participate in after-school

classes and in master classes with

nationally known jazz artists, as

well as performing in venues

throughout the San Francisco

Bay Area and beyond.

2017 PROGRAM REQUIREMENTS

Jazzschool Young Musicians Program

ensembles require a commitment of three

quarters (fall, winter and spring). Students

unable to commit to a full school year are

still encouraged to audition; however,

priority will be given to those who can

remain in the program for the entire school

year. Students wishing to audition mid-year

will be placed in the program based on

availability of open spots in ensembles and

the student’s ability level. Please note that,

while it is our mission to find a place for

everyone in our Young Musicians Program,

we may not be able to accommodate all

students who apply.

Jazzschool Young Musicians Program

39

erik jekabson

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

Young Musicians ProgramYoung Musicians Program

40 41

PLACEMENT AND AUDITION REQUIREMENTS FALL 2017

AUDITION MATERIALSEntering musicians are asked to prepare

two skill-level appropriate jazz standards,

improvise over a 12-bar blues (optional) or

rhythm changes (for high school students

only) and sight-read.

HOW TO SCHEDULE AN AUDITION To schedule an audition, please fill out

an application online at:

cjc.edu/youth_auditions.

After your application is received, you will

be contacted within 1 – 2 weeks with an

audition time. Auditions are scheduled on

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

scheduled at the earliest available time.

Students will be contacted with placement

information following the audition.

AUDITION DATES • Studio Band Auditions:

August 19 and 20

• Advanced High School Jazz

Workshop Auditions: August 27

• Middle School and High School

Combo Auditions: August 26, 27, 28

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

online video audition rather than scheduling

an in-person audition. Students submitting

their audition online are still required to fill

out an online application (see above).

On the application form, please select live

audition or video submission. Please note:

online video submissions are not available

for the Studio Band or Advanced High

School Jazz Workshops.

INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS

• Student should be clearly visible

(and audible) on the video.

• Perform two skill-level appropriate

jazz standards. Please state the name

of each piece before you play it.

• Download one of the two improvisation

tracks at cjc.edu/youth_auditions

for the improvisation portion of your

audition. Two choruses required.

• On the video, it is important that your

playing is heard louder than anything

else, including any accompanying tracks.

PIANO AND GUITAR PLAYERS Follow the above instructions with only

one change: after improvising, please

demonstrate comping/voicings on a

blues or rhythm changes.

DRUMMERSPlease demonstrate the following styles:

• swing, bossa nova, funk/rock

• Demonstrate each style at various

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

• On each style/tempo please “trade

fours” with yourself (4 bars of time,

4 bars of solo, etc.)

• Play at least 16 bars of each example

After you have completed your video, upload

your audition to YouTube and title the video

with your name (Example: John Smith

Jazzschool Audition). You should make this a

private video (unless you don’t mind it being

available to the public). Once the video is

uploaded, send a link to erik @cjc.edu. You

may also upload the video to a private

website and email a link. Please do not email

audition videos as attachments.

For more information about the Jazzschool

Young Musicians Program placement process,

please visit cjc.edu/youth_auditions or

contact us at erik @ cjc.edu and

510.845.5373.

INSTRUMENTAL ENSEMBLES

High school and middle school

jazz ensembles are offered

Monday through Thursday in the

late afternoon and early evening

and during the day on Saturday.

While we make every effort to

accommodate scheduling requests,

specific placements are based on

the results of an audition. Note: all

prices listed are per quarter.

large performance ensembles

STUDIO BANDDevelop technique, knowledge of jazz

style and an ability to improvise through

standard and contemporary big band

repertoire. This highly-selective ensemble

records at Fantasy Studios, performs

frequently and participates in competi-

tions throughout the U.S. The Studio Band

has played at Yoshi’s and Savanna Jazz,

as well as jazz festivals in California, New

York, Seattle, Idaho, the Vienne Jazz

Festival in France and the Montreux Jazz

Festival in Switzerland. Full school year

commitment is required. Instrumentation:

5 saxes, 5 trumpets, 5 trombones, guitar,

piano, bass and drums.

Mondays 6:30 – 8 pm9/18 – 11/27 (10 weeks) no class 11/20Dave Eshelman • $225

small performance ensembles

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

rhythmic and formal innovations of

Coltrane, Shorter, Corea, Hancock, Brecker

and others in this multiple DownBeat

award-winning ensemble. For advanced-

level high school student players,

competent in the bebop language.

Record at Fantasy Studios and participate

in various competitions and festivals.

Section I: Mondays 4:45 – 6:15 pm9/18 – 11/27 (10 weeks) no class 11/20Michael Zilber • $395

Section II: Mondays 4:45 – 6:15 pm9/18 – 11/27 (10 weeks) no class 11/20

Erik Jekabson • $395

42 43

What degree of jazz artist do you want to be?

The California Jazz Conservatory is the only

independent accredited school in America completely

devoted to the study and performance of jazz.

We offer two paths to your degree in Jazz Studies.

Both offer a 100% jazz relevant curriculum.

Both are taught by an effective faculty

of top jazz artists/educators.

Both offer a preeminent artistic and academic

experience in the center of the vibrant

Bay Area arts scene.

And both offer you the opportunity

to transform yourself,

from a burgeoning musician

to a respected artist.

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

unique optional areas of concentration in Brazilian Jazz,

North American Roots Music, and Audio Production

in partnership with Fantasy Studios.

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

and the same 100% jazz-relevant courses taught in

the first two years of our Bachelor program, but at

half the tuition investment and half the time commitment

to get you started in your career in jazz.

What degree of jazz artist do you want to be?

Contact our President and Dean,

Susan Muscarella, to find the best fit for you:

[email protected] or 510/845-5373.

In a Musician, Out an Artist!

Our campus is located at 2087 and 2040 Addison Street,

Berkeley, CA, 94704 / 510.845.5373 / cjc.edu


44 45

HIGH SCHOOL JAZZ ENSEMBLE Gain a greater understanding of jazz

theory and develop improvisation skills

through the study and performance of

challenging jazz repertoire.

