concerts workshops classes - california jazz conservatory · theory, jazz improvisation and more....

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2020 WINTER CATALOG JANUARY–MARCH

INTRODUCTION

CJC Concert Series 2The California Jazz Conservatory 4The Jazzschool at CJC 6

ADULT PERFORMANCE ENSEMBLES

Jazz 8Reggae 1 1Brazilian 12World 12Blues 13 Funk 13 Latin 13

ADULT INSTRUMENTAL CLASSES

Piano and Keyboards 14Guitar 16Bass 18Drums and Percussion 19 Saxophone 19

THEORY, IMPROVISATION AND COMPOSITION CLASSES

Theory 21Improvisation 21Composition 21

ADULT VOCAL CLASSES

Technique and Musicianship 22Performance 23 Ensemble Singing 26 Blues 28Latin 28

ADULT VOCAL CLASSES (continued)

Composition 29 Young Singers 29Vocal Mentor Program 30

ADULT VOCAL WORKSHOPS

Vocal Workshops 31

YOUNG MUSICIANS PROGRAM

Introduction 35Program Requirements 35Placement and Audition Requirements 36Large Performance Ensembles 37Small Performance Ensembles 40Voice 41

WORKSHOPS

For all instruments and voice 43

INFORMATION

Women's Jazz & Blues Camp 20

California Jazz Conservatory Master of Music in Jazz Studies 38

Summer 2020 Camps and Intensives 42

Jazzschool Faculty 52

Board and Staff 60

Instructions and Application Form 62

Map 63

Support 64

Contents

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IMPORTANT INFORMATION

• Winter Performance Series takes place March 17 – 23

Many opportunities fill early, so sign up now! Visit cjc.edu for current information,

as schedules are subject to change. For the latest news from CJC, sign up for

our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu!

To make a tax-deductible contribution online visit www.cjc.edu/PAP, or mail a check to “California Jazz Conservatory” at 2087 Addison St., Berkeley, CA 94704. To contribute with a credit card, contact Mary D’Orazi at 510.845.5373 ext. 19.

Play A Part — A Letter from Susan Muscarella to Our CJC Community

You may have heard that the California Jazz Conservatory suffered a devastating flood at our 2087 Addison campus in mid-October. In spite of this setback, our commitment to our mission to nurture and perpetuate the jazz art form remains unscathed. The California Jazz Conservatory has built a reputation, through its various education programs and the work of its exemplary teaching staff, leading to our vision: In a Musician, Out an Artist! Since 2012, the Conservatory degree program has graduated seven classes of students who exemplify this vision. Our graduates’ notable accomplishments as artists, educators and/or arts administrators demonstrate the far-reaching effects of our institution’s postsecondary programs.

The Conservatory has proudly played an integral part in all of our graduates’ artistic achievements, as have you!

Your ongoing support will help us recover from unfortunate losses incurred during the recent flood and enable us to continue to realize our vision to admit the musician and graduate the artist.

I hope you will Play A Part now in supporting the important work of all of our education programs by making a tax-deductible contribution, qualifying the California Jazz Conservatory to operate alongside the most reputable jazz programs in the country.

Yours in jazz,

Susan Muscarella President

CAROLYN BRANDY

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23 Sun 7pm Vocal Jam $10

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11 Sat 8pm Bob Kenmotsu Quartet $20/$15 students

17 Fri 8pm Daniel Lucca Quintet $20

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21 Tues 7:30pm Scott Amendola Quartet $20/$10 students

19 Sun 4:30pm SFEMS: An Austen Afternoon $25

14 Tues 7:30pm Holly Martins $20/$10 students

28 Fri 8pm CJC Faculty Ensemble $20/$15 students

10 Fri 8pm Harvey Wainapel Quintet $20

18 Sat 8pm Amanda Addleman — $20/$15 students "Into the Light" Album Release

24 Fri 8pm Marta Sanchez Quintet $20

28 Tues 7:30pm Nora Stanley Trio $20/$10 students

11 Tues 7:30pm Telepathy $20/$10 students

7 Fri 8pm Black History Month: Tribute to $20/$15 students Ella & Sarah — Kalil Wilson & Daniel Marschak

4 Tues 7:30pm The Lost Trio $20/10 students

3 Tues 7:30pm Henry Hung's Family Band $20/$10 students

6 Fri 8pm International Women's Day: Pamela Rose — $20 Great Women of the American Songbook

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7 Sat 8pm International Women's Day: $20 Carolyn Brandy, Amikaeyla, & Friends

13 Fri 8pm Jessica Jones Quartet featuring Tony Jones $20

17–23 various times Jazzschool Student Performances Free*

21 Sat 8pm Erik Jekabson/Andrew Speight $20/$15 students Birthday Quintet

22 Sun 4:30pm Vocal Jam $10

27 Fri 6pm Women's Jazz & Blues Camp Concert Free*

28 Sat 8pm JUA & Andrea Claburn: A Decade of Music $20

1 Sat 8pm Black History Month: Marcus Shelby Quintet $20

8 Sat 8pm Dillon Vado's Never Weather — CD Release $20

23 Sun 3pm Jazz Search West $10

29 Sat 8pm Black History Month: $25 Kim Nalley Sings Black Broadway

10 Tues 7:30pm Rob Reich Swings Left $20/$10 students

13–15 various times Jazzschool Young Musicians Peformances Free*

22 Sat 8pm Black History Month: $ 20 Janice Maxie Reid Tribute to Nina Simone

BOB KENMOTSUMARCUS SHELBY ANDREA CLABURN JUA HOWARD

26 Sun 4:30pm Vocal Jam $10

31 Fri 8pm Orquesta La Moderna Tradición $20

25 Sat 8pm Susana Pineda & Friends $20

14 Sat 8pm Jeff Gardner & Ricardo Peixoto $20/$15 students

MARTA SANCHEZ

CJC ConcertsIn addition to CJC’s Weekend Concert Series featuring an eclectic mix of music on Friday and Saturday nights, we're pleased to present our Way Out West (WOW) Concert Series on Tuesdays @ 7:30 pm and CJC Resident Artists Electric Squeezebox Orchestra for their weekly Sunday evening concerts.

Visit cjc.edu for information and tickets!

15 Sat 8pm Omree Gal-Oz: "Village" Explorations $20

14 Fri 8pm Black History Month: $25 Nicolas Bearde — "All About Love"

18 Tues 7:30pm Dan Rosenboom $20/$10 students

21 Fri 8pm Black History Month: Glen Pearson $20

ROB REICH NORA STANLEY HENRY HUNG KIM NALLEY

* Your generous donation ($10 suggested) will allow us to continue to offer these presentations.

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The California Jazz Conservatory

The California Jazz Conservatory honors

the contributions of past masters and

promotes artistic innovation, bringing

together a diverse music community to

develop practical skills, acquire artistic

sensibility, realize creative potential and

find artistic voice.

Founded as the Jazzschool in 1997 and

accredited by the National Association of

Schools of Music in 2009, the California

Jazz Conservatory offers two distinct

education programs:

The California Jazz Conservatory, a

postsecondary degree-granting program;

and The Jazzschool at CJC, a non degree-

granting community education program.

The California Jazz Conservatory offers the

aspiring professional jazz musician a 4-year

Bachelor of Music degree in Jazz Studies,

based on a 100% jazz relevant curriculum,

taught by a faculty of artists/educators who

share a proven track record of success in

transforming musicians into artists.

Our 2-year Associate of Arts degree in

Jazz Studies offers the same effective

faculty, teaching the same 100% jazz

relevant courses — the first two years of

our Bachelor program — with students

incurring half the cost and half the time

commitment to earn their degree.

In 2020, CJC will launch our new

Master in Jazz Studies for the 21st Century Composer-Performer, structured around the

small ensemble, providing the professional-

level jazz musician with a creative platform

to both compose and perform original work.

The California Jazz Conservatory's CJC Concert Series offers a year-round array

of performances by students and profes-

sionals in our two intimate concert venues,

Rendon Hall and Hardymon Hall.

Our popular Jazzcaffè offers light fare

and a range of beers, wines and other

beverages year-round, while our CJC Bookstore provides a variety of jazz-

related books and merchandise.

Located in the heart of Berkeley's vibrant

Downtown Arts District, the California

Jazz Conservatory campus is easily

accessible by car and public transporta-

tion. The downtown Berkeley BART

station and AC Transit bus stops are

located within a block of campus. Public

parking is available in a nearby garage

and in metered street parking in the

neighborhood.

TheCaliforniaJazzConservatoryistheonlyindependent,

accreditedschoolinAmericacompletelydevoted

tothestudyandperformanceofjazz.

6 76 6

The Jazzschool offers instrumentalists

and vocalists Performance Ensembles/

Classes, as well as Workshops, Camps

and Intensives throughout the year,

including:

* Adult instrumental and vocal

Performance Ensembles/Classes

in fall, winter (10 weeks), spring

(9 weeks), and summer (6 weeks);

* Workshops on weekends throughout

the year;

* Youth instrumental and vocal Perfor–

mance Ensembles in fall, winter, spring

(9 weeks) and summer (6 weeks);

* Youth instrumental and vocal Summer

Camps and Intensives in summer

(1 – 2 weeks);

* Adult instrumental and vocal Camps

and Intensives throughout the year

(1 week).

Instrumental ClassesJazzschool instrumental classes provide

study of a specific instrument in a group

setting. Classes are available for saxophone,

piano/keyboard, guitar, bass and drums/

percussion. Instruction is available for

beginners (covering basic technique and

instrumental skills) and also for more

advanced players (focused on jazz style,

harmony, improvisation and more).

Vocal ClassesJazzschool vocal classes provide an

opportunity for singers at all levels to

improve style and technique in a group

setting. Performance classes are offered

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

Beginners, singers returning to music,

and more advanced vocalists can all find

classes appropriate for their interests.

Theory, Improvisation and CompositionThe Jazzschool offers a number of classes

covering areas of theory, improvisation, ear

training, composition and arranging, music

production, music business and more.

6

The Jazzschool at CJC

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

of Performance Ensembles and Classes

for beginning, intermediate and

advanced instrumentalists and vocalists.

Ensembles focus on a wide range of

styles including, but not limited to, jazz,

blues, funk, Afro-Caribbean and South

American music. Classes include

instrumental and vocal technique, music

theory, jazz improvisation and more.

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

Workshops throughout the year,

available in single sessions or as a

series. Workshops are taught by

professional artists/educators and

focus on specific approaches to

strengthening technical ability, under-

standing and applying theoretical

concepts to improvisation, and enhanc-

ing live performance skills, in addition

to other jazz-related topics.

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

Program offers a range of classes for

middle and high school students. Young

Musicians Program ensembles are

available for beginning, intermediate

and advanced instrumentalists. The

program includes small groups focused

on improvisation, and big bands that

delve into style and repertoire. Vocal

performance classes are also available.

Jazzschool Young Musicians Program

ensembles have repeatedly been

honored in the DownBeat Magazine

student music awards and at presti-

gious jazz festivals, both here and

abroad.

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

sives in the spring and summer in one- and

two-week sessions for adult and youth

instrumentalists and vocalists at all levels.

Faculty Jazzschool Classes, Ensembles, Workshops,

Camps, Intensives and other programs are

led by a distinguished faculty of profes-

sional musicians who have played with

some of the music world’s biggest names.

More importantly, our faculty consists of

musicians and vocalists who excel in

education, with a focus on teaching

students not just how to play, but how

to perform, transforming talented musi-

cians into recognized artists.

Enrollment Jazzschool class size is limited and many

classes — available on a first-come, first-

served basis — fill up quickly. We encour-

age you to register early and guarantee

your spot! You can enroll online at cjc.edu

or call 510.845.5373. An application form

also appears on page 63.

TheJazzschoolatCJCistheCaliforniaJazzConservatory'scommunity

musicschool,servingstudentsofallagesandlevelsforover20years.

9

Adult Performance Ensembles

JazzschoolPerformanceEnsembles

delveintoawiderangeofstyles

includingjazz(standards,hard-

bop,post-bop,fusion),Latinjazz,

Brazilian,blues,R&Bandfunk.

Ensemblesareavailablefor

instrumentalistsandvocalists

atthebeginning,intermediate

andadvancedlevels.Groups

rangeinsizefromthetriotothe

bigband.Aplacementaudition

isrequiredforallPerformance

Ensembles.

Auditions

Students are placed in

Performance Ensembles by

audition and requirements

may include playing a selected

jazz standard and sight

reading selected excerpts.

Drummers are asked to play

various grooves and solo;

bassists are asked to play

bass lines.

For more information please

contact Jazzschool Director

Rob Ewing at [email protected] or

510.845.5373 x14.

