azzschoolthe
at C A L I F O R N I A J A Z Z C O N S E R V A T O R Y
C L A S S E S • W O R K S H O P S • C O N C E R T S
2019 FALL CATALOG
INTRODUCTION
CJC Concert Series 2The California Jazz Conservatory 4The Jazzschool at CJC 6
ADULT PERFORMANCE ENSEMBLES
Jazz 8Funk 12Brazilian 12World 13Latin 13Blues 13
ADULT INSTRUMENTAL CLASSES
Piano and Keyboards 14Guitar 17Bass 19Drums and Percussion 20Saxophone 20
THEORY, IMPROVISATION AND COMPOSITION CLASSES
Theory 21Improvisation 21Composition 21
ADULT VOCAL CLASSES
Technique and Musicianship 22Performance 23 Ensemble Singing 26 Blues 27Latin 27
ADULT VOCAL CLASSES (continued)
Composition 28 Young Singers 28Vocal Mentor Program 29
ADULT VOCAL WORKSHOPS
Vocal Workshops 30
YOUNG MUSICIANS PROGRAM
Introduction 35Program Requirements 35Placement and Audition Requirements 36Large Performance Ensembles 37Small Performance Ensembles 40Voice 41
WORKSHOPS
For all instruments and voice 42
INFORMATION
Monterey Jazz Festival Partnership for Excellence in Jazz Performance and Education 38
Jazzschool Faculty 53Board and Staff 60Instructions and
Application Form 62Map 63Support 64
Contents
1
IMPORTANT INFORMATION
• Fall Performance Series takes place 12/9 – 12/15.
Many opportunities fill early, so sign up now! Visit cjc.edu for current information,
as schedules are subject to change. For the latest news from CJC, sign up for
our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu!
“The California Jazz Conservatory
is an exceptional institution, fostering the next generation
of artists and educators, many on the cutting edge,
performing, composing, teaching and touring
throughout the world.”
Dr.JeffDensonDeanofInstruction,CJC
Dr.JeffDensonisjust
oneofthereasonsthe
CaliforniaJazzConservatory
succeedsintransforming
musiciansintoartists.
Contactustolearnmore.
In a Musician, Out an Artist!
cjc.edu/[email protected]/
510.845.5373
CJC Concerts
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25 Fri 8pm Dann Zinn Band $20
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27 Fri 8pm Steven Bernstein's Millenial Territory Orchestra West $25
7 Sat 8pm Maria Volanté Blue Tango Project $20
6 Fri 8pm SoVoSo $20
10 Tues 7:30pm Jon Hatamiya $20/10 students
28 Sat 8pm Kate McGarry / Keith Ganz $20 w/special guest Julie Wolf
3*����Your�generous�donation�($10�suggested)�will�allow�us�to�continue�to�offer�these�presentations.�
17 Tues 7:30pm Scott Looney $20/10 students
14 Sat 8pm The Jolly Gibsons feat. Jean Fineberg $20
19 Sat 8pm Clairdee $30
8 Sun 4:30pm Blues Vocal Jam Free* 26 Sat 8pm Mary D'Orazi with Marcos Silva $20
In addition to CJC’s Weekend Concert Series featuring an eclectic mix of music on Friday and Saturday nights, we're pleased to present our Way Out West (WOW) Concert Series on Tuesdays @ 7:30 pm (made possible by generous support from Larry Dodge and Carol Shen) and the return of Electric Squeezebox Orchestra (CJC Resident Artists) for their weekly Sunday evening concerts, September 8 through November 24 (except 9/29 and 11/17).
Visit cjc.edu for information and tickets!
18 Fri 8pm "The Last Mambo" — a film by Rita Hargrave $18
27 Sun 4:30pm Vocal Jam Free*
12 Sat 8pm MCH Quartet $20
3 Tues 7:30pm Cory Wright $20/10 students
13 Fri 8pm Jenna & The Charmers $20
20 Fri 8pm Clif Payne & VCB $25 w/special guest Eve Marie Shahoian
21 Sat 8pm Emilio Solla & Bien Sur! $25 Made�possible�by�a�generous�contribution�by�Denny�Abrams
22 Sun 4:30pm Vocal Jam Free*
24 Tues 7:30pm Javier Santiago $20/10 students
11 Fri 8pm Amy X Neuburg: "None of Me" — $20 An evening of creative covers
6 Sun 4:30pm Blues Vocal Jam Free*
5 Sat 8pm Kim Nucci $20/15 students
4 Fri 8pm Michael O’Neill Quintet feat. Tony Lindsay $20
1 Fri 8pm Steve Erquiaga, Frank Martin & Dan Parenti Trio $20
2 Sat 8pm Mimi Fox: This Bird Still Flies— $25 An evening of solo artistry
3 Sun 4:30pm Blues Vocal Jam Free*
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8 Fri 8pm Terrie Odabi $20
9 Sat 8pm John Calloway Flute Odyssey $25
15 Fri 8pm Kai Eckhardt Resilience: Old Souls—New Music $20
16 Sat 8pm The Joshua Breakstone Trio feat.�Jeff Chambers and Jason Lewis $25
17 Sun 5:30pm Mike Zilber Big Band CD Release $30/$20 students
22 Fri 8pm Jason Levis "Joseph's Bones" $20
23 Sat 8pm Laurie Antonioli & The American Dreams Band $20
24 Sun 4:30pm Vocal Jam Free*
2–9 various days & times Jazzschool Student Performances Free* DE
C
6–8 various days & times CJC Student Performances� Free*
13–14 various days & times CJC Senior Projects $20
22 Sun 4pm TRUMPETSUPERGROUP $28
1 Tues 7:30pm Shoebox Collective $20/10 students
8 Tues 7:30pm Cornelius Boots $20/10 students
15 Tues 7:30pm Mandalaya $20/10 students
22 Tues 7:30pm Rob Sudduth $20/10 students
29 Tues 7:30pm Joel Behrman $20/10 students
5 Tues 7:30pm Flounder $20/10 students
12 Tues 7:30pm Jack Gates $20/10 students
19 Tues 7:30pm Karl Evangelista $20/10 students
KAI ECKHARDT MARY D'ORAZITERRIE ODABI MARCOS SILVA
20 Sun 4:30pm SFEMS — Bolivian Baroque: $25 Sacred Song from the Selva
MIMI FOX
29 Sun 4:30pm "Le Jazz Hot"— Quartet of the Hot Club of San Francisco $20
4 5
The California Jazz Conservatory
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 at CJC, 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, based on a 100% jazz
relevant curriculum, taught by a faculty
of artists/educators who share a proven
track record of success in transforming
musicians into artists.
Our 2-year Associate of Arts degree in
Jazz Studies offers the same effective
faculty, teaching the same 100% jazz
relevant courses — the first two years of
our Bachelor program — with students
incurring half the cost and half the time
commitment to earn their degree.
• The Jazzschool at CJC offers a
year-round program of Classes,
Workshops, Camps and Intensives for
musicians of all ages and abilities.
The California Jazz Conservatory's CJC Concert Series offers a year-round array
of performances by students and profes-
sionals in our two intimate concert venues,
Rendon Hall and Hardymon Hall.
Our popular Jazzcaffè offers light fare
and a range of beers, wines and other
beverages year-round, while our CJC Bookstore provides a variety of jazz-
related books and merchandise.
Located in the heart of Berkeley's vibrant
Downtown Arts District, the California
Jazz Conservatory campus is easily
accessible by car and public transporta-
tion. The downtown Berkeley BART
station and AC Transit bus stops are
located within a block of campus. Public
parking is available in a nearby garage
and in metered street parking in the
neighborhood.
TheCaliforniaJazzConservatoryistheonlyindependent,
accreditedschoolinAmericacompletelydevoted
tothestudyandperformanceofjazz.
6 76 6
The Jazzschool offers instrumentalists
and vocalists Performance Ensembles/
Classes, as well as Workshops, Camps
and Intensives throughout the year,
including:
* Adult instrumental and vocal
Performance Ensembles/Classes
in fall, winter (10 weeks), spring
(9 weeks), and summer (6 weeks);
* Workshops on weekends throughout
the year;
* Youth instrumental and vocal Perfor–
mance Ensembles in fall, winter, spring
(9 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,
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 at CJC
Ensembles and Classes(Audition�required�for�Ensembles)The Jazzschool offers a wide range
of 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
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, under-
standing and applying theoretical
concepts to improvisation, and enhanc-
ing 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 presti-
gious jazz festivals, both here and
abroad.
Camps and Intensives (Audition�required)The Jazzschool offers Camps and Inten-
sives in the spring and summer in one- and
two-week sessions for adult and youth
instrumentalists and vocalists at all levels.
Faculty Jazzschool Classes, Ensembles, Workshops,
Camps, Intensives and other programs are
led by a distinguished faculty of profes-
sional musicians who have played with
some of the music world’s biggest names.
More importantly, our faculty consists of
musicians and vocalists who excel in
education, with a focus on teaching
students not just how to play, but how
to perform, transforming talented musi-
cians into recognized artists.
Enrollment Jazzschool class size is limited and many
classes — available on a first-come, first-
served basis — fill up quickly. We encour-
age you to register early and guarantee
your spot! You can enroll online at cjc.edu
or call 510.845.5373. An application form
also appears on page 63.
TheJazzschoolatCJCistheCaliforniaJazzConservatory'scommunity
musicschool,servingstudentsofallagesandlevelsforover20years.
9
Adult Performance Ensembles
JazzschoolPerformanceEnsembles
delveintoawiderangeofstyles
includingjazz(standards,hard-
bop,post-bop,fusion),Latinjazz,
Brazilian,blues,R&Bandfunk.
Ensemblesareavailablefor
instrumentalistsandvocalists
atthebeginning,intermediate
andadvancedlevels.Groups
rangeinsizefromthetriotothe
bigband.Aplacementaudition
isrequiredforallPerformance
Ensembles.
Auditions
Students are placed in
Performance Ensembles by
audition and requirements
may include playing a selected
jazz standard and sight
reading selected excerpts.
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 1: Mondays 6:30 – 8 pmSection 2: Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks)�no�class�1�1/25Performance date: Monday 12/9Steve Erquiaga • $420
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 1: Mondays 6:30 – 8 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Performance date: Monday 12/9
Section 2: Thursdays 6:30 – 8 pm 9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12
Section 3: Saturdays 10 – 11:30 am
Section 4: Saturdays 11:45 am – 1:15 pm
Section 5: Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Performance date: Saturday 12/14Glenn Richman • $420
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 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12Dave Lefebvre • $420
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 1: Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Performance date: Monday 12/9
Section 2: Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12
Glenn Richman • $420
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 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Steve Erquiaga • $420
2019 Fall Quarter / September 23 – December 14 / c jc.edu8
“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.”
11
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 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Steve Erquiaga • $420
MIKE STERN newENSEMBLE An ensemble focusing on the composi-
tions of jazz/rock guitar icon Mike Stern.
Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Frank Martin • $420
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 1: Mondays 5 – 6:30 pm
Section 2: Mondays 6:45 – 8:15 pm
Section 3: Mondays 8:30 – 10 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Performance date: Monday 12/9Peter Horvath • $420
Section 4: Fridays 1:30 – 3 pm
Section 5: Fridays 3:30 – 5 pm9/27 – 12/6 (10 weeks) no�class�1�1/29Performance date: Friday 12/14Ben Stolorow • $420
HIP-HOP JAZZ ENSEMBLEFrom its roots in James Brown and 70s
jazz/soul, through Boom Bap, G-Funk and
J Dilla, we will explore the sample-based
music of Hip-Hop in a live band setting.
For all rhythm section instruments and
horns.
Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Steve Hogan • $420
FREE JAZZ ENSEMBLE: new THE MUSIC OF CHICAGO AVANT GARDE (1980 – 2010)The Free Jazz Ensemble is designed
for improvising musicians interested in
stretching the boundaries of harmony
and form. Each quarter the ensemble will
focus on the music of a particular master
musician. This fall, rather than focusing on
the work of a particular composer, we’ll be
focusing on a number of artists from the
fertile Chicago Avant Garde scene of the
last several decades.
Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12 Jason Levis • $420
ERQUIAGA ENSEMBLE 1 In this Ensemble 1 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 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Steve Erquiaga • $420
ERQUIAGA ENSEMBLE 2This Ensemble 2 class focuses on
Performance date: Wednesday 12/11
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 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10
Steve Erquiaga • $420
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Adult Performance Ensembles Adult Performance Ensembles
peter horvath
2019 Fall Quarter / September 23 – December 14 / c jc.edusteve erquiaga
1312
BIG BANDThis 19-piece ensemble covers classic and
contemporary repertoire for big band.
Original compositions by ensemble
members are also workshopped and
performed. Full�3-quarter�commitment�required�(fall,�winter,�spring).
Thursdays 8:15 – 10:15 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12 Dave Lefebvre • $290
FUNK
FUNK ENSEMBLEFrom James Brown to Prince, Sly and the
Family Stone to Tower of Power, Stevie
Wonder to Earth, Wind & Fire, The Meters
to Herbie Hancock, we get down and
funky in this ensemble. Explore what it
takes to master the complexity of the funk
genre by breaking down the rhythmic
foundation of the groove, the feel, the
“pocket!” For all vocalists, horns and
rhythm section instruments.
Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12 Daniel Lucca Parenti • $420
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 1: Tuesdays 6:15 – 7:45 pm
Section 2: Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10
Section 3: Wednesdays 6 – 7:30 pm
Section 4: Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11
Section 5: Thursdays 1 – 2:30 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12
Marcos Silva • $420
Adult Performance Ensembles
WORLD
WORLD GROOVE ENSEMBLE: CARIBBEAN & LATIN AMERICANThis ensemble features the irresistibly
deep grooves of Jamaica, Trinidad, Haiti,
Colombia, Brazil, and other Latin Ameri-
can countries. Styles may include calypso/
soca, reggae, ska, cumbia, champeta,
reggaeton, and more. The ensemble may
play songs by classic artists such as
Calypso Rose, The Skatalites, Bob Marley,
Kassav’, and Boukman Eksperyans, as well
as tunes by newer artists such as Monsieur
Periné, Cimafunk, Bixiga 70, Mon Laferte,
and Lakou Mizik. Class members learn the
cultural context and rhythmic structure of
each tune. Emphasis is on developing the
groove, listening, and locking in with each
other. Open to vocalists and all instrumen-
talists. Prerequisites:�intermediate�instrumental�proficiency;�ability�to�read�charts�and�notation.
Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12Jennifer Jolly • $420
LATIN
SALSA ENSEMBLE 1Rehearse 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 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10David Belove • $420
SALSA ENSEMBLE 2Rehearse and perform more advanced
salsa repertoire. Vocalists interested in
parti cipating should sign up for Salsa Singing (see p. 27). The two courses work
together throughout the term developing
a full set of high energy dance music for
performance.
Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10David Belove • $420
BLUES
BLUES AND GROOVE ENSEMBLEThe Blues and Groove Ensemble offers
students an opportunity to choose from
a wide array of Blues and R&B, Funk,
Gospel, New Orleans and American Roots
styles to play with other musicians. We
work on getting the best grooves for each
player and improvising solos. One vocalist
welcome per class. Prerequisites:�Ability��to�play�basic�blues�chords�and�scales�in��all�keys.�Familiarity�with�blues�and�R&B�is�recommended.
Section 1: Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Performance date: Saturday 12/14
Section 2: Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�11/28Performance date: Saturday 12/14
Danny Caron and Anthony Paule • $420
2019 Fall Quarter / September 23 – December 14 / c jc.edu
Adult Performance Ensembles
1514
PIANO AND KEYBOARDS
PIANO 1 If you've ever wanted to play the piano,
now is your chance! Sign up for Piano 1 and you'll learn how to read music, play scales,
perform a piece, play duets, discover what
musical forms and keys are all about, read
a jazz chart and play ensemble music with
fellow students. No experience necessary.
Required texts: Mastering�Music�level�1A,
Piano�Town�Lessons�Level�1 (available at
the CJC Bookstore).
Saturdays 10 – 11:30 am9/28 – 12/7 (10 weeks) no�class�1�1/30Jeanne Walpole • $420
PIANO 2For those with some experience on keys,
Piano 2 picks up wherever you left off in
your pianistic pursuits and challenges you
to go farther with your musical endeavors.
Ensemble and solo music is selected to
match your own level and ability on the
piano. This class presents individual guidance
as well as group performance opportunities.
Required text: Bastien�Piano�for�Adults�II�(available at the CJC Bookstore).�Prerequi-sites:�Piano�1�or�equivalent�experience.�
Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Jeanne Walpole • $420
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 1 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 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Jeanne Walpole • $420
JAZZ PIANO 1 Learn to play jazz standards and the
12-bar blues through the study of jazz
chord voicings and improvisation tech-
niques. Required text: Jamey�Aebersold�Play-along�Vol.�54,�Maiden�Voyage.�Prereq-uisites:�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 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Bob Karty • $420
bob karty
JAZZ PIANO 2In this continuation of Jazz Piano 1, you'll
learn more advanced chord voicings and
soloing techniques, as well as standard
re-harmonization techniques.�Required
text: Jamey�Aebersold�Play-along�Vol.�54,�Maiden�Voyage�and The�Jazz�Piano�Book�by�Mark�Levine.�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 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Bob Karty • $420
NEO-SOUL HARMONY& IMPROVISATION FOR KEYBOARDISTSHave you ever wondered how artists like
Erykah Badu, Robert Glasper and Moon-
child write their music? In this class you
will learn how to hear, analyze, improvise
and write your very own neo-soul tunes.
Over the course of 10 weeks, you’ll take a
deep dive into neo-soul/jazz harmony
through a series of ear training exercises,
harmonic analysis methods, improvisation
and chord scale usage techniques and
reharmonization & composition strategies,
ultimately composing your own neo-soul
chord progression or song by the end of
the course. Prerequisites:�basic�keyboard�proficiency�and�knowledge�of�chord�structures�(triads�and�7th�chords).�
Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Marcelino Quiroz • $420
GOSPEL PIANOAll keyboardists benefit from a familiarity
with gospel piano. Whether you play jazz,
R&B/soul, funk, or country, your music is
influenced by gospel music. In this class
you’ll learn a thumbnail history of gospel
styles; the most common piano grooves,
song forms, and chord progressions
and substitutions; some classic artists
and songs; and how gospel music is
integrated into secular piano styles.
Materials provided by instructor. Prerequi-sites:�familiarity�with�dominant�and�minor�7th�chords;�ability�to�read�treble�and��bass�clefs.
Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Jennifer Jolly • $420
Adult Instrumental Classes
2019 Fall Quarter / September 23 – December 14 / c jc.edu
16 17
THREE TUNES — new A JAZZ PIANO PRACTICUM
Through the process of learning and
improvising on three frequently played
jazz tunes, ranging from simple to more
complex, students will learn to apply
chord voicings (left hand and two-
handed) and improvisation techniques
(including modal and thematic soloing)
in a variety of settings, all while prioritizing
rhythm and melody. For intermediate-
level pianists.
Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Frank Martin • $420
PIANIST’S SURVIVAL GUIDE new SERIES: RHYTHM SECTION SKILLSKeyboardists often serve as members
of the “rhythm section,” the subset of a
band that provides the pulse, groove, and
harmonic underpinnings for the group as
a whole. This role requires specific skills
that solo pianists or “color/texture” key-
boardists may not be familiar with. This
class will develop your ability to: pick out
and hear the specific parts played by the
bass player, guitarist, and drummer; lock in
with the rest of the rhythm section; create
parts that complement the groove without
cluttering things up; and grow your stylistic
vocabulary so that you feel more confident
and appropriate on any given tune. This
class is suitable for players from beginning
through advanced and will draw on
repertoire from a wide variety of genres.
Materials provided by instructor.
Prerequisites:�Familiarity�with�triads��(and�basic�7ths�helpful);�basic�keyboard��and�reading�proficiency.
Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Jennifer Jolly • $420
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 am9/28 – 12/7 (10 weeks) no�class�1�1/30Danny Caron and Anthony Paule • $420
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 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Danny Caron and Anthony Paule • $420
JAZZ GUITAR 1If 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 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Jeff Massanari • $420
JAZZ GUITAR 2In this fun and fast-paced continuation of
the concepts explored in Jazz Guitar 1,
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�1�or�equivalent;�knowledge�of�scale�and�chord�theory�and�some�familiarity�with�jazz�repertoire.
Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Jeff Massanari • $420
Adult Instrumental Classes
“ Danny Caron is an excel- lent teacher, especially for beginners. His instruction is clear, concise and ener- getic. Most important, he motivated us to excel and move forward every week. He is the BEST.”
2019 Fall Quarter / September 23 – December 14 / c jc.edu
frank martin
Adult Instrumental Classes
1918
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 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Steve Erquiaga • $420
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 pm9/29 – 12/8 (10 weeks) no�class�12/1Ricardo Peixoto • $420
Adult Instrumental Classes
MUSIC THEORY AND FRETBOARD KNOWLEDGE FOR GUITARLearn the basics of music theory as applied
to guitar, developing familiarity with the
fretboard through chord, scale and
arpeggio practice. Topics include:
• Overview of chord and scale types
and where they are located
• Chord progressions commonly
used in jazz and related styles
• Comping patterns
• Scale and arpeggio practice
in various positions
• Reading charts and standard
notation (treble clef)
• Transcribing music from recordings
• Basics of melodic improvisation
For students with some playing experience,
knowledge, and facility, 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 6:30 – 8 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Danny Caron • $420
BASSBEGINNING BASSGet off to a strong start learning your
instrument in this class covering the
“bass”ics of what it takes to be an
effective bassist in any genre. From jazz
to funk and everything in between, this
class focuses on topics including right
and left-hand technique, finger dexterity,
neck memorization, the parts of the bass,
theory, reading, transcription and much
more! Perfect for new musicians as well as
seasoned instrumentalists with the desire
to learn more.�Prerequisites:�None.�Open�to�all!�Students�must�bring�a�bass�to�class.
Thursdays 6:30 – 8 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Daniel Lucca Parenti • $420
JAZZ BASSLearn a variety of essential techniques
for constructing strong jazz bass lines
on blues, jazz standards in 4/4 and 3/4,
modal tunes, rhythm changes, and ballads.
Techniques for soloing are also covered.
Perform bass lines in class each week with
piano accompaniment provided by the
instructor. Recommended for upright and
electric bassists interested in participating
in the Jazzschool’s ensemble program.
Prerequisites:�intermediate�technical�facility�and�some�ability�to�read�music.
Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Glenn Richman • $420
Adult Instrumental Classes
dan parenti
2019 Fall Quarter / September 23 – December 14 / c jc.edu
ricardo peixoto
20 21
DRUMS AND PERCUSSION
JAZZ DRUMMINGA hands-on course covering essential skills
for jazz drum set playing. Topics covered
include time and feel, jazz-specific
technique, idiomatic grooves, brush
playing, limb independence exercises,
soloing, song forms, and the drummer's
role within a jazz group. In addition to
written exercises, the class will study
listening examples featuring many of the
pioneers of jazz drumming. Recommended
for all drummers interested in developing
and refining the skills necessary to
become a well-rounded and in-demand
jazz drummer. Prerequisites:�functional�drumset�technique.