Section I: Mondays 4:45 – 6:15 pm 9/18 – 11/27 (10 weeks) no class 11/20

Raffi Garabedian • $395

Section II: Tuesdays 4:45 – 6:15 pm 9/19 – 11/28 (10 weeks) no class 11/21Colin Hogan • $395

Section III: Tuesdays 4:45 – 6:15 pm 9/19 – 11/28 (10 weeks) no class 11/21Charles Hamilton • $395

Section IV: Tuesdays 4:45 – 6:15 pm9/19 – 11/28 (10 weeks) no class 11/21Erik Jekabson • $395

Section V: Wednesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Rob Ewing • $395

Section VI: Wednesdays 6:30 – 8 pm9/20 – 11/29 (10 weeks) no class 11/22Rob Ewing • $395

Section VII: Thursdays 4:45 – 6:15 pm 9/21 – 11/30 (10 weeks) no class 11/23Colin Hogan • $395

Section VIII: Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Colin Hogan • $395

MIDDLE SCHOOL JAZZ ENSEMBLE Learn to play jazz and improvise while

covering a wide repertoire from John

Coltrane, Sonny Rollins, Eddie Harris and

other jazz masters.

Section I: Mondays 4:45 – 6:15 pm9/18 – 11/27 (10 weeks) no class 11/20

Colin Hogan • $395

Section II: Wednesdays 4:45 – 6:15 pm 9/20 – 11/29 (10 weeks) no class 11/22Erika Oba • $395

Section III: Thursdays 4:45 – 6:15 pm 9/21 – 11/30 (10 weeks) no class 11/23Erika Oba • $395

Section IV: Saturdays 11:45 am– 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Raffi Garabedian • $395

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

Sly Stone and others. Vocalists and horns

welcome! Music is learned by ear. (Also open

to advanced middle-school musicians.)

Section I: Saturdays 10 – 11:30 amSection II: Saturdays 11:45 am – 1:15 pm9/23 – 12/2 (10 weeks) no class 11/25Joe Bagale • $395

VOICE

VOCAL PERFORMANCE FOR TEENSDelve into songs as a means of storytelling

while simultaneously developing a personal

connection to a lyric. All styles of music are

welcome and students are encouraged to

bring in songs of their choice. The instruc-

tor can also suggest repertoire suitable for

individual students. Build vocal technique

through a variety of warm-up, ear-training

and musicianship exercises.

Wednesdays 4:45 – 6:15 pm9/20 – 11/29 (10 weeks) no class 11/22Kyra Gordon • $450

colin hogan


BASS

MODERN JAZZ DRUM AND BASS MASTER CLASSwith David Ambrosio and Russ Meissner

Longtime NYC rhythm team David Ambrosio and Russ Meissner discuss the

importance of the rhythm section to the whole ensemble. Both being composers

as well, this workshop will not only cover the role of the bass and drums in setting

a foundation for the groove but also how they can shape the music as a whole.

Topics will include shifting tempos, different feels/dynamics and rubato time

approaches.

New York-based bassist David Ambrosio leads his own groups and has performed with numerous jazz greats including Kenny Werner, Buddy DeFranco, George Garzone, Joseph Jarmon and Ralph Alessi.

New York-based drummer/composer Russ Meissner has performed with a diverse range of artists including John Abercrombie, Bill Charlap, Norah Jones and many others.

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

Workshops

david ambrosio russ meissner


4746

WorkshopsWorkshops

GUITAR

MODERN JAZZ PIANO AND GUITAR MASTER CLASSwith Leonard Thompson and Nate RadleyGuitarist Nate Radley and pianist Leonard

Thompson will discuss the various

approaches and challenges of working

together as a pianist and guitarist in a jazz

context. After years of playing in ensem-

bles together, they will cover ways to deal

with the similar roles, sound and ranges

that these two instruments have, and how

they can be used to complement one

another and shape the ensemble sound.

Conventional and non-conventional

approaches to playing guitar and piano

individually and in the ensemble will be

included.

Born in coastal southern California, pianist Leonard Thompson has forged a strong personal voice as a soloist, composer, and accompanist over the past twenty years. Active in New York, San Francisco, and Los Angeles jazz scenes, he has performed or recorded with artists such as Matt Otto, Madeleine Peyroux, Justin Morell, Cleo Laine, Dave Scott, Mary Stallings, Jacob Varmus, Marlena Shaw, Sasha Dobson, Eddie Marshall, Jackie Ryan, and Donald Bailey.

Brooklyn-based guitarist Nate Radley leads his own groups and has collaborated with Loren Stillman, Chris Cheek, Adam Nussbaum, the Maria Schneider Orchestra and many others.


INTRODUCTION TO BRAZILIAN GUITAR with Ian Faquini This workshop covers basic guitar chord

shapes and progressions common in

Brazilian music by examining the songs of

great composers such as Antonio Carlos

Jobim, Vinicius de Moraes, Baden Powell,

Dorival Caymmi and others. The instructor

also demonstrates essential Brazilian

rhythms including bossa nova, samba,

baiao, frevo, and toada. Prerequisites: Students should have some experience with basic chords and an interest in Brazilian music.

A graduate of the California Jazz Conservatory, Ian Faquini has become one of the most unique and respected guitarists specializing in Brazilian music in the San Francisco Bay Area, demon-strating rare chordal technique and a special delicate touch on very difficult pieces. His last few summers have been spent in Brazil, where he has performed and studied with some of that country’s greatest guitarists, including Marcus Tardelli, Guinga, and others. Ian recently joined the faculty at the California Jazz Conservatory and is a long time faculty member of California Brazil Camp.

Sunday, November 12, 2 – 4 pm


new west guitar group

PERFORMING, COMPOSING AND ARRANGING FOR MULTIPLE GUITARS with New West Guitar Group Gain insight into essential guitar ensemble

techniques with the members of this

leading west coast guitar ensemble. Topics

covered include: establishing a clean,

acoustic guitar sound, how to blend

ensemble parts like a sax section, comp-

ing, composing and arranging, the artful

use of effects pedals, use of the baritone

guitar, drop tunings and much more.

The Jazzschool has really helped my playing. I can’t recommend it enough. The school is a great value! You can’t go wrong. — Michael Menduno

New West Guitar Group has developed a reputation as one of the premier guitar ensembles in the world. Featuring guitarists Perry Smith (NYC), John Storie (LA), and Will Brahm (LA), they perform recognizable covers, jazz standards and exciting originals. Their signature sound comes from an innovative style that highlights rhythm, beauty and virtuosity through combining acoustic and electric guitars. Smith and Storie founded the group 10 years ago and today they continue to tour as a trio with Brahm throughout the United States and abroad.