You can schedule an audition

online at cjc.edu.

JAZZ

BEGINNING JAZZ ENSEMBLEPut theory into practice by learning jazz

standards, while developing improvisation

and ensemble skills. For all instruments.

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

Section 1: Mondays 6:30 – 8 pmSection 2: Mondays 8:15 – 9:45 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23Steve Erquiaga • $420

JAZZ STANDARDS FOR GIGS Develop the skills and repertoire needed

for typical jazz gigs through the study

and performance of common jazz styles

including swing, bossa, jazz waltz and

ballads. Instructor covers repertoire,

essential arranging concepts (intros,

endings, etc.), relevant jazz harmony and

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

Section 1: Mondays 6:30 – 8 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23

Section 2: Wednesdays 6:30 – 8 pm 1/8 – 3/1 1 (10 weeks)

Performance date: Thursday 3/19

Section 3: Saturdays 10 – 11:30 am

Section 4: Saturdays 11:45 am – 1:15 pm

Section 5: Saturdays 1:30 – 3 pm1/1 1 – 3/14 (10 weeks)

Performance date: Saturday 3/21Glenn Richman • $420

HARD-BOP ENSEMBLEStudy and perform music melding

bebop with R&B, gospel and the blues

as developed by mid-century masters

including Horace Silver, Art Blakey,

Cannonball Adderley, Miles Davis,

Jimmy Smith and others.

Thursdays 6:30 – 8 pm1/9 – 3/12 (10 weeks)

Performance date: Thursday 3/19Dave Lefebvre • $420

MUSIC OF THE MASTERSDig into the music of John Coltrane,

Thelonious Monk, Wayne Shorter and

other jazz masters. Learn and internalize

a variety of essential grooves while

developing improvisation skills through

the rehearsal of challenging repertoire.

Section 1: Mondays 8:15 – 9:45 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23

Section 2: Wednesdays 8:15 – 9:45 pm1/8 – 3/1 1 (10 weeks)

Performance date: Thursday 3/19Glenn Richman • $420

POST-BOP ENSEMBLEExplore the repertoire of Chick Corea, Joe

Henderson, Wayne Shorter, John Coltrane

and other post-bop jazz composers from

the 1960s to the present. Strong emphasis

placed on group communication and

interaction.

Wednesdays 6:30 – 8 pm1/8 – 3/1 1 (10 weeks)

Performance date: Wednesday 3/18Steve Erquiaga • $420

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 pm1/8 – 3/1 1 (10 weeks)

Performance date: Wednesday 3/18Steve Erquiaga • $420

2020 Winter Quarter / January – March / c jc.edu8

11

ERQUIAGA ENSEMBLE 1 In this Ensemble 1 class, you'll work on

improvising over chord changes, playing

with good time and learn the other skills

needed to perform with other musicians.

Class emphasis is on standard mainstream

styles: blues, standards, swing, bebop,

ballads and bossa novas.

Tuesdays 4:30 – 6 pm1/7 – 3/10 (10 weeks)

Performance date: Monday 3/23Steve Erquiaga • $420

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!


Performance date: Tuesday 3/17Steve Erquiaga • $420

PIANO TRIODevelop performance skills in the piano,

bass and drums trio format. Open to four

pianists and one drummer with accom-

paniment provided by a professional

upright bassist.

Section 1: Mondays 5 – 6:30 pm

Section 2: Mondays 6:45 – 8:15 pm

Section 3: Mondays 8:30 – 10 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23Peter Horvath • $420

Section 4: Fridays 1:30 – 3 pm

Section 5: Fridays 3:30 – 5 pm1/10 – 3/13 (10 weeks)

Performance date: Saturday 3/21Ben Stolorow • $420

HIP-HOP JAZZ ENSEMBLEFrom its roots in James Brown and 70s

jazz/soul, through Boom Bap, G-Funk and

J Dilla, we will explore the sample-based

music of Hip-Hop in a live band setting.

For all rhythm section instruments and

horns.


Performance date: Wednesday 3/18Steve Hogan • $420

FREE JAZZ ENSEMBLE: THE MUSIC OF CHICAGO AVANT GARDE (1980 – 2010)The Free Jazz Ensemble is designed

for improvising musicians interested in

stretching the boundaries of harmony

and form. Each quarter the ensemble will

focus on the music of a particular master

musician. This fall, rather than focusing on

the work of a particular composer, we’ll

be focusing on a number of artists from

the fertile Chicago Avant Garde scene

of the last several decades.

Thursdays 8:15 – 9:45 pm1/9 – 3/12 (10 weeks)

Performance date: Thursday 3/19Jason Levis • $420

BIG BANDThis 19-piece ensemble covers classic and

contemporary repertoire for big band.

Original compositions by ensemble

members are also workshopped and

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


Performance date: Thursday 3/19Dave Lefebvre • $290

REGGAE

REGGAE JAZZ ENSEMBLEIn this class we will take well-known

jazz standards and play them…REGGAE

STYLE! Reggae music, despite its relative-

ly simplistic nature, has a great deal of

rhythmic and melodic nuance with an

emphasis on the discipline of groove

playing where each musician locks down

their specific part to create a collective,

ecstatic dance groove. We will learn how

to play reggae (including one-drop,

steppers and rockers styles), rocksteady,

reggae-rock, dub, dancehall and if time

permits, ska. Rhythm section players will

learn how to play proper drumset grooves,

reggae-centric bass lines, the chop

(skank) and bubble (or shuffle), and the

role of hand percussion. Horn and any

other lead instruments will play melodies,

learn reggae-centric backing lines and of

course, incorporate jazz improvisation

over the ensemble grooves. Open to all

instrumentalists including bass, drums,

keyboards, guitar, hand percussion and

horns. No previous reggae experience

necessary.

Tuesdays 8:15 – 9:451/7 – 3/10 (10 weeks)

Performance date: Tuesday 3/17Matt Jenson • $420

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Adult Performance Ensembles Adult Performance Ensembles

2020 Winter Quarter / January – March / c jc.edu

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

matt jenson

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BRAZILIAN

MUSIC OF JOSE NETO newAND THE NETOBAND Brazilian guitarist José Pires de Almeida

Neto currently is musical director/guitarist

for Steve Winwood. His vast musical

history includes recording and touring

with Harry Belafonte, Flora and Airto,

Tania Maria, Paquito D'Rivera, Hugh

Masekela, Herbie Mann and others. His

band the Netoband has been performing

and recording together for over 25 years.

The documentary, “The Man Behind the

White Guitar” is a celebration of his career.


Performance date: Wednesday 3/18Frank Martin • $420

BRAZILIAN ENSEMBLEStudy and perform the classic and

contemporary Brazilian jazz repertoire of

Ivan Lins, Dori Caymmi, Toninho Horta,

Antonio Carlos Jobim and instructor

Marcos Silva. Vocalists welcome! Audition with Marcos Silva is required.

Section 1: Tuesdays 6:15 – 7:45 pm

Section 2: Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)

Performance date: Tuesday 3/17

Section 3: Wednesdays 6:30 – 8 pm


Performance date: Wednesday 3/18

Section 5: Thursdays 1 – 2:30 pm1/9 – 3/12 (10 weeks)


Marcos Silva • $420

BRAZILIAN CHORO newENSEMBLEFocusing on classic Choro repertoire by

Jacob do Bandolim, Pixinguinha, Ernesto

Nazareth and others, gain experience

playing in the traditional Brazilian ‘Roda

de Choro’ style. All instruments are

welcome. Prerequisites: ability to read charts for rhythm section players, ability to read notation for melody players.

Sundays Noon – 1:30pm1/12 – 3/15 (10 weeks)

Ricardo Peixoto • $420

WORLD

WORLD GROOVE ENSEMBLE: AFRICANThe African Ensemble explores diverse

styles such as Afrobeat, soukous,

highlife, “desert blues,” South African,

Zimbabwean, Afropop, or Ethio-jazz.

Emphasis is placed on listening to each

other, learning the specific rhythms and

how they interact to make the groove,

and understanding the cultural contexts

of the songs. Open to vocalists and

instrumentalists. The African Ensemble

is the winter-term offering in the World

Groove Ensemble series; students may

enroll in any or all of the classes. Materials

and arrangements provided by instructor.

Prerequisites: intermediate instrumental and/or vocal proficiency; ability to read charts and standard notation.


Performance date: Thursday 3/19Jennifer Jolly • $420


BLUES

BLUES AND GROOVE ENSEMBLEThe Blues and Groove Ensemble offers

students an opportunity to choose from

a wide array of Blues and R&B, Funk,

Gospel, New Orleans and American Roots

styles to play with other musicians. We

work on getting the best grooves for each

player and improvising solos. One vocalist

welcome per class. Prerequisites: Ability to play basic blues chords and scales in all keys. Familiarity with blues and R&B is recommended.

Section 1: Mondays 8:15 – 9:45 pm1/13 – 3/16 (+ Sat 3/21) (10 weeks) no class 1/20Performance date: Saturday 3/21

Section 2: Saturdays 1:30 – 3 pm1/1 1 – 3/14 (10 weeks)

Performance date: Saturday 3/21

Danny Caron and Anthony Paule • $420

FUNK

FUNK ENSEMBLEFrom James Brown to Prince, Sly and the

Family Stone to Tower of Power, Stevie

Wonder to Earth, Wind & Fire, The Meters

to Herbie Hancock, we get down and

funky in this ensemble. Explore what it

takes to master the complexity of the funk

genre by breaking down the rhythmic

foundation of the groove, the feel, the

“pocket!” For all vocalists, horns and

rhythm section instruments.


Performance date: Thursday 3/19 Daniel Lucca Parenti • $420

LATIN

SALSA ENSEMBLE 1Rehearse and perform classic salsa

repertoire including the music of Tito

Puente, Cal Tjader, Eddie Palmieri and

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


Performance date: Tuesday 3/17David Belove • $420

SALSA ENSEMBLE 2Rehearse and perform more advanced

salsa repertoire. Vocalists interested in

par ticipating should sign up for Salsa

Singing (see p. 27). The two courses work

together throughout the term developing

a full set of high energy dance music for

performance.

Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)

Performance date: Tuesday 3/17David Belove • $420

marcos silva



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PIANO AND KEYBOARDS

PIANO 1 If you've ever wanted to play the piano,

now is your chance! Sign up for Piano 1 and you'll learn how to read music, play scales, perform a piece, play duets,

discover what musical forms and keys

are all about, read a jazz chart and play

ensemble music with fellow students.

No experience necessary. Required

texts: Mastering Music level 1A, Piano Town Lessons Level 1 (available at

the CJC Bookstore).

Saturdays 10 – 11:30 am1/1 1 – 3/14 (10 weeks)

Jeanne Walpole • $420

PIANO 2For those with some experience on keys,

Piano 2 picks up wherever you left off in

your pianistic pursuits and challenges

you to go farther with your musical

endeavors. Ensemble and solo music is

selected to match your own level and

ability on the piano. This class presents

individual guidance as well as group

performance opportunities. Required

text: Bastien Piano for Adults II (available

at the CJC Bookstore). Prerequisites: Piano 1 or equivalent experience.

Saturdays 11:45 am – 1:15 pm1/1 1 – 3/14 (10 weeks)


APPLIED KEYBOARD HARMONY Learn tonic-dominant chord progressions,

basic turnarounds and chord inversions

in all keys, while developing the ability

to play standard tunes using those basic

progressions in leadsheet format. This

course prepares students for Jazz Piano 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 pm1/1 1 – 3/14 (10 weeks)


RHYTHM CHANGES AND new THE BLUES The 12-bar blues (major and minor) and

rhythm changes are among the most

common chord progressions in jazz. This

piano class covers a range of essential

concepts and techniques for improvising

and comping over these progressions.

Suggested prerequisites: Ability to play minor, major and dominant 7th chords in all keys, and some familiarity with improvis-ing over chord changes.


Frank Martin • $420

JAZZ PIANO 1 Learn to play jazz standards and the

12-bar blues through the study of jazz

chord voicings and improvisation tech-

niques. Required text: Jamey Aebersold Play-along Vol. 54, Maiden Voyage. Prerequi-sites: basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in all keys, ability to read treble and bass clefs.

Mondays 6:30 – 8 pm1/6 – 3/16 (10 weeks) no class 1/20Bob Karty • $420

Adult Instrumental Classes

JAZZ PIANO 2In this continuation of Jazz Piano 1, you'll

learn more advanced chord voicings and

soloing techniques, as well as standard

re-harmonization techniques. Required

text: Jamey Aebersold Play-along Vol. 54, Maiden Voyage and The Jazz Piano Book by Mark Levine. Prerequisites: ability to play 3-note voicings with proper voice leading through a jazz standard (e.g., “All The Things You Are” or similar), ability to improvise on a 12-bar blues in time, playing 3rds and 7ths in the left hand. An audition is required; please call 510-845-5373 to schedule your audition.