Wednesdays 6:30 – 8 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Jon Arkin • $420
SAXOPHONEBEGINNING SAXOPHONEAn introduction to the saxophone utilizing
simple ensemble arrangements to get a
head start on fingerings, sound production
and reading in a fun and musical way. All
saxophones are welcome! Prerequisites:�none,�for�complete�beginners.�Instructor�consultation�is�required.�Please�call�510.845.5373.
Mondays 6:30 – 8 pm9/23 – 12/2 (9 weeks) no�class�1�1/25Performance date: Monday 12/9Bill Aron • $380
THEORYINTRODUCTION 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 text: Practical�Theory�Complete by Sandy Feldstein
(available at the CJC Bookstore).
Prerequisites:�None,�open�to�all��instrumentalists�and�vocalists.
Thursdays 6:30 – 8 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Jason Levis • $420
IMPROVISATIONBEGINNING JAZZ IMPROVISATIONA 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.
Prerequisites:�Facility�on�an�instrument�and�ability�to�play�all�major�scales�from�memory.
Thursdays 6:30 – 8 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Rob Ewing • $420
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.
Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Glenn Richman • $420
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 impor-
tantly, develop two or three songs
to be workshopped and refined in real
time over the course of the term.
Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Rachel Efron • $420
Theory, Improvisation, CompositionAdult Instrumental Classes
jon arkin
2019 Fall Quarter / September 23 – December 14 / c jc.edu
22 23
TECHNIQUE ANDMUSICIANSHIP
APPLIED VOCAL TECHNIQUE: BUILDING REPERTOIREThis is a class for singers who want to
expand their repertoire while incorporat-
ing and applying best practices of vocal
technique. Each session will include
warm-ups and exercises designed to
maximize vocal range, flexibility, support,
dynamic control, and intonation. Instructor
will provide charts (in appropriate keys)
that students will select from a list of 100+
jazz standards and classics of rock/soul in
a variety of styles (swing, bossa, bebop,
funk, soul, Latin); students may also bring
their own charts. This class is not a
performance class but rather an opportu-
nity to workshop new material each week
while expanding and improving vocal
technique. Prerequisites:�Beginning�Jazz�Singing�and/or�Vocal�Technique�Essentials.
Thursdays 4:45 – 6:15pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Andrea Claburn • $420
VOCAL TECHNIQUELearn a variety of vocal exercises to
condition, strengthen, and keep your voice
healthy. We will learn about the founda-
tions of breath support and body align-
ment, and use technical exercises to
improve range, intonation, breath manage-
ment, and dynamic control. We will also
discuss how vowel formation, placement
and ability to change tone quality can
support your unique sound as a vocalist,
and directly apply these techniques to
songs you are working on. Applicable to
all contemporary vocal styles. Open to all!
Mondays 6:30 – 8 pm9/23 – 12/2 (10 weeks) no�class�1�1/25Danielle Wertz • $420
MUSICIANSHIP FOR SINGERSThis class covers the essential skills singers
need in order to be confident members of
any ensemble, grounded in theoretical
understanding and embodied knowledge.
Topics covered will include how to read
through a chart, understand key signa-
tures, and communicate feels and tempos,
as well as an introduction to chords,
scales, and modes, sight-reading, and
beginning keyboard exercises.
Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Tatyana Dimitrova • $420
andrea claburn
Adult Vocal Classes
PERFORMANCE jazz
BEGINNING JAZZ SINGINGIn this class, students new to jazz will learn
to create a focused, relaxed, skilled and
authentic performance. The teacher will
introduce basic musicianship concepts as
well as warm-up exercises, understanding
and singing in different grooves, finding
suitable songs, ascertaining the correct key,
understanding the song form, preparing a
leadsheet, and creating a home practice
plan. A pianist joins the class halfway
through the quarter, and students will further
develop the songs by working on sub-text,
interpretation, communicating with the
accompanist, singing in different feels, and
setting up and counting off songs. This class
includes an end-of-quarter performance.
Section 1: Mondays 4:45 – 6:15pm9/23 – 12/2 (10 weeks) no class 11/25
Performance date: Monday 12/9Danielle Wertz • $420
Section 2: Thursdays 6:30 – 8pm9/26 – 12/5 (10 weeks) no class 11/28
Performance date: Thursday 12/12Cecilia Engelhart • $420
INTERMEDIATE JAZZ SINGINGThis class covers a range of jazz vocal
essentials including lyric interpretation,
style, rhythm, and feel. Students explore
improvisation and harmony in depth while
also learning to create their own 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 Beginning Jazz Singing class or have approval from
the Chair or the instructor.
Thursdays 8:15 – 9:45 pm9/26 – 12/5 (10 weeks)�no�class�1�1/28Performance date: Thursday 12/12Cecilia Engelhart • $420
FOR THE LOVE OF SINGINGThis popular class has been part of the
Jazzschool curriculum for years. It’s open
to all, from aspiring singers to former
vocalists who took a break to concentrate
on education, career or family, and now
long to return to singing. You’ll work with
a professional accompanist and receive
individual instruction aimed at eliminating
whatever hurdles keep you from singing
the songs you love with joy and confi-
dence. The class will also touch on mic
technique and basic performance skills, so
you’ll be well-prepared to perform a song
or two for the end-of-quarter recital. Music
is available, but you are encouraged to
bring in your own favorites.
Saturdays 10 – 11:30 am9/28 – 12/7 (10 weeks) no�class�1�1/30Performance date: Saturday 12/14Pamela Joy • $420
Forauditionsandmoreinformation
aboutourVocalprogramsplease
LaurieAntonioli,510.845.5373ext21
2019 Fall Quarter / September 23 – December 14 / c jc.edu
24
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 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Pamela Rose • $420
25
JAZZ VOCAL STYLESFrom Billie Holiday and Sarah Vaughan to
Mark Murphy, Kurt Elling, Gretchen Parlato
and beyond, the various styles of jazz
singing cover a lot of territory. This class
explores several versions of the same jazz
standard as sung by a range of masterful
singers, both classic and contemporary.
Through learning a tune sung by four
master jazz vocalists, students will gain
new ideas to help develop their own
unique style of jazz singing. We will
explore, sing, and absorb the musical and
stylistic devices employed by these great
artists; and then, students will work on
their own songs, using what we have
learned to prepare a piece for the
end-of-quarter student performance.
Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Sandy Cressman • $420
CONTEMPORARY VOCAL STYLES Learn 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 tech-
nique. This class culminates in an end-of-
quarter performance. Prerequisites:�none!��Open�to�all.�
Mondays 8:15 – 9:45 pm9/23 – 12/2 (10 weeks) no�class�1�1/25
Performance date: Monday 12/9Amanda Addleman • $420
azure mccall
THE IMPROVISING JAZZ SINGERStructured in a classic master class
format, this supportive, fun and adven-
turous course allows students to bring
in repertoire of their choice including
the Great American Songbook, bebop
and classic jazz tunes. The instructor will
coach vocalists on phrasing, interpreta-
tion, feel, improvisation and working with
a pianist in preparation for the end-of-
quarter student performance. During the
first class, students will learn how to get
their sheet music and songs together in
the proper key and format. Open to all!
Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks) no�class�1�1/27Performance date: Wednesday 12/11Azure McCall • $420
LYRIC WRITING — A TOOLBOX FOR CREATIVITYThis course will provide students with
techniques and ideas to guide and inspire
them to produce innovative, original lyrics.
Formatted as a writer’s workshop–style
class, students will do in-class writing and
share their work with their classmates.
Whether you've never written a lyric or
have some experience and are looking for
inspiration and new ideas, it's guaranteed
that you will finish the term with new
material, translating into new repertoire!
Topics include: getting started; rhyming;
collaborating; differentiating between
poetry and lyrics; examining both univer-
sal and personal stories; and looking at
and employing some fun angles, exercises,
and perspectives. Students will write both
in class and outside of class with weekly
assignments. Please bring a notebook and
pens. Handwritten work is highly encour-
aged! Open to all!
California�Jazz�Conservatory�Vocal�Chair,�Laurie�Antonioli,�has�been�writing�and�recording�original�lyrics�for�over�30�years.�From�her�first�release�in�1985,�Soul Eyes,��to�her�2019�release,�The Constant Passage
of Time,�her�collaborations�with�iconic�jazz�composers�have�been�a�trademark�in�her�body�of�work.�She�values�the�craft�of�writing,�as�much�as�original�ideas�or�personal�stories,�and�has�developed�numerous�techniques�to�provoke�creativity�and�new�text.�This�has�informed�her�own�work�and�heightened�her�appreciation�of�the�skillful�lyrics�written�by�others�—�from�the�Great�American�Songbook�to�Joni�Mitchell�and�beyond.
Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks)�no�class�1�1/27Laurie Antonioli • $420
2019 Fall Quarter / September 23 – December 14 / c jc.edu
AdultVocalClasses AdultVocalClasses
pamela rose
AdultVocalClasses
26 27
AdultVocalClasses
THE SINGER AND THE SONGAll the best jazz singers are master
musicians and storytellers. This class will
focus on developing our skills as singers,
artists and song interpreters. Topics
include choosing the right song; using
various grooves, tempos and arrange-
ments; learning and memorizing the
melody and lyrics; phrasing; improvisation
skills; communicating with an accompa-
nist; and stage presence. In this supportive
and challenging environment, students
work on these skills and create arrange-
ments 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�—�telephone�consultation�required,�510.845.5373.
Sundays Noon – 3 pm11/3, 10, 17, 24, 12/8
Maye Cavallaro • $495
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�consul-tation�required.�Call�510-845-5373�for�more�information.
Section 1 Tuesdays 6:30 – 8 pm
Section 2 Tuesdays 8:15 – 9:45 pm9/24 – 12/3 (10 weeks)�no�class�1�1/26Performance date: Tuesday 12/10
Laurie Antonioli • $460
blues
BLUES VOCAL FUNSHOP 1 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 pm9/25 – 12/4 (10 weeks)�no�class�1�1/27Performance date: Wednesday 12/11Pamela Rose • $420
BLUES AND GROOVE ENSEMBLEFor�description,�dates�and�times,�see�p.�13
Danny Caron and Anthony Paule • $420
BLUES VOCAL FUNSHOP 2 Great Blues WomenThe fierce, audacious voice of women
in the blues is a fascinating and often
overlooked piece of cultural history.
Instructor Pamela Rose (author of the
show "Blues is a Woman") will take
the students on a journey from before
Ma Rainey through Susan Tedeschi during
this 10-week course. Each student will
master one or two songs while expanding
their vocal chops and band leading skills.
Classes are accompanied by Danny Caron
on guitar, with rhythm section added last
few weeks.�Prerequisites:�Must�have�taken�Blues�Funshop�1�at�least�once,�and�get�permission�from�the�instructor.
Wednesdays 8:15 – 9:45 pm9/25 – 12/4 (10 weeks)�no�class�1�1/27Performance date: Wednesday 12/11Pamela 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 2 instrumental ensemble (see page
13) 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 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Edgardo Cambón • $420
ensemble singing
VOCAL JAZZ ENSEMBLESing full vocal ensemble arrangements
recorded by The Manhattan Transfer, The
Hi-Lo’s, Lambert, Hendricks & Ross and
more. Arrangements are hand-tailored to
the ability and interest of the ensemble
members. Repertoire includes a combina-
tion of a cappella and accompanied tunes.