Sunday, October 29, 11 am – 1 pm



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DRUMS AND PERCUSSION

PANDEIRO ORCHESTRAwith Ami Molinelli Learn and review techniques for playing

the Brazilian pandeiro and learn to play

an original composition for multiple

pandeiros composed by instructor Ami

Molinelli in this two-day workshop. Ability

to read standard music notation is not

required, and instruments will be provided

for all who need one to use in class.

Includes a dive into the history of this

essential Brazilian percussion instrument

and lots of information for practicing and

developing technique and groove.

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

2 Sundays, October 8 and 15, 11:30 am – 1:30 pm$60 advance, $75 day of workshop

Workshops

ami molinelli

VOCALS AND PERCUSSIONwith Sandy Cressman and Ami Molinelli Learn how to play light percussion and

sing Latin jazz styles such as bossa nova,

samba, son, cha-cha-chás, as well as R&B

and Motown tunes. Participants will be

sent a link in advance with repertoire

selections to prep for the workshop.

Instructors will explain the various rhythms

and unlock ways to practice while

vocalizing. Students are encouraged to

bring their own instruments and instruc-

tors will also have a variety of instruments

that students can use in the workshop.

Open to all levels.

Molinelli bio, see page 48.

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

Sunday, November 19, 2 – 4 pm$30 advance, $45 day of workshop

MODERN JAZZ DRUM AND BASS MASTER CLASSwith David Ambrosio and Russ MeissnerLongtime NYC rhythm team David

Ambrosio and Russ Meissner discuss

the importance of the rhythm section to

the whole ensemble. Both being com-

posers as well, this workshop will not only

cover the role of the bass and drums in

setting a foundation for the groove but

also how they can shape the music as a

whole. Topics will include shifting tempos,

different feels/dynamics and rubato time

approaches.

New York-based bassist David Ambrosio leads his own groups and has performed with numerous jazz greats including Kenny Werner, Buddy DeFranco, George Garzone, Joseph Jarmon and Ralph Alessi.

New York-based drummer/composer Russ Meissner has performed with a diverse range of artists including John Abercrombie, Bill Charlap, Norah Jones and many others.


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

— Arabella Dorth

edgardo cambón


5150

WOODWINDS

MODERN JAZZ SAXOPHONE MASTER CLASSwith Matt Renzi and Loren StillmanSaxophonists Loren Stillman and Matt

Renzi will discuss approaches to ensemble

and solo playing. With experience playing

in ensembles lead by the likes of Paul

Motian, Herbie Lewis, Eddie Marshall

& Charlie Haden, they will cover the

subtleties of sound and blend as well

as shaping the music in a multi-horn

ensemble. Being formidable band leaders

and original voices in their own right they

will also discuss their approaches to

pushing the limits of group improvisation

and composition.

Multi-reedist Matt Renzi has been performing professionally for the past 20 years at international jazz festivals and music venues worldwide. In addition to leading his own groups, Matt has per-formed and recorded with Marc Johnson, Michael Formanek, Eddie Marshall, Herbie Lewis, Ben Monder, Eberhard Weber, and Bobo Stenson.

Saxophonist Loren Stillman has been recognized as one of today’s truly original creative voices by The New York Times, DownBeat Magazine and National Public Radio. A former student of Lee Konitz and David Liebman, he has performed and recorded throughout the United States, Europe and Japan with his own ensem-bles, and with those led by Charlie Haden, Carla Bley, Paul Motian, John Abercrombie, Andy Milne’s Dapp Theory, Michele Rosewoman, Joe Lovano, Eivind Opsvik, Tyshawn Sorey, Vic Juris and The Village Vanguard Jazz Orchestra.


Workshops

james mahone

SAXOPHONE EMBOUCHURE DEVELOPMENT AND PRACTICING WITH DRONES with James MahoneA two-hour workshop based on the

premise that a stable, relaxed embouchure

is the key to getting the most out of your

saxophone playing.

The first hour of this workshop is devoted

to building and strengthening the

embouchure and addresses:

• Working with the mouthpiece alone

• Utilizing long tone and overtone

exercises to build stability and flexibility

• “Singing” into the horn

The second hour is devoted to exploring

different ways to utilize drones in practice

and addresses:

• Ear training

• Playing scales and arpeggios

• “Modal” improvising with drones

Saxophonist James Mahone first devel-oped an international reputation recording and touring with Black Note (Columbia and Impulse!) in the mid-’90s. Since then he has performed alongside many great jazz musicians including Wynton Marsalis, Billy Higgins, Josh Redman and countless others. Mahone has recently relocated to the Bay Area from Japan and has become an in-demand sideman working with Akira Tana, Marcus Shelby, Dr. Mitch Butler and others.

Sunday, November 5, 2 – 4 pm$30 advance, $45 day of the workshop

Workshops

matt renzi and loren stillman

Whether a student or a jazz enthusiast, the books, music, classes and performances are a gift to anyone living nearby or visiting in the San Francisco Bay Area. — Dorie Guess Behrstock


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PIANO

MODERN JAZZ PIANO AND GUITAR MASTER CLASSwith Leonard Thompson and Nate RadleyGuitarist Nate Radley and pianist Leonard

Thompson will discuss the various ap-

proaches and challenges of working

together as a pianist and guitarist in a jazz

context. After years of playing in ensem-

bles together, they will cover ways to deal

with the similar roles, sound and ranges

that these two instruments have, and how

they can be used to complement one

another and shape the ensemble sound.

Conventional and non-conventional

approaches to playing guitar and piano

individually and in the ensemble will be

included.

Born in coastal southern California, pianist Leonard Thompson has forged a strong personal voice as a soloist, composer, and accompanist over the past twenty years. Active in New York, San Francisco, and Los Angeles jazz scenes, he has performed or recorded with artists such as Matt Otto, Madeleine Peyroux, Justin Morell, Cleo Laine, Dave Scott, Mary Stallings, Jacob Varmus, Marlena Shaw, Sasha Dobson, Eddie Marshall, Jackie Ryan, and Donald Bailey.

Brooklyn-based guitarist Nate Radley leads his own groups and has collaborated with Loren Stillman, Chris Cheek, Adam Nussbaum, the Maria Schneider Orchestra and many others.