Mondays 8:15 – 9:45 pm1/6 – 3/16 (10 weeks) no class 1/20Bob Karty • $420

NEO-SOUL HARMONY& IMPROVISATION FOR KEYBOARDISTSHave you ever wondered how artists like

Erykah Badu, Robert Glasper and Moon-

child write their music? In this class you

will learn how to hear, analyze, improvise

and write your very own neo-soul tunes.

Over the course of 10 weeks, you’ll take a

deep dive into neo-soul/jazz harmony

through a series of ear training exercises,

harmonic analysis methods, improvisation

and chord scale usage techniques and

reharmonization & composition strategies,

ultimately composing your own neo-soul

chord progression or song by the end of

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


Marcelino Quiroz • $380

BEGINNING IMPROV new FOR PIANO PLAYERSPiano players often face unique challenges

in learning to improvise. This class offers a

highly supportive, non-threatening but

well-rounded introduction to improvisation

specifically for keyboardists. You’ll learn

how to play along with simple chord

progressions drawn mostly from blues,

rock/pop, and R&B. You’ll learn “just

enough” pertinent theory, and we’ll do a lot

of playing together. This class is perfect for

players who have felt intimidated by the

thought of improvising or who have

avoided a playing situation because of

nerves about improv. Brand-new impro-

visers and more experienced players are

all equally welcome. Prerequisites: basic instrumental proficiency; ability to read simple standard notation.


Jennifer Jolly • $420

THE PIANO MAGIC newOF ELTON JOHNIf you love the music of Elton John, you’ll

enjoy learning how he plays and how to

incorporate his brilliant blend of pop, rock,

gospel, and other rootsy styles into your

own playing. Materials provided by instruc-

tor. Prerequisites: familiarity with major, minor, dominant 7th, and minor 7th chords; ability to read basic standard notation.


Jennifer Jolly • $420


16

GUITARBEGINNING GUITARIf you're interested in learning how to

play the guitar, this course will help you

develop a strong foundation in basic skills,

learning the essentials, including tuning

the guitar, finding notes and basic chords

on the fretboard, proper hand positions,

scale fingerings, simple songs, reading

music and more! Your instructor will

answer questions about equipment

selection (guitars, strings, amps, picks,

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

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

Saturdays 10 – 11:30 am1/1 1 – 3/14 (10 weeks)


BLUES AND SWING GUITARYou'll learn chord voicings, fingerboard

harmony and single string soloing

techniques, with a variety of styles

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

and Albert Collins to the more complex

swing of Charlie Christian and Aaron

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

chord cycles and rhythm playing, and we'll

work with transcriptions to develop strong

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

Saturdays 11:45 am – 1:15 pm1/1 1 – 3/14 (10 weeks)


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.


Jeff Massanari • $420

JAZZ GUITAR 2In this fun and fast-paced continuation of

the concepts explored in Jazz Guitar 1,

you'll dive into more complex harmonic

and melodic concepts, scales and chord

voicings, with lots of hands-on playing

time and personal guidance for everyone.

This course is designed for guitarists with

some jazz playing experience looking to

take their playing to the next level.

Prerequisites: Jazz Guitar 1 or equivalent; knowledge of scale and chord theory and some familiarity with jazz repertoire.


Jeff Massanari • $420

JAZZ GUITAR COMPINGThis hands-on course provides the

intermediate-to-advanced guitarist

with the tools, concepts and techniques

essential to creative and effective

contemporary comping.

Topics include:

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

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

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

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


Steve Erquiaga • $420

BRAZILIAN GUITARLearn Brazilian music styles including

samba, baião, bossa nova and choro, and

the techniques used to play them. Primary

focus is on learning repertoire, while

developing the following areas: stylistically

appropriate comping rhythms, chord

melody playing, creating solo arrange-

ments, right hand finger-style techniques

and melodic soloing approaches.

Prerequisites: ability to read music notation.

Sundays 2 – 3:30 pm1/12 – 3/15 (10 weeks)

Ricardo Peixoto • $420

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

to guitar, developing familiarity with the

fretboard through chord, scale and

arpeggio practice. Topics include:

• Overview of chord and scale types

and where they are located

• Chord progressions commonly

used in jazz and related styles

• Comping patterns

• Scale and arpeggio practice

in various positions

• Reading charts and standard

notation (treble clef)

• Transcribing music from recordings

• Basics of melodic improvisation

For students with some playing experience,

knowledge, and facility, who have never

seriously practiced or studied music theory

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

Mondays 6:30 – 8 pm1/13 – 3/23 (10 weeks) no class 1/20Danny Caron • $420

jeff massanari


2020 Winter Quarter / January – March / c jc.edu 17

19

BASSBEGINNING BASSGet off to a strong start learning your

instrument in this class covering the

“bass”ics of what it takes to be an effective

bassist in any genre. From jazz to funk and

everything in between, this class focuses

on topics including right and left-hand

technique, finger dexterity, neck memoriza-

tion, the parts of the bass, theory, reading,

transcription and much more! Perfect for

new musicians as well as seasoned instru-

mentalists with the desire to learn more. Prerequisites: None. Open to all! Students must bring a bass to class.


Daniel Lucca Parenti • $420

JAZZ BASSLearn a variety of essential techniques

for constructing strong jazz bass lines

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

modal tunes, rhythm changes, and ballads.

Techniques for soloing are also covered.

Perform bass lines in class each week with

piano accompaniment provided by the

instructor. Recommended for upright and

electric bassists interested in participating

in the Jazzschool’s ensemble program.

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


Glenn Richman • $420

DRUMS AND PERCUSSION

INTERMEDIATE JAZZ newDRUMMINGFor drummers with some familiarity with

jazz and associated styles, this class will

provide insights into how to break through

to the next level. With a deeper under-

standing of groove, dynamics, phrasing,

melody, interaction, and musical context,

one can find greater meaning in their

playing. The class will also highlight a

narrow subset of exercises which are

especially powerful tools for jazz drum-

mers, covering stick/brush technique, full

drum set technique, and rhythmic ear

training.


Jon Arkin • $420

SAXOPHONEDEVELOPING A GREAT newSAXOPHONE SOUND: POWER, FOCUS, AND FLEXIBILITYThis is a class for saxophonists! This course

will help you develop a great saxophone

sound through tone exercises, an efficient,

relaxed embouchure, and air flow funda-

mentals. It will also explore what makes an

individual saxophone setup work, covering

reeds, mouthpiece, ligatures, horns, and

more. All topics will be put into practice,

playing both ballads and uptempo tunes.

Prerequisites: chromatic, major and minor scale proficiency. Required text: A Com-plete Approach to Sound for the Modern Saxophonist by Ben Britton.


Tony Peebles • $420

18



glenn richman

tony peebles

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

21

March 23 – 27, 2020

Monday – Friday 9:30am – 3 pm • Free concert: Friday, March 27, 6 pm

An exciting five-day program in a supportive networking environment. Prerequisite: Some facility on your instrument.

Directed by Jean Fineberg & Ellen Seeling,

with an all-women faculty from the Montclair Women’s Big Band.

Open to women instrumentalists and

vocalists at all levels. Camp includes:

• Jazz Combo

• Blues & Soul Band

• Latin Group

• R&B Choir

• NEW! Reggae Enemble

• Jazz Choir

• New Orleans Ensemble

• Warmup / Master Class

• Theory & Improvisation

• Percussion

• Vocal Skills

• Private Consultation

• Lunchtime Open Jam

WOMEN’S JAZZ & BLUES CAMP

Tuition: $499

Enrollment: Open(closes when full)

Financial Aid: Limitedfundsavailable

Program info: cjc.edu/womenscamp

Email: [email protected]

Phone: 510.758.2200 (Leave a message. We'll call you back.)

Registration: cjc.edu/womensreg

OUR 2019 FACULTY AND STAFF!

VOCALS / PIANO Jennifer Jolly, Rita Lackey, Janice Maxie Reid, Erika Oba

GUITAR Nancy Wenstrom

BASS Ariane Cap

HORNS / LATIN Mad Duran, Jean Fineberg, Marina Garza, Ellen Seeling

DRUMS / PERC Daria Johnson

OPERATIONS Karl Gomez

THEORYINTRODUCTION TO MUSIC THEORYLearn the basic skills needed to begin any

serious study of music. Topics include:

music notation, time signatures, key

signatures, rhythmic training, major scales,

intervals, transposition, chord structure,

harmonic progression, ear training and

an introduction to musical form and

composition. Required text: Practical Theory Complete by Sandy Feldstein

(available at the CJC Bookstore).

Prerequisites: None, open to all instrumentalists and vocalists.


Jason Levis • $420

IMPROVISATIONBEGINNING JAZZ IMPROVISATIONA friendly, supportive atmosphere in

which to practice the basics of jazz

improvisation. Start with the blues, then

progress to jazz standards, learning

essential scales and chords, playing at

every session, trading licks, learning

patterns and building solos. Ideal for

classical players or anyone aspiring to

jam or perform with a jazz ensemble.

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


Rob Ewing • $420

INTERMEDIATE JAZZ IMPROVISATIONThis course gives students a strong

foundation in the Great American

Songbook repertoire and the ability

to improvise over chord progressions with

correct notes and good phrasing. Several

compositions from the Great American

Songbook will be used as vehicles to study

basic chord structures, scale structures

and non-diatonic neighboring tones.

Emphasis is placed on utilization of basic

harmonic concepts, thereby turning

exercises into melody. A step-by-step

conceptual approach is used, and with

each new tune, a different concept is

added.


Glenn Richman • $420

COMPOSITION

SONGWRITINGExplore melody writing, basic harmony,

more adventurous chord progressions,

song form, rhyme schemes and the

instrumental component of songwriting

— all with the purpose of honing your

unique voice as a composer. Most impor-

tantly, develop two or three songs

to be workshopped and refined in real

time over the course of the term.


Rachel Efron • $420

Theory, Improvisation, Composition


Adult Vocal Classes

2322

TECHNIQUE ANDMUSICIANSHIP

APPLIED VOCAL TECHNIQUE: BUILDING REPERTOIREThis is a class for singers who want to

expand their repertoire while incorporat-

ing and applying best practices of vocal

technique. Each session will include

warm-ups and exercises designed to

maximize vocal range, flexibility, support,

dynamic control, and intonation. Instructor

will provide charts (in appropriate keys)

that students will select from a list of 100+

jazz standards and classics of rock/soul in

a variety of styles (swing, bossa, bebop,

funk, soul, Latin); students may also bring

their own charts. This class is not a

performance class but rather an opportu-

nity to workshop new material each week

while expanding and improving vocal

technique. Prerequisites: Beginning Jazz Singing and/or Vocal Technique Essentials.


Andrea Claburn • $420

VOCAL TECHNIQUELearn a variety of vocal exercises to

condition, strengthen, and keep your voice

healthy. We will learn about the founda-

tions of breath support and body align-

ment, and use technical exercises to

improve range, intonation, breath manage-

ment, and dynamic control. We will also

discuss how vowel formation, placement

and ability to change tone quality can

support your unique sound as a vocalist,

and directly apply these techniques to

songs you are working on. Applicable to

all contemporary vocal styles. Open to all!

Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Danielle Wertz • $420

VOCAL TECHNIQUE FOR JAZZ SINGERSJazz singers need a technique that

will allow them to express their vocal

interpretations and promote the health

and longevity of their voices. Sandy

Cressman's Vocal Technique combines

principles of Bel Canto, Flow Phonation,

breathing and support, vocal health

connected with ear training for jazz

singing. Students will learn warmup and

voice-building exercises and how to apply

them to their songs.


Sandy Cressman • $420

Adult Vocal Classes

Forauditionsandmoreinformation

aboutourVocalprogramsplease

[email protected]

LaurieAntonioli,510.845.5373ext21

MINDFUL SINGINGIn this ear training class, students will

work on refining intonation and vocal

technique while developing their natural

voice and musical ear through deep

listening and rigorous vocal exercises of

scales, intervals, patterns, and phrases. In

addition, the class will explore scales and

modes commonly used in jazz and modal

improvisation by using the principles of

classical Indian music. Prerequisites: None, open to all, no sight-reading required. Be prepared to sing!

Saturdays 10 – 11:30 am1/11 – 3/14 (10 weeks)

Tatyana Dimitrova • $420

PERFORMANCE jazz

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

yourself relegated to the shower and

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

sing, but feel terribly shy at the idea of

singing in public. Explore and release your

inner rock, jazz or blues vocalist in this

encouraging, safe environment. Designed

to give you confidence through group

singing, while also bolstering your

repertoire with individual song develop-

ment. Accompanist provided. No previous

experience required.


