jazzschool summer 2013 download

7/27/2019 Jazzschool Summer 2013 Download

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OVERVIEW

About the Jazzschool 2

Jazzschool Faculty 4

Student Testimonials 6

Support the Jazzschool 8

Jazzschool Community Music School 10

Introduction & Calendar 12

ADULT PERFORMANCE ENSEMBLES

Jazz 14

Latin 17

Blues 18

Brazilian 18

ADULT INSTRUMENTAL COURSES

Guitar 19

Summer Guitar Intensive 20

Piano & Keyboards 21

Saxophone 22Harmonica 22

Bass 23

Drums & Percussion 24

INSTRUMENTAL WORKSHOPS

Jazz Bass Lines for Non-Bassists 26

Motivic Development 26

Blues & Soul Music 27

Solo Jazz Piano 27

Jazz Piano Harmony & Rhythm 27

Secrets of Gypsy Jazz Guitar 28

The Metronome is Your Friend 28

La Clave Misteriosa 28

Jazz Improvisation 29Going In to Go Out 29

Brushworks 29

Advanced Jazz Guitar Harmony 30

Improvisational Skills 31

Improv Concepts & Steve Lacy 31

SUMMER 2013 CATALOG PRODUCTIONCreative direction Mike Charlasch

Design Poulson Gluck Design

Writing & editing Mike Charlasch, Rob Ewing,

Laurie Antonioli, Keith Johnson

Photography Hali McGrath, Scott Chernis

and many others

Photo research Sheryl Lynn Thomas

Printing FolgerGraphics

THEORY, IMPROVISATION& COMPOSITION

Theory & Improvisation 32

Composition & Arranging 33

ADULT VOCAL COURSES


Performance 35

Technique 38

Theory, Ear Training & Improv 39

Composition & Arranging 40

Vocal Mentor Program 41

Vocal Jazz Performance for Teens 42

VOCAL WORKSHOPS

The Art of Singing Duets 43

My Computer Plays Music 44

Unsung Gems 44

Summer Vocal Intensive 45

YOUNG MUSICIANS PROGRAM


JYMP General Information 47

Summer Youth Program 48

High School Jazz Intensive 49

Girls Jazz & Blues Camp 50

JYMP Fall 2013 Auditions 51

CONCERTS

Rising Stars Concert Series 52

FACULTYJazzschool CMS Faculty 54

GIFTS, GRANTS & SCHOLARSHIPS

Individual Gifts 60

Grants & Gifts In-Kind 62

Scholarships 63

BOARD, STAFF & ENROLLMENT

Jazzschool Trustees & Staff 64

Instructions & Application 66

Table of Contents

GOTO

61 Local Restaurants, 36Bay Area Wineries & 16 BreweriesFOOD, WINE & BEER LINEUP JUST ANNOUNCED!

AND MORE TO BE ANNOUNCED!

PAUL McCARTNEY RED HOT CHILI PEPPERS NINE INCH NAILS PHOENIX

KASKADE VAMPIRE WEEKEND PRETTY LIGHTS YEAH YEAH YEAHS

D'ANGELO THE NATIONAL JURASSIC 5 WILLIE NELSON & FAMILY

GRIZZLY BEAR DARYL HALL & JOHN OATES YOUNG THE GIANT

BAND OF HORSES A-TRAK THE HEAD AND THE HEART YEASAYER

MATT & KIM ZEDD THE TALLEST MAN ON EARTH FOALS DAWES

TROMBONE SHORTY & ORLEANS AVENUE YOUTH LAGOON GARY CLARK JR.

JESSIE WARE DILLON FRANCIS KURT VILE AND THE VIOLATORS EMELI SAND

THE MOTHER HIPS SURFER BLOOD CHROMATICS THE GROWLERS RUDIMENTAL

THAO & THE GET DOWN STAY DOWN CAMPER VAN BEETHOVEN SMITH WESTERNS

BOMBINO WAVVES FISHBONE MILO GREENE ATLAS GENIUS ANUHEA

TWENTY ONE PILOTS THE HEAVY DAUGHTER IVAN NEVILLE'S DUMPSTAPHUNK

WILD BELLE KING TUFF THE LONE BELLOW MS MR LITTLE GREEN CARS

JAMES McCARTNEY THE SOFT WHITE SIXTIES DEAP VALLY THE MEN

MIDI MATILDA KOPECKY FAMILY BAND HOUNDMOUTH FOY VANCE

BHI BHIMAN LOCURA NAIA KETE THE EASY LEAVES AND MORE!

*Lineup subject to change without notice

Cover: Swami Iyer with the New Orleans R&B Ensemble, 2010. Photo: Hali McGrath.


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Call 510.845.5373 Enroll online at jazzschool.org2 3

The Jazzschool is an innovative

nonproft organization dedicated

to the study and perormance o

jazz Americas indigenous art

orm and related styles o musicrom around the world. Founded

in 1997, the Jazzschool is located

in the historic Kress Building at

Shattuck and Addison, in the

heart o the Downtown Berkeley

Arts District. The Jazzschool is

part o a vibrant East Bay arts

community that includes the

Freight & Salvage, Berkeley

Repertory Theatre, Aurora

Theatre, East Bay Media Center

and renowned Cal Perormances

at the University o Caliornia.

Hailed as one o the nations

most comprehensive centers

or jazz studies, the Jazzschool

oers instrumentalists and

vocalists o all ages and skill

levels a broad spectrum o

perormance ensembles, lectures,

workshops and private instruction.

Courses are designed or the

proessional musician, the serious

student and the jazz afcionado

seeking personal enrichment.

A multi-aceted institution, the

Jazzschool comprises several

key components.

JAZZSCHOOL INSTITUTEThe Jazzschool Institute is a music

conservatory offering the aspiring

professional a comprehensive 4-year

degree program culminating in the

Bachelor of Music in Jazz Studies.