Sunday, October 1, 11 am – 1 pm


JAMAICAN GROOVES: Reggae, Ska, and Rocksteady Keyboards with Jennifer JollyThis hands-on workshop illuminates

the crucial role of keyboards in ska and

reggae music, drawing on repertoire from

The Skatalites, Bob Marley, and their

contemporaries up through current artists.

Students will learn how and when to play

the “bang” and the “bubble” on the piano

and Hammond B-3 organ. Rocksteady

fills and the role of the “clav” (Hohner

Clavinet) and synths will also be covered.

Materials will be provided by instructor.Prerequisites: familiarity with major and minor chords.

Jennifer Jolly teaches keyboards, world music, and improvisation at the Jazzschool, at camps and afterschool programs, and at her private studio. She currently performs with Zulu Spear, Babá Ken Okulolo & Friends, The Jolly Gibsons, Big B and His Snake Oil Saviours, and several reggae/ska, blues/R&B, and Americana groups. She serves as accom-panist for choruses, churches, and musical theater productions, and guest-performs frequently with Tom Rigney and Flambeau.

Sunday, October 22, 11 am – 1 pm$30 advance, $45 day of workshop jennifer jolly

Workshops

leonard thompson

nate radley

Workshops

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


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Workshops

54

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

Bill Evans’ life, music and influence on

the world of jazz piano. The workshop

will include a screening of the recently

released Bill Evans documentary, “Time

Remembered,” produced and directed

by award-winning CBS producer Bruce

Spiegel. The documentary will be followed

by a hands-on masterclass, with analyses

of Bill’s own pieces, and his harmonically

rich approach to standards, providing

clear insight into his compositional

talents and a working understanding

of his remarkable ability to create such

compelling richness and beauty.

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

Sunday, November 12, Noon – 3 pm$30 advance, $45 day of workshop

It was definitely a wonderful and unique experience. — Anonymous

MODAL JAZZ with Larry VuckovichPianist Larry Vuckovich presents an

overview of the fresh Impressionist

and modal concepts introduced to jazz

starting in the 1950s by Miles Davis,

Bill Evans and Gil Evans. The compositions

featured on Miles Davis’s groundbreaking

1959 release Kind of Blue will be high–

lighted in addition to examples recorded

by Bill Evans and Gil Evans. Larry will also

present selections from his pioneering

Blue Balkan recording, one of the first

recordings to fuse ethnic folk music from

the Balkans with jazz. This 1980 recording

featuring the great vibraphonist Bobby

Hutcherson drew on modal concepts and

incorporated influences from the Middle

East, drawing on Turkish, Arabic, and

other exotic sounds from the region.

This presentation will be of interest to

both musicians and non-musicians.

Larry Vuckovich gained first-hand knowl-edge from performances or recordings with many of the jazz greats including Dexter Gordon, Charles McPherson, Charlie Haden, Tom Harrell, Bobby Hutcherson, Tony Bennett, Joe Williams, Jon Hendricks, Bobby McFerrin, Billy Higgins, Philly Joe Jones and Elvin Jones. Larry has been associated with several piano icons, such as Bud Powell, Red Garland, Bill Evans, Barry Harris, Tommy Flanagan, McCoy Tyner, Chick Corea, and was the only student of Vince Guaraldi.

Sunday, November 19, Noon - 3 pm$30 advance, $45 day of workshop

TECHNOLOGY

CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTS with Lee BrenkmanA workshop in survival skills to help

instrumentalists and singers get the best

results from their sound equipment — from

a single microphone to a complete sound

system — and how to successfully interact

with sound technicians at venues with

sound systems. Learn the “tricks of the

trade” from Lee Brenkman, one of the Bay

Area’s preeminent sound technicians, to get

the best sound on your gig. Topics covered

include the different types of microphones

and their functions, evaluating equipment

for purchase, and how to set up a small

sound system. Brenkman also addresses

how best to communicate with sound

technicians and making efficient use of

sound check time. This workshop is attendee-

driven — any and all questions welcome!

Lee Brenkman has been a top sound technician at multiple Bay Area venues for several decades including the California Jazz Conservatory, Great American Music Hall and Stanford Jazz Workshop.

Sunday, October 15, 11 am – 1 pm$30 advance, $45 day of the workshop

THEORY AND IMPROVISATION

TRANSFORMING SIMPLE SONGS INTO JAZZ TUNES with HomenajeLos Angeles-based trio Homenaje is

guitarist Will Brahm (New West Guitar

Group), bassist Ross Shodek (Poncho

Sanchez) and drummer Chris Wabich

(Leonard Cohen, Stanley Jordan). In

this workshop, the group discusses and

demonstrates techniques for transforming

simple songs into vehicles for jazz

improvisation drawing on melodicism,

world influences, odd meters and more.

Homenaje means “Tribute” in Spanish. Led by guitarist Will Brahm, they pay tribute to the support and uniting of different types of music and cultures. Incorporating heavy influences of Cuban and African music along with jazz, classical, and folk, they strive to bring together different cultures and people through their music. Based in Los Angeles, they draw from the seemingly infinite cultural influences all around us.

Saturday, September 23, 3:15 – 5:15 pm$30 advance, $45 day of workshop

Workshops

homenaje trio


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peter and will anderson

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WorkshopsWorkshops

MASTERING THE LANGUAGE OF BEBOP with Peter and Will Anderson Saxophonists, clarinetists, and flautists

Peter and Will Anderson lead this work-

shop on mastering the language of bebop.

This is the musical language created by

Charlie Parker, Bud Powell, Dizzy Gillespie,

Don Byas, Max Roach, Oscar Pettiford, and

others. We will discuss the techniques of

navigating chord changes, creating

beautiful lines with tension and release,

and suggest masterful solos to transcribe

at home. The specific rhythmic and

harmonic subtlety of bebop is very

important to study in order to understand

all styles of jazz. Guitarist Felix Lemerle

will offer his expertise as well.

Named “virtuosos on clarinet and saxo-phone” by the New York Times, Peter and Will Anderson were drawn to the music of Charlie Parker, Lester Young, and John Coltrane at a very young age. They toured the United Kingdom at age 15 and, after several years of study with saxophonist Paul Carr, they attended Juilliard. Origi-nally from Bethesda, Maryland, they currently reside in New York City.

