the zzschool 2018 SUMMER CATALOG CONCERTS -...
Transcript of the zzschool 2018 SUMMER CATALOG CONCERTS -...
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2018 SUMMER CATALOG
INTRODUCTION
The California Jazz Conservatory 4
The Jazzschool 6
ADULT PERFORMANCE ENSEMBLES
Jazz 8
Latin 11
Brazilian 11
World 11
ADULT INSTRUMENTAL CLASSES
Piano and Keyboard 12
Guitar 15
Harmonica 16
Bass 16
Drums and Percussion 16
THEORY, IMPROVISATION, COMPOSITION
Theory and Improvisation 18
Composition 19
ADULT VOCAL CLASSES
Performance 20
Vocal Technique 24
Vocal Mentor Program 25
Vocal Workshops 26
JAZZSCHOOL YOUNG MUSICIANS PROGRAM
Introduction 34
Program Requirements 34
Placement and Audition Requirements 35
CJC Degree Programs 36
Summer Youth Ensembles 38
Fall Quarter Preview 39
WORKSHOPS
Vocal Workshops 26
General Workshops 41
JAZZSCHOOL CAMPS AND INTENSIVES
Summer Camps & Intensives Preview 49
Summer Youth Program 50
High School Jazz Intensive 51
Girls' Jazz & Blues Camp 52
Summer Vocal Intensive 53
Jazzschool Faculty 54
Board and Staff 60
Instructions and Application Form 62
Map 63
How You Can Help 64
Note: Class, workshop and concert schedules subject to change. Please visit cjc.edu for the most current information.
SUMMER 2018 CATALOG PRODUCTION
Cover Jesse Rimler, illustration
Design Poulson Gluck Design
Editorial Rob Ewing, Laurie Antonioli,
Elizabeth Williams, Paul Fingerote
Photography Chris Hardy, Robin Kempster, Akida Thomas, Grason Littles and others
Photo research Sheryl Lynn Thomas
Printing FolgerGraphics
Contents
1
Welcome to a Jazzschool Summer,
With Over 100 Opportunities for You To Learn, Study, Perform and Enjoy Jazz!
Choose from 16 Adult Performance Ensembles, 38 Classes, 30 Workshops, 35 Concerts and more! Plus a 5-day Intensive Workshop for Vocalists
along with Camps, Classes, Ensembles and Intensives for kids!
Here's a quick guide to what's inside:
If you're looking for... See...
An Application Form Page 62
CJC Concert Series Page 2
Adult Performance Ensembles Page 8
Adult Instrumental Classes Page 12
Theory, Improv, Composition Page 18
Adult Vocal Classes Page 20
Vocal Mentor Program Page 25
Young Musician's Program Page 34
CJC Degree Programs Page 36
Workshops Page 41
Jazzschool Camps & Intensives Page 49
Summer Youth Program Page 50
High School Jazz Intensive Page 51
Girls' Jazz & Blues Camp Page 52
Summer Vocal Intensive Page 53
Faculty Page 54
Board and Staff Page 60
Map Page 63
Support Page 64
CJC Donors cjc.edu
Everything Else cjc.edu
New Classes / Workshops new
The Jazzschool Summer 2018
Calendar
2018 Jazzschool
Summer Quarter
July 9 – August 19
School Closure
July 4
Summer Performance
Series
August 20 – 26
Susan Muscarella, President and Dean of Instruction [email protected]
Rob Ewing, Director, [email protected]
Hurry! Many opportunities fill early, so sign up now! Questions? Call us at 510.845.5373! Want the latest news? Sign up for our E-Newsletter and
monthly Postcard Calendar of Events at cjc.edu.
Laurie Antonioli, Vocal ProgramChair [email protected]
Erik Jekabson, Director, Jazzschool Young Musicians [email protected]
28 Fri 8pm Susan Muscarella Trio $25
17 Fri 8pm Rising Star — Noa Levy $15
29 Sun 4:30pm Jazzschool Youth Concerts Free*
SE
PT
29 Sat 8pm Ian Faquini — Brasileiro $20
9 Sun 4:30pm Blues Vocal Jam Free*
8 Sat 8pm Las Positas College Jazz Showcase $15
15 Sat 8pm The John Santos Quartet $20
EMY TSENG JOHN SANTOSYOUSSEF KHIARI
7 Sat 8pm Rising Star — Shavon Moore $15
14 Sat 8pm Rising Star — Isaiah Harwood $15
27 Fri 8pm High School Jazz Intensive Concert $10
13 Fri 8pm Rising Star — Helen Orzel & Hey Earl $15
20 Fri 8pm Rising Star — Julian Kucera $15
6 Fri 8pm Rising Star — Florio $15
22 Sun 4:30pm Vocal Jam $10
28 Sat 8pm Rising Star — Michael Echaniz $15
JU
LY
17–25 various times Jazzschool Student Performances Free*
21 Sat 8pm Rising Star — Clay Xavier $15
AU
G
3 Fri 6pm Girls’ Camp Concert (at The Freight & Salvage) Free*
HEY EARL SHAVON MOORE IAN FAQUINI
10 Fri 8pm Rising Star — Max Brody $15
11 Sat 8pm Vocal Intensive Student Concert $10
* Your generous donations allow us to offer these free presentations.
CJC ConcertsJoin us for Live Jazz in our Two Intimate Jazz Club Venues! Enjoy concerts by top name jazz artists, faculty members and students in our two intimate jazz club venues: Rendon Hall @ The California Jazz Conservatory and Hardymon Hall @ The Jazzschool.
We feature a weekly showcase by our Resident Artists, Electric Squeezebox Orchestra, every Sunday at 5:30 pm (supported by a generous donation from Larry Dodge and Carol Shen), with a different student group opening every week at 4:30 pm and a jazz jam starting at 7:30! (Concert: $15/$10 Students; Jam free of charge)
Plus “Jazz in the Neighborhood” presents a weekly showcase of local artists every Wednesday at 7:30 pm! ($20/$10 Students)
Check out our website (cjc.edu) for the latest updates!
18 Sat 8pm Rising Star — Zack Shubert $15
19 Sun 4:30pm Jazzschool Youth Summer Concerts Free*
24 Fri 8pm Rising Star — Youssef Khiari $15
25 Sat 8pm Rising Star — William Bohrer $15
26 Sun 4:30pm Vocal Jam $10
7 Fri 8pm The Morchestra $20
14 Fri 8pm Sound Underground $15
21 Fri 8pm Peter & Will Anderson Trio $20
22 Sat 8pm Mordy Ferber Quartet $20
23 Sun 4:30pm Vocal Jam $10
30 Sun 4:30pm SFEMS — Coro Ciconia $20
NOA LEVY
5 Sun 4:30pm Blues Vocal Jam Free*
1 Sun 2pm Whippoorwill Arts presents Festival of Americana Music featuring Keith Little and Molly Tuttle $40
4 Sat 8pm Rising Star — Emy Tseng $15
3
3 Fri 8pm Rising Star — Kevin Goldberg $15
Information and Tickets: cjc.edu/concerts
4 5
The California Jazz Conservatory
The California Jazz Conservatory is
the only independent, accredited
school in America completely
devoted to the study and
performance of jazz.
The California Jazz Conservatory honors
the contributions of past masters and
promotes artistic innovation, bringing
together a diverse music community to
develop practical skills, acquire artistic
sensibility, realize creative potential and
find artistic voice.
Founded as the Jazzschool in 1997 and
accredited by the National Association of
Schools of Music in 2009, the California
Jazz Conservatory offers two distinct
education programs:
The California Jazz Conservatory, a
postsecondary degree-granting program;
and the Jazzschool, a non-degree-
granting community education program.
• The California Jazz Conservatory
offers the aspiring professional jazz
musician a 4-year Bachelor of Music
degree in Jazz Studies with optional
concentrations in Brazilian Jazz, North
American Roots Music, and Audio
Production (in partnership with Fantasy
Studios);
Our 2-year Associate of Arts degree in
Jazz Studies offers the same effective
faculty, teaching the same 100% jazz
relevant courses at half the cost and
half the time commitment;
• The Jazzschool offers long-term
Classes, short-term Workshops,
and one- and two-week Camps and
Intensives for youths and adults.
In addition, the California Jazz Conserva-
tory's year-round CJC Concert Series offers
a wide array of performances by students
and professionals in our intimate concert
venues: our new Rendon Hall at the
California Jazz Conservatory (2040
Addison) and our long-established Hardy-
mon Hall at the Jazzschool (2087 Addison)
in which you'll find our popular Jazzcaffè,
offering light fare and a range of beers,
wines and other beverages year-round.
Located in the heart of Berkeley's vibrant
Downtown Arts District, the California
Jazz Conservatory campus is easily
accessible by car and public transportation.
The downtown Berkeley BART station and
AC Transit bus stops are located within a
block of campus. Public parking is available
in nearby garages, in addition to metered
street parking available throughout the
neighborhood.
6 766
Ensembles and Classes(Audition required for Ensembles)The Jazzschool offers a wide range
of long-term Performance Ensembles
and Classes for beginning, intermediate
and advanced instrumentalists and
vocalists. Ensembles focus on a wide
range of styles including, but not limited
to, jazz, blues, funk, Afro-Caribbean and
South American music. Classes include
instrumental and vocal technique, music
theory, jazz improvisation and more.
Workshops(No audition required)The Jazzschool offers a variety of
short-term Workshops throughout the
year, available in single sessions or as
a series. Workshops are taught by
professional artists/educators and focus
on specific approaches to strengthening
technical ability, understanding and
applying theoretical concepts to
improvisation, and enhancing live
performance skills, in addition to other
jazz-related topics.
Jazzschool Young Musicians Program(Placement audition required)The Jazzschool Young Musicians Program
offers a range of classes for middle and
high school students. Young Musicians
Program ensembles are available for
beginning, intermediate and advanced
instrumentalists. The program includes
small groups focused on improvisation,
and big bands that delve into style and
repertoire. Vocal performance classes
are also available. Jazzschool Young
Musicians Program ensembles have
repeatedly been honored in the DownBeat Magazine student music awards and at
prestigious jazz festivals, both here and
abroad.
Camps and Intensives (Audition required)The Jazzschool offers Camps and Inten-
sives in the spring and summer in one- and
two-week sessions for adult and youth
instrumentalists and vocalists at all levels.
Faculty Jazzschool classes, ensembles, workshops,
camps, intensives and other programs are
led by a distinguished faculty of profes-
sional musicians who have played with
some of the music world’s biggest names.
More importantly, our faculty consists of
musicians and vocalists who excel in
education, with a focus on teaching
students not just how to play, but how to
perform, transforming talented musicians
into recognized artists.
Enrollment Jazzschool class size is limited and many
classes — available on a first-come, first-
served basis — fill up quickly. We encour-
age you to register early and guarantee
your spot! You can enroll online at cjc.edu
or call 510.845.5373. An application form
also appears on page 62.
The Jazzschool is the California
Jazz Conservatory's community
music school, serving students of
all ages and levels for over 20 years.
The Jazzschool offers instrumentalists
and vocalists long-term Performance
Ensembles/Classes, as well as short-term
Workshops, Camps and Intensives
throughout the year, including:
* Adult instrumental and vocal
Performance Ensembles/Classes in
fall, winter and spring (10 weeks),
and summer (6 weeks);
* Short-term Workshops on weekends
throughout the year;
* Youth instrumental and vocal Perfor–
mance Ensembles in fall, winter, spring
(10 weeks) and summer (6 weeks);
* Youth instrumental and vocal Summer
Camps and Intensives in summer
(1 – 2 weeks);
* Adult instrumental and vocal Camps and
Intensives throughout the year (1 week).
Instrumental ClassesJazzschool instrumental classes provide
study of a specific instrument in a group
setting. Classes are available for saxophone,
harmonica, piano/keyboard, guitar, bass
and drums/percussion. Instruction is
available for beginners (covering basic
technique and instrumental skills) and also
for more advanced players (focused on jazz
style, harmony, improvisation and more).
Vocal ClassesJazzschool vocal classes provide an
opportunity for singers at all levels to
improve style and technique in a group
setting. Performance classes are offered
in jazz, Latin, blues, R&B and pop genres.
Beginners, singers returning to music,
and more advanced vocalists can all find
classes appropriate for their interests.
Theory, Improvisation and CompositionThe Jazzschool offers a number of classes
covering areas of theory, improvisation, ear
training, composition and arranging, music
production, music business and more.
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The Jazzschool
2018 Summer Quarter / July 9 – August 19 / cjc.edu
98
Adult Performance Ensembles
Jazzschool Performance Ensembles
delve into a wide range of styles
including jazz (standards, hard
bop, post-bop, fusion), Latin jazz,
Brazilian, blues, R&B and funk.
Ensembles are available for
instrumentalists and vocalists
at the beginning, intermediate
and advanced levels. Groups
range in size from the trio to the
big band. A placement audition
is required for all Performance
Ensembles.
AuditionsStudents are placed in Performance
Ensembles by audition and require–
ments may include the following:
Playing selected scales; playing and/
or improvising over a piece of your
choice; improvising over a 12-bar
blues or other pieces provided at
the audition; and sight-reading.
Drummers are asked to play various
grooves and solo; bassists are
asked to play bass lines. For more
information please contact Jazzschool
Director Rob Ewing at [email protected]
or 510.845.5373 x14. You can
schedule an audition online at cjc.edu.
JAZZ
BEGINNING JAZZ ENSEMBLEPut theory into practice by learning jazz
standards, while developing improvisation
and ensemble skills. For all instruments.
Prerequisites: knowledge of basic jazz theory and ability to keep time and read music.