The Institute provides a challenging

curriculum of performance, jazz theory

and improvisation, ear training, composi-

tion, arranging, transcription and analysis,

and music history courses, taught by

professional artists and educators.

Coursework also includes music business,

music technology and nancial planning,

thoroughly preparing students for a

fullling career in the performing arts.

JAZZSCHOOL COMMUNITYMUSIC SCHOOL (JCMS)The JCMS provides music education and

performance opportunities for people of

all ages and levels of ability. Consisting

of the JCMS Adult Music Program andthe JCMS Young Musicians Program, theJCMS operates year-round on a quarterly

basis and offers over 100 ensembles,

courses and workshops to build all

aspects of musicianship. Students are

routinely featured in concert performances,

open to the public. With a formidable

faculty of renowned musicians and

educators, the JCMS is a cornerstone

of the Bay Areas thriving music scene.

JCMS ADULT MUSIC PROGRAMThe Jazzschool Adult Music Program

offers life-enriching opportunities to learn

about and play jazz and related styles of

music from throughout the world. Courses

are available for both instrumentalists and

vocalists, and everyone from young adult

to senior citizen is welcome. Instruction

and performances occur primarily in late

afternoons, evenings and on weekends,

making the program easily accessible to

the working professional.

JCMS YOUNG MUSICIANS PROGRAMThe Jazzschool Young Musicians Program

offers middle and high school students of

all skill levels a wide variety of combos, big

bands and vocal performance courses

throughout the entire year, as well as

camps during the summer. Select ensem-

bles participate in national competitions,

and Jazzschool bands have routinely taken

top awards from DownBeat, the Monterey

Next Generation Jazz Festival and others.

WORKSHOPSVisiting artists and Jazzschool faculty lead

fascinating and practical workshops,

typically a single session of two or three

hours in length and held on a Sunday.

Content may focus on any specic aspect

of jazz theory or performance, such as

playing in odd time signatures or the art of

vocal improvisation. Past workshops have

been taught by prominent musicians from

Bobby McFerrin to Dave Liebman, Janis

Siegel, Peter Erskine, Sheila Jordan,

Nguyn L and others.

CONCERTSThe Jazzschool facility includes an

intimate venue with seating capacity of

100. Throughout the year, Jazzschool

faculty and students perform for the

public, providing a real-world incubator

for developing new concepts and gaining

audience exposure in the competitive Bay

Area environment. High-prole artists

have performed at the Jazzschool,

including Terence Blanchard, Art Lande,

Kim Nalley, Taylor Eigsti, Sachal Vasandani

and many more.

JAZZSCHOOL BOOKS & RECORDSThe Jazzschools in-house retail store is a

treasure trove of jazz-related reading and

listening materials. It provides students,

teachers and the public with convenient

access to extraordinary books, recordings,

videos and accessories.

JAZZCAFFLocated within the Jazzschool facility,

the Jazzcaff serves up delectable fare

for students and visitors to enjoy a

convenient bite to eat. A changing

menu features house-made soups, salads

and sandwiches, as well as beer, wine,

espresso and desserts. Drop by for

a great meal to match the great music!

TRANSPORTATIONThe Jazzschool is easily accessible by car

and public transportation. The downtown

Berkeley BART station and AC Transit bus

stops are within a block. There is a public

parking garage just a few steps away on

Addison, in addition to metered street

parking throughout the neighborhood.

About the Jazzschool


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Jazzschool Faculty

A distinguished aculty o renowned musicians and music educators leads

all instruction, imparting practical knowledge and skills gained in the studio

and on the bandstand. Our teachers have perormed and recorded with a

truly mind-boggling array o jazz, blues, R&B, pop and world music legends

including those listed here and many others. See Community Music School

aculty descriptions on pages 5459.


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6 Call 510.845.5373 Enroll online at jazzschool.org

Student Testimonials

7

Perhaps the best measure o

our impact is ound in the very

avorable student remarks among

virtually all course evaluations.

Here are just a ew examples othe praise routinely earned by

the esteemed Jazzschool aculty.

This school is truly a blessing.

You arent just taught by

professional teachers who

play music, youre taught

by professional musicianswho teach!

DYLAN HABEGGER

Glenn Richman is not only

a great instructor and musician,

he makes the class fun and very

enjoyable. His knowledge and

experience are amazing.

GREG YIM

Rob Ewing took inert lumps of clay,molded them into musician-shapedfigurines, breathed life into them, andnow they can play music together in agroup a feat nothing short ofmiraculous. I stand in awe. ANONYMOUS

THE JAZZSCHOOL HAS

REALLY HELPED MY PLAYING.

I CANT RECOMMEND IT ENOUGH.

THE SCHOOL IS A GREAT VALUE!

YOU CANT GO WRONG.

MICHAEL MENDUNO

The depth of experience and

knowledge we gain from weekly

interaction with these incredible

players cannot be gained any

other way.

ANDREA CLABURN

Ive really loved

the class and will

be bummed out

when its over!

MIKE GOLDSTEIN

This semester was the ultimatefor me, to have two masterprofessionals teaching.

The class was extremely wellorganized and structured.

MICHAEL BETTINGER

Can you clone Mimi Fox? Shes

the best: great expertise, great

communicator, great attention

to each and every student!

TRACY TONDRO

I had an extremely goodtime this past semester, as Ihave had for many semesters.I continue to learn a lot fromDavid Belove.

MICHAEL BETTINGER

I consider the Jazzschool a

Bay Area treasure one that

feeds my mind, heart and soul! ANONYMOUS

Peter Horvath is a

phenomenal jazz pianist

and an excellent teacher.

I feel very fortunate to be

learning from such a

sophisticated player.

LENA JOHNSON

It is wonderful to be at the

Jazzschool, surrounded by

musicians inspirational!