Sunday, September 24, 11 am – 1 pm$30 advance, $45 day of workshop

THE LIFE AND MUSIC OF BILL EVANS — A Documentary Film Screening and Jazz Piano Master Class with Dave ThompsonFor full description, see page 54.

Sunday, November 12, Noon – 3 pm$30 advance, $45 day of workshop

JAZZ IMPROVISATION ESSENTIALS: THE MINOR BLUES with Anton SchwartzAn important variant of the ubiquitous

Blues form, the Minor Blues is one of the

most frequently recurring forms in jazz. If

you’ve heard Mr. P. C., Equinox, Birk’s Works

or the Spider Man theme, you’re familiar

with it. The instructor will present the form

in a way that makes it easy to internalize,

and give lots of practical advice about how

to improvise over it. Students improvise

(optional but encouraged) and are given

feedback, with recommendations given for

a direct path to improvement. Student

improvisations will serve as a springboard

for discussions of the many harmonic

variations and possibilities. Prerequisites: knowledge of the simple I-IV-V 12-bar blues form and basic jazz harmony.

Saturday, October 28, 3:15 – 5:15 pm$30 advance, $45 day of workshop

MATH FOR JAZZ MUSIC with Anton SchwartzModular Arithmetic. Mutually Prime.

Rotational Symmetry. Have I lost you

yet? Terms like these are foreign to most of

us, but what they stand for are things that,

as musicians, we unknowingly deal with all

the time. Let’s get our geek on and learn

some new ways of talking about harmony

and rhythm — ways that we can put to

powerful use in better understanding and

internalizing the music we play. Prerequi-sites: familiarity with basic musical concepts such as chord types and the circle of fifths.

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

Sunday, October 29, 2 – 4 pm$30 advance, $45 day of workshop

IMPROVISING ON CHARLIE PARKER’S CONFIRMATION with Anton SchwartzThis classic bebop composition by Charlie

Parker is a staple of the jazz repertoire;

its chord changes appear in many other

songs and are essential knowledge for

the intermediate & advanced player. We

discuss its harmony on both a micro level

(how each chord leads to the next) and

a big-picture level (how they all work

together to form a coherent progression),

in ways that will directly help us improvise

over it. Suggestions are given for ways to

mentally simplify the song’s structure, as

well as multiple approaches to navigating

its chord changes. Students optionally

improvise over the song and are critiqued,

with recommendations given for a direct

path to improvement. Prerequisites: facility on a melodic instrument or vocals, improvi-sational experience, and knowledge of basic jazz harmony. Bring your instrument (optional).

Sunday, October 29, 11 am – 1:30 pm$40 advance, $55 day of workshop

anton schwartz


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Workshops

jacob zimmerman


LEARNING THE ORIGINALCHORD CHANGES TO YOUR FAVORITE SONGSwith Jacob ZimmermanThe performance of most standard jazz

tunes has deviated from the composer’s

original intent. The commonly played

chord changes to most tunes have been

altered and often diluted by the folk

tradition of the music, as well as fake

books and apps like RealPro. More often

than not these alterations eliminate

uniqueness in favor of generic patterns

more conducive to improvising. A deeper

look into the original sheet music and

recordings of standard tunes often reveals

rich and unusual harmonies, beautiful

counter-melodies, forgotten or ignored

verses, additional lyrics, and a new

appreciation for the genius of composers

like George Gershwin, Richard Rodgers

and Jerome Kern. This workshop will look

in depth at the original chords for many

old standards like Cole Porter’s “What is

This Thing Called Love?” Victor Young’s

“Stella By Starlight” and Miles Davis’

“Four.” Students will be given tools for

how to find and interpret original sheet

music and recordings. Everyone will walk

away with a packet of unpublished

leadsheets with original chord changes

to standard songs.

Seattle-based alto saxophonist and composer Jacob Zimmerman studied at the New England Conservatory of Music, and Mills College. His teachers have included Roscoe Mitchell, Jerry Bergonzi, Joe Morris and Anthony Coleman. Jacob was recognized as the “2013 Emerging Artist of Year” by Earshot Jazz.

Sunday, November 12, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

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

MUSIC BUSINESS

PAUL S. FINGEROTE’S BACK-TO-BASICS

HANDS-ON MARKETING WORKSHOP!

You may be among the world’s greatest musicians, but without marketing yourself, no

one will know how talented you really are. In this back-to-basics, hands-on workshop,

you’ll learn Six Simple Steps to Marketing Success and how to make them work for

you. This workshop is a fast-paced, information-packed, half-day investment of time

that will pay off in successfully promoting your own music career!

Taught by Paul Simeon Fingerote — International ad agency veteran in London, Toronto, Sydney, Los Angeles and Monterey; 30-year Marketing Director of the Monterey Jazz Festival; co-author with Dr. Herb Wong of Jazz on My Mind (available in the CJC Bookstore); now Marketing Director of the California Jazz Conservatory and creator of our 100% JAZZ! campaign.

Sunday, September 24, Noon – 3 pm$50 advance, $65 day of workshop

paul s. fingerote

Fall 2017 CJC Concert SeriesCheck out what’s happening in our intimate jazz club venue, featuring international stars and performances by faculty and students. Purchase tickets online at cjc.edu/concerts!

info & tickets at cjc.edu/concerts

13 Fri 8pm Clif Payne and The Quartet: The ‘This & That’ Concert $20

24 Sun 7pm Vocal Jam Session $10

6 Fri 8pm Azure McCall — Songs and Verses $20

8 Sun 7pm Blues Vocal Jam $10

23 Sat 8pm LJT Trio $15

29 Fri 8pm Debbie Poryes $20

1 Sun 4:30pm Sandy Cressman celebrates “Entre Amigos” $18

7 Sat 8pm Laura Klein and Friends $15

30 Sat 8pm David Ambrosio $15

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18 Sat 8pm The Dann Zinn Quartet featuring Taylor Eigsti $20


19 Sun 4:30pm Dick Hindman Memorial Tribute Concert $20

4–14 various times Jazzschool Community Music School Student Performances Free

12 Sun 4:30pm Tulio Araujo Quintet — CD Release Party $20


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5 Sun 4:30pm SFEMS — Magnolia Viols $20