Performance date: Wednesday 3/18Pamela Rose • $420

BEGINNING JAZZ SINGINGIn this class, students new to jazz will learn

to create a focused, relaxed, skilled and

authentic performance. The teacher will

introduce basic musicianship concepts as

well as warm-up exercises, understanding

and singing in different grooves, finding

suitable songs, ascertaining the correct

key, understanding the song form,

preparing a leadsheet, and creating a

home practice plan. A pianist joins the

class halfway through the quarter, and

students will further develop the songs

by working on sub-text, interpretation,

communicating with the accompanist,

singing in different feels, and setting up

and counting off songs. This class includes

an end-of-quarter performance.

Mondays 6:30 – 8 pm1/6 – 3/16 (10 weeks) no class 1/20Performance date: Monday 3/23Danielle Wertz • $420


tatyana dimitrova

24

IMPROVISATION AND THE GREAT AMERICAN SONGBOOKA Modern Singer’s Tool Kit for Getting Inside StandardsStudents will learn to identify and utilize

musical devices common to the language

of jazz. Using both lyrics and scat

syllables, participants will come away

with clear tools for developing musical

fluency when improvising on a standard.

Students should have songs they'd like to

work on and clear charts/leadsheets in

the proper key.


Performance date: Wednesday 3/18Kate McGarry with Keith Ganz • $420


INTERMEDIATE JAZZ SINGINGThis class covers a range of jazz vocal

essentials including lyric interpretation,

style, rhythm, and feel. Students explore

improvisation and harmony in depth while

also learning to create their own arrange-

ments. The instructor will suggest

repertoire and help students find interest-

ing songs that are best suited for their

voice and ability. There will be a student

performance at the end of the term. Open

to students who have taken the Beginning

Jazz Singing class or have approval from

the Chair or the instructor.

Thursdays 6:30 – 8pm1/9 – 3/12 (10 weeks)

Performance date: Thursday 3/19Cecilia Engelhart • $420

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 collabo-

ration. Please bring 2 or 3 songs to work

on during the 10-week session. The

instructor will also suggest repertoire.

Prerequisites: Some performance experience.


Performance date: Thursday 3/19Cecilia Engelhart • $420

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

skills including developing a unique

repertoire, communicating with the

rhythm section and creating arrangements

on the spot. Study phrasing, improvisation,

interpretation and work on developing a

personal sound. Rhythm section provided.

You are welcome to bring in songs of your

choice, write original lyrics or use material

provided by the instructor. Prerequisites: consent of instructor — telephone consultation required. Contact Laurie: [email protected] or call 510-845-5373 for more information.

Section 1 Tuesdays 6:30 – 8 pm

Section 2 Tuesdays 8:15 – 9:45 pm1/7 – 3/10 (10 weeks)


Laurie Antonioli • $460

THE SWINGING JAZZ SINGERStructured in a classic master class

format, this supportive, fun and adven-

turous course allows students to bring

in repertoire of their choice including

the Great American Songbook, bebop

and classic jazz tunes. The instructor will

coach vocalists on phrasing, interpreta-

tion, feel, improvisation and working with

a pianist in preparation for the end-of-

quarter student performance. During the

first class, students will learn how to get

their sheet music and songs together in

the proper key and format. Open to all!


Performance date: Wednesday 3/18Azure McCall • $420

THE ART OF THE DUOThe duo format offers unmatched

expressive and improvisational freedom

for a jazz vocalist. Focus on duo-enhanc-

ing skills including rhythmic and harmonic

independence, connecting and interact-

ing with the accompanist, arranging for

duo, and creating a dynamic and varied

duo program. Learn to take advantage of

the intimacy, spaciousness and fluidity

of the duo format and gain experience

singing with a renowned accompanist.

You are welcome to bring in songs of

your choice.


Performance date: Wednesday 3/18Keith Ganz • $420

AdultVocalClasses

kate mcgarry and keith ganz

AdultVocalClasses

26

CONTEMPORARY VOCAL STYLES Learn proper vocal technique (vocal

health, maintenance and developing

a practice routine) and apply these

approaches to singing in any style from

jazz to pop, rock, R&B, blues and beyond.

Class topics also include chart writing,

stage presence and microphone tech-

nique. This class culminates in an end-of-

quarter performance. Prerequisites: none! Open to all.

Mondays 8:15 – 9:45 pm1/6 – 3/16 (10 weeks) no class 1/20

Performance date: Monday 3/23Amanda Addleman • $420

THE ART OF JAZZ SINGING WITH A TRIOWorking with other musicians requires a

singer to be able to provide clear direction

and leadership. Counting off and setting

up a groove, providing signals, being able

to listen and respond to the music-these

are the keys to a successful performance.

In this supportive and challenging environ-

ment, students work on these skills, as well

as song styling, arranging and interpreta-

tion. Weeks 2 and 3 include a professional

accompanist, while the last two classes

and performance include a full trio. For

intermediate singers. Prerequisites: consent of instructor-telephone consulta-tion required.

Sundays Noon – 3 pm5 Sundays: February 16, 23 &

March 1, 8, & 15

Performance date: Tuesday 3/17Maye Cavallaro • $495

27

BRAZILIAN ENSEMBLEFor full description, see page 12

Section 1: Tuesdays 6:15 – 7:45 pm



Section 3: Wednesdays 6:30 – 8 pm


Performance date: Wednesday 3/18

Section 5: Thursdays 1 – 2:30 pm1/9 – 3/12 (10 weeks)


Marcos Silva • $420

FUNK ENSEMBLEFrom James Brown to Prince, Sly and the

Family Stone to Tower of Power, Stevie

Wonder to Earth, Wind & Fire, The Meters

to Herbie Hancock, we get down and

funky in this ensemble. Explore what it

takes to master the complexity of the funk

genre by breaking down the rhythmic

foundation of the groove, the feel, the

“pocket!” For all vocalists, horns and

rhythm section instruments.


Performance date: Thursday 3/19Daniel Lucca Parenti • $420

SALSA SINGINGLearn the style, rhythm and technique of

salsa vocal music while learning to play

Latin hand-percussion instruments.

Instructor provides instruments like guiro,

maracas and claves to use each week. As

the term progresses, join forces with the

Salsa 2 instrumental Ensemble (see page

13) as you work to develop a performance

set. Representative songs include “Tres

Días de Carnaval” (Celia Cruz), “La

Rebelión” (Joe Arroyo) and “Brujería”

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


Performance date: Tuesday 3/17Edgardo Cambón • $420

ensemble singing

VOCAL JAZZ ENSEMBLESing full vocal ensemble arrangements

recorded by The Manhattan Transfer, The

Hi-Lo’s, Lambert, Hendricks & Ross and

more. Arrangements are hand-tailored to

the ability and interest of the ensemble

members. Repertoire includes a combina-

tion of a cappella and accompanied tunes.

Learn how to learn this music, with a little

bit of added history for fun. Rehearsal

tools are made available (including sound

files with individual parts as well as the

entire arrangement). Male and female

singers of all ages are welcome. Prerequi-sites: some vocal experience is necessary, either in choirs or solo voice.


Performance date: Tuesday 3/17Angie Doctor • $420

WORLD GROOVE ENSEMBLE: AFRICANThe African Ensemble explores diverse

styles such as Afrobeat, soukous, highlife,

“desert blues,” South African, Zimbabwe-

an, Afropop, or Ethio-jazz. Emphasis is

placed on listening to each other, learning

the specific rhythms and how they interact

to make the groove, and understanding

the cultural contexts of the songs. Open to

vocalists and instrumentalists. The African

Ensemble is the winter-term offering in

the World Groove Ensemble series;

students may enroll in any or all of the

classes. Materials and arrangements

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


Performance date: Thursday 3/19Jennifer Jolly • $420

AdultVocalClassesAdultVocalClasses

AdultVocalClassesAdultVocalClasses

29

“This school is truly a blessing. You aren’t just taught by professional teachers who play music, you’re taught by professional musicians who teach!”

blues

BLUES VOCAL FUNSHOP 1 Feel like singing the blues? Blues is the

most primal, powerful part of your soul

and singing it is more fun than you can

possibly imagine. Students will explore the

deep, authentic singing strategies of great

blues singers from Jimmy Reed to Bonnie

Raitt, while developing blues repertoire.

No prior music experience necessary.

Class is open to both the novice singer

looking for a supportive, fun, instructive

course, and to the more experienced

singer looking to gain insight and control

on the bandstand. Each class is taught by

Bay Area's own jazz/blues diva Pamela

Rose and accompanied by legendary

blues guitarist Danny Caron.



BLUES VOCAL FUNSHOP 2 Music of Etta JamesWe’ll celebrate and analyze one of the

most authentic singers of all time! Each

student will master at least one Etta

James song, with a focus on her superb

blues and R & B songs, while delving into

Etta's soulful, heartwrenching vocal

approach. (Some basic charts provided,

but students will transpose or bring in

additional charts if necessary.) Classes to

be accompanied by guitarist Danny Caron,

and last 2 classes will add rhythm section

(bass and drums). Prerequisites: Blues Vocal Funshop 1 and/or permission from instructor.



BLUES AND GROOVE ENSEMBLEFor description, dates and times, see p. 13


latin

MARIACHI AND BOLERO new VOCAL PERFORMANCELearn to sing 5 or 6 new songs in mariachi

and romantic bolero tradition culminating

with an end-of-quarter performance.

Students will work on Mexican Spanish

lyric diction, in addition to history, sound,

interpretation, and style from Hispanic

song expert, Dr. Juanita Ulloa. Open to all

— no previous Spanish necessary.

Saturdays 1:30 – 3 pm1/1 1 – 3/14 (10 weeks)

Performance date: Saturday 3/21Juanita Ulloa • $420

CANTA BRASILThis class will explore various genres of

Brazilian songs, including samba, bossa

nova, choro, baião and frevo. We will learn

a song from each genre and its historical

and regional roots. We will study the

unique rhythmic feels and phrasing of

each genre, incorporating some simple

percussion instruments while preparing

songs for the end-of-quarter student

performance.


Performance date: Tuesday 3/17Sandy Cressman • $420

COMPOSITION

SONGWRITINGExplore melody writing, basic harmony,

more adventurous chord progressions,

song form, rhyme schemes and the

instrumental component of songwriting

— all with the purpose of honing your

unique voice as a composer. Most

importantly, develop two or three songs

to be workshopped and refined in real

time over the course of the term.


Rachel Efron • $420

YOUNG SINGERS

VOCAL PERFORMANCE FOR TEENS This class explores the essentials of vocal

performance including healthy vocal

technique, repertoire development, and

performance skills. Students are encour-

aged to bring in songs ranging from pop

and R&B to jazz standards and bebop.

The instructor can also recommend music

based on interest and level. Students learn

how to determine a comfortable key for a

song, count off a tune, and communicate

effectively with an accompanist. The class

culminates in a performance showcasing

material developed over the 10-week

session. All levels are welcome, for ages

12 – 18.


Performance date: Wednesday 3/18Danielle Wertz • $420

28 2020 Winter Quarter / January – March / c jc.edu

AdultVocalClasses

VocalWorkshops

3130

VOCAL MENTOR PROGRAM

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

This program also includes:

• A professional sound technician and

quality live recording of your performance

• Staff at the door and on-site during the

performance

• Guidance in marketing and promotion,

including how to prepare publicity

materials

• Inclusion in California Jazz Conservatory

advertising, marketing and publicity

• A percentage of ticket sales

$850

Contact the Chair of the Vocal Program,

Laurie Antonioli, for more information on

how to apply for this program:

laurie @ cjc.edu.

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

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 arrange-

ments, deciding on sequencing, and

developing patter and stage presence.

Lessons also include making a budget,

hiring and rehearsing musicians and

developing a marketing plan.

Candidates will be most successful if they

are advanced students who have some

performing experience in classes and

workshops or in a professional 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

personalized artistic vision. Concert dates

are available throughout the year.

VOCAL WORKSHOPS

AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES The Music of Harry Warren “At Last”with Maye Cavallaro

Harry Warren (born Salvatore Antonio Guaragna), was an American composer and lyricist.

Warren was the first major American songwriter to write primarily for film. He was

nominated for the Academy Award for Best Song eleven times and won three Oscars for

composing “Lullaby of Broadway,” “You’ll Never Know” and “On the Atchison, Topeka and

the Santa Fe.” He wrote the music for the first blockbuster film musical, 42nd Street,

choreographed by Busby Berkeley, with whom he would collaborate on many musical

films. Over a career spanning four decades, Warren wrote more than 800 songs. Other

well-known Warren hits included “I Only Have Eyes for You,” “Jeepers Creepers,”

“That’s Amore,” “There Will Never Be Another You,” “The More I See You,” “At Last”

and “Chattanooga Choo Choo” (the last of which was the first gold record in history).