KAREN KLEIN

This has been a fantasticexperience for me. Seward

McCain has been very helpful,very supportive It was lotsof fun too. LYNNE CLENFIELD

This is one of the best classes

Ive ever taken.

ANONYMOUS


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Call 510.845.5373 Enroll online at jazzschool.org 9

The Jazzschool is a unique

nonproft institution, bringing

immense joy to young people

and adults o all musical interests

and skill levels. The Jazzschool

has served thousands o Bay Area

music students, rom the hobbyist

to the aspiring proessional, and is

a creative environment where

theres something or everyone.

Large and small ensembles in ourYoung Musicians Program are routinely

recognized by DownBeatmagazine and

the Monterey Next Generation Jazz

Festival. National competitions provide

gifted students with the opportunity to

become jazz masters of the future.

Many of the musicians in our adultensembles have full-time occupations

and hectic family lives. Jazzschool

courses provide convenient touchpoints

with the music thats close to their heart.

Students frequently remind us how

important the Jazzschool is to them,

providing enrichment and a sense of

purpose.

Workshops, led by visiting artists andJazzschool faculty, allow for intensive,

short-term focus on specic aspects of

music theory and performance. Only the

Jazzschool offers a year-round schedule

and such an array of learning options.

The Jazzschool Institutes four-yeardegree program is designed to train

the aspiring professional jazz musician.

The Institute proudly graduated its rst

class with the Bachelor of Music in Jazz

Studies in fall 2012. Now in our fth year,we are working steadily to build our

reputation as one of the countrys

top music schools.

With seating for 100, the Jazzschoolcontains an intimate concert venue

where you can hear high-caliber

performances from guest artists, faculty

and students at affordable prices.

With the help of people like you, we keep

all our fees and prices affordable so we

can serve the widest variety of students

from all backgrounds. When you decide

where to spend your contribution dollars,

remember that the Jazzschool is the

organization most clearly dedicated to

the preservation and growth of jazz

Americas indigenous art form, heard

around the world.

To make a tax-deductible gift to the

Jazzschool, please visit jazzschool.organd click on the Support tab. Or, contactSusan Muscarella at [email protected] and 510.845.5373.

Support the Jazzschool

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Call 510.845.5373 Enroll online at jazzschool.org 11

The Jazzschool Community

Music School (JCMS) is dedicated

to the study and perormance o

jazz and related styles o music

rom around the world. There are

dozens o exciting and un options

or both instrumentalists and

vocalists o all ages and skill levels.

The JCMS operates year-round on

a quarterly basis, normally ten

weeks during all, winter and

spring, and six weeks in summer.

Performance Ensembles

JCMS performance ensembles delve

into a wide range of styles including jazz

(standards, hard-bop, post-bop, fusion),Latin jazz, Brazilian, blues, R&B, funk and

even Balkan (eastern European). Ensembles

are available for instrumentalists and

vocalists at the beginning, intermediate

and advanced levels. Groups range in size

from the trio to the big band. A placement

audition is required.

Instrumental Courses

JCMS instrumental courses provide study

of a specic instrument in a group setting.

Courses are available for saxophone,

harmonica, piano/keyboard, guitar, bass

and drums/percussion. Instruction is

available for beginners (covering basic

technique and instrumental skills) and also

for more advanced players (focused on jazz

style, harmony, improvisation and more).

Theory, Improvisation and Composition

Instrumentalists and vocalists are

encouraged to take courses in theory,

improvisation, ear training, composition

and arranging, music production, music

business and others.

Vocal Courses

JCMS vocal courses provide an opportunity

for singers at all levels to improve style and

technique in a group setting. Performance

courses are offered in jazz, Latin, blues,

R&B and pop genres. Complete beginners,

singers returning to music, and more

advanced vocalists can each nd courses

appropriate for their interests.

Jazzschool Young Musicians Program

The JYMP offers a range of courses for

middle and high school students. JYMP

ensembles are available for beginning,

intermediate and advanced instrumental-

ists. The program includes small groups

focused on improvisation and big bands

that delve into style and repertoire.

JYMP ensembles have repeatedly taken

DownBeatstudent music awards and

been honored at prestigious jazz festivals

in the US and abroad. A placement

audition is required.

Workshops

For instrumentalists and vocalists who

prefer a short-term commitment, JCMS

Workshops provide intensive instruction in

a single two- or three-hour session. Led by

visiting artists and Jazzschool faculty,

workshops typically focus on a specic

aspect of jazz, such as music transcription

techniques or the art of vocal accompani-

ment. Prominent musicians including

Richie Beirach, Gretchen Parlato, Taylor

Eigsti, Mike Clark and others have taught

past workshops.

FacultyA distinguished faculty of professional

musicians and educators leads JCMS

courses and workshops. Our educators

have played with some of the music

worlds biggest names, including Sting,

Pat Metheny, Joe Henderson, Ray Charles,

Dave Liebman, Carlos Santana, McCoy

Tyner, Pete Escovedo, Diana Krall, Eddie

Palmieri, Herbie Hancock, BranfordMarsalis, Joey DeFrancesco, Bobby

Hutcherson, John Mayer, Stevie Wonder

and countless others.

Enrollment

JCMS class size is limited and all

courses are available on a rst-come-

rst-served basis. We encourage you to

register early and guarantee your spot!

You can enroll online atjazzschool.org orcall 510.845.5373. An application formalso appears on page 67.

JazzschoolCommunity Music School

10


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Mixing it up!Were excited to offer a range of new

courses at the Jazzschool this summer!

With a variety of ensembles, you can playthe music of jazz masters Charlie Parker,

Lee Morgan, Thelonious Monk, Joe

Henderson, Wayne Shorter, Charles Mingus and Dave Brubeck. Or, study Latin jazz

with David Pinto, Brazilian jazz with Marcos Silva, jazz funk with bassist Marc van

Wageningen and soul jazz with saxophonist Howard Wiley. We always offer

opportunities for you to play in an ensemble for the very rst time.