4 Sat 8pm Dmitri Matheny’s West Coast Cool: Celebrating Chet Baker $15

10 Fri 8pm Matt Renzi’s “SoundSpace Trio” $15

11 Sat 8pm Allison Au $15

3 Fri 8pm New Music for Septets: Nathan Clevenger Group + Ian Carey’s Wood/Metal/Plastic $20

29 Sun 4:30pm Calle Ocho & Nuevo Mundo — An Afternoon of Cuban Heart & Soul $15


22 Sun 4:30pm Emmet Cohen Trio: ‘A Handful of Keys’ $20

AZURE MCCALL TULIO ARAUJO TAYLOR EIGSTIGRUPO FALSO BAIANO

2 Sat 8pm Mo’Fone $20

9 Sat 8pm Akira Tana — Otonowa $20

16 Sat 8pm The Phil Norman Tentet (Phil Gainsborough) $18

8 Fri 8pm Gamelan Pusaka Sunda $18

10 Sun 4:30pm Michael O’Neill Quartet $20

1 Fri 8pm DIMA with The Noel Jewkes Quartet $15

15 Fri 8pm Ian Faquini $15

22 Fri 8pm Grupo Falso Baiano $18

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17 Fri 8pm Noel Jewkes’ Septet “Legato Xpress” $20

8 Sun 4:30pm Jenny Maybee $18

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14 Sat 8pm James Zealous presents: Revolutionary Jazz Poetry at the CJC $20

8–10 various times California Jazz Conservatory Student Performances Free

1–3 various times Jazzschool Young Musicians’ Program Free

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ER 15 & 17 8pm California Jazz Conservatory Senior Projects $18


15 Sun 4:30pm SFEMS — Sprezzatura: Virtuosic Italian Sonatas of the 17th and 18th centuries $20

20 Fri 8pm CJC Blue & Green Ensembles $20

21 Sat 8pm Jeff Denson Group $18

27 Fri 8pm Morchestra with Clairdee $20

28 Sat 8pm LehCats with Karen and Norbert Stachel $20

16 Sat 8pm TrumpetSuperGroup $20

24 Sun 4:30pm Rhonda Benin $20

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

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

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

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

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

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

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

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

Andrea Claburn (voice)B.Mus. (in progress), California Jazz Conservatory; BA (High Honors, Humanities) University of California at Berkeley. Co-bandleader, Andrea Claburn/Jua Howard Group. Studied vocal technique and performance with Sandy Cressman, Laurie Antonioli, Raz Kennedy, Maye Cavallaro. www.andreaclaburn.com

Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Featured artist with Ray Obiedo’s Mistura Fina and Jai Uttal’s Pagan Love Orchestra. Studio vocalist for Latin and world jazz styles, recently featured on Bossa Nova Dreams with Akira Tana, Branford Marsalis and Arturo Sandoval. Heard on a wide variety of commercials and soundtracks. www.cressmanmusic.com

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

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

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

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

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

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

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

Jazzschool Faculty

laurie antonioli

Jazzschool FacultyJazzschool Faculty


Jazzschool Faculty

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Jazzschool Faculty

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

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

Charles Hamilton (trombone)Leader of the Berkeley High School Jazz Ensemble for 28 years. Has performed with Joe Henderson, Fred Berry, Karlton Hester, Khalil Shaheed, Marcus Shelby, and Babatunde Lea. Created the San Francisco Bay Jazz Band; at the invitation of the US State Department, he took them to Asia twice (Vietnam and China). Recently released “Charles Hamilton and Beyond: Mr Hamudah,” for Global Recording Artists. Currently directing the UC Santa Cruz Big Band. Received the National Foundation for the Advancement of the Arts “Distinguished Teacher in the Arts” Award.

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

Colin Hogan (piano)B.A. Cal State East Bay. Performances with James Moody, Peter Erskine, Bob Brookmeyer, Roy Ayers, Maria Schneider and hip hop luminaries such as Too $hort, DJ QBert, Dan the Automator, and Lyrics Born. Performed with electric bass revolutionary Larry Graham of Sly and the Family Stone at the 2004 California Music Awards. Pianist and featured soloist on accordion with the Tommy Igoe Big Band in its first-ever weekly residency at Yoshi’s San Francisco. Currently involved in various projects including hip hop/R&B group Dynamic, jazz/groove/experimental collective the Jazz Mafia, international cafe music group Trio Zincalo and jazz/funk/fusion band The Hogan Bros., with brothers Steve and Julian.

Peter Horvath (piano) M.A., Berklee College of Music; Bèla Bartôk Conservatory of Music, Budapest, Hungary; Vienna Conservatory of Music. Performed, toured, recorded with Victor Bailey Group, Bobby Hutcherson, Joe Henderson, Lalah Hathaway, Oakland Symphony, Bob Sheppard, Bennie Maupin, Richie Cole, Ray Obiedo, Lenny White, Randy Brecker, Marcus Miller, Bob Mintzer, Pee Wee Ellis, Arturo Sandoval, arranged and recorded for Aretha Franklin. www.peterhorvath.com

Erik Jekabson (trumpet) M.A. in Composition, SF Conservatory of Music; B. Mus. in Trumpet, Oberlin Conservatory of Music. Toured with John Mayer, Illinois Jacquet and Galactic, and has composed for film and dance projects. Released several albums as a leader. www.erikjekabson.com

Jennifer Jolly (keyboards) Performer, educator, session musician, composer, choral/musical theater accompanist. Specialist in American roots styles (New Orleans & Louisiana, blues, boogie-woogie, country), funk, r&b, and Caribbean and African music. Currently performing with Kotoja, Zulu Spear, Big B & His Snakeoil Saviors, The Jolly Gibsons, and several other Bay Area groups. Frequent guest performer with Tom Rigney & Flambeau. Previous performance credits include Phil Lesh (Grateful Dead), Barbara Dane, Hot Links. Faculty instructor at Cazadero Family Camp since 1999. B.A., UC Berkeley.