In this workshop we’ll explore and sing the music of Harry Warren. We’ll also listen to how

some jazz greats have interpreted these songs and get ideas for our own arrangements.

Students are provided with 10 leadsheets for songs including practice-backing tracks. In

the final week we’ll work with an accompanist and sing these songs trying out our own

arrangement ideas. Open to singers and instrumentalists. All levels welcome.

3 Sundays, Jan 12, 19 & 26, Noon – 3 pm$300 advance, $315 day of workshop

AdultVocalCourses

maye cavallaro


33

VOCAL JAZZ DEEP DIVEwith Kitty Margolis

An exclusive opportunity to spend quality

time diving deep into the art of vocal jazz

with one of today’s most exciting singers.

Margolis, whose award-winning recordings

have earned her Top Ten airplay and an

international fan-base, is well known for

her inspiring and humorous teaching style.

At CJC, she will share concepts, technique,

and individualized feedback to stimulate

improvisational fluency and develop

artistic vision. An accompanist will be on

hand. Come ready to sing and leave with

enhanced understanding, refreshed

creativity and brand new chops. Partici-

pants should be prepared to sing 2 or 3

standard songs from memory. Please

bring charts/leadsheets for each selection

(including chords and melody) in the

singer’s key. 3 copies of each chart.

Limited to 10 intermediate-to-advanced

level vocalists.

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

ARRANGING FOR SINGERS IN A DUO SETTINGwith Susana Pineda

A vocal/instrumental duo presents many

opportunities for creative approaches and

arrangements. In this workshop, singers

will learn a variety of techniques from

composed intros, soli sections and

background lines to looping, spoken word,

effects, and extended vocal techniques.

Students should bring one or two songs of

any style to work on in class. Open to all.

Sunday, January 26, Noon – 3 pm$50 advance, $65 day of workshop

FROM TRADITIONAL IRISH AIRS TO GAELIC JAZZ: THE JOURNEY OF IRISH SONGwith Melanie O’Reilly

Join Irish vocalist Melanie O’Reilly for an

introductory journey into the rich and

diverse Irish vocal tradition, which enjoys

a prominent place in world music today.

Songs of celebration, laments, lullabies,

lilting (mouth music), and sean-nós

(old-style) will be demonstrated, exploring

many subjects and themes. The roots of

the Irish song tradition are traced from the

17th century to Irish American traditional

songs, to contemporary times, with new

fusion genres — such as the Afro-Celt

Sound System, Celtic fusion, the folk-world

songs of Kila, and O’Reilly’s own Gaelic

jazz interpretations. Students will have the

opportunity to sing examples from the

Irish tradition and will be encouraged to

sing in Gaelic (to be learned phonetically),

as well as English. Some songs will be

unaccompanied, as in the Irish tradition.

This is a workshop that will be fun as well

as informative!

Sunday, February 16, Noon – 3 pm$50 advance, $65 day of workshop

susana pineda

FEELS & GROOVES with Masha Campagne

Contemporary jazz singers like Dianne

Reeves, Kurt Elling and Jane Monheit have

inspired us with their unmistakable jazz

phrasing fusing a conversational delivery

with rhythmic and melodic improvisation.

They also continue to push the musical

envelope by incorporating a variety of

rhythmic textures & time signatures into

their singing. From medium to fast swing,

ballad to bossa & blues this workshop will

expand your knowledge of how to effec-

tively use a variety of time feels and grooves

to create fresh new arrangements on the

spot. Students should bring a lead sheet for

a song of their choice to work on individually

with live accompaniment. All levels welcome!

Sunday, February 9, Noon – 3 pm$50 advance, $65 day of workshopkitty margolis

melanie o'reilly

masha campagne

VocalWorkshops

32

VocalWorkshops

andrea wolper

INTRO TO FREE IMPROVISATIONwith Andrea Wolper

Experience the joy of flying without a net in this introduction to free improvisation.

Drawing on what we already know about song form, sound, melody, harmony,

rhythm, and creative expression, we’ll find our way into spontaneous music-making.

Expect to expand your musical vocabulary and expressive tools, to find links

between songs and spontaneous composition and, perhaps most importantly,

to rediscover the exhilaration of free expression. Open to all vocalists and

instrumentalists. Some singing/playing experience necessary.

Sunday, March 29, Noon – 3 pm$50 advance, $65 day of workshop

Young Musicians Program

TheJazzschoolYoungMusicians

Programisayear-round

comprehensivemusiceducation

andperformanceprogram

designedforinstrumentaland

vocalstudentsbetweentheages

of11and18.TheYoungMusicians

Programhasbeenatthecenter

oftheJazzschool’seducational

andartisticgoalssince1997.Its

curriculumprovidesstudents

withtheopportunitytowork

withprofessionaljazzartists

andeducators,strengthening

performanceskills,expanding

knowledgeofjazztheoryand

improvisation,andlearningmore

aboutthefoundationsofjazz

andrelatedstylesofmusic.

Studentsparticipateinafter-school

classesandinmasterclasseswith

nationallyknownjazzartists,as

wellasperforminginvenues

throughouttheSanFrancisco

BayAreaandbeyond.2020 PROGRAM REQUIREMENTS


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.


erik jekabson

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

VocalWorkshops

3534


36 37

PLACEMENT AND AUDITION REQUIREMENTS WINTER 2020

AUDITION MATERIALSEntering musicians are asked to prepare

two skill-level appropriate jazz standards,

improvise over a 12-bar blues (optional) or

rhythm changes (for high school students

only) and sight-read.

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

online at: cjc.edu/youth_auditions

After your application is received, you will

be contacted within 1 – 2 weeks with an

audition time. Auditions are scheduled on

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

scheduled at the earliest available time.

Students will be contacted with placement

information following the audition.

AUDITION DATESStudio Band/Advanced High School Jazz Workshops Closed

Middle and High School Small Ensembles 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 at cjc.edu/youth_ auditions. On the application form, please

select video submission. Please note: online

video submissions are not available for the

Studio Band or Advanced High School

Jazz Workshops.

INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS

• Student should be clearly visible

and audible on the video.

• Perform two skill-level appropriate

jazz standards. Please state the name

of each piece before you play it.

• Download one of the two improvisation

tracks at cjc.edu/youth_auditions

for the improvisation portion of your

audition. Two choruses required.

• On the video, it is important that your

playing is heard louder than anything

else, including any accompanying tracks.

PIANO AND GUITAR PLAYERS Follow the above instructions with only

one change: after improvising, please

demonstrate comping/voicings on a

blues or rhythm changes.

DRUMMERSPlease demonstrate the following styles:

• swing, bossa nova, funk/rock

• Demonstrate each style at various

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

• On each style/tempo please “trade

fours” with yourself (4 bars of time,

4 bars of solo, etc.)

• Play at least 16 bars of each example

After you have completed your video,

upload your audition to YouTube and title

the video with your name (Example: John

Smith Jazzschool Audition). You should make

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

being available to the public). Once the video

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

website and email a link. Please do not

email audition videos as attachments.

For more information about the Jazzschool

Young Musicians Program placement process,

please visit cjc.edu/youth_auditions or

contact Program Director, Erik Jekabson,

[email protected] or 510.845.5373.

INSTRUMENTAL ENSEMBLES

High school and middle school

jazz ensembles are offered

Monday through Thursday in the

late afternoon and early evening

and during the day on Saturday.

While we make every effort to

accommodate scheduling requests,

specific placements are based on

the results of an audition.

large performance ensembles

STUDIO BANDDevelop technique, knowledge of jazz

style and an ability to improvise through

standard and contemporary big band

repertoire. This highly-selective ensemble

performs frequently and participates in

competitions throughout the U.S. The

Studio Band has played at Yoshi’s and

Savanna Jazz, as well as jazz festivals

in California, New York, Seattle, Idaho,

the Vienne Jazz Festival in France and

the Montreux Jazz Festival in Switzerland.

Full school year commitment is required.

Instrumentation: 5 saxes, 5 trumpets, 5

trombones, guitar, piano, bass and drums.

Mondays 6:30 – 8 pm1/6 – 3/16 (10 weeks) no class 1/20Dave Eshelman • $230

Please note that all ensemble

prices on pages 37 – 41 are

priced for the quarter.

dave eshelman


The California Jazz Conservatory Master of Music in Jazz Studies

The California Jazz Conservatory Master of Music in Jazz Studies

is a two-year, 60-credit degree program for the 21st century

jazz composer-performer taught by preeminent resident and

visiting artists-educators.

The program is structured around the small ensemble, providing

the professional-level jazz musician with a creative platform

to both compose and perform original work.

To apply, please visit www.cjc.edu/apply

A Master’s Degree for the 21st Century Composer-Performer

2087 Addison Street, Berkeley CA 94704(510) 845-5373 cjc.edu


40 41

small performance ensembles

ADVANCED HIGH SCHOOL JAZZ WORKSHOP 1 AND 2Explore the post-bop harmonic, melodic,

rhythmic and formal innovations of

Coltrane, Shorter, Corea, Hancock,

Brecker and others in this multiple

DownBeat award-winning ensemble.

For advanced-level high school student

players, competent in the bebop language.

Participate in various competitions and

festivals.

Workshop 1: Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Michael Zilber • $420

Workshop 2: Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Erik Jekabson • $420

HIGH SCHOOL JAZZ ENSEMBLE Gain a greater understanding of jazz

theory and develop improvisation skills

through the study and performance of

challenging jazz repertoire.

Section 1: Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Colin Hogan • $420

Section 2: Mondays 4:45 – 6:15 pm 1/6 – 3/16 (10 weeks) no class 1/20Raffi Garabedian • $420

Section 3: Tuesdays 4:45 – 6:15 pm 1/7 – 3/10 (10 weeks)

Charles Hamilton • $420


Nora Stanley • $420

Section 5: Wednesdays 4:45 – 6:15 pm1/8 – 3/11 (10 weeks)

Rob Ewing • $420

Section 6: Thursdays 4:45 – 6:15 pm 1/9 – 3/12 (10 weeks)

Colin Hogan • $420

Section 7: Saturdays 11:45 am – 1:15 pm1/11 – 3/14 (10 weeks)

Colin Hogan • $420


Isaac Narell • $420



MIDDLE SCHOOL JAZZ ENSEMBLE Learn to play jazz and improvise while

covering a wide repertoire from John

Coltrane, Sonny Rollins, Eddie Harris and

other jazz masters.

Section 1: Mondays 4:45 – 6:15 pm1/6 – 3/16 (10 weeks) no class 1/20Raffi Garabedian • $420

Section 2: Wednesdays 4:45 – 6:15 pm 1/8 – 3/11 (10 weeks)

Scott Thompson • $420

Section 3: Thursdays 4:45 – 6:15 pm 1/9 – 3/12 (10 weeks)

Nora Stanley • $420


Joe Hartnett • $420

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

Sly Stone and others. Vocalists and horns

welcome! Music is learned by ear. (Also open

to advanced middle-school musicians.)

Section 1: Saturdays 10 – 11:30 amSection 2: Saturdays 11:45 am – 1:15 pm1/11 – 3/14 (10 weeks)

Jon Monahan • $420

VOICE

VOCAL PERFORMANCE FOR TEENSDelve into songs as a means of storytelling

while simultaneously developing a personal

connection to a lyric. All styles of music are

welcome and students are encouraged to

bring in songs of their choice. The instructor

can also suggest repertoire suitable for

individual students. Build vocal technique

through a variety of warm-up, ear-training

and musicianship exercises.

Wednesdays 4:45 – 6:15 pm1/8 – 3/11 (10 weeks)

Danielle Wertz • $420

erika oba

43

SUMMER 2020 PREVIEWJAZZSCHOOL SUMMER CAMPS & INTENSIVESIt’s time to start planning for summer 2020! We pride ourselves on offering some of the Bay Area’s most exciting summer jazz programs, for students who want to spend a week (or two) honing their skills in a focused environment.