Were pleased to debut a new course called The Basics: Music Theory and

Fretboard Knowledge for Guitar. This course is for guitarists who want to play

jazz but havent yet formally studied the instrument. (Its excellent preparation for

those who will take the Jazz Guitar 1 course with Mimi Fox this fall.) We also have

a new introductory level Acoustic Blues Guitar course covering the basics of slide

guitar and open tuning (e.g., Muddy Waters and Robert Johnson).

This summers Guitar Intensive, directed by Mimi Fox, features Concord recording

artist Howard Alden. Meanwhile, our weeklong Vocal Intensive is led by Laurie

Antonioli and features the Grammy-nominated song stylist Theo Bleckmann!

The Jazzschool workshop series welcomes fantastic visiting artists including

Scotty Barnhart (trumpeter with the Count Basie Orchestra), the great drummer

Clayton Cameron (Tony Bennett), percussion master John Santos, and guitar

virtuoso John Stowell, among many others. Young Musicians are invited to join

one of our summer camps, including the Jazzschool Summer Youth Program,

the High School Jazz Intensive, and the Girls Jazz and Blues Camp.

At the Jazzschool, there is truly something for everyone!

Rob Ewing, Director, Jazzschool Community Music School

Introduction & CalendarCelebrating 15 yearsand looking forwardIts hard to believe that it has been 15 years since the Jazzschool rst

opened its doors in Downtown Berkeley. There is much to celebrate!The Jazzschool began as a community music school whose initial

enrollment was around 130 students.

We built it, and fortunately, they came.

Since then, our esteemed faculty has attracted roughly 500 students

each quarter. In 2009, we added a second program, the Jazzschool

Institute, offering a four-year Bachelor of Music degree in Jazz

Studies. The Institute program proudly graduated its very rst class

in December 2012.

Who is at the center of our mission to promote the study and

performance of jazz and related styles of music? You: the middle-

schooler playing jazz for the very rst time; the high-schooler

preparing for music school; the college student aspiring to be among

the next generation of jazz masters; and the adult of any age seeking

a memorable and enriching experience. You, and all of the students

enrolled in the institutions wide-ranging programs, are our primary

focus. We strive to create an inspiring environment, inclusive of

students from all walks of life.

So, come one, come all for our fun-lled six-week summer session

of courses, workshops and concerts!

Yours in jazz,

Susan Muscarella

Executive Director

The Jazzschool Jazzschool Community Music School Summer QuarterJuly 8 August 18 (6 weeks)

Summer Quarter Ensemble Placement AuditionsOngoing! [email protected] more info.

Summer Youth High School Girls Jazz & Guitar VocalProgram Jazz Intensive Blues Camp Intensive Intensive

June 17 28 July 22 26 August 5 9 August 12 16 August 12 17

SUMMER 2013 CALENDAR
mailto:[email protected]:[email protected]


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Enroll online at jazzschool.org14 15

Adult Performance Ensembles

The Jazzschool Community Music

School (JCMS) oers numerous

perormance ensembles or

beginning, intermediate and

advanced instrumentalists and

vocalists. Students are placed

in ensembles by audition and

requirements may include the

ollowing: playing selected scales;

playing and/or improvising over a

piece o your choice; improvising

over a 12-bar blues or other pieces

provided at the audition; and

sight-reading. Drummers are

asked to play various grooves and

solo; bassists are asked to play

bass lines. For more inormation

please contact JCMS Director

Rob Ewing at [email protected]

or 510.845.5373 x14. You can

schedule an audition online at

jazzschool.org/ensemble.

JAZZ

BEGINNING JAZZ ENSEMBLEAn introductory ensemble focused on

learning jazz standards, developing

improvisation skills and putting jazz theoryinto practice. Students develop familiarity

with various jazz feels and learn to

improvise over common chord progres-

sions. This is the place to get started!

Thursdays 6:30 8pm

7/11 8/15 (6 weeks)

Rob Ewing $275

JAZZ STANDARDS FOR GIGSThis ensemble helps develop the skills

and repertoire needed for typical jazz

gigs. Repertoire, intros, endings, interludes

and tags are covered. Various jazz styles

including swing, bossa, jazz waltz andballads are studied and played. Class time

is also dedicated to the study of jazz

harmony, as applied to selected standard

repertoire. Instructor also provides tips

for soloing.

Section I: Thursdays 6:30 8pm7/11 8/15 (6 weeks)

Section II: Saturdays 10 11:30amSection III: Saturdays 11:45am 1:15pmSection IV: Saturdays 1:30 3pm

7/13 8/17 (6 weeks)

Glenn Richman $275

MUSIC OF THE MASTERSAn intermediate ensemble focused on

compositions by jazz masters including

John Coltrane, Thelonious Monk, Wayne

Shorter and others. Emphasis is onunderstanding and internalizing a variety

of essential grooves. Class time is also

dedicated to the study of jazz harmony,

as applied to select repertoire. Instructor

provides guidance for soloing.

Thursdays 8:15 9:45 pm

7/11 8/15 (6 weeks)

Glenn Richman $275

SOUL JAZZ ENSEMBLEAn intermediate ensemble that delves

into the groove-based repertoire of Lee

Morgan, Cannonball Adderley, Eddie

Harris, George Benson and others. Startingin the mid-60s, these musicians combined

the popular vocabulary of funk, boogaloo

and bossa nova with stripped-down

harmonic progressions drawn from gospel

and the blues linking them together

with memorable instrumental melodies.

Repertoire includes The Sidewinder

(Lee Morgan), Mercy, Mercy, Mercy (Joe

Zawinul) and Listen Here (Eddie Harris).