Section 1: Mondays 6:30 – 8 pmSection 2: Mondays 8:15 – 9:45 pm7/9 – 8/13 (6 weeks)
Steve Erquiaga • $280
Section 3: Thursdays 6:30 – 8 pm 7/12 – 8/16 (6 weeks)
Rob Ewing • $280
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: Tuesdays 6:30 – 8 pm7/10 – 8/14 (6 weeks)
Section 2: Thursdays 6:30 – 8 pm7/12 – 8/16 (6 weeks)
Section 3: Saturdays 10 – 11:30 am
Section 4: Saturdays 11:45 am – 1:15 pm
Section 5: Saturdays 1:30 – 3 pm7/14 – 8/18 (6 weeks)
Glenn Richman • $280
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 pm7/12 – 8/16 (6 weeks)
Dave Lefebvre • $280
SOUL JAZZ ENSEMBLEAn intermediate ensemble that delves into
the groove-based repertoire of Lee
Morgan, Cannonball Adderley, Eddie
Harris, George Benson and others. Starting
in the mid-60s, these musicians combined
the popular vocabulary of funk, boogaloo
and bossa nova with stripped-down
harmonic progressions drawn from gospel
and the blues — linking them together
with memorable instrumental melodies.
Repertoire includes “The Sidewinder”
(Lee Morgan), “Mercy, Mercy, Mercy” (Joe
Zawinul) and “Listen Here” (Eddie Harris).
Thursdays 8:15 – 9:45 pm7/12 – 8/16 (6 weeks)
Dave Lefebvre • $280
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 pm7/9 – 8/13 (6 weeks)
Section 2: Thursdays 8:15 – 9:45 pm7/12 – 8/16 (6 weeks)
Glenn Richman • $280
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 pm7/11 – 8/15 (6 weeks)
Steve Erquiaga • $280
CHARLIE PARKER ENSEMBLE This ensemble focuses on the bop-era
defining compositions and style of Charlie
Parker, one of the most influential jazz
saxophonists and improvisers. The instructor
also provides insight into some of the
characteristic improvisational approaches of
Charlie Parker and other bebop innovators.
Wednesdays 6:30 – 8 pm7/11 – 8/15 (6 weeks)
Kasey Knudsen • $280
2018 Summer Quarter / July 9 – August 19 / cjc.edu
1110
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 pm7/10 – 8/14 (6 weeks)
David Belove • $280
SALSA ENSEMBLE 2Rehearse and perform more advanced
salsa repertoire. Vocalists interested in
participating should sign up for Salsa
Singing (see p. 24). The two courses work
together throughout the term developing
a full set of high energy dance music for
performance.
Tuesdays 8:15 – 9:45 pm7/10 – 8/14 (6 weeks)
David Belove • $280
ERQUIAGA ENSEMBLE 2This Ensemble 2 class focuses on slightly
faster tempos and more involved
tunes! Unusual keys, uncommon tune
structures and more complex melodies
are presented along with standard
repertoire. Includes the music of Miles
Davis, Jobim, Art Blakey, Cal Tjader
and many 60s Blue Note–era artists.
Original compositions are encouraged!
Tuesdays 6:30 – 8 pm7/10 – 8/14 (6 weeks)
Steve Erquiaga • $280
FREE JAZZ ENSEMBLE: THE MUSIC OF STEVE LACYIf you're a musician interested in stretching
the boundaries of harmony and form, join
us for the Free Jazz Ensemble, as we focus
on the music and improvisational concepts
of a variety of master musicians each
quarter. This summer, we explore the work
of saxophonist/composer Steve Lacy.
Thursdays 8:15 – 9:45 pm7/12 – 8/16 (6 weeks)
Jason Levis • $280
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 pm7/9 – 8/13 (6 weeks)
Peter Horvath • $300
BRAZILIAN
BRAZILIAN ENSEMBLEStudy and perform the classic and
contemporary Brazilian jazz repertoire of
Ivan Lins, Dori Caymmi, Toninho Horta,
Antonio Carlos Jobim and instructor
Marcos Silva. Vocalists welcome! Audition with Marcos Silva is required. Call 510.845.5373 to schedule your audition.
Section 1: Tuesdays 6:15 – 7:45 pm
Section 2: Tuesdays 8:15 – 9:45 pm7/10 – 8/14 (6 weeks)
Section 3: Wednesdays 6:30 – 8 pm
Section 4: Wednesdays 8:15 – 9:45 pm7/11 – 8/15 (6 weeks)
Section 5: Thursdays 1 – 2:30 pm7/12 – 8/16 (6 weeks)
Marcos Silva • $280
WORLD
WORLD GROOVE ENSEMBLE: SUMMER SPECIAL The special summer edition of the World
Groove Ensemble takes students on a
global journey to rhythm-based music
from a variety of cultures. Genres may
include Caribbean, African, bhangra,
choro, contra dance, honky-tonk, Turkish
pop, norteno, Cajun/zydeco, New Orleans,
or other styles. Open to all instruments
and vocalists. Prerequisites: intermediate ability to read charts and standard notation. Materials provided by instructor.
Thursdays 8:15 – 9:45 pm7/12 – 8/16 (6 weeks)
Jennifer Jolly • $280
Adult Performance Ensembles Adult Performance Ensembles
MILES DAVIS/WAYNE SHORTER ENSEMBLEExplore the music of Miles Davis and
Wayne Shorter from the mid-60s through
the 80s. Repertoire is drawn from far-
reaching classic albums including Miles Smiles, ESP, Filles de Kilimanjaro, Speak No Evil, Bitches Brew, In a Silent Way,
Native Dancer and Jack Johnson. Strong
emphasis placed on group communication
and interaction.
Wednesdays 8:15 – 9:45 pm7/11 – 8/15 (6 weeks)
Steve Erquiaga • $280
ERQUIAGA ENSEMBLE 1 In this Ensemble l class, you'll work on
improvising over chord changes, playing
with good time and learn the other skills
needed to perform with other musicians.
Class emphasis is on standard mainstream
styles: blues, standards, swing, bebop,
ballads and bossa novas.
Tuesdays 4:30 – 6 pm7/10 – 8/14 (6 weeks)
Steve Erquiaga • $280
2018 Summer Quarter / July 9 – August 19 / cjc.edusteve erquiaga
jennifer jolly
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PIANO AND KEYBOARD
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 am7/14 – 8/18 (6 weeks)
Jeanne Walpole • $280
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 Book 2 (available at the CJC
Bookstore). Prerequisites: Piano 1 or equivalent experience.
Saturdays 11:45 am – 1:15 pm7/14 – 8/18 (6 weeks)
Jeanne Walpole • $280
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 pm7/14 – 8/18 (6 weeks)
Jeanne Walpole • $280
JAZZ PIANO CHORD VOICINGS (FOR PIANISTS AND NON-PIANISTS)
Explore a wide range of jazz piano chord
voicings in this hands-on course. From
simple “shell” voicings to the rich chord
shapes used by Bill Evans, Herbie Hancock
and other contemporary jazz masters. For
pianists and instrumentalists/vocalists
interested in exploring jazz piano harmony.
Prerequisites: basic keyboard proficiency and knowledge of chord structures (triads and 7th chords).
Mondays 6:30 – 8 pm7/9 – 8/13 (6 weeks)
Steve Blum • $280
PLAYING FOR SINGERS — The Art Of Accompaniment for the Jazz And Cabaret PianistMike Greensill is a well-known vocal accom-
panist and has recorded 21 albums in his
role of musical director for his wife,
acclaimed vocalist Wesla Whitfield. This
unique 6-week class is based on Mike
Greensill’s book Playing For Singers
recently published by Sher Music.
Topics covered include:
• The Basics — the obvious, but often
forgotten, fundamentals of playing for
singers
• Solo Piano — you’re the whole orchestra!
How to accompany a vocalist without the
aid of any musical safety nets!
• The Art of “out of tempo” Accompani-
ment. How to play those out of tempo
verses. Where do I put the chord? How
to follow the singer and when to subtly
lead
• Duo and Trio Accompaniment — Add
bass and drums and everything chang-
es. Plus the art of comping, and the
mysteries of chord voicing are revealed.
• The Accompanist as Arranger (and
copyist) — Tricks of the trade for vocal
arranging and how to write beautiful,
legible charts. No more ‘train wrecks’.
• The Accompanist As Music Director
— The roles and responsibilities of the
Music Director from hiring and firing,
to conducting and rehearsing!
In at least one of the classes, Mike will be
joined by one of the Bay Area’s best bass
players. This will be a hands-on class with
plenty of opportunities to play. Prerequi-sites: basic keyboard and harmonic knowledge are required.
Saturdays 11 am – 12:30 pm7/14 – 8/18 (6 weeks)
Mike Greensill • $280
Adult Instrumental ClassesAdult Instrumental Classes
2018 Summer Quarter / July 9 – August 19 / cjc.edu
mike greensill
“The instructors provided lots of encouragement and a safe environment for the students to work through challenges and to take risks.”
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GUITAR
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 pm7/11 – 8/15 (6 weeks)
Jeff Massanari • $280
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 pm7/11 – 8/15 (6 weeks)
Jeff Massanari • $280
SIGHT READING FOR GUITARA class for intermediate to advanced
guitarists of all styles who wish to improve
their ability to read standard music
notation. Instructor covers:
• Approaches to seeing the fingerboard
as individual notes, not patterns.
• Choosing the proper position in which
to play a given passage and how to
most efficiently change from one
position to another.
• Reading and counting syncopated,
complex rhythms.
• Interpreting and executing phrasing and
dynamic markings
• Identifying how and what to practice,
making the process interesting and fun.
Sight reading materials represent a variety
of styles and genres.
Wednesdays 4:45 – 6:15 pm7/11 – 8/15 (6 weeks)
Steve Erquiaga • $280
THINK LIKE AN ARRANGER— SOLO JAZZ PIANOThis class for jazz pianists guides students
through the process of developing
interesting and effective solo jazz piano
arrangements. Learn techniques for
harmonizing melodies, constructing
keyboard bass lines, developing intros
and endings, various groove possibilities,
reharmonization techniques and more.
Prerequisites: piano proficiency and knowledge of jazz harmony.
Mondays 8:15 – 9:45 pm7/9 – 8/13 (6 weeks)
Steve Blum • $280
BLUES PIANO: THE NUTS AND BOLTSThis course offers a well-rounded intro-
duction to the nuts and bolts of blues
piano: bass lines, common licks, accompa-
niment patterns for various blues styles
and forms, approaches to improvisation,
and other essential vocabulary. Materials
provided by instructor. Prerequisites: basic keyboard proficiency.
Tuesdays 6:30 – 8 pm7/10 – 8/14 (6 weeks)
Jennifer Jolly • $280
NEO-SOUL HARMONY & new 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 6 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 pm7/11 – 8/15 (6 weeks)
Marcelino Quiroz • $280
Adult Instrumental Classes
2018 Summer Quarter / July 9 – August 19 / cjc.edu
“I loved being at the Jazzschool — seeing other musicians (and aspiring musicians) of all ages, hearing the sounds of jazz wafting through the space.”
steve blum
jeff massanari
16 17
HARMONICA
BEGINNING DIATONIC HARMONICAYou'll recognize the diatonic harmonica as
the small harmonica used in blues, rock,
folk and even jazz. In this course, you'll
learn how to hold the instrument, breathe
effectively, play chords, single notes and
bends and develop familiarity with song
forms such as the 12-bar blues and
3-chord folk, rock and country tunes.
Required text: Harmonica for Dummies,
second edition. Prerequisites: bring a 10-hole diatonic harmonica in the key of C
(contact [email protected] for info).
Saturdays 10 – 11:30 am7/14 – 8/18 (6 weeks)
Winslow Yerxa • $280
BASS
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 pm7/10 – 8/14 (6 weeks)
Glenn Richman • $280
DRUMS AND PERCUSSION
SOLOING OVER new OSTINATOSFrom Gene Krupa’s solo on “Sing, Sing,
Sing,” to Joe Morello’s solo on “Take Five”
to Terry Bozzio’s numerous solo drum set
performances, drummers have been
expected to be able to solo over a fixed
ostinato. This concept of improvising
freely with some limbs, while other limbs
hold down a fixed pattern is baked into
the instrument. It is a 4-limb endeavor, no
matter what style you play. In this class
we will develop numerous approaches
to mastering this important aspect of
drumming. Prerequisites: functional drumset technique.
Tuesdays 6:30 – 8 pm7/10 – 8/14 (6 weeks)
Alan Hall • $280
FUNK & LATIN DRUMSET new INDEPENDENCEWant to kick your Latin and funk
drumming up to a new level? Indepen-
dence is the key. How should you go
about developing more independence in
these styles, critical to the contemporary
drummer? There are numerous ways to
do this; let’s start finding ways that work
for you! Prerequisites: functional drumset technique.
Tuesdays 8:15 – 9:45 pm7/10 – 8/14 (6 weeks)
Alan Hall • $280
LATIN PERCUSSION 1 (SALSA, AFRO-CUBAN) Develop a strong foundation on each of
the primary Latin percussion instruments.
Learn effective technique on congas,
bongos, timbales, bells and auxiliary
instruments while studying many of the
Latin grooves typical of son, salsa, and
Latin jazz. The instructor also discusses
and demonstrates soloing techniques,
breaks, song forms and historical informa-
tion. Prerequisites: none, open to all. All instruments are provided for in-class use. Required texts: Progressive Steps to Syncopation for the Modern Drummer, Ted Reed; Stick Control: For the Snare Drummer, George Lawrence Stone.
Wednesdays 6:30 – 8 pm7/11 – 8/15 (6 weeks)
Omar Ledezma • $280
LATIN PERCUSSION 2 new(CAJÓN) This course is an expansion of Latin
Percussion 1 (Salsa Afro-Cuban), focusing
on the South American percussion
instrument, the cajón (Peru, Cuba, Spain),
and different rhythms. Class time includes
hands-on practice and clear demonstra-
tion and explanation of how all of the
various instruments work together in Latin
music ensembles and instrument set up.
Prerequisites: none, open to all. All instruments are provided for in-class use. Required texts: Progressive Steps to Syncopation for the Modern Drummer, Ted Reed; Stick Control: For the Snare Drummer, George Lawrence Stone.
Wednesdays 8:15 – 9:45 pm7/11 – 8/15 (6 weeks)
Omar Ledezma • $280
Adult Instrumental Classes Adult Instrumental Classes
alan hall
2018 Summer Quarter / July 9 – August 19 / cjc.edu
1918
IMPROVISATIONBEGINNING JAZZIMPROVISATIONA friendly, supportive atmosphere in
which to practice the basics of jazz
improvisation. Start with the blues
then progress to jazz standards, learning
essential scales and chords, playing at
every session, trading licks, learning
patterns and building solos. Ideal for
classical players or anyone aspiring to
jam or perform with a jazz ensemble.