Learn how to learn this music, with a little
bit of added history for fun. Rehearsal
tools are made available (including sound
files with individual parts as well as the
entire arrangement). Male and female
singers of all ages are welcome. Prerequi-sites:�some�vocal�experience�is�necessary,�either�in�choirs�or�solo�voice.
Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Angie Doctor • $420
2019 Fall Quarter / September 23 – December 14 / c jc.eduangie doctor
28 29
AdultVocalClasses
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.
“ 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 and rehearsing the band, selecting material, developing arrangements, organizing set lists, wardrobe, stage presence and more — it is a very broad education. Having an experienced, supportive, friendly professional to guide me through the process was an invaluably helpful experi-ence. It requires a lot of time, effort and dedication, but if you want your singing to make the quantum leap from performing at open mics and recitals to owning the stage for an entire show, there’s nothing better out there.”
This program also includes:
• A professional sound technician and quality live recording of your performance
• Staff at the door and on-site during the performance
• Guidance in marketing and promotion, including how to prepare publicity materials
• Inclusion in California Jazz Conservatory advertising, marketing and publicity
• A percentage of 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.
CANTA BRASILThis class will explore various genres of
Brazilian songs, including samba, bossa
nova, choro, baião and frevo. We will learn
a song from each genre and its historical
and regional roots. We will study the
unique rhythmic feels and phrasing of each
genre, incorporating some simple percus-
sion instruments while preparing songs for
the end-of-quarter student performance.
Tuesdays 6:30 – 8 pm9/24 – 12/3 (10 weeks) no�class�1�1/26Performance date: Tuesday 12/10Sandy Cressman • $420
BRAZILIAN ENSEMBLEFor�description,�dates�and�times,�see�p.�12Marcos Silva • $420
WORLD GROOVE ENSEMBLE: CARIBBEAN & LATIN AMERICANFor�description,�dates�and�times,�see�p.�13Jennifer Jolly • $420
funk
FUNK ENSEMBLEFor�description,�dates�and�times,�see�p.�12Daniel Lucca Parenti • $420
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.
Saturdays 1:30 – 3 pm9/28 – 12/7 (10 weeks) no�class�1�1/30Rachel Efron • $420
YOUNG SINGERS
VOCAL PERFORMANCE FOR TEENS This class explores the essentials of vocal
performance including healthy vocal
technique, repertoire development, and
performance skills. Students are encour-
aged to bring in songs ranging from pop
and R&B to jazz standards and bebop.
The instructor can also recommend music
based on interest and level. Students learn
how to determine a comfortable key for a
song, count off a tune, and communicate
effectively with an accompanist. The class
culminates in a performance showcasing
material developed over the 10-week
session. All levels are welcome, for ages
12 – 18.
Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks)�no�class�1�1/27Performance date: Wednesday 12/11Danielle Wertz • $420
maye cavallaro
Adult Vocal Classes
VOCAL WORKSHOPS
CREATING A NEW PATH THROUGH THE GREAT AMERICAN SONGBOOKwith Kate McGarry and Keith Ganz
Through 15 years of performing and
teaching together, 2-time Grammy
nominees Kate McGarry and Keith Ganz
have created a set of engaging exercises
that make it easier for singers to hear
and navigate chord changes, develop
harmonic and rhythmic independence,
and become fluent in the language of jazz
as used by Ella Fitzgerald, Sarah Vaughan,
and Carmen McRae. You’ll come away with
new tools and a road map for developing
fluency and artistry as a jazz singer.
Sundays, September 15 and 22, 11 am – 4 pm$200 advance, $215 day of workshop
BOOKING YOUR OWN TOUR with Blue Tango Project For�full�description,�see�p.�42Sunday, September 8, Noon – 3 pm$50 advance, $65 day of workshop
AdultVocalCourses
31
AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES — Unsung Gems with Maye Cavallaro
The Great American Songbook is a
collection of tunes written from 1930–1950
and is a vital part of the repertoire of jazz
musicians. There are also many songs
written after 1950 that qualify as stan-
dards. In this workshop we’ll explore the
music of several different composers and
lyricists, and songs written after 1950.
We’ll also listen to how some jazz greats
have interpreted these songs and get
ideas for our own arrangements. Students
will be provided with 10 lead sheets 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. Expect
lots of singing for all 3 weeks!
Sundays, 9/29, 10/6, 10/13, Noon – 3 pm $300 advance, $315 day of workshop
GET DOWN WITH THE CATSwith Faye Carol
Master vocalist and founder of School
of the Getdown, The Dynamic Miss Faye
Carol presents Get Down with the Cats!
Learn songs written and performed by
The Cats: prominent folks in this music
we call jazz, like Thelonious Monk, Benny
Golson, Miles Davis, Abbey Lincoln, Dizzy
Gillespie and more. Study recordings of
vocal interpretations of The Cats' tunes
and bring a song of your choice to
develop. Learn the basics of scat (word-
less vocal improvisation) and listen to
Miss Faye's favorite recorded examples.
Enjoy accompaniment from Miss Faye's
pianist, Joe Warner.
Sunday, September 29, Noon – 4pm$100 advance, $115 day of workshop
kate mcgarry and keith ganz
AdultVocalWorkshops
CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTSwith Lee Brenkman
A workshop in survival skills to help
instrumentalists and singers get the best
results from their sound equipment — from
a single microphone to a complete sound
system — and how to successfully interact
with sound technicians at venues with
sound systems. Learn the tricks of the trade
from Lee Brenkman, one of the Bay Area’s
preeminent sound technicians, to get the
best sound on your gig. Topics covered
include the different types of microphones
and their functions, evaluating equipment
for purchase, and how to set up a small
sound system. Brenkman also addresses
how best to communicate with sound
technicians and making efficient use of
sound check time. This workshop is
attendee-driven — any and all questions
welcome!
Sunday, October 13, 11 am – 1 pm$30 advance, $45 day of workshop
AdultVocalWorkshops
faye carol
30 2019 Fall Quarter / September 23 – December 14 / c jc.edu
AdultVocalWorkshops
INSIDE THE LYRICSwith Ed Reed
Ed Reed has been singing since he was
a child. Now, at the age of 90, he has had
a lot of time to think about music and talk
about it with others! He released his first
recording at the age of 78 and continues
to work on new songs and new projects.
In this workshop, students will sing a
song of their choice with a professional
accompanist. Mr. Reed will guide them
through the art of interpreting a lyric.
Topics include pronunciation, breathing
and phrasing as suggested by the nature
of the lyric, as well as methods of commu-
nicating the story to highlight nuance
and irony. Singers of all levels are
welcome.
Sunday, October 6, Noon – 3pm$75 advance, $90 day of workshop
amy dabalos
ed reed
THE ART OF THE COVER SONGwith Amy Dabalos
Cover songs are everywhere. Audiences
and listeners alike are drawn to music they
recognize, especially when the artist puts
an exciting spin on it. Bridging the gap
between jazz, soul, R&B, and contempo-
rary vocal styles, Bay Area songstress
Amy D. has developed a formula that
works. A successful cover honors the
original song while bringing something
new. In this masterclass, students will
learn the difference between imperson-
ation and interpretation; identifying tools
that make a song one’s own. As a class,
we will listen to a song and reimagine it
in various styles with live accompaniment.
Students should also bring a song and
lead sheet of their choice to work on
individually. Open to all!
Sunday, November 3, Noon – 3 pm$50 advance, $65 day of workshop
THE BUSINESS OF GOOD PROMOTION AND BOOKING GIGS with Lilan Kane
A two-part workshop covering the essentials of creating a press kit, booking successful gigs and more.
Part 1: Creating a Press Kit
• What is a press kit and do you even
need one?
• How do I write a great bio?
• What is networking and why is it
essential?
• How do you brand yourself —
what is branding?
• How important is social media?
Part 2: How to Book a Successful Gig
• Approaching the venue
• Sealing the deal
• Creating your setlist and leading
an effective rehearsal
• Getting people to show up
• How to use that momentum to build
your fan base and online presence
Open to all instrumentalists and vocalists.
Sunday, October, 20 and 27, Noon – 3pm
$100 for both weeks advance purchase,
$115 day of workshop
Lilan�Kane�is�a�professional�vocalist�who�holds�a�degree�in�Music�Business�and�Management�from�Berklee�College�of�Music.�She�worked�and�interned�at�Atlantic�Records,�Jazz�at�Lincoln�Center,�Revive�Music�Group,�Upper�11�Records�&�Manage-ment,�Wide�Hive�Records,�and�ran�her�own�management�company�LK�Management�out�of�NYC.�In�2016,�she�created�and�launched�one�of�the�top�private�event�bands�in�the�San�Francisco�Bay�Area,�Hella�Fitzgerald,�employing�over�100�musicians�and�booking�events�and�musicians�from�SF�to�LA.�As�a�recording�and�performing�artist,�she�has�released�three�albums,�sold-out�local�venues�Yoshi’s�and�SFJAZZ�and�is�preparing�for�an�East�Coast�tour�this�fall.�She�is�passionate�about�educating�musicians�and�artists�on�how�to�under-stand�the�music�business�in�order�to�
further�their�careers.
lilan kane
33
Young Musicians Program
35
ALEXANDER TECHNIQUE FOR MUSICIANS with Laura KleinFor�full�description,�see�p.�46Sunday, October 20, 11 am – 1 pm$30 advance, $45 day of workshop
danielle wertz
34
Young Musicians Program
TheJazzschoolYoungMusicians
Programisayear-round
comprehensivemusiceducation
andperformanceprogram
designedforinstrumentaland
vocalstudentsbetweentheages
of11and18.TheYoungMusicians
Programhasbeenatthecenter
oftheJazzschool’seducational
andartisticgoalssince1997.Its
curriculumprovidesstudents
withtheopportunitytowork
withprofessionaljazzartists
andeducators,strengthening
performanceskills,expanding
knowledgeofjazztheoryand
improvisation,andlearningmore
aboutthefoundationsofjazz
andrelatedstylesofmusic.
Studentsparticipateinafter-school
classesandinmasterclasseswith
nationallyknownjazzartists,as
wellasperforminginvenues
throughouttheSanFrancisco
BayAreaandbeyond.2019 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
erik jekabson
“ It’s the only place that I know of that offers such high level jazz ensembles for middle and high school students. Last year, my school music program was not challenging enough for me. I loved being involved!”
EVERYTHING YOU NEED TO KNOW ABOUT MAKING A LEAD SHEETwith Danielle Wertz
If you've spent any time singing with a pianist
or a full band, chances are you've handed
them some sort of sheet music.
But what happens when the music from your
book or online isn't in your key? What if you
have a clear intro and ending in mind but
that's not part of the lead sheet you've found?
What do you do when there's a whole extra
part for the pianist that a bass player wouldn't
need to see? In this workshop, we will learn
all of the essentials for making a simple, clear,
legible lead sheet. We will talk about what
instrumentalists look for in a helpful lead
sheet and what extra information often gets
in the way of clarity. For this workshop, we
will be making lead sheets by hand, so music
notation software is not required. Please bring
in one piece of music that you would like to
transform to lead sheet format throughout
the workshop. Open to all.
Sunday, October 27, Noon – 3 pm$30 advance, $45 day of workshop
“I loved being at the Jazzschool — seeing other musicians (and aspiring musicians) of all ages, hearing the sounds of jazz wafting through the space.”
Young Musicians Program
36 37
PLACEMENT AND AUDITION REQUIREMENTS FALL 2019
AUDITION MATERIALSEntering musicians are asked to prepare
two skill-level appropriate jazz standards,
improvise over a 12-bar blues (optional) or
rhythm changes (for high school students
only) and sight-read.