Lilan Kane (voice)B.M. Music Business and Management, Berklee College of Music (voice principal); faculty San Domenico School (Chorus, Rock Band, Songwriting); Founder of Own The Mic Summer Singing Camp; private vocal coach 12 years; Bandleader of Hella Fitzgerald; recording and performing artist; Featured performer at New Orleans French Quarter Festival, Fillmore Jazz Festival, Novato Art & Wine Festival, San Jose Winter Jazz Fest, Great American Music Hall, Sweetwater Music Hall, The Mint LA, the Whisky A Go-Go, among others. She has opened for Hall & Oates, Sharon Jones, Trombone Shorty, and Morgan James. www.lilankane.com

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

Omar Ledezma Jr. (percussion, voice) Diploma, Performance, Berklee College of Music 2003. B.S., Law School, Santa Maria University, Caracas, Venezuela 1995. Active local performer, teacher, GRAMMY nominee and world class musician. Toured with renowned artists in USA, Europe, the Caribbean and South America. Has participated in more than 35 recordings, DVDs and books. PEARL PERCUSSION Artist. www.omarledezmajr.com

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

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

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

Jeff Massanari (guitar) Four years performance and composition coursework at Berklee College of Music. Performed with Mark Inouye and the San Francisco Sympho-ny, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Appeared at the Umbria Jazz Festival, Beijing Conservatory, Davies Symphony Hall, Stern Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz Festival, San Jose Jazz Festival and Theatre Works. Taught at UC Berkeley, The Jazzschool, Redwood High, Bruce Forman’s Jazzmaster series, Jazz Camp West and Blue Bear School of Music.

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Jazzschool Faculty

Clif Payne (voice) Evershift recording artist, international concert vocalist, and vocal coach, Clif studied jazz with legendary educator David Baker at Indiana University and Speech Level Singing vocal technique with Chip Hand and Rober Burnley in LA. Recording projects include a collaboration with former Kurt Elling music director Laurence Hobgood. His debut solo album — Welcome To My World — was released In 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors, Harvey Mason and has opened in concert for Tony Bennett, Johnny Mathis and Dionne Warwick. Clif has shared the stage with Dianne Reeves, The Commodores, Lionel Richie, Lakeside and Shelia E. http://clifpayne.org

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

Debbie Poryes (piano) National and international performing artist including Yoshi’s, Healdsburg Jazz Festival, Bim House and Concertgebouw in Amsterdam, New Morning in Paris, Quasimodo in Berlin, released several albums as a leader, studied at UC Berkeley and Hilversum Conservatory in the Netherlands: has a teaching credential in Jazz Studies, Netherlands; was a tenured faculty member for 7 years in 2 Dutch music conservatories, Hilversum and Arnhem; toured with John Clayton Big Band; 30 years private instruction in jazz piano and jazz/classical theory. www.debbieporyes.com

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

Azure McCall (voice) Performed with Ray Brown, Freddie Hubbard, Frank Morgan, and Dizzy Gillespie. Many years of perfor-mance experience in Hawaii and on jazz cruises.

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

Daniel Parenti (bass) Performance experience with many jazz legends including Rosemary Clooney, Michael Brecker, and Lionel Hampton. Has released six full-length original albums under his own name. Has performed with many well-known Bay Area artists including Tommy Igoe, Billy Johnson (Santana), Frank Martin (Narada Michael Walden), Joel Smith (Walter Hawkins) and Lorn Leber (Jerry Garcia Band).

Anthony Paule (guitar) A.A. Degree from CCSF. Has toured and/or recorded with Maria Muldaur, Boz Skaggs, Charlie Mussel-white, Barbara Lynn, Earl King, Big Jay McNeely, Johnny Adams and many others. Released three solo albums, “Big Guitar” and “Hiding In Plain Sight” and “You Don’t Know Nothing” the latter with soul singer Frank Bey. Has performed at festivals including Monterey Jazz, Umbria Jazz, San Francisco Blues, Mississippi Valley Blues, Du Maurier Jazz, Waterfront Blues, S.F. Jazz, Atlanta Olympic Games. www.anthonypaule.com

Brian Rice (percussion) BM. Oberlin Conservatory of Music. Brazilian music specialist. Performed and/or recorded with Jovino Santos Neto, Spok, Clarice Assad, Paulo Sergio Santos, Dudu Maia, Alessandro Penezzi, Jorge Alabe, Almir Côrtes, Rogerio Souza, Mike Marshall and recently toured with master choro mandolinist, Danilo Brito. Co-founder and artistic director of the Berkeley Festival of Choro and a member of the Berkeley Choro Ensemble and Choro Famoso. Brian has taught clinics at Oberlin, Cantareira College (São Paulo) and University of Campinas, Percussive Arts Society International Convention (PASIC), Stanford University, Southern Oregon University, University of Washington, Georgetown University, Indiana University.

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

Pamela Rose (voice) B.A., UC Berkeley. Jazz and blues vocalist, songwriter, recording artist. Recent performances include Monterey Jazz Festival, SFJAZZ, Grammy Foundation, Copenhagen Jazz Festival, Cal Performances. Featured on NPR’s “All Things Considered.” Her latest project “Wild Women of Song” (highlighting the work of women jazz and blues songwriters) has Rose touring, speaking and performing at universities and performing arts centers nation-wide, and resulted in the publication of a book on the topic. www.pamelarose.com

Dave Len Scott (trumpet) M.A. in Trumpet Performance, U. of Northern Colorado; B.A. in Instrumental Music, U. of Michigan. National performing and recording artist, jazz, classical idioms. Performs with: Glide Memorial Church Change Band; Brass Monkey Brass Band; TRUMPETSUPERGROUP (founder); Dave Scott Jazz Quartet. Currently adjunct faculty at: Sonoma State University (Instructor of Trumpet); Berkeley City College (Humanities Dept Jazz History); and San Francisco State University (Brass Methods, Jazz Arranging). www.davelenscott.org

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

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

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

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

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

Jazzschool Faculty

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Board and Staff

BOARD OF DIRECTORS

Tyler Johnston, Chairman

Susan Brand, Vice Chairman

Richard A. Lyons, Secretary

Neil Rudolph, Treasurer

Steve Baker

Clifford Brown, Jr.