Vocalists welcome! Prerequisites: facility on an instrument and ability to play all major scales from memory.
Thursdays 6:30 – 8 pm7/12 – 8/16 (6 weeks)
Sam Priven • $280
INTERMEDIATE JAZZ IMPROVISATIONThis course gives students a strong
foundation in the Great American
Songbook repertoire and the ability
to improvise over chord progressions
with correct notes and good phrasing.
Several compositions will be used as
vehicles to study basic chord structures,
scale structures and non-diatonic neigh-
boring tones. Emphasis is placed on
utilization of basic harmonic concepts,
thereby turning exercises into melody.
A step-by-step conceptual approach is
used and a new concept is added with
each new tune. Prerequisites: Beginning Jazz Improvisation or equivalent.
Mondays 6:30 – 8 pm7/9 – 8/13 (6 weeks)
Glenn Richman • $280
MODERN JAZZ IMPROVISATIONReady to take your improvisational toolkit
beyond bebop licks, modes, and blues
scales and into the sonic worlds opened
up by artists like McCoy Tyner, John
Coltrane, and Woody Shaw? This course
will look into three different approaches
for developing melodically compelling
ideas for use in a wide variety of harmonic
situations. Beginning with the applications
of pentatonic scales, the course will
progress to the simple technique of
combining pairs of major triads (and the
six-note scales that result), and finally
intervallic pairs, in each case examining
their use in major, minor, and sus chords,
a variety of dominant chords and ii-V-I
progressions, and modal or chromatic
contexts. Finally we will explore methods
to integrate these new ideas into the
student’s existing language in a natural
and non-contrived way. Prerequisites: basic knowledge of jazz harmony required.
Tuesdays 8:15 – 9:45 pm7/10 – 8/14 (6 weeks)
Ian Carey • $280COMPOSITION
INTRO TO JAZZ COMPOSITIONA wide-ranging survey of jazz composition
and arranging techniques. Topics covered
include: generating, developing and
harmonizing melodic ideas, working with a
range of typical forms (song forms, blues,
modal, etc.), reharmonization techniques,
working in various meters, traditional and
contemporary arranging techniques for
horns and rhythm section, and effective
chart preparation. Class time includes
listening and analysis of recordings of
master composers from various eras, and
instructor also demonstrates techniques
drawn from his own compositions.
Prerequisites: knowledge of jazz harmony and ability to read music.
Wednesdays 6:30 – 8 pm7/11 – 8/15 (6 weeks)
Charlie Gurke • $280
NEW MODALITIES IN JAZZ COMPOSITIONThis course focuses on strategies to
expand your approach to jazz composi-
tion and improvisation by utilizing
techniques from 21st Century classical
composition. Topics include the harmonic
practices of spectral music, interval-based
techniques of the post-war avant-garde,
and cyclical, linear, and tempo-based
approaches to rhythm. Simple composi-
tional tools based on these practices
are defined and implemented in short
composition exercises. We also look at
how these topics can be reflected in
structures used for improvisation.
PART ONE examines approaches to
melody and counterpoint using modal
techniques from Olivier Messiaen,
symmetrical systems from Bela Bartok,
and interval-based linear constructions
from Henry Threadgill.
PART TWO discusses harmony from the
point of view of timbral transformation
in Gerard Grisey, the symmetrical projec-
tions of Edgar Varese, and tri-chord
generation techniques from Henry
Threadgill.
PART THREE explores cyclical rhythmic
layering in Steve Coleman, metric modula-
tion in Elliott Carter, and polyrhythm as
tempo in Brian Ferneyhough.
Thursdays 6:30 – 8 pm7/12 – 8/16 (6 weeks)
Jason Levis • $280
Theory, Improvisation, Composition
ian carey
charlie gurke
2018 Summer Quarter / July 9 – August 19 / cjc.edu
Adult Vocal Classes
20
Adult Vocal Classes
21
NEXT-LEVEL VOCAL JAZZ PERFORMANCEThis 4-week class is designed for vocalists
who want to develop a deeper connection
to their personal style. We'll explore
methods for enhancing and expressing
individual style, such as creating unique
arrangements and fine-tuning lyric
interpretation and approaches to improvi-
sation. In this master class setting, each
singer will work individually and will be
given specific assignments based on what
the instructor hears. Students should bring
in music that is "in-progress," songs that
present a particular challenge, or tunes
that are sparking new ideas. The instructor
may also suggest repertoire. A profes-
sional accompanist will play for the class.
Prerequisites: some performance experience.
Wednesdays 8:15 – 9:45 pm7/25 – 8/15 (4 weeks)
Andrea Wolper • $240
BEYOND GENRE VOCAL PERFORMANCE This class covers numerous aspects of jazz
performance from interpretation and
phrasing to improvisation and working
with an accompanist. We’ll explore jazz
songs performed with R&B styling and
ornaments, and R&B songs inflected with
a jazz approach. Students should bring
one song (from any genre) per class to
perform, for a total of four songs over the
4-week class. Going beyond category is
the future of the contemporary jazz singer!
Prerequisites: none! Open to all.
Tuesdays 8:15 – 9:45 pm7/10 – 31 (4 weeks)
Kalil Wilson • $240
JAZZ AND CONTEMPORARY STYLESLearn proper vocal technique (vocal
health, maintenance and developing
a practice routine) and apply these
approaches to singing in any style from
jazz to pop, rock, R&B, blues and beyond.
Class topics also include chart writing,
stage presence and microphone tech-
nique. This class culminates in an end-of-
quarter performance. Prerequisites: none! Open to all.
Mondays 8:15 – 9:45 pm7/9 – 8/13 (6 weeks)
Amanda Addleman • $320
cecilia engelhart
Adult Vocal Classes
Adult Vocal Classes
PERFORMANCE jazz
BEGINNING JAZZ SINGINGThe objective of this class is to help the
singer create a focused, relaxed, skilled,
and unique performance. We’ll work on
basic musicianship starting with warm-up
exercises, improvisation skills, understand-
ing and singing in different “grooves,”
finding new songs that suit us, ascertain-
ing the correct key, understanding the
song form, preparing a lead sheet, and
practicing with backing tracks (iRealPro).
We’ll be joined mid-way by a professional
pianist to further develop the songs we’ve
chosen by working on sub-text, song
interpretation, communicating our
intentions to an accompanist, singing in
different “feels” including rubato, and
setting up and counting off songs. This
class includes an end-of-quarter perfor-
mance, and provides a supportive,
structured environment for students with
a burning desire to sing! Prerequisites: none! Open to all.
Mondays 6:30 – 8 pm7/9 – 8/13 (6 weeks)
Amanda Addleman • $320
VOCAL JAZZ PERFORMANCEAn entry-level class for the beginning to
intermediate vocalist interested in gaining
in-class performance experience and a
more comprehensive understanding of
what it means to sing in the jazz style.
Students will explore jazz phrasing and
scat-singing as well as various stylistic
categories such as swing, Latin, bebop,
ballads and the blues. Ample opportunity
for solo performance in class. Prerequi-sites: None! Open to all.
Thursdays 6:30 – 8 pm7/12 – 8/9 (5 weeks)
Cecilia Engelhart • $280
andrea wolper
2018 Summer Quarter / July 9 – August 19 / cjc.edu
For auditions and more information
about our vocal programs please contact
our Vocal Chair, Laurie Antonioli,
[email protected] or 510.845.5373 ext 21
“Great environment for trying new things out — challenging but always supportive and fun.”
Adult Vocal Classes
pop, soul and r&b
SOUL TOWN — CLASSIC RHYTHM AND BLUESIf you’re a fan of classic R&B, this class
is for you. Sing your favorite solo and
ensemble songs from the 60s and early
70s. Learn songs made famous by Aretha
Franklin, Etta James, Roberta Flack, Sam
Cooke, Otis Redding, Marvin Gaye, Smokey
Robinson, Sly & The Family Stone and
vocal groups such as The Temptations,
The Supremes, and the O'Jays. Students
are encouraged to bring in sheet music of
their favorite songs in the appropriate key.
Focus areas: roots of soul music, proper
song and key selection, melodic phrasing,
improvisation, harmonizing, band leading
tips, preparation for live performance.
There will be a professional accompanist
in class and a full band added for an
end-of-quarter performance. Prerequisites: none! Open to all.
Tuesdays 6:30 – 8 pm7/10 – 8/14 (6 weeks)
Clif Payne • $320
WORKING WITH AN ACCOMPANISTThis class provides a unique opportunity
for singers to study with one of the great
vocal accompanists in jazz. Learn how to
communicate effectively with a pianist/
accompanist about simple arranging
techniques and other essentials including
count-offs, finding keys, setting up intros
and endings, rubato interpretation and
more. Students should bring their own
repertoire to class. Focus on selections
from the Great American Songbook is
recommended. Includes end-of-quarter
performance. Prerequisites: some singing experience is recommended.
Saturdays 1:30 – 3 pm7/14 – 8/18 (6 weeks)
Mike Greensill • $320
WORKING WITH A RHYTHM SECTIONWithout experience, it's almost impossible
to learn how to direct a band, count off
tunes or create on-the-bandstand arrange-
ments. In this class, students learn the
essentials of band-leading and ensemble
playing: listening, interaction and collabora-
tion. Please bring 2 or 3 songs to work on
during the 4-week session. The instructor
will also suggest repertoire. Prerequisites: Some performance experience.
Thursdays 8:15 – 9:45 pm7/12 – 8/9 (5 weeks)
Cecilia Engelhart • $280
22
SCATTING THE BLUESScat singing — improvising over chord
changes — is just one of the ways a
vocalist can improvise, but it's often the
most intimidating. Fortunately, the blues is
a fun and familiar vehicle with an easy-to-
absorb harmonic structure that most
people can hear. In this 4-week class, we'll
demystify scat singing by looking at the
basics of blues harmony, swing, trading
“4's,” and developing a personal vocabu-
lary of syllables. This is a “voices on” class
with plenty of learning-by-singing in a
safe, encouraging atmosphere. This is an
excellent class if you've wanted to explore
scat singing but didn't know where to
start, or if you've started and want to get
stronger. Prerequisites: none! Open to all.
Wednesdays 6:30 – 8 pm7/25 – 8/15 (4 weeks)
Andrea Wolper • $240
INTERPRETATION TECHNIQUES FOR VOCAL JAZZ PERFORMANCEIn this class, students will have an oppor-
tunity to delve deep into the lyrical
content of a song. Find out how the
phrasing of a song enhances the story and
how this, in turn, impacts your perfor-
mance. Students will work on two or three
songs and perform one or two at the end
of the term in an end-of-quarter perfor-
mance. Prerequisites: none! Open to all.
Wednesdays 6:30 – 8 pm7/11 – 8/15 (6 weeks)
Stephanie Crawford • $320
THE IMPROVISING JAZZ SINGERSinging a standard as written is the first
step when learning a tune but to be a jazz
performer, a singer must improvise!
Improvisation can be everything from
creative phrasing to interpreting the lyric
in a personal way. In this class, students
will be coached on improvising with the
lyrics and/or soloing like a horn. This is a
fun, encouraging and informative class for
students to work on songs of their choice
over the 6-week session in preparation for
a performance at the end of the term.
Prerequisites: none! Open to all.
Saturdays 11:45 am – 1:15 pm7/14 – 8/18 (6 weeks)
Azure McCall • $320
Adult Vocal Classes
2018 Summer Quarter / July 9 – August 19 / cjc.edu clif payne
stephanie crawford
Adult Vocal Classes
24 25
THE MUSIC OF BURT BACHARACHIn this class, students will explore and
sing the classic songs by Burt Bacharach
as both soloists and background singers
in preparation for an end-of-quarter
student performance. Clif will share
information on proper vocal technique,
stage presence, and interpretation, and
help students find the appropriate keys,
sheet music and tracks. Participants are
also welcome to bring in their favorite
Burt Bacharach songs to sing. A profes-
sional accompanist will play for the class
and a band will be added for the perfor-
mance. Prerequisites: none! Open to all! The ability to read music is not necessary.
Tuesdays 8:15 – 9:45 pm7/10 – 8/14 (6 weeks)
Clif Payne • $320
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
12) as you work to develop a performance
set. Representative songs include “Tres
Días de Carnaval” (Celia Cruz), “La
Rebelión” (Joe Arroyo) and “Brujería”
(El Gran Combo). Prerequisites: previous singing experience or basic technique training. All songs are in Spanish but fluency is not required to participate.
Tuesdays 8:15 – 9:45 pm7/10 – 8/14 (6 weeks)
Edgardo Cambón • $280
VOCAL TECHNIQUE
VOCAL TECHNIQUELearn a variety of vocal exercises to
condition and strengthen your voice.
Range, intonation, breath management,
balancing vocal registers, body alignment,
vowel formation and dynamics are all
enhanced through technical exercises.
Applicable to all contemporary vocal
styles. Prerequisites: none! Open to all!
Thursdays 4:45 – 6:15 pm7/12 – 8/9 (5 weeks)
Cecilia Engelhart • $280
UNIVERSAL TECHNIQUE FOR VOCALISTSOver this 4-week class, students will
learn a simple yet comprehensive set
of strategies for developing a connected
and free vocal experience. Information on
support, range, mix and ornaments will be
presented. This method works for singers
of all genres interested in developing an
accessible and reliable approach, including
those with a classical singing background.
Prerequisites: none! Open to all!
Tuesdays 6:30 – 8 pm7/10 – 31 (4 weeks)
Kalil Wilson • $240
2018 Summer Quarter / July 9 – August 19 / cjc.edu
CENTER STAGE —
A Mentored Program for Concert Development
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 sequenc-ing, 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 environ-
ment. 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 personal-
ized artistic vision. Concert dates are available throughout the year.