HOW TO SCHEDULE AN AUDITION To schedule an audition, please apply
online at: cjc.edu/youth_auditions
After your application is received, you will
be contacted within 1 – 2 weeks with an
audition time. Auditions are scheduled on
a first-come, first-served basis and will be
scheduled at the earliest available time.
Students will be contacted with placement
information following the audition.
AUDITION DATESStudio Band August 17 – 18, 2019
Small Ensembles and Advanced High School Jazz Workshops August 24 – 25, 2019
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 at cjc.edu/youth_ auditions. On the application form, please
select 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 Program Director, Erik Jekabson,
[email protected] or 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.
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
performs frequently and participates in
competitions throughout the U.S. The
Studio Band has played at Yoshi’s and
Savanna Jazz, as well as jazz festivals
in California, New York, Seattle, Idaho,
the Vienne Jazz Festival in France and the
Montreux Jazz Festival in Switzerland. Full
school year commitment is required.
Instrumentation: 5 saxes, 5 trumpets, 5
trombones, guitar, piano, bass and drums.
Mondays 6:30 – 8 pm9/23 – 12/2 (10 weeks) no class 1 1/25Dave Eshelman • $230
Please note that all ensemble
prices on pages 37 – 41 are
priced for the quarter.
dave eshelman
38 39
Young Musicians Program
38 39
The Monterey Jazz Festival — California Jazz ConservatoryPartnership for Excellence
in Jazz Performance and Education
The California Jazz Conservatory is pleased to announce a new
“Partnership for Excellence in Jazz Performance and Education”
with The Monterey Jazz Festival ! We’re joining forces to form
a new long-term, collaborative program designed to
share our strengths, in pursuit of our mutual mission
to support and promote the art form of jazz.
The newly designated affiliation is a continuation of
the successful three-year relationship, established in 2017,
between CJC and MJF’s Next Generation Jazz Festival.
In addition to sharing our faculty knowledge and expertise,
the new partnership will share programs, marketing
and facilities on a long-term basis, as well
as providing year-round performance
opportunities for both organizations.
We welcome our new partners and we look forward to
working together with The Monterey Jazz Festival —
to the long-term benefit of jazz performance
and jazz education!
The California Jazz Conservatory is pleased to announce:
The Monterey Jazz Festival — California Jazz ConservatoryPartnership for Excellence
in Jazz Performance and Education
The California Jazz Conservatory is joining forces with the
Monterey Jazz Festival to form a long-term, collaborative effort
“The Monterey Jazz Festival-California Jazz Conservatory
Partnership for Excellence in Jazz Performance and Education.”
This new partnership is designed to utilize the two organizations’
respective strengths in pursuit of their shared mission to
support and promote the jazz art form.
A continuation of the successful three-year sponsorship
established in 2017, to support the annual Monterey Jazz Festival’s
Next Generation Jazz Festival, the two organizations will share
faculty and facilities, develop mutually beneficial marketing
initiatives and provide one another with performance
opportunities year-round.
The California Jazz Conservatory warmly welcomes this
new partnership and looks forward to working together with
the Monterey Jazz Festival to forward the performance
and education of America’s treasured art form, jazz.
38
The California Jazz Conservatory is pleased to announce:
Young Musicians Program
40 41
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.
Participate in various competitions and
festivals.
Section 1: Mondays 4:45 – 6:15 pm9/23 – 12/2 (10 weeks) no class 1 1/25Michael Zilber • $420
Section 2: Mondays 4:45 – 6:15 pm9/23 – 12/2 (10 weeks) no class 1 1/25Colin Hogan • $420
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 1: Mondays 4:45 – 6:15 pm9/23 – 12/2 (10 weeks) no class 1 1/25Colin Hogan • $420
Section 2: Wednesdays 4:45 – 6:15 pm 9/25 – 12/4 (10 weeks) no class 11/27Erika Oba • $420
Section 3: Thursdays 4:45 – 6:15 pm 9/26 – 12/5 (10 weeks) no class 1 1/28Erika Oba • $420
Section 4: Saturdays 11:45 am– 1:15 pm9/28 – 12/7 (10 weeks) no class 1 1/30Isaac Narell • $420
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 1: Mondays 4:45 – 6:15 pm 9/23 – 12/2 (10 weeks) no class 1 1/25Raffi Garabedian • $420
Section 2: Mondays 6:30 – 8 pm 9/23 – 12/2 (10 weeks) no class 1 1/25Colin Hogan • $420
Young Musicians Program
2019 Fall Quarter / September 23 – December 14 / c jc.edu
Section 3: Tuesdays 4:45 – 6:15 pm 9/18 – 11/27 (10 weeks) no class 11/20Charles Hamilton • $420
Section 4: Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks) no class 11/27Rob Ewing • $420
Section 5: Wednesdays 6:30 – 8 pm9/25– 12/4 (10 weeks) no class 11/27Rob Ewing • $420
Section 6: Thursdays 4:45 – 6:15 pm 9/26 – 12/5 (10 weeks) no class 1 1/28Colin Hogan • $420
Section 7: Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no class 1 1/30Colin Hogan • $420
Section 8: Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no class 1 1/30Darren Johnston • $420
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 1: Saturdays 10 – 11:30 amSection 2: Saturdays 11:45 am – 1:15 pm9/28 – 12/7 (10 weeks) no class 1 1/30Jon Monahan • $420
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 instructor
can also suggest repertoire suitable for
individual students. Build vocal technique
through a variety of warm-up, ear-training
and musicianship exercises.
Wednesdays 4:45 – 6:15 pm9/25 – 12/4 (10 weeks) no class 11/27Danielle Wertz • $420
erika oba
4342
Workshops
BOOKING YOUR OWN TOUR with Blue Tango Project
It’s the dream of every musician to go out
on tour, connect with fans, conquer hearts
and souls and live the adventures that will
embellish the rest of our lives. Music was
meant to move but, as many find, the
obstacles to touring can become over-
whelming.
The Blue Tango Project — the soulful duo
comprised of Argentine Latin Grammy-
nominee María Volonté and harmonica
player Kevin Carrel Footer — shares the
nuts and bolts of the approach that has
kept them on the road for much of the
past 10 years and taken them from Boise
to Caracas to Kosovo and seen them
freely mix travel in chauffeured embassy
limousines with sleeping in Wal-Mart
parking lots.
Discover why you don’t have to be famous
to tour the world with your music but you
do have to be focused and smart and find
your niche. Learn why the first thing to
leave behind for successful touring is
your ego.
BILL EVANS — HIS LIFE AND MUSICwith Dave Thompson
An in-depth look at legendary jazz pianist
Bill Evans’ life and music. The workshop
will focus both on Bill’s compositions and
his harmonically rich approach to jazz
standards, with a hands-on approach to
provide clear insight into his composi-
tional talent and his remarkable ability
to create such profound harmonic and
melodic beauty. The workshop will also
take a probing look into Bill’s personal
life, with material gathered from many
of Bill’s contemporaries, friends, family
and colleagues. Dave Thompson has
spent time with, and has had conversa-
tions with many of the people intimately
involved with Bill during his life and career,
including Bill’s widow, Nenette Evans, and
Laurie Verchomin, with whom Bill lived
the last year of his life. Participants will be
provided extensive written materials as
a complement to the workshop.
Saturday, September 28, 3:15 – 5:15 pm$30 advance, $45 day of workshop
CRASH COURSE IN SOUND SYSTEMS FOR PERFORMING INSTRUMENTALISTS AND VOCALISTSwith Lee Brenkman
A workshop in survival skills to help
instrumentalists and singers get the best
results from their sound equipment —
from a single microphone to a complete
sound system — and how to successfully
interact with sound technicians at venues
with sound systems. Learn the tricks of the
trade from Lee Brenkman, one of the Bay
Area’s preeminent sound technicians, to
get the best sound on your gig. Topics
covered include the different types of
microphones and their functions, evaluat-
ing 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!
Sunday, October 13, 11 am – 1 pm$30 advance, $45 day of workshop
JAZZ VOCAL WORKSHOP — AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES — Unsung Gems with Maye CavallaroFor full description, see p. 30Sundays, 9/29, 10/6, 10/13, Noon – 3 pm $300 advance, $315 day of workshop
JAZZ VOCAL WORKSHOP — INSIDE THE LYRICSwith Ed ReedFor full description, see p. 32Sunday, October 6, Noon – 3pm$75 advance, $90 day of workshop
Workshops
blue tango project
We don’t have all the answers, but we
have found a way that works for us and
has kept the adventure full of joy. Join us
for a 3-hour workshop where we will share
concrete advice (and some colorful
anecdotes) to help you take your music
where it wants to go.
Sunday, September 8, Noon – 3 pm$50 advance, $65 day of workshop
JAZZ VOCAL WORKSHOP — CREATING A NEW PATH THROUGH THE GREAT AMERICAN SONGBOOKwith Kate McGarry and Keith GanzFor full description, see p. 30Sundays, September 15 and 22, 11 am – 4 pm$200 advance, $215 day of workshop
JAZZ VOCAL WORKSHOP —GET DOWN WITH THE CATSwith Faye CarolFor full description, see p. 31
Sunday, September 29, Noon – 4 pm$100 advance, $115 day of workshop
2019 Fall Quarter / September 23 – December 14 / c jc.edu
44 45
HOW TO TALK TO DRUMMERSwith Alan Hall
Have you ever wondered, “What exactly
is a mambo groove?” or “What do I want
from the drummer exactly?” The drummer’s
role is slightly different than other players
in that we are expected to come up with
parts that often aren’t actually written
down anywhere. If we’re lucky enough to
get a lead sheet, we may come up with the
right groove for the person in charge of the
gig, but we might not. We are often given
vague directions like “It’s a Latin groove” or
“It’s a funk groove,” as opposed to a more
specific, “It’s a 3-2, 6/8 folkloric bembe
groove” or “It’s a half-time feel, straight 1/16
note type funk groove.”
Now’s your chance to freely ask questions
and hear and record examples of different
grooves performed and described by a
versatile professional drummer. Join
veteran drummer Alan Hall in this free-
wheeling and enlightening unlocking of
the often un-fathomable drummer’s mind.
Sunday, October 6, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
DIFFERENT SHADES OF JAZZ DRUMMINGwith Alan Hall
An exploration of the many different
schools of jazz drumming, from dixieland
to bebop to fusion to modal jazz to ECM to
odd times. What factors distinguish these
schools of playing from each other? We
look into many aspects of jazz drumming
including: cymbal tone and variation,
pattern vs. non-pattern based approaches,
floating time, broken time, ECM, hard bop
and early fusion versus contemporary
fusion. We will listen to and work through a
number of examples covering the range of
current approaches to jazz drumming.
Sunday, October 6, 2 – 4 pm$30 advance, $45 day of workshop
Workshops Workshops
BOOGIE WOOGIE WORKSHOP: WEST COAST BOOGIE — Pete Johnson and Hadda Brookswith Wendy DeWitt
Pete Johnson and Hadda Brooks both
recorded for the Bihari Brothers’ Modern
Records label in Los Angeles in the late
40s, after the initial popularity of Boogie
Woogie (triggered by the Spirituals to
Swing Carnegie Hall Concert, and lengthy
run of Pete, Albert Ammons and Meade Lux
Lewis at New York’s Café Society) began to
fade. We’ll look at two versions of “Swingin’
the Boogie.” Both Johnson and Brooks
recorded tunes with that title and both
have ended up being attributed to Hadda
Brooks. We’ll learn the left hand patterns,
right hand phrases, tricks on how to put
the hands together, and dissect the licks
and styles of each artist to fuel your own
improvisation. Participants will receive a
complete transcription. Recommended for
intermediate and above. Bring a recording
device, notebook, and writing implement.