Summer Programs for Young Musicians• Jazzschool Summer Youth Program June 22 – 26 and July 27 – 31, 2020 Two 5-day sessions for instrumentalists entering grades 7 – 10

• High School Jazz Intensive July 6 – 10, 2020 A weeklong session for advanced high school jazz instrumentalists, directed by Dr. Michael Zilber

• Girls’ Jazz & Blues Camp August 3 – 7, 2020 A weeklong program for singers and instrumentalists

Summer Programs for Adults• Jazz Piano Intensive June 15 – 19, 2020

• Jazz Saxophone Intensive June 29 – July 3, 2020

• Jazzschool Guitar Intensive August 10 – 14, 2020

• Jazzschool Vocal Intensive August 10 – 15, 2020

A weeklong session for jazz vocalists, directed by Laurie Antonioli

with artist-in-residence Theo Beckmann

42

Workshops

IMPROVISING ON JAZZ STANDARDS SERIES

This series of hands-on workshops,

directed by some of the Bay Area’s top

jazz improvisers, is designed to provide

players with a range of techniques for

improvising on jazz standards. Get some

new tools for your improvisational toolkit

and gain a variety of perspectives on jazz

improvisation from each of these wonder-

ful musicians. Each session will be directed

by a different instructor and focus on a

particular jazz standard, including plenty

of in-class playing time and Q & A. These

workshops are open to all.

Suggested prerequisites for those who will play during the session: facility on an instrument and knowledge of jazz theory.

WAVEwith Anton SchwartzSunday, January 19, 11:30 am – 1:30 pm

ALL THE THINGS YOU AREwith Charlie GurkeSunday, January 26, 11:30 am – 1:30 pm

BUT NOT FOR MEwith Henry HungSunday, February 2, 11:30 am – 1:30 pm

CHEROKEEwith Kasey Knudsen Sunday, February 16, 11:30 am – 1:30 pm

Each workshop: $30 advance,

$45 day of workshop

44

THE FUNDAMENTALS OF IMPROVISATIONwith Ron Jackson

The workshop is based on the Barry Harris System of Improvisation (bebop-based)

combined with guitarist Ron Jackson’s extensive experience teaching improvisation to

students of all abilities. The goal of the workshop is to start improvising, using real jazz

phrases (not blues phrases but bebop), on: “Jazz Blues,” “Rhythm Changes” and a jazz

standard (“I’ll Remember April”). By the end of the workshop you should be able to play

jazz licks or phrases on any tune and develop confidence in this system of improvisation.

Instructor will demonstrate with a jazz trio. Everyone must bring their instruments and

play during the workshop. You will also have the opportunity to play with the trio and

receive personal feedback. For guitarists in attendance, instructor will recommend

specific ways to practice your scales and phrases on the fingerboard.

Sponsored by the Gardenia Society.

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

VOCAL JAZZ DEEP DIVEwith Kitty Margolis

For full description, see p. 32

Sunday, January 12, 12 Noon – 3 pm

$100 advance, $115 day of workshop

Workshops

AMERICAN SONGBOOK: COMPOSER WORKSHOP SERIES The Music Of Harry Warren “At Last”With Maye Cavallaro

Harry Warren (born Salvatore Antonio Guaragna), was an American composer

and lyricist. Warren was the first major American songwriter to write primarily

for film. He was nominated for the Academy Award for Best Song eleven times

and won three Oscars for composing “Lullaby of Broadway,” “You’ll Never

Know” and “On the Atchison, Topeka and the Santa Fe.” He wrote the music

for the first blockbuster film musical, 42nd Street, choreographed by Busby

Berkeley, with whom he would collaborate on many musical films. Over a career

spanning four decades, Warren wrote more than 800 songs. Other well-known

Warren hits included “I Only Have Eyes for You,” “Jeepers Creepers,” “That’s

Amore,” “There Will Never Be Another You,” “The More I See You,” “At Last”

and “Chattanooga Choo Choo” (the last of which was the first gold record in

history). In this workshop we’ll explore and sing the music of Harry Warren.

We’ll also listen to how some jazz greats have interpreted these songs and get

ideas for our own arrangements. Students are provided with 10 leadsheets for

songs including practice-backing tracks. In the final week we’ll work with an

accompanist and sing these songs trying out our own arrangement ideas.

Open to singers and instrumentalists. All levels welcome.

3 Sundays, Jan 12, 19 & 26, Noon – 3 pm$300 advance, $315 day of workshop

ron jackson

maye cavallaro

Workshops


4746

REHARMONIZING JAZZ STANDARDS USING MELODIC AND HARMONIC MINOR HARMONYwith John Stowell

Master guitarist and improviser John

Stowell leads a workshop on reharmoniza-

tion techniques applied both to composi-

tion and improvisation, integrating

concepts developed from an in-depth

exploration of melodic and harmonic

minor harmony. Prerequisites: knowledge of jazz harmony suggested.

Sunday, January 26, 2 – 4 pm$30 advance, $45 day of workshop

ARRANGING FOR SINGERS IN A DUO SETTINGwith Susana Pineda

A vocal/instrumental duo presents many

opportunities for creative approaches

and arrangements. In this workshop,

singers will learn a variety of techniques

from composed intros, soli sections and

background lines to looping, spoken word,

effects, and extended vocal techniques.

Students should bring one or two songs of

any style to work on in class. Open to all.

Sunday, January 26, Noon – 3 pm $50 advance, $65 day of workshop

THE GENIUS OF WES MONTGOMERYwith Mimi Fox

This workshop is designed to acquaint

students with the style and techniques of

legendary jazz guitarist Wes Montgomery,

through the performance of transcriptions,

close listening and instructor demonstra-

tions. Prerequisites: intermediate to advanced facility on guitar.

Saturday, February 1, 3:15 – 5:15 pm$30 advance, $45 day of workshop

john stowell

Workshops

SUS CHORDS with Anton Schwartz

A deep look at the use of “sus” chords in contemporary jazz and related styles. Topics include: traditional versus modern use, sus-flat-9, sus-add-3, relation to II-V-I progressions and techniques for improvisation. Prerequisites: basic knowledge of music theory.

Saturday, January 18, 3:15 – 5:15 pm$30 advance, $45 day of workshop

ALTERED DOMINANT AND DOMINANT 13(b9) CHORDS with Anton Schwartz

These two chords provide rich colors that are essential to the palette of intermediate and

advanced jazz players. This workshop takes a deep look at the chords and their accompa-

nying scales, examining how each is constructed, why they are constructed that way and

how they may be used to maximal effect. Their sounds are contrasted within the context

of jazz (e.g. when should one be used rather than the other?) by listening to examples of

their use. Additional topics include: different types of outness and lydian dominant, the

sister of the altered sound. This workshop is appropriate for students with little prior

exposure to the subject, as well as students familiar with melodic minor and diminished

harmony who wish to deepen their understanding. Prerequisites: an understanding of basic theory and the mixolydian & diminished scales.

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

anton schwartz


mimi fox

48 492020 Winter Quarter / January – March / c jc.edu

HOT CLUB JAZZ GUITARwith Paul Mehling

This workshop focuses on various aspects

of hot club-style jazz guitar in the

tradition of the legendary Django

Reinhardt. Topics include rhythm, picking,

scales, arpeggios, chords, soloing, and

more. One-on-one evaluation is available

to all attendees, with a directed jam at

the conclusion of the workshop (time

permitting). Bring your instrument,

recording device (or paper and pencil)

and questions!

Sunday, February 2, 11:30 am – 1:30 pm$30 advance, $45 day of workshop

Workshops

THE METRONOME IS YOUR FRIENDwith Paul Mehling

Returning with his popular workshop for

musicians and singers of all levels, Mehling

demonstrates a range of practice tech-

niques making creative use of the metro-

nome. Improve your productivity and

increase your musicianship! Open to all.

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

FEELS & GROOVES with Masha Campagne



FROM TRADITIONAL IRISH AIRS TO GAELIC JAZZ: The Journey of Irish Songwith Melanie O’Reilly



BOOGIE WOOGIE PIANO with Wendy DeWitt

Join us in a deep dive into Albert Ammons

and Pete Johnson, two of the greats of

boogie woogie and where Jerry Lee and

those who followed got their inspiration

from. We’ll explore licks and the technique

necessary for smooth execution, breaks,

intros and endings. Be ready to flesh out

your improvisations with lots of new

material. We’ll also cover how to create

dynamics, develop themes, and keep your

playing interesting with the many tools

available to pull in your listener’s ear.

Recording is invited. Bring a notebook.

Recommended level: Advanced beginner

and beyond.

Sunday, February 16, 2 – 4 pm$30 advance, $45 day of workshop

wendy dewitt

TURNING SCALES, PATTERNS & RHYTHMIC IDEAS INTO MUSICwith Dan Zemelman

Learn how to transform your playing using

many different scales and patterns in

various rhythmic contexts. We will explore

how to turn these ‘everyday’ musical tasks

into satisfying melodic ideas. Develop a

fresh and musical approach to practicing

scales. For all instruments.

Sunday, February 23, 11:30 am – 1:30 pm $30 advance, $45 day of workshop

MELODIC & HARMONIC PRINCIPLES ON THE PIANO — FROM INSIDE TO OUTSIDE AND BACKwith Dan Zemelman

Have you ever wondered how to get that

certain ‘sound’ on the piano? How do you

go from basic chords and melodic ideas to

more interesting and harmonically diverse

ones? We’ll cover a vast range of material

that will help expand your palette and give

you tools for creating new and more

diverse choices on the piano.

Sunday, February 23, 2 – 4 pm

$30 advance, $45 day of workshop

dan zemelman

paul mehling

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

50

INTRO TO FREE IMPROVISATIONwith Andrea Wolper

Experience the joy of flying without a net

in this introduction to free improvisation.

Drawing on what we already know about

song form, sound, melody, harmony,

rhythm, and creative expression, we’ll find

our way into spontaneous music-making.

Expect to expand your musical vocabulary

and expressive tools, to find links between

songs and spontaneous composition and,

perhaps most importantly, to rediscover

the exhilaration of free expression. Open

to all vocalists and instrumentalists. Some

singing/playing experience necessary.

Sunday, March 29, Noon – 3 pm$50 advance, $65 day of workshop

greg abate

Workshops

51

andrea wolper

ELEMENTS OF JAZZ IMPROVISATIONwith Greg Abate

Saxophonist Greg Abate shares his

approach to jazz improvisation. Emphasis

on the concept of improvising in “slow

motion” which he thinks of as songwriting,

as a way to improvise melodically without

resorting to licks or patterns. Recom-

mended for all players looking to develop

a fresh and musical approach to improvis-

ing over jazz standards and related

repertoire.

Sponsored by Conn-Selmer.

Saturday, March 14, 3:15 - 5:15 pm$30 advance, $45 day of workshop

POPULAR MUSIC HARMONYwith Jeff Gardner

This workshop provides a solid foundation

for learning the fundamental elements of

most styles of modern music. These

include cadences, harmonic sequences

and cycles, pedal points, superimposed

triads and seventh chords, and analysis

of jazz standards using these concepts.

Compositional exercises will be presented

to help the student assimilate the material

quickly and thoroughly in a creative

manner. These will tie in concepts such as

chord scales, line writing, approach notes,

and passing tones. The workshop will be

structured on three different levels —

beginning, intermediate, and advanced.

The first module will present piano

exercises relevant not only to apprentice

jazz and pop pianists, but to other

instrumentalists who wish to have a

command of the piano for composing,

arranging, and accompanying. The

advanced level will deal with all the above

elements and include Coltrane Changes,

polytonal cadences, non-traditional key

centers, polymodality and high level

compositional strategies.

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

STRETCHING THE ENVELOPEwith Jeff Gardner

This workshop presents concepts drawn

from 20th century “classical” music as a

mine of ideas for jazz and contemporary

improvisation and composition. Topics

include: uncommon combinations of

added tones, polytonality, non-diatonic

bass tones (slash chords on the border of

polytonality), pandiatonicism and much

more. Students will work through a series

of composition exercises based on

different parameters of contemporary

music, mixed with forms and techniques

associated with jazz. For all instruments.