This program also includes:
• A professional sound technician and quality live recording of your performance
• Staff at the door and on-site during the performance
• Guidance in marketing and promotion, including how to prepare publicity materials
• Inclusion in California Jazz Conservatory advertising, marketing and publicity
• A percentage of the door/ticket sales
Various teachers • $850
Contact the Chair of the Vocal Program, Laurie Antonioli, for more information
on how to apply for this program: laurie @ cjc.edu or 510.845.5373.
maye cavallaro
“Maye is very prepared and organized. The musicians she brings in are excellent and wonderful to work with.”
26 27
VOCAL WORKSHOPS
LET’S FACE THE MUSIC: SONGS OF IRVING BERLINwith Maye Cavallaro
Part of the American Songbook Composer Workshop SeriesAmerican songwriter Irving Berlin’s career
spans over 60 years. He was the composer
of an estimated 1500 songs, including 19
Broadway shows and 18 Hollywood films.
Berlin is beloved by singers and instru-
mentalists alike for his straightforward
lyrics and beautiful melodies. His composi-
tions include "Blue Skies," "Puttin’ On the
Ritz," "Heatwave," "White Christmas,"
"Cheek to Cheek," "Be Careful It’s My
Heart," "Change Partners," "How Deep Is
the Ocean," and "Let’s Face the Music and
Dance." 25 of Berlin’s songs reached the
top of the charts and were re-recorded by
dozens of famous singers and instrumen-
talists over the years, such as Frank
Sinatra, Barbra Streisand, Nat King Cole,
Ella Fitzgerald, Ray Charles, Miles Davis,
Chet Baker, Art Tatum. In this workshop
students will be provided with 10 lead-
sheets of Irving Berlin’s compositions.
We will learn songs as a group, listen to
various recordings and then try out the
songs with an accompanist. Both singers
and instrumentalists are welcome to
expand their repertoire. All levels welcome.
A warm, charismatic stage performer and accomplished musician, Maye Cavallaro has traveled extensively in Japan and the U.S., both performing and teaching. She has released several CDs as a leader and has been a favorite vocal instructor at the Jazzschool for many years.
3 Sundays, July 1, July 8, July 15, Noon – 3 pm$295 advance, $315 day of workshop
Adult Vocal Classes
26
SINGER AS ACCOMPANIST: USING THE VOICE TO ACCOMPANY INSTRUMENTALISTS with Susana PinedaDo you feel that you don’t have anything to
contribute as a singer beyond the lyrics?
The days of the singer waiting for the
instrumentalists to be done soloing are
over! In this hands-on workshop, vocalists
will learn tools and techniques for accom-
panying instrumentalists during solo
sections. Using melodic lines, guide tones,
bass lines, and textures, singers can be
part of the band in a supportive role. Time
permitting, students will observe how to use
these tools with a looper station and how
to use this same concept for arranging your
songs. Students should know some basic
theory and how to read and write music.
Susana Pineda is a jazz singer from Medellín, Colombia and a graduate of the California Jazz Conservatory. She is an innovative musician and songwriter who explores creative ways the voice can be used in a contemporary music setting. In her duo project, Opaluna, with Bay Area guitarist, Luis Salcedo, Susana uses her voice to accompany her bandmate and has since incorporated these same methods in her diverse music projects.
Sunday, July 8, 2 – 4 pm$30 advance, $45 day of workshop
IMAGINING YOUR FIRST TRIBUTE PROJECT — A Framework for Inspiration with Lisa BMost of us were first inspired to sing by
the music of another vocalist or song-
writer. This workshop will allow you to
tap into such past or present inspiration
by starting to shape a tribute project that
presents the music of a notable performer
or composer/lyricist. Whether you’re
drawn to Sarah Vaughan or Adele,
Rodgers & Hammerstein or “Hamilton,”
through a tribute project you can pay
homage, find inspiration, stretch your
musical vision and abilities, and create
a frame for new work. You don’t have to
commit to actually carrying out the proj-
ect, whether a recital or even a recording
— just get your feet wet and play with this
concept through this fun workshop. First
Lisa B will present some seminal tribute
projects involving vocalists. Then she will
help you start to shape a project of your
own. We’ll explore your attraction to a
particular artist or performer; sketch out
aspects of your unique project vision in
terms of mood, era, and songs; start to
define elements such as instrumentation
and arrangements; and use worksheets,
provided in the workshop, to outline
project tasks and create a budget. Come
play within this framework for musical
inspiration and growth!
Lisa B (Lisa Bernstein) is a jazz singer and poet who released her sixth record, “I Get A Kick: Cole Porter Reimagined” (Jazzed Media), earlier this year to excellent reviews and radio play. She is also an intuitive coach and consultant.
Sunday, July 15, Noon – 3 pm$50 advance, $65 day of workshop
lisa b
2018 Summer Quarter / July 9 – August 19 / cjc.edu
susana pineda
Adult Vocal Classes
28 29
SINGING FROM THE SOUL — Finding Inspirational Songs For Performance and Well Beingwith Ellen Johnson & De-Ann LottWhen you sing from your soul it brings
joy to your spirit and provides a more
authentic performance. Recording artists,
Ellen Johnson and De-Ann Lott will guide
you in finding inspiration using music,
lyrics, and improvisation within the styles
of jazz, blues, gospel, soul, and contempo-
rary songs. All participants are requested
to bring an inspirational song for perfor-
mance and will be given a list of sug-
gested songs for their own use during
the workshop.
Ellen Johnson’s devotion to the arts spans more than three decades as a professional recording artist, educator, songwriter, lyricist, author, and publicist. Jazz Journal International described her performances as “superior jazz singing by an artist of the highest quality.” She has performed with many exceptional musicians including Charles McPherson, Louie Bellson, Bobby McFerrin, Sheila Jordan, Don Braden, Roy McCurdy and John Stowell. Johnson wrote the biography "Jazz Child: Portrait of Sheila Jordan" and has published lyrics to both Sonny Rollins and Charles Mingus compositions along with vocal music
instructional products. Johnson has a Master’s degree in Vocal Performance and has been on the voice faculty of numerous universities on the West Coast including the California Jazz Conservatory's Jazzschool along with presenting workshops internationally. www.ellenjohnson.net
De-Ann Lott has dedicated her life to lifting people’s spirits and giving them hope not only through her music but as a therapist and social worker. With a powerful voice that has been compared to Tramaine Hawkins she has lent her talents as an in-demand background singer throughout the Bay Area. Besides being a member of the New Genera-tion Singers, Lott has recorded with gospel music greats Daryl Coley, Danniebelle Hall, and Walter Hawkins and the Love Center Choir, as well as having appeared in concert harmonizing behind Patti LaBelle and Earth, Wind & Fire. Her Debut CD "Return To The Center" was produced by Jamie Hawkins (musical director for Mary J. Blige, Lauryn Hill and EnVogue) and featured Weather Report alumnus Alphonso Johnson. The recording gave Lott an opportunity to write original material that offered messages of hope for those in despair. www.deannlottmusic.com
Sunday, July 22, 1 – 4 pm$95 advance, $110 day of workshop
ellen johnson
ARRANGING FOR VOCALISTSwith Andrea ClaburnThis workshop is for singers who want
to add depth, texture, and individual
distinction to their repertoire through
the application of basic small ensemble
arranging principles. From fresh intros/
endings to applying hip grooves to
creative instrumentation and the
composition of simple lines/parts for
the rhythm section, we will explore
ways to reinvent and reinvigorate
standard jazz repertoire to express
your own unique artistic sensibility.
Please bring 2-3 charts in your key
that you’d like to work on.
Vocalist/composer/arranger Andrea Claburn was born in Baltimore and raised in the classical tradition, studying both piano and violin before turning to jazz. A conservatory-trained musician, Andrea’s musical depth shapes her exceptional vocal style with a highly instrumental use of her voice that’s riveting to hear. As a composer and arranger, she breathes life into new songs and old and lyricizes a wide range of instrumentals, from classic to modern. A charismatic performer, Andrea Claburn brings the music to life with passion, intelligence, and wit, her style infused with a variety of influences while remaining strongly rooted in the jazz tradition.
Saturday, July 21, Noon – 3 pm$50 advance, $65 day of workshop
andrea claburn
2018 Summer Quarter / July 9 – August 19 / cjc.edu
YOU’VE FINISHED RECORDING YOUR JAZZ ALBUM. NOW WHAT? How to Take Your Project from the Recording Studio to the National Jazz Chartswith Nick Phillips and Jenny Maybee
For full description, see page 48.
Sunday, July 29, 2 – 4 pm$30 advance, $45 day of workshop
de-ann lott
30 31
Adult Vocal Classes
CONNECTEDVOICE — VOCAL TECHNIQUE AND APPLICATIONwith Sandy CressmanThis workshop will explore the exercises
and principles of ConnectedVoice
technique, which is a way of developing
connected and consistent sound from
low to high range, with a choice of
dynamics and colors. In the morning
session, we will learn exercises designed
to work through vocal transitions,
connecting the speaking and singing
voice. These exercises also connect
voice development with ear training,
using various patterns based on jazz
chords, scales, and jazz vocabulary.
After the lunch break, we will learn how
to apply the exercises and techniques to
songs. Please bring in those problem
songs! We will work both as a group and
individually, to pinpoint solutions to
individual vocal issues.
Born in New York and raised in the Bay Area, Sandy Cressman began her career recording and performing with the vocal jazz group Pastiche, with whom she recorded several CDs and toured the U.S. and Japan. In the late 1990s, she followed her passion for Brazilian jazz and formed her group, Homenagem Brasileira. Sandy recorded two CDs with Homenagem Brasileira, and has toured the U.S., Europe and Brazil, performing with her group and collaborating with other Brazilian and Brazilophile musi-cians. Recently, Sandy performed as a special guest of SpokFrevo Orquestra on the Main Stage of Carnaval in Recife, Brazil. In 2017, Sandy released a new CD of all original Brazilian music composed in collaboration with a number of talented Brazilian musicians, recorded in Brazil and in the U.S. Throughout her career, Sandy has studied various methods of vocal technique, in order to
improve as a vocalist and teacher. She created her own vocal technique, ConnectedVoice, which fuses voice development and ear training for the jazz singer.
Sunday, August 5, 11 am – 4 pm$115 advance, $130 day of workshop
sandy cressman
“TOCA Y CANTA” THE BASICS OF HAND TO VOICE COORDINATIONwith Edgardo Cambón
This workshop will focus on learning the
basic rhythmic patterns associated with
a variety of hand percussion instruments
typically used by Latin, jazz, rock and
blues singers. Students will develop the
coordination of playing these instruments
while singing through a series of fun group
and individual exercises. Everything from
a simple “egg shaker” to the more
challenging guiro, maracas, shekeré, basic
Brazilian tamborim and bells will be
explored. The technique of being rhythmi-
cally “grounded” while singing is essential
if vocalists wish to participate in the band
as a percussionist. The instructor will
provide instruments for the class and
students are also welcome to bring their
own instruments.
Edgardo Cambón has been the Bandlead-er of the renowned salsa band “Edgardo & Candela” for 26 years. He’s toured throughout South America, Europe, and Africa since 1986. LP (Latin Percussion Co.) endorser. Performance and recording credits include 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.
Sunday, July 22, Noon – 2 pm$30 advance, $45 day of workshop
edgardo cambón
2018 Summer Quarter / July 9 – August 19 / cjc.edu
Adult Vocal Classes
3332
on how to successfully sing as a backing
vocalist. Even if you are used to being a
lead singer, being able to support with
harmonies and basic choreography will
open up many additional opportunities in
your career. We will cover basic harmony,
blend, stage presence, easy choreogra-
phy, and how to support a lead vocalist.
Singers will have the opportunity to sing
both lead and backing vocals. The
workshop will start with a quick place-
ment audition then proceed to work on
performance and repertoire. All levels
accepted, though past singing experi-
ence is preferred. The instructor will
provide music and materials.
Lilan Kane (pronounced LEE - lawn) is an award winning singer-songwriter based in Oakland, CA. She released her album Love, Myself to a sold out crowd at Yoshi’s Jazz Club. Her vintage-tinged soul sound flows through the heartfelt compositions, telling stories of love, loss, and self-discovery while they seamlessly blend R&B, funk, pop, and jazz. The Berklee College of Music alum recently performed in New Orleans at the French Quarter Festival and graced the Yoshi’s stage again, this time with the dynamic Cosa Nostra Strings. They also performed at Undercover Presents: A Tribute to the Miseducation of Lauryn Hill at the Yerba Buena Center for the Arts in San Fran-cisco. Other notable performances include the Fillmore Jazz 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, The Doobie Brothers, Chicago, Sharon Jones, Trombone Shorty, and Morgan James.
Sunday, August 5, Noon - 3 pm$50 advance, $65 day of workshop
lilan kane
THE MUSIC OF DAN HICKS — KING OF FOLK/SWINGwith Daria, Roberta Donnay and Paul RobinsonDan Hicks’ music blends jazz, folk, blues
and hot club. His group, Dan Hicks and the
Hot Licks toured worldwide. The Hot Licks
are dedicated to preserving the original
sound and spirit of the group and continue
to carry Dan Hicks’ music forward with his
particular sound, style and harmonies that
have inspired so many others. Learn some
of the classic songs written by the man
himself while being backed up by guitar
accompaniment, background vocals and
percussion. This workshop will be taught
by Daria, Roberta Donnay and Paul
Robinson, who toured with Dan for over
10 years. Learn tunes like "Canned Music,"
"I Scare Myself," "Milkshakin’ Mama" and
others. The Hot Licks will perform and then
you’ll get to sing and harmonize! You’ll also
learn a bit about the history of the group,
view some vintage footage and hear some
fun stories from the road. Lyrics will be
provided. Come join the fun! Open to all.
Sunday, August 12 , Noon – 3 pm$60 advance, $75 day of workshop
roberta donnay, daria and paul robinson
STAGE PRESENCE 101 — THE ART AND CRAFT OF LIVE PERFORMANCE with Andrea ClaburnYou’ve done the hard work, gotten your
musical chops together, rehearsed with
the band. Now: how do you make your
set interesting in between the songs?
How do you connect with the audience,
create an engaging, well-paced set,
and maintain an element of surprise
essential to the art form? What sets you
apart as a performer and makes your
concert a must-see event? This work-
shop will give you the tools you need
to hone your stage presence, create an
electrifying set, magnify your own
unique style, and express your authentic
self in live performance. Please bring
charts you’d like to work on in this
context.