Wednesdays 8:15 9:45 pm

7/10 8/14 (6 weeks)

Howard Wiley $275

JAZZ FUNK ENSEMBLEThis intermediate to advanced ensemble

provides a hands-on survey of jazz-funk

(and funky jazz) repertoire from the 1960s

to the present. Selections range fromthe post-James Brown funk-inuenced

boogaloo style of the 60s and 70s (e.g.,

Grant Green, Idris Muhammed) to the later

electried styles of Herbie Hancock, John

Scoeld and Medeski, Martin & Wood.

Mondays 6:30 8pm

7/8 8/12 (6 weeks)

Marc van Wageningen $275

MODAL JAZZ ENSEMBLEFor intermediate to advanced students,

this ensemble covers the modal approach

to jazz composition. From the 1950s

experiments of Miles Davis (e.g., Kind ofBlue, Milestones), George Russell and

others, through further developments in

the 60s by John Coltrane (A Love

Supreme), McCoy Tyner (Passion Dance)

and Herbie Hancock (Maiden Voyage),

modal music is now a core element of

the jazz genre.

Tuesdays 6:30 8pm7/9 8/13 (6 weeks)

Ben Stolorow $275

I loved being at theJazzschool seeingother musicians (andaspiring musicians) of allages, hearing the soundsof jazz wafting throughthe space. BEN GOLVIN

eli goldlink

travis light


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Enroll online at jazzschool.org16 17Call 510.845.5373

MUSIC OF CHARLIE PARKERAND LEE MORGANThis intermediate to advanced small

ensemble surveys the compositions of

two of the most inuential jazz horn

players of the bop and post-bop eras.

In addition to Charlie Parkers highly

inuential approach to line playing, his

tunes have become an essential part of

the jazz repertoire, including jam session

standards like Au Privave, Blues for

Alice, Anthropology and Yardbird

Suite. Lee Morgans ery virtuosity

helped usher in the hard-bop era of the

late 50s and 60s. Morgans well-known

compositions include Ceora, Mr.

Kenyatta, The Sidewinder and

Search for the New Land.

Mondays 6:30 8pm

7/8 8/12 (6 weeks)Kasey Knudsen $275

MUSIC OF THELONIOUS MONKAND JOE HENDERSONAn intermediate to advanced small

ensemble focused on two jazz giants

of the bop and post-bop eras. Pianist

Thelonious Monks songbook has become

one of the most widely performed

collections in all of jazz, with pieces

including Round Midnight, Evidence,

and Straight, No Chaser. Tenor

saxophonist Joe Henderson recorded a

number of inuential albums for bothBlue Note and Verve Records. Many

of his tunes have become post-bop

standards including Inner Urge,

Black Narcissus and Serenity.

Mondays 8:15 9:45pm

7/8 8/12 (6 weeks)

Kasey Knudsen $275

MUSIC OF WAYNE SHORTER

Material from towering saxophonist andcomposer Wayne Shorter (Art Blakey,

Miles Davis, Weather Report) is the

subject of this intermediate to advanced

ensemble. Shorters classic 1960s Blue

Note albums as a leader, including Speak

No Evil, JuJu, Night DreamerandAdams

Apple, will be explored.

Wednesdays 6:30 8pm7/10 8/14 (6 weeks)

Howard Wiley $275

MUSIC OF CHARLES MINGUSBassist and composer Charles Mingus

brought his very personal voice to jazz,

introducing deeply expressive melodic

and emotional elements in compositions

like Fables of Faubus, Goodbye Pork Pie

Hat and Jump Monk. His unique melodic

and harmonic approach is the subject of

this intermediate to advanced ensemble.

Thursdays 8:15 9:45pm

7/11 8/15 (6 weeks)

Rob Ewing $275

MUSIC OF DAVE BRUBECKDrawing upon material from Time Out

and other popular Brubeck albums,

this intermediate to advanced ensemble

places emphasis on the classic Brubeck

quartet with Paul Desmond, Eugene

Wright and Joe Morello. Note: This

ensemble is open to all instruments

and is not strictly modeled after the

instrumentation of the Brubeck quartet.

Tuesdays 8:15 9:45pm7/9 8/13 (6 weeks)

Ben Stolorow $275

PIANO TRIOThis hands-on performance course for

intermediate to advanced pianists

examines how to play most effectively

in the traditional jazz piano trio format.

Maximum class size is four pianists, plusone drummer, with accompaniment to

be provided by a professional bassist.

Prerequisites: ability to play and improvise

over a jazz tune in time.

Section I: Mondays 5 6:30pmSection II: Mondays 6:45 8:15pmSection III: Mondays 8:30 10pm

7/8 8/12 (6 weeks)

Peter Horvath $295

Section IV: Fridays 1:30 3pmSection V: Fridays 3:15 4:45pm7/12 8/16 (6 weeks)

Debbie Poryes $295

LATIN

SALSA WORKSHOP IAn introductory salsa performance

ensemble. Repertoire is selected from the

music of Tito Puente, Cal Tjader, Eddie

Palmieri and others. Horn players and

vocalists welcome! Prerequisites: facility

on an instrument and basic reading skills.

Pianist: ability to play basic montunos.

Bassist: ability to play tumbaos.

Tuesdays 6:30 8pm7/9 8/13 (6 weeks)

David Belove $275

SALSA WORKSHOP IIAn intermediate to advanced salsa

performance ensemble, this course is

linked to the Salsa Singing course taught

by Edgardo Cambn (see page 37).

Students in each of these two courses

learn the same material and combine

halfway through the quarter to continue

together. Horn players welcome.

Prerequisites: facility on an instrument

and basic reading skills. Pianists: ability

to play montunos; bassists: ability to play

tumbaos; percussionists & drummers:ability to hold time and play Afro-Cuban

grooves such as mambo and cha-cha-cha.