Sunday, March 15, 2 – 4 pm$30 advance, $45 day of workshop

jeff gardner


53

Jazzschool Faculty

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

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

Jon Arkin (drums)B.M. in Jazz Performance, University of Miami School of Music (now Frost School of Music); has performed internationally with a wide variety of musicians including Lee Konitz, Gene Perla, Grady Tate, Ira Sullivan, Cuong Vu, Dayna Stephens, Taylor Eigsti, Julian Lage, Wil Blades, Vusi Mahlasela, Meklit Hadero, Karl Denson, Stew, Fareed Haque, and many others; longtime member of groups led by Nathan Clevenger, Ian Carey, Adam Shulman, Matthew Charles Heulitt; performs in various configurations with his self-designed electro- acoustic setup, including with the Schimscheimer Family Trio, Jordan Glenn, Rob Ewing, Kasey Knudsen, and Ben Goldberg; has taught classes/lessons/workshops at the CJC/JCMS, Stanford Jazz Workshop, UC Berkeley, Sonoma State U, Humboldt State U, and many other schools around the U.S. and Europe. www.jonarkin.net

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

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

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

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

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

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

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

Tatyana Dimitrova (voice)Bachelor in Jazz Studies and Vocal Jazz Perfor-mance at CJC in process. Jazz teachers are Laurie Antonioli, Theo Bleckmann, Dann Zinn, Jeff Denson, Sandy Cressman, Maye Cavallaro, Raz Kennedy. Also studies with Indian vocalist Ranjana Gathak at the Ali Akbar College of Music as well as workshops with Pandit Uday Bhawalkar, Pandit Nyrmalya Alam Khan. Studied Sound and Music as Healing Arts program at CIIS in San Francisco. She currently studies Yoga of the Voice and Nada Yoga Teacher Training Program under the mentorship of Silvia Nakkach at Vox Mundi Project. Tatyana also studies with Rumen Sali Shopov on her native Bulgarian repertoire of traditional songs.

Angie Doctor (voice) Studied at Foothill College and Gonzaga University (B.A. Music Performance) with Phil Mattson (Foothill and Gonzaga), Terry Summa (Foothill), Tim Smith (Gonzaga). Founding member of the Grammy-nominated PM Singers with Phil Mattson. Performing and recording artist, studio singer, Vocal Jazz adjudicator and clinician, jazz and pop solo coach. Artist-in-residence at Ruth Asawa San Francisco School of the Arts High School, Vocal Jazz Choir. Performed with Bobby McFerrin, Don Shelton, The Hi-Lo’s, Barbara Morrison, The Manhattans, Heatwave, Deneice Williams, Barbara Lewis, GQ, Gene Chandler, Eddie Holman, Barbara Mason, Billy Paul. Founding member and lead singer for Clockwork, currently the Girl in The Bobs.

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

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

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


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Jazzschool FacultyJazzschool FacultyJazzschool Faculty

raffi garabedian

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

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

Mimi Fox (guitar)International recording/performing artist and five-time DownBeat Magazine International Critics Poll winner. Performed throughout Europe, Asia, the Caribbean and Australia. Festivals include Montreal, Monterey, Guinness Cork, Perth and North Wales International Jazz Guitar Festival. Adjunct professor of Jazz Studies at NYU; guest clinician/artist in residence at Alaska Jazz Workshop, Britt Music Festival, Brubeck Institute, Yale U., CalArts, Cornish College of the Arts, U. of Oregon, USC and Berklee College of Music; featured artist on Marian McPartland’s Piano Jazz on NPR; featured artist, Kennedy Center. Performed with Joey De Francesco, Charlie Byrd, Kenny Burrell, Branford Marsalis, David Sanchez, Stanley Jordan and countless others. www.mimifoxguitar.com

Keith Ganz (guitar)B.A. from UNC-Chapel Hill. 2018 GRAMMY nominee. Toured as accompanist for Harry Connick, Jr., Kurt Elling, Luciana Souza, Tierney Sutton, Gretchen Parlato, Jo Lawry, Peter Eldridge, Moss. 15 years as Guitarist/Musical Director/Arranger/Producer for Kate McGarry producing 6 critically acclaimed recordings with two GRAMMY nominations. 11 years in NYC, worked with Chris Potter, Christian McBride, Fred Hersch, Greg Hutchinson, Victor Lewis, Aaron Goldberg, Joel Frahm, Gary Versace, Kendrick Scott, Aaron Parks, Bruce Barth, Ben Monder, Steve Cardenas. Masterclasses at Berklee, Eastman, Jazz at Lincoln Center, McGill, CalArts, Graz.

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

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

Joe Hartnett (Saxophone)B.F.A. Jazz Performance, New School University, NYC. Studied with Dave Glasser, Jon Gordon, and Tony Malaby. Have performed with Brass Magic, Zongo Junction, and many others at such venues as SFJAZZ, The Kennedy Center, and Irving Plaza.

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

Steve Hogan (bass guitar, vocal percussion)B.A. UC Berkeley. Multi-Instrumentalist. Toured/performed/recorded with Goapele, Zion I, The Coup, Will Bernard, Hugh Masekela, Dave Chappelle, DJ Fuze, Thomas Pridgen, Ambrose Akinmusire, Raul Midón, Chuchito Valdez, Roberto Carcassés, Balawan, Faye Carol, Tuck & Patti, Linda Tillery, Keith Terry, Gamelan Sekar Jaya. Performed at Kennedy Center, SFJazz, Stern Grove, Hollywood Bowl, The Fillmore, Bali Arts Festival, Gunung Jazz Festival (Java). Founding member of Bay Area groups O-Maya, AguaLibre, Slammin All Body Band. Currently performs locally with Josh Jones Latin Ensemble, Keith Terry’s Free Dive, and primary project fusion group The Hogan Brothers, with brothers Colin and Julian.

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

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

Matt Jenson (keyboards) M.M. Jazz Studies and Composition — New England Conservatory of Music. Studied with Geri Allen, Ran Blake, Dave Holland and later, Eddie Palmieri. Berklee College of Music piano faculty (19 yrs) teaching studio piano lessons, Hammond organ lab, Afro-Cuban piano lab and “The Music and Life of Bob Marley” class/ensemble which he has also presented at the Jazzschool, Jazz Camp West and at Steel Grass Ranch on the island of Kaua’i. Performed, recorded and worked with Johnny Adams, Ronnie Earl, Mighty Sam McClain, Julien Kasper, Cyril Lance, Rita Marley, Judy Mowatt, Chinna Smith, Tuff Lion and currently touring with the Bay Area reggae-jazz-fusion band Groundation. Received the prestigious Newbury Comics Fellowship award (associated with Berklee College of Music) producing a full-on reggae educational platform entitled, “The Art of Reggae.” Co-leader of “Inside Reggae,” a yearly experiential trip to Kingston, JA. As a composer/arranger, recording artist and singer, Matt leads his all-original reggae band, “The Liquid Revolution,” and co-produced the reggae-Afro Cuban fusion group, “Rebel Tumbao.”www.mattjenson.com www.liquidrevoloution.net

Darren Johnston (trumpet)B.A. jazz performance — Cincinnati Conservatory of Music, M.A. composition — Mills College. Adjunct trumpet/jazz professor at UC Berkeley, private instructor at SF Community Music Center, Stanford Jazz Workshop. Performed/recorded with Fred Frith, Marcus Shelby, Myra Melford, ROVA Saxophone Quartet, Meklit Hadero, and many others. Has led United Brassworker’s Front, Nice Guy Trio, Darren Johnston Quintet (featuring Ben Goldberg and Sheldon Brown), Trans-Global People’s Chorus, Broken Shadows, and others.

Jennifer Jolly (keyboards) B.A. UC Berkeley. Keyboards and melodica, multi-instrumentalist, vocalist, composer/arranger, bandleader. Specialist in Americana, blues/R&B, New Orleans, rock’n’roll, Caribbean, and African roots music. Founder of Jennifer Jolly & Friends, co-founder of and composer for The Jolly Gibsons. Additional current projects include Pamela Rose’s touring theatrical concert “Blues is a Woman,” Zulu Spear, Kotoja, Tom Rigney & Flambeau (sub), Chelle! and Friends (guest), Bait & Switch Blues Band, Big B and His Snake Oil Saviors, The Party Monsters, The Linwood Chorus (accompanist), and the Creekside Community Church Worship Band. Previous credits include Phil Lesh, The Broken Angels, Hot Links, Barbara Dane, Rusty Zinn, two dozen theatrical productions, and numerous reggae, blues/New Orleans, singer/songwriter, and country bands; twenty-plus recording credits. Faculty instructor at The Jazzschool, Cazadero Family Camp, Jazzschool Women’s Jazz and Blues Camp, after-school programs, workshops, and private studio.


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Jazzschool Faculty

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

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

Susan Muscarella (piano)B.A. in Music Composition, UC Berkeley. Ph.D. candidate in Musicology, University of Évora, Portugal. Founder and Executive Director, California Jazz Conservatory, f/k/a Jazzschool Inc.; President and Dean of Instruction, California Jazz Conserva-tory. Director, UC Jazz Ensembles program 1984 – 89; composer, arranger and recording artist; performances at major clubs and festivals including Yoshi’s, Keystone Korner, Great American Music Hall and the Lighthouse, and Monterey, Berkeley and Concord Jazz Festivals; featured on Marian McPartland’s Piano Jazz on NPR; recipient of a 2008 “A Team” Award from the Jazz Journalists Association; member of the Board of Directors, Chamber Music America.

Isaac Narell (saxophone) B.F.A. from California Institute of the Arts. Performed with Karim Ziad, The WDR Big Band, Mokhtar Samba, Afia Mala, Thierry Fanfant, Andy Narell, Josh Jones, Jeff Narell, Jenna Mammina, Silvestre Martinez, Alfred Ladzekpo, Miguelito Martinez, The Southwest Michigan Symphony Orchestra, The Pacific Mambo Orchestra and The Electric Squeezebox Orchestra. Isaac has written arrangements for The Bordeaux Symphony Orchestra, The University of Trinidad and Tobago, The Metropole Orkest, Mizikopeyi Big Band and The Southwest Michigan Symphony Orchestra.

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

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

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

Kate McGarry (voice) B.M. Afro-American Music & Jazz Studies UMass Amherst, professors included Archie Shepp, Max Roach, Dr. Billy Taylor, Dr Hoarce Boyer, Afro-Am Studies classes with James Baldwin, and Cornel West. 7 Critically acclaimed recordings as a leader with Palmetto, and Sunnyside Records. Grammy nominations (2008, 2018) Best Jazz Vocal Recording. 2016 Downbeat Critics Poll winner — Rising Female Vocalist. Performances, recording and/or collaborations with Fred Hersch, Maria Schneider, John Hollenbeck, Billy Childs, Kurt Elling, Luciana Souza, Theo Bleckmann and Tony Award winner Jason Robert Brown. 3 years as a Jazz Ambassador for U.S. State Department and Jazz at Lincoln Center teaching and performing in China Mongolia, South America and Eastern Europe. 15 years functional voice training with Level 3 certification in Somatic Voice Work™ The LoVetri Method. Performances with Marion McPartland on Piano Jazz, NPR’s Jazz Set with Dee Dee Bridgewater, All Things Considered, Jazz Faculty positions at NEC, Manhattan School of Music, Assistant Director of Music Courses SYDA Foundation, NY, Clinics, masterclasses and performances given worldwide.

Jon Monahan (guitar) Studied at SFSU School of Music, B.S. in Physiology from UC San Diego. Performance credits include Stevie Wonder, Roy Ayers, Mary Wilson, Lyrics Born, Gift of Gab, Digital Underground, Qbert, Fantastic Negrito, Jack Johnson, Rogue Wave, with performances at the Monterey, Montreal, Newport, Playboy and Kathmandu Jazz Festivals, and on TV at Jimmy Kimmel Live.

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

Frank Martin (piano, keyboards)Music Director for Narada Michael Walden, Patti Austin, Angela Bofill; Carnegie Hall appearances with Sting, James Taylor, Elton John; Record producer/arranger for Al Jarreau, Turtle Island String Quartet, Joey DeFrancesco, Mimi Fox, Mary Jenson, Molly Holm, Deuce, Tuck & Patti, Karen Blixt; performed/recorded with John McLaughlin, Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Larry Coryell, Herbie Hancock, Stanley Jordan, Stevie Wonder, Airto, Dori Caymmi, Dianne Reeves, Patrice Rushen, Trilok Gurtu, Richard Bona; Faculty, UC Berkeley Jazz Ensembles. 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. Appeared at the Umbria Jazz Festival, Beijing Conservatory, Davies Symphony Hall, Stern Grove, SFJAZZ Center, Yoshi’s, Monterey Jazz Festival, San Jose Jazz Festival and Theatre Works. Taught at UC Berkeley, The Jazzschool, Redwood High, Bruce Forman’s Jazzmaster series, Jazz Camp West and Blue Bear School of Music.

Azure McCall (voice) Hawaii’s first lady of jazz is a multi-award winning vocalist. She is heir to the vocal tradition of Sarah Vaughan, Carmen McRae and Ella Fitzgerald. Her warmth and sense of humor fuel every interpreta-tion. After releasing her first CD, Body and Soul, she was asked by the great bassist Ray Brown to be his vocalist on tour. Of course, she accepted, beginning an incredible jazz journey — school was in! Soon after, Azure became the first singer to work with Freddie Hubbard’s band. Additional collaborators include Frank Morgan, Tennyson Stephens, Joe Lovano, Geoffrey Keezer, Curtis Lundy, Dizzy Gillespie and many more. In 2008, President Barack Obama asked her to perform at his pre-election party. “That’s why he won,” Azure says (smiling). Azure became the ‘jazz diva’ for Celebrity and Royal Caribbean Cruises. She has traveled to more than 50 countries.