Sunday, August 26, Noon - 3 pm$50 advance, $65 day of workshop
2018 Summer Quarter / July 9 – August 19 / cjc.edu
Adult Vocal Classes
BACKGROUND VOCALSwith Lilan KaneAlmost every successful band and singer
have had amazing background vocalists.
Did you know that Sheryl Crow got her
start singing background vocals for
Michael Jackson? In this workshop, we
will split into small groups based on
experience and musical tastes to work
Young Musicians ProgramYoung Musicians Program
34 35
PLACEMENT AND AUDITION REQUIREMENTS SUMMER AND FALL 2018
AUDITION MATERIALSEntering musicians are asked to prepare
two skill-level appropriate jazz standards,
improvise over a 12-bar blues (optional) or
rhythm changes (for high school students
only) and sight-read.
HOW TO SCHEDULE AN AUDITION To schedule an audition, please apply
online at: cjc.edu/youth_auditions
After your application is received, you will
be contacted within 1 – 2 weeks with an
audition time. Auditions are scheduled on
a first-come, first-served basis and will be
scheduled at the earliest available time.
Students will be contacted with placement
information following the audition.
AUDITION DATES: Ongoing
AUDITION BY VIDEO (OPTIONAL) Students have the option of submitting an
online video audition rather than scheduling
an in-person audition. Students submitting
their audition online are still required to fill
out an online application (see above). On
the application form, please select video
submission. Please note: online video submis-
sions are not available for the Studio Band
or Advanced High School Jazz Workshops.
INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS
• Student should be clearly visible
and audible on the video.
• Perform two skill-level appropriate
jazz standards. Please state the name
of each piece before you play it.
• Download one of the two improvisation
tracks at cjc.edu/youth_auditions
for the improvisation portion of your
audition. Two choruses required.
• On the video, it is important that your
playing is heard louder than anything
else, including any accompanying tracks.
PIANO AND GUITAR PLAYERS Follow the above instructions with only
one change: after improvising, please
demonstrate comping/voicings on a
blues or rhythm changes.
DRUMMERSPlease demonstrate the following styles:
• swing, bossa nova, funk/rock
• Demonstrate each style at various
tempos (i.e., slow, medium, fast)
• On each style/tempo please “trade
fours” with yourself (4 bars of time,
4 bars of solo, etc.)
• Play at least 16 bars of each example
After you have completed your video,
upload your audition to YouTube and title
the video with your name (Example: John
Smith Jazzschool Audition). You should make
this a private video (unless you don’t mind it
being available to the public). Once the video
is uploaded, send a link to erik @cjc.edu. You may also upload the video to a private
website and email a link. Please do not
email audition videos as attachments.
For more information about the Jazzschool
Young Musicians Program placement process,
please visit cjc.edu/youth_auditions or
contact Program Director, Erik Jekabson,
[email protected] or 510.845.5373.
The Jazzschool Young Musicians
Program is a year-round,
comprehensive, music education
and performance program
designed for instrumental and
vocal students between the ages
of 11 and 18. The Young Musicians
Program has been at the center
of the Jazzschool’s educational
and artistic goals since 1997. Its
curriculum provides students
with the opportunity to work
with professional jazz artists
and educators, strengthening
performance skills, expanding
knowledge of jazz theory and
improvisation, and learning more
about the foundations of jazz
and related styles of music.
Students participate in after-school
classes and in master classes with
nationally known jazz artists, as
well as performing in venues
throughout the San Francisco
Bay Area and beyond.
2018 PROGRAM REQUIREMENTS
Jazzschool Young Musicians Program
ensembles require a commitment of
three quarters (fall, winter and spring).
Students unable to commit to a full
school year are still encouraged to
audition; however, priority will be given to
those who can remain in the program for
the entire school year. Students wishing
to audition mid-year will be placed in the
program based on availability of open
spots in ensembles and the student’s
ability level. Please note that, while it is
our mission to find a place for everyone
in our Young Musicians Program, we may
not be able to accommodate all students
who apply.
“The classes were very well thought out and the instructors did a great job easing the students into the music.”
2018 Summer Quarter / July 9 – August 19 / cjc.edu
erik jekabson
Jazzschool Young Musicians Program
36 37
What degree of jazz artist do you want to be?
The California Jazz Conservatory is the only
independent accredited school in America completely
devoted to the study and performance of jazz.
We offer two paths to your degree in Jazz Studies.
Both offer a 100% jazz relevant curriculum.
Both are taught by an effective faculty
of top jazz artists/educators.
Both offer a preeminent artistic and academic
experience in the center of the vibrant
Bay Area arts scene.
And both offer you the opportunity
to transform yourself,
from a burgeoning musician
to a respected artist.
Bachelor of Music Degree in Jazz StudiesA 4-year, 100% jazz-relevant degree program offering
unique optional areas of concentration in Brazilian Jazz,
North American Roots Music, and Audio Production
in partnership with Fantasy Studios.
Associate of Arts Degree in Jazz StudiesA 2-year program, offering the same effective faculty
and the same 100% jazz-relevant courses taught in
the first two years of our Bachelor program, but at
half the tuition investment and half the time commitment
to get you started in your career in jazz.
What degree of jazz artist do you want to be?
Contact our President and Dean, Susan Muscarella, to
find the best fit for you: [email protected] or 510.845.5373.
Our campus is located at 2087 and 2040 Addison Street,
Berkeley, CA, 94704 / 510.845.5373 / cjc.edu
In a musicianOut an artist
Young Musicians Program
39
Young Musicians Program
38 39
SUMMER YOUTH ENSEMBLES
This summer we are offering
several jazz ensemble sections for
middle school and high school
students. These ensembles meet
twice a week for 3 weeks, followed
by a performance at the end of
each 3 week session. The first
session begins the week of July 9
and the second session begins the
week of July 30. Ensemble sections
are available Monday, Tuesday,
Wednesday and Thursday after-
noons. While we make every effort
to accommodate scheduling
requests, specific placements are
based on the results of an audition.
Tuition • $280 per 3-week session
FALL QUARTER PREVIEW
Here’s a look ahead at the great
courses available for middle and
high school students starting this
fall. The 10-week Fall Quarter
starts September 17, and ensemble
placement auditions are planned
for the last two weeks of August
(see page 35 for audition informa-
tion). Course schedules and
pricing information will be pub-
lished in our Jazzschool fall
catalog and online at cjc.edu.
small performance ensembles
ADVANCED HIGH SCHOOL JAZZ WORKSHOP
These DownBeat award–winning ensembles
are designed for the advanced-level high
school student player who is competent
in the bebop language and wishes to
explore the post-bop harmonic, melodic,
rhythmic and formal innovations of artists
such as Coltrane, Shorter, Corea, Hancock
and Brecker. Students record at Fantasy
Studios and participate in various
competitions and festivals.
Section 1Michael Zilber
Section 2Erik Jekabson
HIGH SCHOOL FUNK ENSEMBLE
A high-energy ensemble focusing on the
classic funk hits of James Brown, Sly and
The Family Stone, Earth Wind & Fire, The
Meters, Herbie Hancock, Tower of Power
and Motown’s Funk Brothers. Vocalists
and horns welcome! Students learn music
by ear. (Also open to advanced middle
school musicians.)
Joe Bagale
HIGH SCHOOL JAZZ ENSEMBLE
Intermediate-to advanced-level ensembles
for high school musicians interested in
gaining a greater understanding of jazz
theory and developing improvisation skills
through the study and performance of
challenging jazz repertoire.
MIDDLE SCHOOL JAZZ ENSEMBLE
Small groups designed for middle school
musicians interested in learning how to
play jazz and improvise. These ensembles
cover a wide repertoire, from John
Coltrane and Sonny Rollins to Eddie
Harris and James Brown! Students play
new arrangements, focused on stylistic
accuracy and developing coherent solos
in a friendly, non-competitive environment.
2018 Summer Quarter / July 9 – August 19 / cjc.edu
joe bagale
2018 Summer Quarter / July 9 – August 19 / cjc.edu
“It’s the only place that I know of that offers such high level jazz ensembles for middle & high school students. Last year, my school music program was not challenging enough for me. I loved being involved!”
Young Musicians Program
40 41
large performance ensembles
STUDIO BAND
This award-winning ensemble trains
advanced high school musicians from
throughout the Bay Area. Students
develop technique, knowledge of jazz
style and an ability to improvise through
standard and contemporary big band
repertoire. This ensemble records at
Fantasy Studios, performs frequently and
participates in competitions throughout
the U.S. Jazzschool studio bands have
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,
Switzerland. Students also participate in
clinics and workshops with leading jazz
educators. Full school year commitment
is required. Instrumentation: 5 saxes,
5 trumpets, 5 trombones, guitar, piano,
bass and drums. (Students earn the
equivalent of one semester unit of credit
per quarter.)
Dave Eshelman
VOCAL COURSES
SOLO VOCAL PERFORMANCE FOR TEENS
This fun course for teens focuses on
solo singing and all the things necessary
to have a great performance. Students
receive coaching on vocal technique, stage
presence and assistance in finding the
best song for their level and interests. All
genres welcome, from rock to classical,
anything goes!
Kyra Gordon
dave eshelman
Workshops
The Jazzschool offers a variety of
short-term Workshops throughout
the year, available in single ses-
sions or as a series. Workshops
are taught by professional artists/
educators and focus on specific
approaches to strengthening
technical ability, understanding
and applying theoretical concepts
to improvisation, and enhancing
live performance skills, in addition
to other jazz-related topics.
BRAZILIAN RHYTHMS FOR THE JAZZ MUSICIAN with Laura DreyerIn this workshop, students explore a
variety of Brazilian rhythms, including
samba, bossa nova, baião, choro and
afoxé, and how to incorporate them into
the jazz idiom and beyond. Participants
learn the distinguishing characteristics of
each rhythm and put them into practice
through in-class exercises. Prerequisites: none! Open to all melodic instruments and rhythm section players. Please bring your instrument!
Saxophonist Laura Dreyer has headlined the Kennedy Center for the Performing Arts Mary Lou Williams Women in Jazz Festival and the Syracuse Jazz Festival. She has performed with noted musicians such as pianist Dom Salvador, with whom she performed in Rio de Janiero at the Copafest, Antonio Adolfo, Marcos Silva, Dr. Billy Taylor, Walter Bishop Jr., Danny Seraphine’s BadAss Rockin Big Band, Mel Lewis, Robert Palmer, Nnenna Freelon, Lea Delaria, Leny Andrade, Portinho, Helcio Milito and many others. Dreyer is also active as a music educator, having served on the faculties of Hoff-Barthelson Music
School, Jamey Aebersold Jazz Clinics, Cazadero Music and Arts Camp, and Jazz Camp West.
Sunday, July 1, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
laura dreyer
2018 Summer Quarter / July 9 – August 19 / cjc.edu
42 43
LET’S FACE THE MUSIC: SONGS OF IRVING BERLINwith Maye Cavallaro
Part of the American Songbook Composer Workshop Series
For full description, see page 26.
3 Sundays, July 1, 8 & 15, Noon – 3 pm$295 advance, $315 day of workshop
SINGER AS ACCOMPANIST: USING THE VOICE TO ACCOMPANY INSTRUMENTALISTS with Susana Pineda
For full description, see page 26.
Sunday, July 8, 2 – 4 pm
$30 advance, $45 day of workshop
IMAGINING YOUR FIRST TRIBUTE PROJECT — A Framework for Inspiration with Lisa B
For full description, see page 27.
Sunday, July 15, Noon – 3 pm$50 advance, $65 day of workshop
2018 Summer Quarter / July 9 – August 19 / cjc.edu
alon nechustan
FUSING MIDDLE EASTERN MUSICAL ELEMENTS WITH JAZZ with Alon NechustanAmong the many artists using and fusing
world rhythms, Middle Eastern influences
have become increasingly widespread as
exemplified by the music of Avishai
Cohen, Rabih Abou Khalil, Abdullah
Ibrahim, Omar Faruk Tekbilek and others.
Jazz pioneers from as early as the turn of
the century have been influenced by this
music and incorporated it into their work.
Topics covered include: unique Judeo-
Arab modes, the use of tetrachords as
building blocks, unique rhythms and beat
patterns, odd meters, Adalusian styles,
Klezmer and more. Open to all!
A resident of New York City, Alon has performed as a band leader and as an in demand sideman in venues such as Carnegie Hall, Jazz @ Lincoln Center,
Central Park Summer Stage, The Blue Note Jazz Club and the Kennedy Center. In October 2015, the Kennedy Center commissioned a new piece from Alon for the Billy Strayhorn Centennial Celebration, followed by a Far East tour in China and the Philippines, along with Jazz Festivals in Belo Horizonte-Brazil and Israel. In 2017, the Smithsonian Museum in Washington, D.C. commissioned a new program from Alon of Thelonious Monk’s less known compositions.
All About Jazz magazine called him “A fantastic pianist-composer with abundant chemistry and boundless eclecticism,” while DownBeat Magazine recognizes “A talent to watch, with a surfeit of ideas, an unbridled spirit and bold, two-fisted sense of Architecture.”
Saturday, July 14, 3:15 – 5:15 pm
$30 advance, $45 day of workshop
Workshops
44 4544 45
WorkshopsWorkshops
BLENDING VENEZUELAN FOLK STYLES WITH AMERICAN JAZZ AND ROOTS MUSICwith Sam Reider and Jorge GlemGrammy-nominated Venezuelan cuatro
virtuoso Jorge Glem teams up with
American composer and accordionist Sam
Reider to create a one-of-kind fusion of
folk music. With jaw dropping virtuosity
and infectious chemistry, these musicians
and friends are breaking down all the
boundaries between their two continents,
languages, and cultures. Join Jorge and
Sam as they explore Joropo and Meren-
gue rhythms, discuss their individual
approaches to improvisation, and
experiment with ways blending these
Venezuelan styles with American roots
music. All instrumentalists are welcome
and encouraged to bring instruments.