Sunday, October 13, 2 – 4 pm$30 advance, $45 day of workshop
dave meder
LIBERATING THE PIANIST’S LEFT HAND: Exercises for Coordinated Improvisation with Dave Meder
For countless students of jazz piano,
mastering the left hand remains one of
the most difficult and elusive aspects
of practice. How do you obtain a basic
left-hand technique? With so many
different styles, how do you practice them
or better yet, where do you start? This
workshop shows you a unified, singular
method for coordinating your left hand
with your right hand, giving you a set of
tools to practice a variety of left hand
styles, from the Harlem stride style of
Fats Waller and James P. Johnson, to the
Freddie Green style left hand of Erroll
Garner, to the contrapuntal left hand
techniques of Brad Mehldau and Fred
Hersch, and everything else in-between.
Through group exercises, you will also
develop a functional method for using the
left hand to interact with a rhythm section.
Even for non-pianists, this workshop will
help establish a broader rhythmic vocabu-
lary in your own improvisations.
Sunday, October 13, 11:30 am – 1:30 pm
$30 advance, $45 day of workshop
THE ART OF THE JAZZ DRUM SOLOwith Jon Arkin
This workshop, open to drummers of all
levels, will explore many aspects of drum
soloing in a jazz context. For beginners,
several basic concepts will be introduced,
such as the drummer’s role & responsi-
bility during a solo, understanding song
forms, trading, and solo vocabulary.
Intermediate & advanced topics will focus
on melodic approaches, thematic develop-
ment, dynamics & time feel, and the
ultimate goal of transcending technique
to be able to express one’s musical voice
without distraction. Listening examples
will be provided, featuring the soloing
approaches of some of the most histori-
cally influential jazz drummers.
Sunday, October 20, 2 – 4 pm$30 advance, $45 day of workshop
“ Jon Arkin’s use of language, and his ability to explain otherwise elusive jazz drumming concepts is as dynamic as his voice on the drum set... He is a guru...”
2019 Fall Quarter / September 23 – December 14 / c jc.edu
4746
THE BUSINESS OF GOOD PROMOTION AND BOOKING GIGS with Lilan Kane
A two-part workshop covering the essentials of creating a press kit, booking successful gigs and more.
Part 1: Creating a Press Kit
• What is a press kit and do you even
need one?
• How do I write a great bio?
• What is networking and why is it
essential?
• How do you brand yourself —
what is branding?
• How important is social media?
Part 2: How to Book a Successful Gig
• Approaching the venue
• Sealing the deal
• Creating your setlist and leading
an effective rehearsal
• Getting people to show up
• How to use that momentum to build
your fan base and online presence
Open to all instrumentalists and vocalists.
Sunday, October, 20 and 27, Noon – 3pm$100 for both weeks advance purchase,
$115 day of workshop
Lilan Kane is a professional vocalist who holds a degree in Music Business and Management from Berklee College of Music. She worked and interned at Atlantic Records, Jazz at Lincoln Center, Revive Music Group, Upper 11 Records & Manage-ment, Wide Hive Records, and ran her own management company LK Management out of NYC. In 2016, she created and launched one of the top private event bands in the San Francisco Bay Area, Hella Fitzgerald, employing over 100 musicians and booking events and musicians from SF to LA. As a recording and performing artist, she has released three albums, sold-out local venues Yoshi’s and SFJAZZ and is preparing for an East Coast tour this fall. She is passionate about educating musicians and artists on how to under-stand the music business in order to further their careers.
ALEXANDER TECHNIQUE FOR MUSICIANS with Laura Klein
Playing an instrument or singing is a
complex process involving not just hands,
embouchure or voice, but your whole self.
Habits of tension and misuse can hinder
free musical expression. The Alexander
Technique is a powerful tool for preventing
injuries, improving overall ease, and
increasing poise in performance. This
method is taught at performing arts
institutions all over the world, and it can
be applied to any activity. In this introduc-
tory workshop, select participants will
receive demonstration hands-on work
with their instrument. Musicians of all
levels, from beginners to professionals,
are welcome.
Sunday, October 20, 11 am – 1 pm$30 advance, $45 day of workshop
CHORO — FROM TRADITIONAL TO MODERN with Duo Violão
Guitarists Rogério Souza (one of the
foremost representatives of the music of
Rio de Janeiro and pioneer of the Choro
Novo style and arranger for a widely used
choro songbook, Choro book Vol. 1) and
Edinho Gerber (a multi-cultural and
genre-crossing artist) have performed
together over the last five years as Duo
Violão, developing a truly unique sound
and approach to performing the music of
their home country. 2019 marks the
release of their first album, A História do Choro, where the duo joins forces with
Ami Molinelli, an American pandeiro player
and percussionist, to create Duo Violão + 1.
Their in-depth and interactive workshop,
developed over many years and presented
at numerous universities, covers the
rhythms and musical genres that helped
Choro become the greatest art form from
Brazil. From the pre-choro style, Lundu,
through Tango-Habanera, Polka, Maxixe
lilan kane
and culminating with Modern Choro
and Choro-Samba, the group traces the
evolution of the music in a clear and
effective way while giving a real sense of
its cultural impact and musical reverbera-
tions it created throughout the world.
Sunday, October 20, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
THE JAZZ PIANO STYLE OF WYNTON KELLYwith Omree Gal-Oz
In this workshop we’ll explore the vocabu-
lary of pianist Wynton Kelly — one of the
most well-known hard bop pianists and
sought-after accompanist for artists from
the mid-50s until the late 60s. First, we’ll
take a look at his voicings and then his
lines playing — specifically over the blues,
Autumn Leaves, and other standards.
The playing concepts considered in this
workshop will be highly applicable to
playing in a regular combo setting.
Sunday, October 27, 2 – 4 pm$30 advance, $45 day of workshop
Workshops
2019 Fall Quarter / September 23 – December 14 / c jc.edu
Edinho Gerber and Rogério Souza
48 49
JAZZ GUITAR MASTER CLASSwith Steve Cardenas
Veteran New York-based guitarist Steve
Cardenas has enjoyed a career of creative
associations with many leading artists in
modern jazz as a member of the Paul
Motian Electric Bebop Band, Charlie
Haden Liberation Music Orchestra, the
Steve Swallow Quintet, and Joey Baron‘s
Killer Joey. Steve is currently a member of
Ben Allison and Think Free, John Patitucci
Electric Guitar Quartet, Jon Cowherd
Mercy Project and Adam Nussbaum Lead
Belly Project. He has toured extensively
throughout Europe, North and South
America, and Asia, performing at interna-
tional music festivals, theaters and clubs.
Steve also leads his own trio and has
released four recordings as a leader.
All jazz guitarists are invited to attend this
special master class where Cardenas will
share his approach to jazz guitar, working
with attendees on jazz standards and
other vehicles for improvisation in a duo
format.
Saturday, November 2, 3:15 – 5:15 pm$30 advance, $45 day of workshop
ben allison
RELEASING YOUR OWN ALBUM with Ben Allison
Called “one of today’s best young jazz
musicians” by the Boston Globe and
a “visionary composer, adventurous
improviser, and strong organizational force
on the New York City jazz scene” by
JazzTimes, Ben Allison has released 13
albums, all of which showcase Ben’s
forward-thinking vision as a bassist,
composer, arranger, producer and mixing
engineer, as well as his hands-on approach
to his craft. In this workshop, Ben will
share his approach to releasing an album.
Topics covered include: What is a record
label?; record production essentials;
distribution; marketing and ownership.
Supplemental hand-outs will be provided.
Saturday, November 2, 3:15 – 5:15 pm$30 advance, $45 day of workshop
steve cardenas
THE PIANO MAGIC OF DR. JOHNwith Jennifer Jolly
Dr. John was one of our great national
treasures: a pianist, singer, composer, and
keeper of the New Orleans cultural flame.
His music synthesized styles ranging from
the Great American songbook to Professor
Longhair. This workshop will demystify
and break down his playing into bite-sized
pieces that you can incorporate into your
own music. Handouts will include transcrip-
tions, listening guides, and suggestions for
further study. Prerequisites: basic piano proficiency and reading, familiarity with major and minor chords. Materials provided by instructor.
Jennifer Jolly teaches keyboard classes and ensembles (Caribbean/Latin American, African, New Orleans, mini malist, and improv) at The Jazzschool, clinics, camps, after-school programs, and her private studio. She currently performs with Pamela Rose’s “Blues is a Woman,” Jennifer Jolly & Friends, The Jolly Gibsons, Kotoja, Zulu Spear, Big B & His Snake Oil Saviors, The Bait & Switch Blues Band, Tom Rigney & Flambeau (sub), Chelle! and Friends (guest), and several other Bay Area groups. She accompanies choruses, churches, and musical theater productions on keyboards,
voice, melodica, and congas.
Sunday, November 3, 11:30 am – 1:30 pm
$30 advance, $45 day of workshop
jennifer jolly
JAZZ VOCAL WORKSHOP — EVERYTHING YOU NEED TO KNOW ABOUT MAKING A LEAD SHEETwith Danielle WertzFor full description, see p. 34Sunday, October 27, Noon – 3 pm$30 advance, $45 day of workshop
VOCAL WORKSHOP — THE ART OF THE COVER SONGwith Amy DabalosFor full description, see p. 32Sunday, November 3, Noon – 3 pm$50 advance, $65 day of workshop
Workshops
“Ms. Jolly is an exceptionally gifted teacher. Her love of the music is obvious and contagious. I would study anything she taught. ”
2019 Fall Quarter / September 23 – December 14 / c jc.edu
larry vuckovich
CELEBRATING THE LEGACY OF BRAZILIAN MUSICwith Larry Vuckovich
Master jazz pianist Larry Vuckovich had
the fortune of becoming acquainted with
the early forms of Brazilian music from
before the bossa nova movement came
on the scene. In the mid-50s, Larry was
introduced to the recordings of Laurindo
Almeida, who played a major role in the
pre–bossa nova movement and later
continued the Brazilian influence that
resulted in what became known as bossa
nova. Almeida knew and performed the
music of two important Brazilian jazz
masters: guitarist Garoto, and pianist
Radames Gnattali. Brazilian master
guitarist Garoto came to the United States
in the 40s with the vocalist/dancer
Carmen Miranda. After performances with
her in New York, Garoto would play late at
night at venues that attracted such greats
as Duke Ellington and Art Tatum, who
became his regular followers.
They were highly impressed by Garoto’s
virtuosity and were moved by this new
form of modern Brazilian music. Both
Garoto and Gnattali were ahead of their
time by combining modern jazz elements
with Brazilian ethnic music and creating
something fresh that paved the way for
the later bossa nova movement. Also in
the mid 50s, Larry became familiar with
Laurindo Almeida’s revolutionary recording
on Pacific Jazz — Brazilliance, that featured
alto saxophonist Bud Shank. This recording
anticipated the Bossa Nova movement that
came a few years later. The famous film
Black Orpheus in the later 50s introduced
compositions by Jobim and Luis Bonfa.
Larry will cover the origins of Brazilian
music from slavery to choro forms including
renowned composer Pixinguinha, one of
the most famous in the choro area, whose
original composition Carinhoso is one of
the most loved. This will be followed by the
new inventions of Garoto and Gnattali and
on to the bossa nova movement. This is a
first-time presentation at the CJC of this
great Brazilian legacy covering in detail all
the important steps of the music from
Brazil. Don’t miss this special presentation!