Tuesdays 8:15 9:45pm

7/9 8/13 (6 weeks)

David Belove $275

LATIN JAZZ ENSEMBLEAn ensemble fusing basic rhythmic

patterns from traditional Latin music,

including Afro-Peruvian (festejo, land,

zamacueca and panalivio), Afro-Cuban,

Afro-Venezuelan, Afro-Colombian and

other styles. Repertoire includes classics

by vocal diva Susana Baca, plus Latinand jazz standards. Students learn

basic Latin grooves and their relationship

to syncopated jazz melodies and

harmonies. Prerequisite: none, open

to all instrumentalists and singers.

Mondays 8:15 9:45pm7/8 8/12 (6 weeks)

David Pinto $275

Adult Performance Ensembles Adult Performance Ensembles

wayne shorter


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BLUES

BLUES AND GROOVE WORKSHOPA performance ensemble focusing on the

blues and blues-related styles. Emphasis

on the groove as found on recordings ofCharlie Christian, T-Bone Walker, Albert

Collins, Jack McDuff, Louis Jordan and

other jump blues and New Orleans

masters. Prerequisite: knowledge of

12-bar blues.

Saturdays 1:30 3pm7/20 8/24 (6 weeks)

Danny Caron and Anthony Paule $275

Note late start date.

BRAZILIAN

BRAZILIAN ENSEMBLEA 4- to 8-piece ensemble focused on

Brazilian repertoire by noted composers

including Ivan Lins, Dori Caymmi, ToninhoHorta, Marcos Silva, Antonio Carlos Jobim

and others. Emphasis on listening and

performing in the traditional Brazilian style.

Vocalists welcome! Audition required.

Section I: Tuesdays 6:15 7:45pm

Section II: Tuesdays 8 9:30pm7/9 8/13 (6 weeks)

Section III: Wednesdays 6 7:30pmSection IV: Wednesdays 8 9:30pm

7/10 8/14 (6 weeks)

Section V: Thursdays 2:15 3:45pm

7/11 8/15 (6 weeks)

Section VI: Fridays Noon 1:30pm7/12 8/16 (6 weeks)

Marcos Silva $275

GUITAR

BEGINNING GUITARAn introductory course covering the

basics, including:

Tuning the guitarUnderstanding the fretboardUsing proper hand positionsFingerings for major scalesTriads and seventh chordsPlaying simple piecesReading musicRequired text: Modern Guitar Method Vol.

One, Mel Bay (available at Jazzschool

Books & Records).

Saturdays 10 11:30am

7/20 8/24 (6 weeks)

Danny Caron & Anthony Paule $275


MUSIC THEORY AND FRETBOARDKNOWLEDGE FOR GUITARThis course covers the basics of music

theory as applied to guitar, for those

interested in playing jazz. Students

develop familiarity with the fretboard

through chord, scale and arpeggio

practice. Topics include:

Overview of chord and scale typesand where they are located

Chord progressions commonlyused in jazz and related styles

Comping patterns

Scale and arpeggio practice invarious positionsReading charts and standard

notation (treble clef)

Transcribing music from recordingsBasics of melodic improvisation

For students with some playing

experience, knowledge and facility,

but who have never seriously practiced

or studied music theory or guitar.

Wednesdays 8 :15 9:45pm

7/10 8/14 (6 weeks)

Danny Caron $275

ACOUSTIC BLUES GUITARA hands-on introduction to traditional

acoustic blues guitar style and technique,

covering slide playing, open tunings,

ngerstyle and more. Learn the techniques

used by such greats as Muddy Waters,

Lightnin Hopkins and Robert Johnson, plus

contemporary masters like Taj Mahal andRy Cooder.

Wednesdays 6:30 8pm

7/10 8/14 (6 weeks)

Danny Caron $275

BLUES AND SWING GUITARDesigned for guitarists with basic technical

facility, this course focuses on the blues

form. Students learn chord voicings,

ngerboard harmony and techniques of

single-string soloing. A variety of styles will

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

King and Albert Collins to the more

complex swing of Charlie Christian andAaron T-Bone Walker. Alternate chord

cycles and rhythm playing are included.

Students work with transcriptions to

develop strong melodic solos. Prerequisites:

familiarity with the 12-bar blues progres-

sion, ability to play bar chords in several

shapes, basic knowledge of the minor

pentatonic scale, some picking facility.

Saturdays 11:45am 1:15pm7/20 8/24 (6 weeks)

Danny Caron & Anthony Paule $275


Adult Instrumental CoursesAdult Performance Ensembles

marcos silva

danny caron

Marcos is an excellent instructor.He took time with each memberof the ensemble to point outfundamental issues each of usneeded to work on, whichgreatly improved our playingand general musicality.

STEVE RAPHAEL

Danny Caron is an excellentteacher, especially for beginners.

His instruction is clear, conciseand energetic. Most important,

he motivated us to excel andmove forward every week.

He is the BEST. SKYE WARD


12/36

20 Call 510.845.5373

JAZZSCHOOLSUMMERGUITAR

INTENSIVEAugust 12 16, 2013

An all-day, weeklong intensive for aspiring professionals directed by

internationally acclaimed jazz guitarist and educatorMimi Fox. This year we

are pleased to welcome special guest guitar instructors Howard Alden and

David Gutierrez! Includes daily master classes, jam sessions and a student

concert at the Jazzschool.

Howard Alden has been a Concord Jazz recording artist for over 20 years.

Highlights of his recorded output include Thirteen Strings, a duo recording

with master guitarist George Van Eps, and additional duo recordings with

Ken Peplowski and Frank Wess. Alden also recorded the soundtrack for theWoody Allen lm Sweet and Lowdown. He has been named in severalJazzTimes

and DownBeatcritics polls.

David Gutierrez has studied amenco guitar since 1973 in the US and Spain

under several traditional and modern masters of the style. He has performed

with a range of leading Bay Area amenco music and dance groups and is

a co-founder of Flamenco Vivo.