San Francisco native Sam Reider is redefining American music on the accordion. He’s been featured at Lincoln Center and on NPR, and performed
2018 Summer Quarter / July 9 – August 19 / cjc.edu
alongside musicians around the world, ranging from Jon Batiste and Stay Human to viral YouTube sensation CDZA and T-Pain; from Bluegrass mandolin prodigy Sierra Hull to Venezuelan cuatro virtuoso Jorge Glem. Reider began performing at a young age, attended Columbia University, and performed around the world on behalf of the U. S. State Department.
Cuatro player, mandolinist and musical producer, Jorge Glem was the winner of prestigious awards such as El Silbón de Oro 2014 and Siembra Del Cuatro 2015. He has won three Pepsi Music Awards for his album “En el Cerrito,” and he is a three-time Latin Grammy nominee with ensemble C4Trio. Jorge has three musical productions of his own and has partici-pated in over 200, traveling throughout four continents and sharing the stage with worldwide figures such as Paquito D’Rivera, Jordan Rudess, Rubén Blades, Carlos Vives, and Calle 13.
Sunday, July 15, 11 am – 1 pm$40 advance, $55 day of workshop
jorge glem and sam reider
THE PROFESSIONAL MUSICIANwith Daniel Lucca ParentiFirst we learned how to make a sound.
Then we learned how to shape our musical
ideas. Now let’s learn how to make a living.
Professional skills are often overlooked in
the process of music education, but are an
important component for anyone inter-
ested in becoming a working musician.
Ask yourself if you were at a store and saw
yourself on a shelf, would you buy you?
This is often the hardest thing to grasp as
an “artist.” In this workshop, we’ll cover a
wide range of topics relevant to profes-
sional development as a musician includ-
ing training and development, finding and
keeping work, and an overview of music
business fundamentals.
Daniel has performed with many jazz legends including Concord Jazz Recording Artists Rosemary Clooney, Michael Brecker, and Lionel Hampton. With Rosemary Clooney, Daniel participated in two Grammy-nominated albums. He has released seven full-length original albums under his original project D-Lucca. He continues to perform with many well-known Bay Area artists including Sheila E, Pete Escovedo, Tommy Igoe, Rodney Franklin, and more. Daniel teaches String Bass, Fretted and Fretless Electric Bass, Piccolo Bass, and Music Business.
Saturday, July 21, Noon – 2 pm$30 advance, $45 day of workshop
daniel lucca parenti
2018 Summer Quarter / July 9 – August 19 / cjc.edu
474746
SINGING FROM THE SOUL — Finding Inspirational Songs For Performance and Well Beingwith Ellen Johnson & De-Ann Lott
For full description, see page 29.
Sunday, July 22, 1 – 4 pm
$95 advance, $110 day of workshop
“TOCA Y CANTA” THE BASICS OF HAND TO VOICE COORDINATIONwith Edgardo Cambón
For full description, see page 29.
Sunday, July 22, Noon – 2 pm$30 advance, $45 day of workshop
ARRANGING FOR VOCALISTSwith Andrea Claburn
For full description, see page 30.
Saturday, July 21, Noon – 3 pm$50 advance, $65 day of workshop
CONNECTEDVOICE — VOCAL TECHNIQUE AND APPLICATIONwith Sandy Cressman
For full description, see page 31.
Sunday, August 5, 11 am – 4 pm$115 advance, $130 day of workshop
BACKGROUND VOCALSwith Lilan Kane
For full description, see page 32.
Sunday, August 5, Noon - 3 pm$50 advance, $65 day of workshop
THE MUSIC OF DAN HICKS — KING OF FOLK/SWINGwith Daria, Roberta Donnay and Paul Robinson
For full description, see page 33.
Sunday, August 12 , Noon – 3 pm$60 advance, $75 day of workshop
STAGE PRESENCE 101 — THE ART AND CRAFT OF LIVE PERFORMANCE with Andrea Claburn
For full description, see page 33.
Sunday, August 26, Noon - 3 pm$50 advance, $65 day of workshop
Workshops
BOOGIE WOOGIE PIANOwith Wendy DewittLearn intros, bass lines and licks used by
the masters of boogie woogie. This class
will use material from Hadda Brooks,
Albert Ammons, Meade Lux Lewis and
Pete Johnson to learn and increase your
boogie woogie skills. Tips on how to
strengthen the left hand, nail the rhythms
and increase coordination will deepen
your enjoyment of this musical form.
Emphasis will be placed on developing
and building improvisational abilities to
have maximum fun playing. Bringing a
video recorder (smart phone, GoPro, etc.)
is recommended; at a minimum, please
bring an audio recording device. Appropri-
ate for intermediate players and above.
Wendy DeWitt, christened a Queen of Boogie Woogie by legendary artist Hadda Brooks, is an international performer whose latest CD is heard on radio around the world. Wendy has performed with Hank Ballard and with Otis Rush; and she represented The Golden Gate Blues Society at the International Blues Challenge in Memphis, TN.
Sunday, July 29, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
wendy dewitt
2018 Summer Quarter / July 9 – August 19 / cjc.edu
4949
YOU’VE FINISHED RECORDING YOUR JAZZ ALBUM. NOW WHAT? How to Take Your Project from the Recording Studio to the National Jazz Chartswith Nick Phillips and Jenny MaybeeHaving a professional-sounding, well-
recorded, mixed, mastered, release-ready
master of your jazz album is quite an
accomplishment. But in many ways, it’s just
the beginning and it’s only one element —
albeit a very important one — of a success-
ful jazz album release. Just how do you,
an independent jazz artist, go from having
that finished master in-hand to effectively
planning and launching your album release
on a national level — and possibly even
getting it onto the national jazz charts?
We’ll show you how we did it.
Perhaps best-known as a jazz record producer — with credits on countless internationally-distributed releases including more than a dozen Grammy-nominated projects — Nick Phillips’ warm-toned, lyrical jazz trumpet playing was put in the spotlight in 2014 with release of his own debut album, “Moment to Moment,” co-led with pianist Cava Menzies. Cracking the top 20 of the Billboard Jazz chart, reaching the top 30 and spending nine consecutive weeks on the JazzWeek chart,
and garnering both a 4-star review and a coveted spot on DownBeat magazine’s “Best Jazz Albums of 2014” list, the album drew laudatory comparisons to the work of jazz trumpet legends Miles Davis (“The Ballads Album Miles Davis Never Record-ed” — East Bay Express) and Chet Baker (“... pristine, and moving, trumpet sound...Phillips nods to his predecessor’s [Baker’s] fragility but also imparts a feeling of strength that comes through a sense of restraint.” — DownBeat).
Jenny Maybee is a classically-trained jazz pianist and vocalist who approaches music as the art of expressing the human body through song-structures and improvisation. Her compositions are inspired by her studies of the martial and healing arts and the vast sonic landscape of jazz and world music. Her playing reflects her range of exploration, dancing from stunning open space and intricate use of silence to power-ful rhythmic intensity. Drawn to the San Francisco Bay Area to complete her law degree at U.C. Berkeley, she has recorded and played in jazz groups including her own trio, the Empty Chamber Ensemble, the Heftpistole Chamber Ensemble, and Noertker’s Moxie.
Sunday, July 29, 2 – 4 pm$30 advance, $45 day of workshop
nick phillips and jenny maybee
Workshops
2018 Summer Quarter / July 9 – August 19 / cjc.edu
START PLANNING YOUR SUMMER!
The Jazzschool is proud to offer a range of summer camps and intensives for both adults and young musicians (middle school and high school age). These fun, immersive programs are a great way to jump-start your learning, by working closely with our talented instructors for a week or more. They also serve as the perfect forum for you to meet like-minded musicians from around the Bay Area and beyond. All of our camps and intensives conclude with a concert in the Jazzschool’s Hardymon Hall, open to public, free of charge.
Space is limited and each of these programs is certain to sell out! Early registration is highly recommended. Please see the following pages for details and check cjc.edu for the most recent program updates.
• Summer Youth Program 50
• High School Jazz Intensive 51
• Girls’ Jazz & Blues Camp 52
• Summer Vocal Intensive 53
Jazzschool Camps and Intensives
48
HIGH SCHOOL JAZZ INTENSIVE
Open to all rhythm section
instruments and horns
A Five-Day Intensive
for Advanced High School
Jazz Instrumentalists led
by Artistic Director
Michael Zilber!
July 23 – 27
10 am – 4 pm
Six to eight advanced high school musicians will be selected to work closely with top Bay Area jazz artists for a week of rehearsals, master classes and private lessons. Concludes with a performance at the school, with each participant receiving a professional-quality recording of the concert!
A departure from the typical one-instructor-to-an-ensemble model, the student group meets daily with a complete ensemble of seasoned professional musicians working to develop improvisation and arranging/composition skills in an intensive rehearsal format.
See cjc.edu / hsji for a daily schedule of events.
Tuition • $795
For more information and audition pre-screening, please contact the Jazzschool at 510.845.5373 or email: erik@ cjc.edu
Dr. Michael Zilber is the director of the Jazzschool’s multiple DownBeat award–winning Advanced High School Jazz Workshop.
50 512018 Summer Quarter / July 9 – August 19 / cjc.edu
Students develop skills in ensemble playing, music reading, improvisation, instrumental technique, rhythm, jazz theory and more, with all students performing each Friday evening in a 6:00 pm concert.
Tuition • $495 per week or $900 for both weeks
For additional information please contact Rob Ewing, Jazzschool Youth Program Director, at 510.845.5373 x 14 or email [email protected].
Please see cjc.edu / jsyp for complete details.
Jazz Ensemble • Funk Ensemble • New Orleans Brass
Band • Visiting Clinicians • Jam Sessions •
Jazz Theory • Private Lessons • Guest Performers
SUMMER YOUTH PROGRAM
Open to all instrumentalists
entering 7th – 10th grades
Two Five–Day Sessions:
June 18 – 22 and
June 25 – 29
Monday – Friday
9:30 am – 3 pm
SUMMER VOCAL INTENSIVEOpen to intermediate to advanced singers (international students welcome)
A Five-Day Intensive Workshop with
Theo Bleckmann and Laurie Antonioli
GIRLS’ JAZZ & BLUES CAMPOpen to all instrumentalists and vocalists entering 6th – 12th grades
A supportive musical environment where girls have fun and develop self- confidence while honing improvisational, technical and ensemble skills. Directed by Jean Fineberg & Ellen Seeling, with an all-women faculty from the Montclair Women’s Big Band.
July 30 – August 3
Monday – Friday 9:30 am – 3 pm
All-Camp Performance, Friday, August 3, 6 pm
Jazz Combo • Blues & Soul Group • Latin Ensemble •
Pop Vocal Group • Rhythm & Blues Choir • Jazz Big Band •
“My Life” Spoken Word Poetry • Songwriting • Theory &
Improv • Vocal Skills • Percussion (joins Latin) •
One Private Lesson • Lunchtime Open Jam
Tuition • $499 • Some financial aid available.For program information: [email protected] or leave message at 510.758.2200Registration: cjc.edu/girlsreg or call 510.845.5373
August 6 – 11
10 am – 4:30 pm
Learn to create, perform and sing in a distinctive and authentic style!
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CJC Artist-in-Residence and Grammy-nominated ECM recording artist, Theo Bleckmann, joins CJC Vocal Chair, Laurie Antonioli, in a return of this popular annual, week-long workshop. As jazz singing today has expanded vastly in genres and styles, this unique intensive emphasizes the technical, creative and spiritual aspects of singing and performing and serves as a catalyst for artistic growth no matter where your path leads. Bleckmann and Antonioli will assist the students in their personal and musical development, opening doors to new ideas and encouraging possibilities. The intensive culminates with a performance open to the public, Saturday, August 11, at 8 pm.
Limit: 10 students Contact [email protected] to audition
Tuition • $950 (Refund Policy: Until July 1st, $100 of the $950 tuition fee is non- refundable. No refunds are allowed after July 1st.)
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Amanda Addleman (voice) B.M. Performance from Berklee College of Music. Student of Mili Bermejo-Greenspan, Ken Cervenka, Greg Hopkins, Maggie Scott, Lee Strawn & Tierney Sutton. Professional musician with past residencies at The Palace Hotel, Savanna Jazz Club and more. Vocal Program Director at Sir Francis Drake High School and private music educator and clinician.
Laurie Antonioli (voice) Studied at Mt. Hood College and Cal State Long Beach. Chair, Vocal Program, California Jazz Conservatory. Professor and Director of Vocal Jazz Department, Kug U., Graz, Austria. Private studies with Joe Henderson and Mark Murphy. Origin Records recording artist; Nabel Records recording artist; performed and recorded with George Cables, Bobby McFerrin, Richie Beirach, Pony Poindexter, Joe Bonner; bandleader of the American Dreams Band; led international group Foreign Affair; lyricist for Richie Beirach; co-creator of the Pauer— Antonioli Songbook. www.laurieantonioli.com
Bill Aron (saxophone) M.M. in Performance, SF State; B.A. in Music UC Berkeley. Professional musician and music educator for 46 years; specializing in classical saxophone playing with the San Francisco Saxophone Quartet and San Francisco Symphony among others.
Joe Bagale (drums) Eastman School of Music (1.5 years) currently lead vocalist, keyboardist, guitarist with Mickey Hart Band. Leads Joe Bagale band, performs with Jazz Mafia, Hot Einstein, Disappear Incompletely. www.joebagale.com
David Belove (bass) Studied at SF State and San Francisco Conservatory of Music. Recorded or performed with Pete Escovedo, John Santos and The Machete Ensemble, Danilo Perez, Tito Puente, Francisco Aguabella, Rebeca Mauleon, Ray Obiedo, Marcos Silva, Joe Henderson, Max Roach, Blue Mitchell, Eddie Harris, Mark Levine, Pat Metheny, Larry Coryell and Zakir Hussain.
Steve Blum (piano)B.M. CSU Long Beach, M.F.A. California Institute of the Arts. Performer, composer, music director and educator. Student of David Roitstein, Alfred Ladzekpo, Joe LaBarbera, Wadada Leo Smith, Larry Koonse, and Charlie Haden. Recorded and/ or performed with Vinny Golia, Tony Clifton, Blockrad, A Giraffe, Keen Inkling, Steve Blum’s Keyboarchestra, Disappear Incompletely, See-Saw Trio, and more.