Sunday, November 10, Noon – 3 pm$30 advance, $45 day of workshop
50 2019 Fall Quarter / September 23 – December 14 / c jc.edu
BEYOND THE BLUES SCALEwith Anton Schwartz
Designed for players accustomed to using
a single scale for each song they impro-
vise over, this interactive workshop
introduces participants to the rich
experience of improvising over changing
harmony. The leap from jamming over a
chord or a blues scale to playing meaning-
fully over moving chords can be over-
whelming; this workshop breaks it down
through progressive exercises that allow
students to HEAR and FEEL the changes
of harmony, paving the way for students
to play over chord changes as a natural
expression of emotion rather than an
intellectual exercise. Participants learn to
improvise over a 12-bar blues like a jazz
musician, bringing out the unique sound
of each part of the blues form, rather than
treating it all as an undifferentiated whole.
Prerequisites: knowledge of major and minor scales and facility on a melodic instrument. Bring your instrument.
Sunday, November 10, 11 am – 4 pm$75 advance, $90 day of workshop
BLUES, I GOT RHYTHM AND THE DYNAMICS OF EXPRESSIONwith Joshua Breakstone
In this workshop, we’ll take a close look
at and play through several different
variations on the blues form including a
range of interesting twists. We’ll also look
at the “I Got Rhythm” progression and
explore and play through several varia-
tions on this ubiquitous form. Through it
all, we’ll discuss the hows and whys of
musical expression — phrasing, the use
of space, using and balancing a range of
note values. We’ll experiment with these
elements, each of which is so essential to
the dynamics of musical expression and
we’ll tie them into everything we’ll be
doing throughout the course of the
workshop. For all instruments.
Sunday, November 17, 11 am – 1 pm$30 advance, $45 day of workshop
joshua breakstone
Workshops
51anton schwartz
53
Jazzschool Faculty
Amanda Addleman (voice) B.M. Performance from Berklee College of Music. Student of Mili Bermejo-Greenspan, Ken Cervenka, Greg Hopkins, Maggie Scott, Lee Strawn & Tierney Sutton. Professional musician with past residencies at The Palace Hotel, Savanna Jazz Club and more. Vocal Program Director at Sir Francis Drake High School and private music educator and clinician.
Laurie Antonioli (voice) Studied at Mt. Hood College and Cal State Long Beach. Chair, Vocal Program, California Jazz Conservatory. Professor and Director of Vocal Jazz Department, Kug U., Graz, Austria. Private studies with Joe Henderson and Mark Murphy. Origin Records recording artist; Nabel Records recording artist; performed and recorded with George Cables, Bobby McFerrin, Richie Beirach, Pony Poindexter, Joe Bonner; bandleader of the American Dreams Band; led international group Foreign Affair; lyricist for Richie Beirach; co-creator of the Pauer— Antonioli Songbook. www.laurieantonioli.com
Jon Arkin (drums)B.M. in Jazz Performance, University of Miami School of Music (now Frost School of Music); has performed internationally with a wide variety of musicians including Lee Konitz, Gene Perla, Grady Tate, Ira Sullivan, Cuong Vu, Dayna Stephens, Taylor Eigsti, Julian Lage, Wil Blades, Vusi Mahlasela, Meklit Hadero, Karl Denson, Stew, Fareed Haque, and many others; longtime member of groups led by Nathan Clevenger, Ian Carey, Adam Shulman, Matthew Charles Heulitt; performs in various configurations with his self-designed electro- acoustic setup, including with the Schimscheimer Family Trio, Jordan Glenn, Rob Ewing, Kasey Knudsen, and Ben Goldberg; has taught classes/lessons/workshops at the CJC/JCMS, Stanford Jazz Workshop, UC Berkeley, Sonoma State U, Humboldt State U, and many other schools around the U.S. and Europe. www.jonarkin.net
Bill Aron (saxophone) M.M. in Performance, SF State; B.A. in Music UC Berkeley. Professional musician and music educator for 46 years; specializing in classical saxophone playing with the San Francisco Saxophone Quartet and San Francisco Symphony among others.
Joe Bagale (drums) Eastman School of Music (1.5 years) currently lead vocalist, keyboardist, guitarist with Mickey Hart Band. Leads Joe Bagale band, performs with Jazz Mafia, Hot Einstein, Disappear Incompletely. www.joebagale.com
David Belove (bass) Studied at SF State and San Francisco Conserva-tory 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.
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
laurie antonioli
2019 Fall Quarter / September 23 – December 14 / c jc.edu52
HOW TO PRACTICEwith Mimi Fox
A step-by-step system for organizing
practice time by covering the three
essential musical building blocks: melody,
harmony, and rhythm. Using songs as
the template we will cover application of
scales, arpeggios, chord voicings, rhythmic
concepts, and more to learn tunes in depth,
expand repertoire, and maximize/enhance
practice time. Open to all instrumentalists.
Sunday, November 17, 2 – 4 pm$30 advance, $45 day of workshop
mimi fox
Workshops
HOT CLUB JAZZ GUITARwith Paul Mehling
This workshop focuses on various aspects
of hot club-style jazz guitar in the tradition
of the legendary Django Reinhardt. Topics
include rhythm, picking, scales, arpeggios,
chords, soloing, and more. One-on-one
evaluation is available to all attendees,
with a directed jam at the conclusion of
the workshop (time permitting). Bring
your instrument, recording device (or
paper and pencil) and questions!
Sunday, November 24, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
THE METRONOME IS YOUR FRIENDwith Paul Mehling
Returning with his popular workshop for
musicians and singers of all levels, Mehling
demonstrates a range of practice tech-
niques making creative use of the metro-
nome. Improve your productivity and
increase your musicianship! Open to all.
Sunday, November 24, 2 – 4 pm$30 advance, $45 day of workshop
paul mehling
54 55
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; B.A. (High Honors, Humanities) University of California at Berkeley. Co-bandleader, Andrea Claburn/Jua Howard Group. Studied vocal technique and performance with Sandy Cressman, Laurie Antonioli, Raz Kennedy, Maye Cavallaro. www.andreaclaburn.com
Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Featured artist with Ray Obiedo’s Mistura Fina and Jai Uttal’s Pagan Love Orchestra. Studio vocalist for Latin and world jazz styles, recently featured on Bossa Nova Dreams with Akira Tana, Branford Marsalis and Arturo Sandoval. Heard on a wide variety of commercials and soundtracks. www.cressmanmusic.com
Tatyana Dimitrova (voice)Bachelor in Jazz Studies and Vocal Jazz Perfor-mance at CJC in process. Jazz teachers are Laurie Antonioli, Theo Bleckmann, Dann Zinn, Jeff Denson, Sandy Cressman, Maye Cavallaro, Raz Kennedy. Also studies with Indian vocalist Ranjana Gathak at the Ali Akbar College of Music as well as workshops with Pandit Uday Bhawalkar, Pandit Nyrmalya Alam Khan. Studied Sound and Music as Healing Arts program at CIIS in San Francisco. She currently studies Yoga of the Voice and Nada Yoga Teacher Training Program under the mentorship of Silvia Nakkach at Vox Mundi Project. Tatyana also studies with Rumen Sali Shopov on her native Bulgarian repertoire of traditional songs.
Angie Doctor (voice) Studied at Foothill College and Gonzaga University (B.A. Music Performance) with Phil Mattson (Foothill and Gonzaga), Terry Summa (Foothill), Tim Smith (Gonzaga). Founding member of the Grammy-nominated PM Singers with Phil Mattson. Performing and recording artist, studio singer, Vocal Jazz adjudicator and clinician, jazz and pop solo coach. Artist-in-residence at Ruth Asawa San Francisco School of the Arts High School, Vocal Jazz Choir. Performed with Bobby McFerrin, Don Shelton, The Hi-Lo’s, Barbara Morrison, The Manhattans, Heatwave, Deneice Williams, Barbara Lewis, GQ, Gene Chandler, Eddie Holman, Barbara Mason, Billy Paul. Founding member and lead singer for Clockwork, currently the Girl in The Bobs.
Jazzschool FacultyJazzschool Faculty
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 composi-tions 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.
Mimi Fox (guitar)International recording/performing artist and five-time DownBeat Magazine International Critics Poll winner. Performed throughout Europe, Asia, the Caribbean and Australia. Festivals include Montreal, Monterey, Guinness Cork, Perth and North Wales International Jazz Guitar Festival. Adjunct professor of Jazz Studies at NYU; guest clinician/artist in residence at Alaska Jazz Workshop, Britt Music Festival, Brubeck Institute, Yale U., CalArts, Cornish College of the Arts, U. of Oregon, USC and Berklee College of Music; featured artist on Marian McPartland’s Piano Jazz on NPR; featured artist, Kennedy Center. Performed with Joey De Francesco, Charlie Byrd, Kenny Burrell, Branford Marsalis, David Sanchez, Stanley Jordan and countless others. www.mimifoxguitar.com
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.
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.
raffi garabedian
2019 Fall Quarter / September 23 – December 14 / c jc.edu
Jazzschool Faculty
danny caron
Jazzschool Faculty
56 57
Jazzschool Faculty
Colin Hogan (piano)B.A. Cal State East Bay. Performances with James Moody, Peter Erskine, Bob Brookmeyer, Roy Ayers, Maria Schneider and hip hop luminaries such as Too $hort, DJ QBert, Dan the Automator, and Lyrics Born. Performed with electric bass revolutionary Larry Graham of Sly and the Family Stone at the 2004 California Music Awards. Pianist and featured soloist on accordion with the Tommy Igoe Big Band in its first-ever weekly residency at Yoshi’s San Francisco. Currently involved in various projects including hip hop/R&B group Dynamic, jazz/groove/experimental collective the Jazz Mafia, international cafe music group Trio Zincalo and jazz/funk/fusion band The Hogan Bros., with brothers Steve and Julian.
Peter Horvath (piano) M.A., Berklee College of Music; Bèla Bartôk Conservatory of Music, Budapest, Hungary; Vienna Conservatory of Music. Performed, toured, recorded with Victor Bailey Group, Bobby Hutcherson, Joe Henderson, Lalah Hathaway, Oakland Symphony, Bob Sheppard, Bennie Maupin, Richie Cole, Ray Obiedo, Lenny White, Randy Brecker, Marcus Miller, Bob Mintzer, Pee Wee Ellis, Arturo Sandoval, arranged and recorded for Aretha Franklin. www.peterhorvath.com
Erik Jekabson (trumpet) M.A. in Composition, SF Conservatory of Music; B. Mus. in Trumpet, Oberlin Conservatory of Music. Toured with John Mayer, Illinois Jacquet and Galactic, and has composed for film and dance projects. Released several albums as a leader. www.erikjekabson.com
Darren Johnston (trumpet)B.A. jazz performance — Cincinnati Conservatory of Music, M.A. composition — Mills College. Adjunct trumpet/jazz professor at UC Berkeley, private instructor at SF Community Music Center, Stanford Jazz Workshop. Performed/recorded with Fred Frith, Marcus Shelby, Myra Melford, ROVA Saxophone Quartet, Meklit Hadero, and many others. Has led United Brassworker’s Front, Nice Guy Trio, Darren Johnston Quintet (featuring Ben Goldberg and Sheldon Brown), Trans-Global People’s Chorus, Broken Shadows, and others.