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Jazzschool Faculty

Clif Payne (voice)Evershift recording artist, international concert vocalist, and vocal coach, studied with David Baker at Indiana University and Speech Level Singing vocal technique with Chip Hand and Rober Burnley in LA. Recording projects include a collaboration with former Kurt Elling music director Laurence Hobgood. His debut solo album — Welcome To My World — was released In 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors, Harvey Mason.

Tony Peebles (saxophone)M.M. Jazz Performance (Saxophone), University of the Arts in Philadelphia; B.A. Music (Theory), University of Pennsylvania. Featured soloist on Grammy-winning album PMO by Pacific Mambo Orchestra. Performed with Fred Wesley, Lenny Williams, Tommy Igoe, Karl Perazzo, Kenny Washington, John Lee Hooker Jr., Doc Severinson. Toured Europe, Africa, South America, and Australia with reggae legend Don Carlos and New Zealand’s Katchafire.

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

Marcelino Quiroz (piano) B.M. Film Scoring (’04), Berklee College of Music (piano principal), studied jazz piano performance with Joanne Brackeen; MRQ Productions, principal film composer/audio editor; Professional Musician, performing on piano, synth and Hammond B-3 regularly in the SF Bay Area in a variety of genres, including: jazz, funk, neo-soul, R&B, reggae and more; Private Piano Instructor/Certified K-6 Educator, 14 years experience teaching music theory to groups and individuals, ranging from beginner children to advanced-level adults; Musical Director/Bandleader, Mango Kingz (island reggae) and The Mars Express (neo-soul/cosmic gospel).

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

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

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

Jazzschool Faculty

Nora Stanley (saxophone)Nora Stanley holds a B.M. in Jazz Studies and a B.A. in Latin American Studies from Oberlin College and Conservatory where she was a student of Gary Bartz, Eddie Henderson, Billy Hart and Dan Wall. She has performed/recorded with luminaries such as Ambrose Akinmusire, Eddie Henderson, Dayna Stephens, Chucho Valdes and Jerry Gonzalez and has had the opportunity to play and study abroad in Cuba, Spain and Brazil.

Ben Stolorow (piano) B.A. in Music, UC Berkeley; Recipient, Hertz Traveling Fellowship from Berkeley to study jazz piano privately and at the Manhattan School of Music; studied in New York with Fred Hersch, Stanley Cowell, James Williams, and David Hazeltine; performed with Akira Tana, Craig Handy, Lorca Hart, Nasheet Waits, Danya Stephens, Andrew Speight, Vince Lateano, Bob Kenmotsu, Noel Jewkes, Michael O’Neill, and vocalist Kenny Washington; Also studied classical piano and the Taubman Technique. www.benstolorow.com

Scott Thompson (bass) B.M. in Performance, California Jazz Conservatory (Berkeley, CA). Teaches regularly at the California Brazil Camp, Jazz Camp West, and Lafayette Summer Music Workshop. Tours nationally and internationally as a bassist with Chico Pinheiro, including teaching workshops in Teresina (Brazil), Helsinki (Finland) and San Diego. Performance/Recording credits also include: Cesar Carmago Mariano, Toninho Horta, Marcos Silva, Helio Alvez, Kiko Freitas, Too $hort, Edu Ribeiro, Marcio Bahia, E-40, Josh Jones, Marcos Suzano, The Hieroglyphics, Thiago Rabello, Debora Gurgel, Dani Gurgel, Mark Levine, The Souls of Mischief, Jovino Santos Neto.

Juanita Ulloa (voice)Juanita Ulloa has spent over 3 decades sharing unparalleled knowledge in Mexican song and many Spanish speaking vocal traditions, both folkloric and classical. Featured soloist at international Olympic & major events, festivals, concerts, masterclasses, and Latin Pops symphonies. Recorded six Mexican CDs, six-time winner of Festival de la canción latinoamericana, has won regional NATS, Disney and Parent’s Choice awards. In 2018 she published 3 volumes of Mexican Art Song (www.classicalvocalrep.com). Has published on the Mariachi Voice in SYWTS World Music and with Oxford (2020). Holds music degrees from Yale University, UC Berkeley, & D.A. in vocal performance from the University of No. Colorado. www.juanitamusic.com www.voicetrainerdr.com

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

Danielle Wertz (voice)B.M. in Studio Music and Jazz Vocal Performance, University of Miami’s Frost School of Music. Student of Dr. Kate Reid, John Hart, Craig Carothers and Dann Zinn. Former Jazz Vocal Director for youth jazz education program, Virginia Music Adventures. Clinician at Duke Ellington School of the Arts and Sonoma State University. 2015 Thelonious Monk International Jazz Vocals Competition Semi- Finalist, 2017 Ella Fitzgerald Competition runner-up, Inaugural Washington Women in Jazz Young Artist Competition Winner. Performed or recorded with Shelly Berg, Jamie Oehlers, Tal Cohen, CyrilleAimee, Bruce Hornsby and Gretchen Parlato. daniellewertz.com

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


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Board and Staff


PROGRAM STAFF

Susan MuscarellaPresident, California Jazz Conservatory (CJC)

Jeff DensonDean of Instruction, CJC

Rob EwingDirector, Jazzschool

Laurie AntonioliChair, CJC Vocal Program Director, Jazzschool Vocal Program

Erik JekabsonDirector, Jazzschool Young Musicians Program

Jayn PettingillHead Librarian

Scott LathamRecruiting Director, CJC Japan

Keiko ShinozakiAdministrative Assistant, CJC Japan

ADMINISTRATIVE STAFF

Bill Aron and Debra SteinemanBusiness Managers

Jesse RimlerRegistrar and Custodian of Records

Zach MondlickDirector of Recruitment

Elizabeth M. WilliamsDirector of Philanthropy

Mary D’OraziDirector of Concert Programming Philanthropy Associate

Karen ShepherdDirector of Financial Aid

Julie BirchData Manager; Systems Administrator

Paul FingeroteMarketing and Public Relations Director

Jonathan PoretzMarketing Associate

Sheryl Lynn ThomasDigital Marketing Manager

Max HodesOperations Director

Kim NucciIT Systems Administrator, Technical Projects Director

Sheldon Alexander, Michael Golds, Jonathan Poretz, Alex Shapiro-RomanoOperations Staff

Tatyana DimitrovaHouse Manager

Tom WeeksOperations and House Manager

Lee BrenkmanSound Technician

Robert SoperPiano Technician

Poulson Gluck DesignGraphic Design

Chris Hardy, Mike MelnykOfficial Photographers

WINTER 2020 CATALOG PRODUCTION

Cover Jesse Rimler, illustration

Design Poulson Gluck Design

Editorial Rob Ewing, Paul Fingerote, Elizabeth Williams

Photography Thanks to Chris Hardy, Mike Melnyk, Jane Higgins and others for their jazz photography.

Printing FolgerGraphics

Susan Muscarella, President [email protected]

Rob Ewing, Director, [email protected]

Laurie Antonioli, Vocal ProgramChair [email protected]

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

BOARD OF DIRECTORS

Tyler Johnston, Chairman

Susan Brand, Vice Chairman

Richard A. Lyons, Secretary

Neil Rudolph, Treasurer

Steve Baker

Gordon Brooks

Clifford Brown, Jr.

Charles Charnas

James Ellis

Jerry Fiddler

Erle Flad

Rita Hargrave

John Moss

Susan Muscarella

Gregg Perloff

Jerry Povse

Jim Reynolds

M. David Sherrill

Eric Siegel

Judy Walters

Kevin Whitman

DIRECTORS EMERITUS

Denny Abrams

Sherie Friedlander

Sy Grossman

Vaughan Johnson

James J. Keefe

Bert Lubin

Larry Marcus

Ernie Mieger

Amy Orton

John Papini

Walter Riley

Danny Scher

Michael Zaninovich

ADVISORY BOARD

Anthony Brown

Tom Carr

Carole Davis

Paula Forney

Benny Green

Charles Hamilton

Stacey Hoffman

Mark Levine

Jason Olaine

Patricia Phillips

David Ring

Jayne Sanchez

Chuck Sher

Merrilee Trost

Wayne Wallace

Peter Williams

62 Call 510.845.537362 Call 510.845.5373

Instructions and Application

Enroll online at cjc.edu or call 510.845.5373

Please read instructions on facing page before completing application form.

Name (print) ____________________________ ____________________________________________

Address __________________________________________________________________________ Street City/State Zip

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

Cell phone ( ___ ) ________________________ Email __________________________________

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

_____________________( ) _____________________( ) _________________________( )

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

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

1. _____________________________________ 2. _____________________________________

3. _____________________________________ 4. ______________________________________

How did you hear about the Jazzschool? _____________________________________________

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

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

Charge my tuition to: ____ VISA ____ MasterCard ____ Discover

Card #_____________________________________________________ Exp. date _____________

3-digit security code ___________

Signature of cardholder ____________________________________________________________

Name as It appears on card _________________________________________________________

San Pablo Ave

Fulton

Ashby

College Ave

580

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 63

University Avenue

2087& 2040

P

To enroll in the Jazzschool

Winter Quarter, please read

these important instructions!

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

at cjc.edu or complete the application

on page 63 and submit it along with full

tuition. Students may register online,

by phone (510.845.5373), mail, fax

(510.841.5373) or in person. Enrollment

is on a first-come, first-served basis

and cannot be guaranteed without full payment. Students applying for

courses that are full may be placed

on a waiting list. The Jazzschool

accepts checks (made payable to

California Jazz Conservatory), cash,

VISA, MasterCard or Discover.

Payment plans are available.

To register in courses requiring a consultation or audition please

call at 510.845.5373 for assistance

with placement.

PERFORMANCE ENSEMBLESAdmission is based on a confidential,

friendly 20-minute placement audition

to determine where students are best

suited to play or sing. Placement auditions

address students’ overall musicality,

technical ability, stylistic preference(s)

and availability.

Please fill out the online

ensemble application form

at cjc.edu/ensemble or call

the Jazzschool to schedule

an appointment (510.845.5373).

Please note: With the exception of the

Fall Quarter, students previously enrolled

in a performance ensemble have the

option of re-enrolling in that same course

again on a consecutive quarterly basis

within the academic year without having

to re-audition. New students wishing to

enroll in a performance ensemble in

winter, spring and/or summer quarters

must schedule a placement audition

or telephone consultation and will be

accepted on a parts-available basis.

JAZZSCHOOL FACULTY AND COURSE SCHEDULESGiven the vagaries of performing, lectur-

ing and travel incurred by our Faculty

members, Jazzschool courses, classes,

workshops and schedules are subject to

change. If this occurs, we will make every

effort to provide our students with an

optimal educational experience and

accommodate any changes caused by

unforeseen circumstances.

REFUND POLICYCourse and ensemble tuition includes a

$50 non-refundable deposit. Requests to

drop must be received in writing within 48

hours of the first class meeting to qualify

for a refund; please visit the main office or

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

Refunds for remaining tuition are not

possible after the 48-hour drop deadline.

$100 per week of camp and intensive

tuition is non-refundable; the remainder

is refundable only until 30 days prior

to the start of the program. Tuition for

workshops is non-refundable. No excep-

tions please! Please note: Refunds may

take up to 30 days to process. Please visit

cjc.edu/policies for more information.

64

Support a Unique Endeavor!

It’s not often one has the opportunity to support a truly

unique endeavor — the California Jazz Conservatory —

America’s only independent, accredited music school

dedicated solely to the study and performance of jazz.

This unique institution encompasses:

• California Jazz Conservatory, a degree-granting program

for aspiring professional musicians

• Jazzschool, a community music school for all ages

and levels

• Workshops, Classes, Camps and Intensives for adults

and youth

• Concerts showcasing students, faculty and visiting artists

Many individuals have supported this unique endeavor; join

them by making a gift to The CJC Fund, the Conservatory’s

annual fund, which supports new ventures on an ongoing

basis. A gift to The CJC Fund can be made by credit card or

check:

• Telephone Mary D’Orazi, Philanthropy Associate, at

510.845.5373 x 19, to make a secure credit card donation

or

• Mail a check, payable to California Jazz Conservatory,

Inc., to 2087 Addison Street, Berkeley, CA 94704

Good News: A gift to The CJC Fund can be enhanced by

structuring it as a recurring gift, made by credit card, and/or

by having it be matched by your employer.

Thank you!

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concerts workshops classes - california jazz conservatory · theory, jazz improvisation and more....

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