Edgardo Cambón (percussion, voice) Bandleader for 26 years of the renowned salsa band “Edgardo & Candela.” Toured throughout South America, Europe, and Africa since 1986. LP (Latin Percussion Co.) endorser. Performed or recorded with Jesús “Chucho” Valdés (Irakere), Eddie Palmieri, Carlos Santana, José Luis “Changuito” Quintana, Orestes Vilató, Salsa Romántica Stars Jerry Rivera and Eddie Santiago, Keith Terry and “Crosspulse,” Omar Sosa, Jeff Narell, Andy Narell, Sovosó (formerly Bobby McFerrin’s “Voicestra”) Mike Spiro, Karl Perazzo and Rebeca Mauleón. www.musicandela.com
Ian Carey (trumpet, composition)B.F.A., Jazz and Contemporary Music, The New School, New York. Performed with The Nathan Clevenger Group, Satoko Fujii, Anthony Brown’s Asian-American Orchestra, Eddie Bert, Lisa Mezzacappa, Dayna Stephens, and Loren Schoenberg. Recorded with Electric Squeezebox Orchestra, Sam Bevan Group, Bryan Bowman Quintet and Rob Reich’s Circus Bella All-Star Band. Released four albums on Kabocha Records with his group The Ian Carey Quintet+1 featuring his original compositions, including the hourlong suite “Interview Music” (commissioned by San Francisco Friends of Chamber Music). Pasquina Publishing Musical Artists Award winner, 2014. Visiting clinician at Stanford University and Santa Rosa Junior College. www.iancareyjazz.com
Danny Caron (guitar) B.A. in English and Music, Oberlin College and Conservatory; graduate of Howard Roberts Program, Guitar Institute of Technology, Los Angeles. Best known for being music director and guitarist for the legendary pianist and vocalist Charles Brown until his death in 2000. He has played and recorded with Van Morrison, Bonnie Raitt, Dr. John, Clifton Chenier, Donald Fagan, Hadda Brooks, Red Callender, and many others. www.dannycaron.com
Maye Cavallaro (voice) Advanced degree in Education, UC Santa Barbara; B.A. in English Lit, UC Santa Barbara. Fellow NY Cabaret Symposium; faculty, Blue Bear School of Music; private coaching, 25 years; producer, 8 recordings; bandleader, recording artist; awarded Best of the Year in Jazz by the San Francisco Chronicle; visiting clinician, St. John’s U.; graphic artist, web designer. www.teachingjazz.com
Andrea Claburn (voice)B.M. California Jazz Conservatory; BA (High Honors, Humanities) University of California at Berkeley. Producer/arranger, composer for album Nightshade (released January, 2017). Co-bandlead-er, Andrea Claburn/Jua Howard Group. Awarded the CA Jazz Conservatory’s Mark Murphy Vocal Jazz Scholarship (2010). Classically trained in piano and violin. Extensive experience as an instructor of vocal technique, performance, improvisation, and musicianship. Studied with Suzanne Pittson, Sandy Cressman, Laurie Antonioli, Raz Kennedy. www.andreaclaburn.com
Stephanie Crawford (voice)BFA Wayne State University. Subsequent studies with bebop pianist Barry Harris in New York City. She became Professor of Vocal Jazz at the C.I.M. (Centre d’Information Musical and at the I.A.C.P. (Institut d’Art, Cultur et Perception) in Paris where she resided for many years. In 1992 she won the Django D’Or Best Vocal Jazz Award for her recording A Time for Love, and in 2009 the East Bay Express Best Singer of the Year award.www.stephaniecrawfordjazz.com
Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-Residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Cressman has performed and recorded with Jovino Santos Neto, Marcos Silva, Weber Iago, Antonio Adolfo, and SpokFrevo. Cressmanmusic.com
Daria (voice)Education: SFSU/New College of California, B.A. Humanities/Early Childhood Music Ed.; A.A. Foreign Languages; International performing/recording artist, songwriter/educator. Performs with The Hot Licks and a capella trio, Dangerous Divas. Releases include “Strawberry Fields Forever — Songs by the Beatles” on Origin/OA2 Records; “Feel the Rhythm” on Jazz ‘m Up Records (own label). Performed and/or recorded with Dan Hicks, Bob Dorough, Dave Grisman, Elvis Costello, Diana Krall and others. Taught at CJC, Piedmont Piano, College of Marin, Blue Bear School of American Music and other locations. www.dariajazz.com
Rachel Efron (songwriting) B.A., Harvard U. (extensive coursework in both writing and music). Studied jazz piano with faculty at Berklee College of Music. Released three albums of original music and toured on both coasts. Bandleader of Rachel Efron Ensemble, which has performed locally at such venues as Yoshi’s, The Plush Room, The Independent, Freight & Salvage and Cafe Du Nord. www.rachelefron.com
Cecilia Engelhart (voice)Education: San Francisco Conservatory, Mannes College of Music. Has performed/recorded with a wide range of artists including: Rubén 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 and Wayne Wallace. Composer and arranger with “Tanaora,” “Free Dive” and “Trio 3.” Classical performance includes SF Symphony Chorus,“Conjunto Nuevo Mundo” early music ensemble.
Steve Erquiaga (guitar)National and international recording and perform-ing artist; has performed at Montreux Jazz Festival, Berlin Jazz Festival, North Sea Jazz Festival; performed and recorded with Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, John Handy, David Byrne, Turtle Island String Quartet, Maria Schneider and Andy Narell; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.
Jazzschool Faculty
Jazzschool FacultyJazzschool Faculty
2018 Summer Quarter / July 9 – August 19 / cjc.edu
amanda addleman
Jazzschool Faculty
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Jazzschool Faculty
Dave Eshelman (trombone)From 1984 to 2007, Dave Eshelman served as Director of Jazz Studies at California State University, East Bay (formerly Cal State Hayward). Eshelman has performed extensively with many jazz groups in the Bay Area and has worked as a featured soloist in the big bands of Ray Brown, Joe Henderson, Tito Puente and Gerald Wilson. Various artists across the United States and Europe — such as Joe Henderson, Don Ellis, Bill Watrous, and Stan Kenton, the Swedish Radio Orchestra and the Airmen of Note — have performed his compositions and arrangements.
Rob Ewing (trombone) Jazzschool Director. Jazzschool Summer Youth Program Director. B.A., Naropa U.; 2 years, Berklee College of Music. Leader of Disappear Incompletely — The Radiohead Project. Performances with STS9, Marcus Shelby Orchestra, Vinny Golia, Latin Giants of Jazz, Ray Vega, Wayne Wallace, Graham Connah, Joe Bagale, The Barr Brothers, Les Gwan Jupons, John Schott’s Typical Orchestra, Jazz Mafia Symphony, Oakland Active Orchestra, Half of Half, Leslie Helpert, Rebecca Griffin, Naytronix. www.robewingmusic.com
Jean Fineberg (saxophone, flute)M.Ed. in Secondary Education, B.S. in Science; B.A. in Arts & Sciences, Pennsylvania State U. Founder, leader of Deuce and Saxophunk; Assistant Director, composer, arranger, Montclair Women’s Big Band; toured and recorded with Melba Liston, David Bowie, Laura Nyro, Chic, Sister Sledge; consultant, San Francisco Arts Commission; NEA Jazz Fellow; recipient, ASCAP music composition awards, Meet The Composer grants; featured on Marian McPartland’s Piano Jazz on NPR.
Raffi Garabedian (saxophone)B.F.A. in Jazz Performance, The New School, NYC. Performs with Brass Magic, Raffi Garabedian Blues Band, and many others. Studies with Dann Zinn, Dayna Stephens, Mark Turner, Tony Malaby, Chris Cheek, Ben Street, & Bill McHenry.
Kyra Gordon (voice) Vocalist/B.Mus. in Jazz Vocal Performance, California Jazz Conservatory. Spent a year performing in Paris, France, at Les Carveau Des Oubliettes and The One Way. Performed with Martha High, Boney Fields, Lucky Peterson, Kenny Neal, and Vernon Bush with Taj Mahal. Soundtrack vocals for feature films “Owned” and “Bert.” Vocalist/keyboards with improvised hip-hop collective The Freeze, performing the Bay Area’s hit show “Mortified.”
Mike Greensill (piano)Graduated from Leeds College of Music (England). Long-time musical director for acclaimed vocalist Wesla Whitfield. Resident pianist for Public Radio’s “West Coast Live.” Worked as an accompanist with Rita Moreno, Margaret Whiting, Madeline Eastman, Ann Hampton Callaway and many others.
Charlie Gurke (saxophone, composition) M.M. in Jazz Studies, University of Oregon. B.M., Cal State East Bay. On faculty at Laney College and the Community Music Center of San Francisco. Currently performs and records with the Electric Squeezebox Orchestra, Edgardo Cambón, Carne Cruda, the Gurkestra, and more. Past performance and recording credits include Omar Sosa, Aphrodesia, the Pacific Mambo Orchestra, Carne Cruda, Fito Reinoso, and others. Music director and composer in residence, We Players theater company.
Alan Hall (drums) Advisor, Drum Program. Former assistant professor at Berklee College of Music; adjunct faculty at UC Berkeley; clinician; author; performed with Ernie Watts, Paul McCandless, Eddie Harris, Bruce Wilamson, Art Lande, Tom Coster, Kit Walker, Rebecca Parris, Kai Eckhardt, Stuart Hamm; artist endorsement with Zildjian Cymbals, Vic Firth Sticks, Aquarian Accessories. www.jazzdrumming.com.
Jonathan Herrera (bass) B.A. University of Southern California; Honors Graduate, Los Angeles Music Academy. 2012 Artist-in-Residence, Los Angeles College of Music. Current LACM faculty, teaching Synth Bass. Former Editor-in-Chief of Bass Player Magazine, current Senior Contributing Editor. Performed and recorded with Stanley Jordan, Brain, Oz Noy, Miguel Migs, Cathedrals, Jonas Hellborg, Cyrus Chestnut, MoeTar, and many more. Extensive international touring and clinic experience. Moog, MXR, DSI, Nordstrand, and Aguilar endorsing artist. Staff Producer and Studio B Chief Engineer, Airship Laboratories recording studios.
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.M. in Trumpet, Oberlin Conservatory of Music. Toured with John Mayer, Illinois Jacquet and Galactic, and has composed for film and dance projects. Released several albums as a leader. www.erikjekabson.com
Jennifer Jolly (keyboards) B.A. UC Berkeley. Keyboardist, melodica player, vocalist, composer, and educator (keyboards, world music, improvisation). Specialty in New Orleans R&B, African, Caribbean, blues, soul/funk, rock, Americana, jam bands, country swing, Cajun/zydeco, groove/percussive and improvisational music. Currently performing with Zulu Spear, Babá Ken Okulolo & Friends, Big B and His Snake Oil Saviors, The Jolly Gibsons, and several reggae/ska, blues/ R&B, and Americana groups; frequent sub with Tom Rigney & Flambeau. Current accompanist for choruses, churches, and musical theater productions. Previous performance credits include Phil Lesh, Kotoja, Barbara Dane, and Hot Links. Long-time faculty instructor at the CJC, Cazadero Family Camp, after-school programs, and private studio. Secondary instruments include steel drums, flute, and percussion.
Bob Karty (piano) B.A. Biology, Reed College. Pianist, composer, recording engineer, producer. Performs with Ray Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Conjunto Karabalí (led by Michael Spiro & Santana percussionist Karl Perazzo). Founding member of Orquesta La Moderna Tradición, one of the few authentic charanga orchestras outside of Cuba, with whom he performed for over 15 years and recorded three albums. www.bobkarty.com
Kasey Knudsen (saxophone) B.A. Berklee, faculty member at Sonoma State U., Stanford Jazz Workshop, Lafayette Summer Music Jazz Workshop. Performs with her own sextet, The Holly Martins, The Knudsen-Arkin-Coleman Trio, has toured the world with Tune-Yards and can be seen performing with such bay area luminaries as Ben Goldberg, Fred Frith, Graham Connah, Adam Shulman, Ian Carey and more. www.kaseyknudsen.com
Omar Ledezma Jr. (percussion, voice) Diploma, Performance, Berklee College of Music 2003. B.S., Law School, Santa Maria University, Caracas, Venezuela 1995. Active local performer, teacher, GRAMMY-winning with Pacific Mambo Orchestra (2014) and world-class musician. Toured with renowned artists in USA, Europe and South America. Has participated in more than 45 recordings, DVDs and books. Omar is Pearl, Soultone, Pinchclip artist. Omarledezmajr.com
Dave Le Febvre (saxophone) Recipient of an NEA Grant for Jazz Education. Dave has recorded 6 albums as a bandleader and has performed at many Bay Area Jazz Festivals and in Europe. Musicians who have recorded or performed in Dave’s group include Billy Childs, John Patitucci, Clay Jenkins, Dave Crigger, Eddie Marshall, Seward McCain and many others. Dave’s big band compositions have been performed by Freddie Hubbard, Richie Cole, and the BBC Big Band. www.jazzwest.com/davelefebvre
Jason Levis (percussion) Ph.D. and M.A. in Composition, UC Berkeley; B.A. in Music, Naropa University. Two-time Meet the Composer award recipient; Eisner Prize for Music winner; Outstanding Graduate Student Instructor (UC Berkeley); Interaktion Festival finalist (Berlin). Drummer and composer Jason Levis has led and collaborated in numerous jazz, improvised music, and chamber ensembles in the San Francisco Bay Area and Berlin, Germany. These include the Heftpistole Chamber Ensemble; duo B.; Married Couple; DRY; live dub-reggae ensemble Joseph’s Bones; the Echo Chamber Ensemble; most recently the Berlin Boom Orchestra, and many more. www.jasonlevismusic.com
kasey knudsen
2018 Summer Quarter / July 9 – August 19 / cjc.edu
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Jazzschool Faculty
Clif Payne (voice) Evershift recording artist, international concert vocalist, vocal coach. Payne’s debut solo album — “Welcome To My World” — was released in 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors, and Harvey Mason. He has opened for Tony Bennett, Johnny Mathis and Dionne Warwick and shared the stage with Dianne Reeves, The Commodores, Lionel Richie, Lakeside and Sheila E. www.clifpayne.org
Ricardo Peixoto (guitar) Native of Rio de Janeiro, graduated from Berklee College of Music, studied with Pat Metheny. Also studied classical guitar with George Sakellariou at SF Conservatory. Adventure Music recording artist, composer, arranger, has performed nationally and internationally with Claudia Villela, Terra Sul, Carlos Oliveira, Airto, Flora Purim, Guinga, Dori Caymmi, Bud Shank, Dom Um Romão, Claudio Roditi.