Summer Guitar Intensive director Mimi Fox has been named a winner in six

consecutive DownBeatinternational critics polls. She has performed with Joey

DeFrancesco, Branford Marsalis and Diana Krall, among many others. Rhythm

section guests will include Jason Lewis, drums and John Shiett, bass.

DAILY SCHEDULE (MONDAY FRIDAY)

9 10:30am Master class with Howard Alden

10:45am 12:45pm Rhythm section workout with Jason Lewis and John Shifett

12:45 1:15pm Lunch break

1:15 2:15pm Jazz guitar masters transcription class with Mimi Fox

2:15 3:15pm Solo guitar mastery with Mimi Fox

3:30 4:30pm Flamenco guitar with David Gutierrez

Student/Faculty concert Friday August 16, 8pm

Tuition $750Learn more at [email protected] and 510.845.5373

The Jazzschool Summer Guitar Intensive is made possible in part by generous

contributions from Steve Saperstein, Blue Note Music, and True Fire.

PIANO & KEYBOARDS

PIANO IThis entry-level course for beginners

guides students through a comprehensive,

gradually paced introduction to the piano,

focusing on technique and reading.

Concurrent enrollment in the Introduction

to Music Theory course is suggested.

Required texts: Mastering Piano Method 1A,

Mastering Theory 1A, Janet Vogt (available

at Jazzschool Books & Records).


7/13 8/17 (6 weeks)

Katherine Westine $275

PIANO IIA continuation of Piano I, this beginning to

intermediate course focuses on technique

and reading. Instructor also covers basicfunctional harmony with an emphasis on

scale and chord theory, providing students

with a solid harmonic foundation. Required

text: Bastien Piano for Adults II(available

at Jazzschool Books & Records).

Prerequisite: Piano I or equivalent.

Saturdays 11:45am 1:15pm

7/13 8/17 (6 weeks)

Katherine Westine $275

APPLIED KEYBOARD HARMONYThrough innovative and fun exercises, this

hands-on course acquaints students with

playing tonic-dominant, basic turnarounds

and chord inversions in all keys. Students

then play standard tunes using those basic

progressions, in lead sheet format. The

course prepares students for Jazz Piano I

and is particularly useful for pianists with a

classical background interested in learning

how to interpret lead sheets and improvise.

Handouts provided. Prerequisite: basic

keyboard knowledge.


Jeanne Walpole $275

JAZZ PIANO IA hands-on course covering basic jazz

chord voicings and improvisation tech-

niques. Students learn to how to effectively

interpret (and improvise on) lead sheets,

play jazz standards, play the 12 bar blues

and work with other common song forms.

Prerequisites: basic piano prociency,

knowledge of major scales, ability to play

root-position major, minor, and dominant 7th

chords, ability to read treble and bass clefs.

Section I: Wednesdays 8 9:30pm

7/10 8/14 (6 weeks)

Bob Karty $275

Section II: Thursdays 8:15 9:45pm

7/11 8/15 (6 weeks)

Ben Stolorow $275

JAZZ PIANO II

A continuation of Jazz Piano I, covering avariety of soloing and comping techniques.

This course provides a hands-on overview

of more advanced chord voicings (altered

left-hand voicings, fourth voicings,

drop 2, upper structures, etc.) and soloing

techniques. Standard reharmonization tech-

niques are also presented. 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.

Thursdays 6:30 8pm

7/11 8/15 (6 weeks)

Ben Stolorow $275

Adult Instrumental Courses

mimi fox

21

Adult Instrumental Courses
http://users/Susan/CLIENTS/JAZZSCHOOL/_CATALOGS/CATALOGS%20(MO35,%20CD%20Jazz1)/Jazz_Summer_2013/SU13/LAYOUT/LORY%20-%20INTENSIVES%20ONLY/SU13_page20_B_border.pdfhttp://users/Susan/CLIENTS/JAZZSCHOOL/_CATALOGS/CATALOGS%20(MO35,%20CD%20Jazz1)/Jazz_Summer_2013/SU13/LAYOUT/LORY%20-%20INTENSIVES%20ONLY/SU13_page20_B_border.pdf


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SALSA PIANOAn in-depth introduction to salsa and

Afro-Cuban piano. In an interactive,

ensemble-like setting, students learn

montunos, Latin bass lines and percussion

rhythms, and how they t together and

relate to the clave. Students gain a deeper

awareness of rhythm, helpful for playing in

any style. Course concludes with a jam

session with the members of the Latin

Percussion class! Prerequisites: functional

piano technique and knowledge of basic

triads and 7th chords.

Wednesdays 6:15 7:45pm

7/10 8/14 (6 weeks)

Bob Karty $275

BEGINNING BLUES PIANOA well-rounded introduction to solo blues

piano, for beginning to intermediateplayers. Bass lines, licks, a survey of the

classic tunes and the great players, intros

and endings, 12- and 8-bar forms are

covered. Students learn how to get the

bluesy sound into their playing. All

materials provided.

Tuesdays 6:30 8pm

7/9 7/30 (4 weeks)

Jennifer Jolly $160

BOOGIE-WOOGIE BOOT CAMPA fast-paced survey of boogie-woogie

piano, for intermediate players or above.

Bass lines, licks, rhythm and two-handedcoordination, classic tunes, the great

players, improvisation, techniques for

playing without strain, additional resources.

Each class session will start with fun

boogie warm-ups and drills to get you

into shape! All materials provided.


7/9 7/30 (4 weeks)

Jennifer Jolly $160

SAXOPHONE

BEGINNING SAXOPHONEAn introduction to the saxophone

covering ngering, sound production

and reading music. Students play simplesaxophone ensemble arrangements and

all saxophones are welcome!

Mondays 6:30 8pm

7/8 8/12 (6 weeks)

Bill Aron $275

HARMONICA

BEGINNING DIATONIC HARMONICADiatonic harmonica is the small harmonica

used in blues, rock, folk and even in jazz.