Charles Charnas

James Ellis

Jerry Fiddler

Rita Hargrave

John Moss

Susan Muscarella

Gregg Perloff

Jim Reynolds

M. David Sherrill

Kevin Whitman

Michael Yovino-Young

DIRECTORS EMERITUS

Denny Abrams

Sherie Friedlander

Sy Grossman

Vaughan Johnson

James J. Keefe

Bert Lubin

Larry Marcus

Ernie Mieger

Amy Orton

John Papini

Walter Riley

Danny Scher

Michael Zaninovich

ADVISORY BOARD

Tom Carr

Carole Davis

Paula Forney

Benny Green

Charles Hamilton

Stacey Hoffman

Mark Levine

Jason Olaine

Patricia Phillips

David Ring

Jayne Sanchez

Chuck Sher

Merrilee Trost

Wayne Wallace

Peter Williams

PROGRAM STAFF

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

Rob EwingDirector, Jazzschool

Laurie AntonioliChair, CJC Vocal Program, Director, Jazzschool Vocal Program

Erik JekabsonDirector, Jazzschool Young Musicians Program

Zack MondlickAssistant to the Dean

ADMINISTRATIVE STAFF

Bill Aron Business Manager

Jesse Rimler Registrar and Custodian of Records, California Jazz Conservatory

Karen ShepherdDirector of Financial Aid, California Jazz Conservatory

Julie BirchData Manager/ Systems Administrator

Paul FingeroteMarketing and Public Relations Director

Sheryl Lynn ThomasDigital Marketing Manager

Hollis AshbyCommunications Consultant

Mary D’OraziDevelopment Associate/ Concert Coordinator

Lauren AdamsDevelopment Consultant

Alejandra Carrasco-Zanini Program Coordinator

Max Hodes Operations Director

Kim Nucci Operations Manager/ CJC Bookstore

Michael Golds, Aaron Hipschman and Alex Shapiro-RomanoOperations Staff

Tatyana Dimitrova-PelovHouse Manager

Lee BrenkmanSound Technician

Robert SoperPiano Technician

Poulson Gluck DesignGraphic Design

Chris HardyPhotographer

Celebrating 20 years of Jazzschool concerts and workshops!

Here’s a sampling of some of the hundreds of artists we’ve hosted

over the last 20 years. How many do you recognize?

Check out the captions on the inside back cover!

68

70 Call 510.845.537370 Call 510.845.5373

Instructions and Application

To enroll in the Jazzschool

Fall Quarter, please read

these important instructions!

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

at cjc.edu or complete the application

on page 71 and submit it along with full

tuition. Students may register online,

by phone (510.845.5373), mail, fax

(510.841.5373) or in person. Enrollment

is on a first-come, first-served basis

and cannot be guaranteed without full payment. Students applying for

courses that are full may be placed

on a waiting list. The Jazzschool

accepts checks (made payable to

California Jazz Conservatory), cash,

VISA, MasterCard or Discover.

Payment plans are available.

To register in courses requiring a consultation or audition please

call at 510.845.5373 for assistance

with placement.

PERFORMANCE ENSEMBLESAdmission is based on a confidential,

friendly 20-minute placement audition

to determine where students are best

suited to play or sing. Placement auditions

address students’ overall musicality,

technical ability, stylistic preference(s)

and availability.

Please fill out the online

ensemble application form

at cjc.edu/ensemble or call

the Jazzschool to schedule

an appointment (510.845.5373).

Please note: With the exception of the

fall quarter, students previously enrolled

in a performance ensemble have the

option of re-enrolling in that same course

again on a consecutive quarterly basis

within the academic year without having

to re-audition. New students wishing to

enroll in a performance ensemble in

winter, spring and/or summer quarters

must schedule a placement audition

or telephone consultation and will be

accepted on a parts-available basis.

JAZZSCHOOL FACULTY AND COURSE SCHEDULESGiven prestigious national and interna-

tional performance and/or lecture

opportunities that arise, Jazzschool

faculty, course offerings and/or class

schedules may be subject to change.

If these or similar circumstances arise,

the Jazzschool will make every effort to

provide its students with the optimal

educational experience possible.

REFUND POLICYCourse and ensemble tuition includes a

$50 non-refundable deposit. Requests to

drop must be received in writing within 48

hours of the first class meeting to qualify

for a refund; please visit the main office or

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

Refunds for remaining tuition are not

possible after the 48-hour drop deadline.

$100 per week of camp and intensive

tuition is non-refundable; the remainder

is refundable only until 30 days prior

to the start of the program. Tuition for

workshops is non-refundable. No excep-

tions please! Please note: Refunds may

take up to 30 days to process. Please visit

cjc.edu/policies for more information.

Enroll online at cjc.edu or call 510.845.5373

Please read instructions on facing page before completing application form.

Name (print) ____________________________ ____________________________________________

Address __________________________________________________________________________ Street City/State Zip

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

Cell phone ( ___ ) ________________________ Email __________________________________

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

_____________________( ) _____________________( ) _________________________( )

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

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

1. _____________________________________ 2. _____________________________________

3. _____________________________________ 4. ______________________________________

How did you hear about the Jazzschool? _____________________________________________

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

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

Charge my tuition to: ____ VISA ____ MasterCard ____ Discover

Card #_____________________________________________________ Exp. date _____________

3-digit security code ___________

Signature of cardholder ____________________________________________________________

Name as It appears on card _________________________________________________________

San Pablo Ave

Fulton

Ashby

College Ave

580

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Telegraph Ave

BART

Sacramento

Channing

Durant

Allston

Center

Addison

24

Bancroft

Kittredge

UC Campus

580/80

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

Shattuck Ave

70 7171

University Avenue

2087& 2040

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We invite you to make your mark on the future of jazz with a donation to the California Jazz Conservatory.

We have naming opportunities available in our new Fiddler Annex, opening this Fall, and in

our original Addison Street home.

You can add your name to a variety of opportunities, from a music note on our ’Round Midnight sculpture

to hosting our year-round CJC Concert Series and more!

We have a variety of scholarships offering multiple opportunities for you to support special artists

and academic programs.

And, we are pleased to introduce a number of ways in which your company or organization

can join us in partnership.

If you’d like to learn more about how you can help CJC, please contact Mary D’Orazi ([email protected]).

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

Paul Fingerote ([email protected]).

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

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

We thank all of our donors for their help in supporting the future of jazz.

Make your mark on the future of jazz!

Your donation will ensure the future of jazz is in good hands!

Make your mark on our new Fiddler Annex and support the future of jazz!

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

Reach thousands of prospects year-round with your

company’s message to your fellow jazz fans!

Captions for page 68:Michael Zilber, Mimi Fox, Bobby McFerrin,

Kenny Washington, Kurt Elling, Sheila Jordan,Taylor Eigsti, Eddie Marshall, Ledisi,

Nnenna Freelon, Ambrose Akinmusire, Akira Tana

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