Debbie Poryes (piano) National and international performing artist including Yoshi’s, Healdsburg Jazz Festival, Bim House and Concertgebouw in Amsterdam, New Morning in Paris, Quasimodo in Berlin; released several albums as a leader, received four-star DownBeat review for her latest 2017 trio CD “Loving Hank;” studied at UC Berkeley and Hilversum Conservatory in the Netherlands; has a teaching credential in Jazz Studies, Netherlands; was a tenured faculty member for 7 years in 2 Dutch music conservatories, Hilversum and Arnhem; toured with John Clayton Big Band; 40 years private instruction in jazz piano and jazz/classical theory; faculty member Stanford Jazz Workshop. debbieporyes.com
Sam Priven (saxophone)B.M. from the University of Miami, Frost School of Music. Student of Martin Bejerano, Jamie Oehlers, Ben Goldberg, Dann Zinn, John Daversa and Mark Small. Performed or recorded in over ten countries at festivals such as the Montreux, North Sea, Umbria and Monterey Jazz Festivals. Performed with notable musicians such as Bruce Hornsby, Barry Manilow, Danilo Perez, Chris Potter, and Brian Lynch. As an educator, Sam co-taught a class at Stanford called coming back to your senses.
Frank Martin (piano, keyboards)Music Director for Narada Michael Walden, Patti Austin, Angela Bofill; Carnegie Hall appearances with Sting, James Taylor, Elton John; Record producer/arranger for Al Jarreau, Turtle Island String Quartet, Joey DeFrancesco, Mimi Fox, Mary Jenson, Molly Holm, Deuce, Tuck & Patti, Karen Blixt; performed/recorded with John McLaughlin, Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Larry Coryell, Herbie Hancock, Stanley Jordan, Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, UC Berkeley Jazz Ensembles. www.frankmartinproductions.com
Jeff Massanari (guitar) Four years performance and composition coursework at Berklee College of Music. Performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Jeff has released four albums under his own name and is featured on numerous others. jeff-massanari.com
Azure McCall (storyteller) After releasing her first CD, Azure was asked by the great bassist Ray Brown to be his vocalist on tour. Azure later became the first singer to work with Freddie Hubbard’s band. Additional collaborators include Frank Morgan, Tennyson Stephens, Joe Lovano, Geoffrey Keezer, Curtis Lundy, and Dizzy Gillespie. In 2008, President Barack Obama asked her to perform at his pre-election party. Azure became the ‘jazz diva’ for Celebrity and Royal Caribbean Cruises.
Ami Molinelli (percussion) MFA Cal Arts. Co-leader of Grupo Falso Baiano. Performance and recording credits include Luciana Souza, Hamilton de Holanda, Jovino Santos Neto, Danilo Britto, Nilson Matta, Romero Lubambo, Jai Uttal, George Duke.
Daniel Lucca Parenti (bass) Performance experience with many jazz legends including Concord Jazz Recording Artists Rosemary Clooney, Michael Brecker, and Lionel Hampton. With Rosemary Clooney, Daniel participated on two Grammy-nominated albums. He has released seven full-length original albums under his Original Project D-Lucca. He continues to perform with many well-known Bay Area Artists including Sheila E, Pete Escovedo, Tommy Igoe, Rodney Franklin, and more.
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).
Jackie Rago (percussion)B.A. Music and Arts Institute of SF, artistic and musical director of the Venezuelan Music Project and a founding member of the VNote Ensemble (formerly The Snake Trio) bands, which she travels and performs with on an ongoing basis. She was also a founding member of Altazor (Nueva Canción ensemble), Wild Mango (world beat music), Keith Terry & Crosspulse (world percussion) and Trio Altamira (contemporary Latin American music). www.jackelinerago.com
Glenn Richman (bass) Mannes School of Music (1 yr); Berklee College of Music (2 yrs). Advisor, Jazzschool Bass Program; student of Buster Williams, George Mraz and Mike Longo; performed with Bobby Hutcherson, Jon Hendricks, Dave Liebman, Chet Baker, Benny Green, Dakota Staton, Chris Connor, Tom Harrell, Eddie Henderson, John Hicks, Mike Clark, Jack Wilkins, Billy Hart, Larry Willis, George Coleman and Mickey Roker; faculty, Brubeck Institute, UC Berkeley and Chabot College. www.glennrichman.com
Ellen Seeling (trumpet)B.M. in Jazz Studies, Indiana U. Composer, arranger and recording artist. Founder and Director, Montclair Women’s Big Band; featured on Marian McPartland’s Piano Jazz on NPR and Grammy Foundation; performed with Thad Jones/Mel Lewis Big Band, Joe Cocker, Ray Barretto, Patti LaBelle; consultant, San Francisco Arts Commission.
Marcos Silva (piano) Adviser, California Jazz Conservatory Brazilian Program. National and international performing and recording artist, composer, arranger, producer, educator; performed with Leny Andrade, Emilio Santiago, Marcio Montarroyos, Jon Lucien, Claudio Roditi; Music Director, arranger, keyboards for Flora Purim, Airto, Toninho Horta, Paquito D’Rivera, Bud Shank, Ricardo Silveira, Dori Caymmi, Nana Caymmi, Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Silva and Intersection. www.marcossilva.com
Jeanne Walpole (piano) M.A. in Music Theory, San Francisco State U.; M.A. Studies in Piano Manhattan School of Music; B.A., Smith College: studied with Dick Hindman 1990–2003; Pianist, Nordstrom.
Kalil Wilson (voice)Degree in Vocal Performance and Ethnomusicology from UCLA. Has performed with Herbie Hancock, Carlos Santana, Kenny Burrell, the Buena Vista Social Club, Esperanza Spaulding, Renée Fleming, the L.A. Opera, L.A. Philharmonic, and the Oakland East Bay Symphony. Debut CD: “Easy To Love”
Andrea Wolper (voice) Brooklyn-based singer and songwriter Andrea Wolper performs nationally and internationally. Credits as leader/co-leader include Dizzy’s Club Coca-Cola at Jazz at Lincoln Center, the New York Blue Note, New York JVC Jazz Festival, Jazz on the Plazz, Jazzfest Kassel, Edgefest and more. Her CD “Parallel Lives” (Jazzed Media) was on several best-of-year lists, and “TranceFormation in Concert” (New Artists Records) was a DownBeat Critics Polls Best Vocal CD. www.andreawolper.com
Winslow Yerxa (harmonica) Author of Harmonica for Dummies, advice columnist at Bluesharmonica.com, and president of the Society for the Preservation and Advancement of the Harmonica. Over 30 years experience in a wide variety of styles. Performs with SF Harmonica Ensemble and Tuula Tossavainen. www.winslowyerxa.com
Michael Zilber (saxophone) Ph.D. in Composition, NYU; M.M. in Composition, Tufts U.; B.M. in Composition, New England Conservatory. Currently co-leads a quartet with guitar great John Stowell, and is completing a recording project in New York with Mike Clark, James Genus and Rachel Z. Co-led a group with drumming legend Steve Smith for 8 years. Has performed, toured or recorded with everyone from Dave Liebman to Dizzy Gillespie, including Miroslav Vitous, Bob Berg, Eddie Henderson, Fareed Haque, Geoffrey Keezer, Donald Harrison, John Handy, Dave Douglas, Barry Finnerty, Bruce Barth, and Clarence Penn. www.michaelzilber.com
Jazzschool Faculty
michael zilber
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Board and Staff
BOARD OF DIRECTORS
Tyler Johnston, Chairman
Susan Brand, Vice Chairman
Richard A. Lyons, Secretary
Neil Rudolph, Treasurer
Steve Baker
Clifford Brown, Jr.
Charles Charnas
James Ellis
Jerry Fiddler
Rita Hargrave
John Moss
Susan Muscarella
Gregg Perloff
Jerry Povse
Jim Reynolds
M. David Sherrill
Judy Walters
Kevin Whitman
Michael Yovino-Young
DIRECTORS EMERITUS
Denny Abrams
Sherie Friedlander
Sy Grossman
Vaughan Johnson
James J. Keefe
Bert Lubin
Larry Marcus
Ernie Mieger
Amy Orton
John Papini
Walter Riley
Danny Scher
Michael Zaninovich
ADVISORY BOARD
Tom Carr
Carole Davis
Paula Forney
Benny Green
Charles Hamilton
Stacey Hoffman
Mark Levine
Jason Olaine
Patricia Phillips
David Ring
Jayne Sanchez
Chuck Sher
Merrilee Trost
Wayne Wallace
Peter Williams
PROGRAM STAFF
Susan Muscarella President and Dean of Instruction
Rob Ewing Director, Jazzschool
Laurie Antonioli Chair, CJC Vocal Program Director, Jazzschool Vocal Program
Erik Jekabson Director, Jazzschool Young Musicians Program
2018 Summer Quarter / July 9 – August 19 / cjc.edu
ADMINISTRATIVE STAFF
Bill Aron Business Manager
Karen Shepherd Director of Financial Aid
Jesse Rimler Registrar and Custodian of Records
Zach Mondlick Assistant to the Dean
Elizabeth Williams Director of Philanthropy
Mary D’Orazi Philanthropy Associate Concert Booking Manager
Paul Fingerote Marketing & Public Relations Director
Sheryl Lynn Thomas Digital Marketing Manager
Julie Birch Data Manager Systems Administrator
Kim Nucci IT Systems Administrator Technical Projects Director
Max Hodes Operations Director
Michael Golds, Sam Priven, Alex Shapiro-Romano, Tom Weeks Operations Staff
Tatyana Dimitrova-Pelov House Manager
Lee Brenkman Sound Technician
Robert Soper Piano Technician
Poulson Gluck Design Graphic Design
Chris Hardy Photographer
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tyler johnston, cjc board of directors chair
62 Call 510.845.537362 Call 510.845.5373
Instructions and Application
To enroll in the Jazzschool
Summer 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 prestigious national and interna-
tional performance and/or lecture
opportunities that arise, Jazzschool
faculty, course offerings and/or class
schedules may be subject to change.
If these or similar circumstances arise,
the Jazzschool will make every effort to
provide its students with the optimal
educational experience possible.
REFUND POLICYCourse and ensemble tuition includes a
$50 non-refundable deposit. Requests to
drop must be received in writing within 48
hours of the first class meeting to qualify
for a refund; please visit the main office or
e-mail [email protected] to request a refund.
Refunds for remaining tuition are not
possible after the 48-hour drop deadline.
$100 per week of camp and intensive
tuition is non-refundable; the remainder
is refundable only until 30 days prior
to the start of the program. Tuition for
workshops is non-refundable. No excep-
tions please! Please note: Refunds may
take up to 30 days to process. Please visit
cjc.edu/policies for more information.
Enroll online at cjc.edu or call 510.845.5373
Please read instructions on facing page before completing application form.
Name (print) ____________________________ ____________________________________________
Address __________________________________________________________________________ Street City/State Zip
Home phone ( ___ ) _____________________ Work phone ( ____ ) ______________________
Cell phone ( ___ ) ________________________ Email __________________________________
Instrumentalist — list instrument(s) played and years studied/performed:
_____________________( ) _____________________( ) _________________________( )
Vocalist — years studied/performed: ____ new student ____ returning student
I will enroll in (list by class title; see class listings):
1. _____________________________________ 2. _____________________________________
3. _____________________________________ 4. ______________________________________
How did you hear about the Jazzschool? _____________________________________________
For courses requiring audition or consultations, please call the Jazzschool prior to submitting your application at 510.845.5373
Please enclose full tuition for all courses. Note: Enrollment cannot be guaranteed without full payment.
Charge my tuition to: ____ VISA ____ MasterCard ____ Discover
Card #_____________________________________________________ Exp. date _____________
3-digit security code ___________
Signature of cardholder ____________________________________________________________
Name as It appears on card _________________________________________________________
San Pablo Ave
Fulton
Ashby
College Ave
580
W
SN
E
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 6363
University Avenue
2087& 2040
P
64
If you have benefited from our classes, workshops or concerts,
then we invite you to share your experience by supporting
the California Jazz Conservatory, America’s only independent,
accredited music conservatory dedicated solely to the study
and performance of jazz.
This unique institution encompasses:
• The degree-granting California Jazz Conservatory
• The non-degree-granting Jazzschool
• Jazz camps and intensives
• Concerts showcasing students, faculty and visiting
artists
Hundreds of individuals and institutions have partnered with
us; we invite you to join them!
If you wish to make an unrestricted gift to the Conservatory’s
annual fund, which supports the institution in broadest terms,
please visit our website (cjc.edu/support) or send your check
(payable to California Jazz Conservatory, Inc.) to the address
found on the back of this catalog.
If you or your business would like to make a gift to support
one of the above-mentioned programs (many such invest-
ment options carry a naming opportunity, if desired), please
contact Elizabeth M. Williams, Director of Philanthropy, at
510.845.5373, ext. 27.
Thank you for sharing your joy for jazz by supporting the
California Jazz Conservatory!
Share Your Joy for Jazz By Supporting
The California Jazz Conservatory!
64
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SUM
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18
July
9 –
Augu
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9•
Inst
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Voc
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Begi
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Leve
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Yout
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• Pe
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Wor
ksho
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Tech
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Theo
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prov
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Com
posit
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and
Arra
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Conc
erts
Cl
asse
s, W
orks
hops
and
Conc
erts
may
sell
out!
En
roll
or b
uy ti
cket
s onl
ine
now
at cj
c.edu
.
Audi
tions
for E
nsem
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are
ongo
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CELEBR
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