Jennifer Jolly (keyboards) B.A. UC Berkeley. Keyboards and melodica, multi-instrumentalist, vocalist, composer/arranger, bandleader. Specialist in Americana, blues/R&B, New Orleans, rock’n’roll, Caribbean, and African roots music. Founder of Jennifer Jolly & Friends, co-founder of and composer for The Jolly Gibsons. Additional current projects include Pamela Rose’s touring theatrical concert “Blues is a Woman,” Zulu Spear, Kotoja, Tom Rigney & Flambeau (sub), Chelle! and Friends (guest), Bait & Switch Blues Band, Big B and His Snake Oil Saviors, The Party Monsters, The Linwood Chorus (accompanist), and the Creekside Community Church Worship Band. Previous credits include Phil Lesh, The Broken Angels, Hot Links, Barbara Dane, Rusty Zinn, two dozen theatrical productions, and numerous reggae, blues/New Orleans, singer/songwriter, and country bands; twenty-plus recording credits. Faculty instructor at The Jazzschool, Cazadero Family Camp, Jazzschool Women’s Jazz and Blues Camp, after-school programs, workshops, and private studio.
Pamela Joy (voice)Performed and recorded with some of the West Coast’s finest jazz musicians including pianists Mike Greensill, Art Khu, Ken Muir, John Mackay, Dana Atherton and Dr. Dee Spencer; bass players John Wiitala, Ruth Davies, Daniel Fabricant, Ron Belcher, Paul Breslin and Peter Barshay; guitarist Mimi Fox; and drummer Vince Lateano. San Francisco Bay Area Cabaret Competition Finalist and was invited to perform in the San Francisco Invitational Musicians’ Showcase Vocalist Series and The Jazzschool’s Emerging Artists Series.
pamela joy
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 Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Appeared at the Umbria Jazz Festival, Beijing Conservatory, Davies Symphony Hall, Stern Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz Festival, San Jose Jazz Festival and Theatre Works. Taught at UC Berkeley, The Jazzschool, Redwood High, Bruce Forman’s Jazzmaster series, Jazz Camp West and Blue Bear School of Music.
Azure McCall (voice) Hawaii’s first lady of jazz is a multi-award winning vocalist. She is heir to the vocal tradition of Sarah Vaughan, Carmen McRae and Ella Fitzgerald. Her warmth and sense of humor fuel every interpreta-tion. After releasing her first CD, Body and Soul, she was asked by the great bassist Ray Brown to be his vocalist on tour. Of course, she accepted, beginning an incredible jazz journey — school was in! Soon after, Azure became the first singer to work with Freddie Hubbard’s band. Additional collaborators include Frank Morgan, Tennyson Stephens, Joe Lovano, Geoffrey Keezer, Curtis Lundy, Dizzy Gillespie and many more. In 2008, President Barack Obama asked her to perform at his pre-election party. “That’s why he won,” Azure says (smiling). Azure became the ‘jazz diva’ for Celebrity and Royal Caribbean Cruises. She has traveled to more than 50 countries.
Jon Monahan (guitar) Studied at SFSU School of Music, B.S. in Physiology from UC San Diego. Performance credits include Stevie Wonder, Roy Ayers, Mary Wilson, Lyrics Born, Gift of Gab, Digital Underground, Qbert, Fantastic Negrito, Jack Johnson, Rogue Wave, with performances at the Monterey, Montreal, Newport, Playboy and Kathmandu Jazz Festivals, and on TV at Jimmy Kimmel Live.
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.
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
2019 Fall Quarter / September 23 – December 14 / c jc.edu
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Jazzschool Faculty
Susan Muscarella (piano)B.A. in Music Composition, UC Berkeley. Ph.D. candidate in Musicology, University of Évora, Portugal. Founder and Executive Director, California Jazz Conservatory, f/k/a Jazzschool Inc.; President and Dean of Instruction, California Jazz Conservatory. Director, UC Jazz Ensembles program 1984 – 89; composer, arranger and recording artist; performances at major clubs and festivals including Yoshi’s, Keystone Korner, Great American Music Hall and the Lighthouse, and Monterey, Berkeley and Concord Jazz Festivals; featured on Marian McPartland’s Piano Jazz on NPR; recipient of a 2008 “A Team” Award from the Jazz Journalists Association; member of the Board of Directors, Chamber Music America.
Isaac Narell (saxophone) B.F.A. from California Institute of the Arts. Performed with Karim Ziad, The WDR Big Band, Mokhtar Samba, Afia Mala, Thierry Fanfant, Andy Narell, Josh Jones, Jeff Narell, Jenna Mammina, Silvestre Martinez, Alfred Ladzekpo, Miguelito Martinez, The Southwest Michigan Symphony Orchestra, The Pacific Mambo Orchestra and The Electric Squeezebox Orchestra. Isaac has written arrangements for The Bordeaux Symphony Orchestra, The University of Trinidad and Tobago, The Metropole Orkest, Mizikopeyi Big Band and The Southwest Michigan Symphony Orchestra.
Erika Oba (piano, flute)M.A. in Music Composition, Mills College, B.M. in Jazz Piano Performance, Oberlin Conservatory. Composer, pianist/flutist, and educator based in the East Bay. Member of the Montclair Women’s Big Band, electro-jazz duo Rice Kings, Ends Meat’ Catastrophe Jazz Ensemble, and the Oba/Bastian duo. Erikaoba.com
Daniel Lucca 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 Musselwhite, 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
Clif Payne (voice)Evershift recording artist, international concert vocalist, and vocal coach, studied with 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.
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.
Marcelino Quiroz (piano) B.M. Film Scoring (’04), Berklee College of Music (piano principal), studied jazz piano performance with Joanne Brackeen; MRQ Productions, principal film composer/audio editor; Professional Musician, performing on piano, synth and Hammond B-3 regularly in the SF Bay Area in a variety of genres, including: jazz, funk, neo-soul, R&B, reggae and more; Private Piano Instructor/Certified K-6 Educator, 14 years experience teaching music theory to groups and individuals, ranging from beginner children to advanced-level adults; Musical Director/Bandleader, Mango Kingz (island reggae) and The Mars Express (neo-soul/cosmic gospel).
Jazzschool Faculty
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
Marcos Silva (piano) Adviser, CJC Brazilian Program. National and international performing and recording artist, composer, arranger, producer, educator; performed with Leny Andrade, Emilio Santiago, Marcio Montarroyos, Jon Lucien, Claudio Roditi; Music Director, arranger, keyboards for Flora Purim, Airto, Toninho Horta, Paquito D’Rivera, Bud Shank, Ricardo Silveira, Dori Caymmi, Nana Caymmi, Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Silva and Intersection. www.marcossilva.com
Ben Stolorow (piano) B.A. in Music, UC Berkeley; Recipient, Hertz Traveling Fellowship from Berkeley to study jazz piano privately and at the Manhattan School of Music; studied in New York with Fred Hersch, Stanley Cowell, James Williams, and David Hazeltine; performed with Akira Tana, Craig Handy, Lorca Hart, Nasheet Waits, Danya Stephens, Andrew Speight, Vince Lateano, Bob Kenmotsu, Noel Jewkes, Michael O’Neill, and vocalist Kenny Washington; Also studied classical piano and the Taubman Technique. www.benstolorow.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.
Danielle Wertz (voice)B.M. in Studio Music and Jazz Vocal Performance, University of Miami’s Frost School of Music. Student of Dr. Kate Reid, John Hart, Craig Carothers and Dann Zinn. Former Jazz Vocal Director for youth jazz education program, Virginia Music Adventures. Clinician at Duke Ellington School of the Arts and Sonoma State University. 2015 Thelonious Monk International Jazz Vocals Competition Semi- Finalist, 2017 Ella Fitzgerald Competition runner-up, Inaugural Washington Women in Jazz Young Artist Competition Winner. Performed or recorded with Shelly Berg, Jamie Oehlers, Tal Cohen, CyrilleAimee, Bruce Hornsby and Gretchen Parlato. daniellewertz.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
michael zilber
2019 Fall Quarter / September 23 – December 14 / c jc.edu
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Board and Staff
2019 Fall Quarter / September 23 – December 14 / c jc.edu
PROGRAM STAFF
Susan Muscarella
President and Dean of Instruction
Rob Ewing
Director, Jazzschool
Laurie Antonioli
Chair, CJC Vocal Program
Director, Jazzschool Vocal Program
Erik Jekabson
Director, Jazzschool Young
Musicians Program
Jayn Pettingill
Head Librarian
ADMINISTRATIVE STAFF
Bill AronBusiness Manager
Karen ShepherdDirector of Financial Aid
Jesse RimlerRegistrar and Custodian of Records
Zach MondlickDirector of Recruitment
Elizabeth M. WilliamsDirector of Philanthropy
Mary D’OraziDirector of Concert Programming, Philanthropy Associate
Paul FingeroteMarketing and Public Relations Director
Sheryl Lynn ThomasDigital Marketing Manager
Sheldon AlexanderMarketing Assistant
Julie BirchData Manager, Systems Administrator
Kim Nucci IT Systems Administrator, Technical Projects Director
Max Hodes Operations Director
Omree Gal-Oz, Michael Golds, Sam Priven, Alex Shapiro-Romano, Tom WeeksOperations Staff
Tatyana DimitrovaHouse Manager
Lee BrenkmanSound Technician
Robert SoperPiano Technician
Poulson Gluck DesignGraphic Design
Chris Hardy, Mike Melnyk Photographers
FALL 2019 CATALOG PRODUCTION
Cover Jesse Rimler, illustration
Design Poulson Gluck Design
Editorial Rob Ewing, Paul Fingerote, Elizabeth Williams
Photography Tatyana Dimitrova, Chris Hardy, Robin Kempster, Grason Littles, Hali McGrath, Mike Melnyk, Akida Thomas, and others
Photo Research Sheryl Lynn Thomas
Printing FolgerGraphics
Susan Muscarella, President and Dean of Instruction [email protected]
Rob Ewing, Director, [email protected]
Laurie Antonioli, Vocal ProgramChair [email protected]
Erik Jekabson, Director, Jazzschool Young Musicians [email protected]
BOARD OF DIRECTORS
Tyler Johnston, Chairman
Susan Brand, Vice Chairman
Richard A. Lyons, Secretary
Neil Rudolph, Treasurer
Steve Baker
Gordon Brooks
Clifford Brown, Jr.
Charles Charnas
James Ellis
Jerry Fiddler
Erle Flad
Rita Hargrave
John Moss
Susan Muscarella
Gregg Perloff
Jerry Povse
Jim Reynolds
M. David Sherrill
Eric Siegel
Judy Walters
Kevin Whitman
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
Anthony Brown
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
62 Call 510.845.537362 Call 510.845.5373
Instructions and Application
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
62 63
University Avenue
2087& 2040
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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 63 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 the vagaries of performing, lectur-
ing and travel incurred by our Faculty
members, Jazzschool courses, classes,
workshops and schedules are subject to
change. If this occurs, we will make every
effort to provide our students with an
optimal educational experience and
accommodate any changes caused by
unforeseen circumstances.
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.
64
Support a Unique Endeavor!
It’s not often one has the opportunity to support a truly
unique endeavor — the California Jazz Conservatory —
America’s only independent, accredited music school
dedicated solely to the study and performance of jazz.
This unique institution encompasses:
• California Jazz Conservatory, a degree-granting program
for aspiring professional musicians
• Jazzschool, a community music school for all ages
and levels
• Workshops, Classes, Camps and Intensives for adults
and youth
• Concerts showcasing students, faculty and visiting artists
Many individuals have supported this unique endeavor; join
them by making a gift to The CJC Fund, the Conservatory’s
annual fund. A gift to The CJC Fund can be made by credit
card or check:
• Telephone Mary D’Orazi, Philanthropy Associate, at
510.845.5373 x 19, to make a secure credit card donation
or
• Mail a check, payable to California Jazz Conservatory,
Inc., to 2087 Addison Street, Berkeley, CA 94704
Good News: A gift to The CJC Fund can be enhanced by
structuring it as a recurring gift, made by credit card, and/or
by having it be matched by your employer.
Thank you!
2087
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