In this intro-level course, students learn

how to hold the instrument, breathe, play

chords and single notes, and the rudi-

ments of note bending. Students also

learn song forms such as 12-bar blues and

3-chord folk, rock and country tunes.

Required text: Harmonica for Dummies.

Prerequisite: Bring a 10-hole diatonic

harmonica in the key of C (contact

[email protected] for info).


7/13 8/17 (6 weeks)

Winslow Yerxa $275

BASS

BASS IAn intro-level course for both upright and

electric bass, covering the fundamentals

of bass technique, applicable to all styles of

music. Topics include:

Tuning Getting a good sound Left and right hand technique Familiarity with the ngerboard Music reading fundamentals Introduction to walking bass lines Equipment (basses, strings, amps)Prerequisite: none. Students must bring a

bass to class. Required text: New Method

for the Double Bass, Simandl (available at

Jazzschool Books & Records).


7/9 8/13 (6 weeks)Glenn Richman $275

BASS IIA continuation of the Bass I course, for

upright and electric bass. Topics include:

Increased familiarity with the ngerboard More advanced reading exercises Rhythmic concepts, e.g., swing feel Rhythmic anticipations Blues and jazz standards Basics of soloing over chord changesPrerequisites: Bass I or equivalent. Students

must know how to read in bass clef.

Required text: New Method for the Double

Bass, Simandl (available at Jazzschool

Books & Records).


7/11 8/15 (6 weeks)

Glenn Richman $275

BASS III JAZZ BASSBuilding on the techniques covered in Bass

II, this course introduces a variety of

techniques essential to constructing strong

jazz bass lines, and also introduces

improvisation techniques for soloing.

Students construct bass lines on blues, jazz

standards in 4/4 and 3/4, modal tunes,

rhythm changes, and ballads. New bass

line and soloing techniques are introduced

each week and are applied to selected

tunes. Students perform their own bass

lines in class each week with piano

accompaniment provided by the instructor.

Recommended for upright and electric

bassists interested in participating in the

Jazzschools ensemble program. Prerequi-

sites: Bass II or equivalent and some

reading ability. Required text: New Method

for the Double Bass, Simandl (available at



7/9 8/13 (6 weeks)

Glenn Richman $275

ELECTRIC BASS TECHNIQUES FUNK AND R&BThis course is a hands-on survey of the

signature bass lines and techniques of

funk and R&B. Material covered ranges

from the early funk pioneers of the James

Brown rhythm sections (e.g., Bootsy

Collins) and Motown (James Jamerson) to

the techniques and lines of later players

including Verdine White (Earth, Wind &

Fire), Larry Graham (Sly and the Family

Stone), Rocco Prestia (Tower of Power),

Marcus Miller and others. This unique

course is co-taught by a professional

bassist and drummer. Instructors alternate,

with substantial class time spent develop-

ing groove and feel by playing in a

rhythm section with the drum instructor.

Concludes with a jam session with the

members of the Funk and R&B Drum Set

course. Prerequisite: functional electric

bass technique.

Mondays 8:15 9:45pm

7/8 8/12 (6 weeks)

Marc van Wageningen (bass)

and Joe Bagale (drums) $275

Adult Instrumental CoursesAdult Instrumental Courses


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DRUMS & PERCUSSION

BEGINNING DRUM SETAn introductory course for beginners.

Students gain a strong technical founda-

tion, learn how to most effectively hold

the drum sticks and are introduced to a

range of simple and effective sticking

techniques. Class covers rhythm reading,

drum set notation, single and double

stroke rolls and rudiments, and a variety

of grooves and lls. Basic four-limb

coordination exercises are also covered.

Prerequisites: None, but bring a pair of

drumsticks!Required text: Learn to Play

the Drumset, Pete Magadini (available at


Mondays 6:30 8pm

7/8 8/12 (6 weeks)

Joe Bagale $275

DRUM SET TECHNIQUES FUNK AND R&BA hands-on survey of the signature drum

grooves and techniques of funk and R&B.

Material covered ranges from the early

funk pioneers of the James Brown rhythm

section (Clyde Stubbleeld, Jabo Starks)

to later players including James Gadson

(Bill Withers), Steve Gadd (Chick Corea),

David Garibaldi (Tower of Power), Mike

Clark (Herbie Hancock) and young masters

like Stanton Moore (Galactic). This unique

course is co-taught by a professionaldrummer and bassist. Instructors alternate,

with substantial class time spent develop-

ing groove and feel by playing in a rhythm

section setting with the bass instructor.

The course concludes with a jam session

with the members of the Funk and R&B

Electric Bass course. Prerequisite:

functional drum set technique.

Mondays 8:15 9:45pm7/8 8/12 (6 weeks)

Marc van Wageningen (bass)

and Joe Bagale (drums) $275

JAZZ DRUM SETThis course covers essential skills for

jazz drumming. Topics covered include

time and feel, idiomatic grooves, ride

cymbal technique, rudiments as applied

to jazz drumming, brush playing, limb

independence exercises, and soloing.

Recommended for drummers interested

in developing and rening the skills

necessary to become well-rounded and

in-demand. Prerequisite: Beginning Drum

Set course or the equivalent.

Tuesdays 6:30 8pm

7/9 8/13 (6 weeks)

Jon Arkin $275

STICK CONTROL AND SNAREDRUM RUDIMENTSThis hands-on course for all drummers

provides a range of practical techniques

for developing hand speed, endurance,

and dynamic control. Class time is spentin intensive guided workout sessions,

using practice pads. Topics covered

include grip (matched & traditional),

effective warm-ups, essential rudiments

(rolls, diddles, ams), accent studies and

more. Prerequisite: Some technical facility.

Beginners should rst take Beginning

Drum Set.


7/9 8/13 (6 weeks)

Jon Arkin $275

LATIN PERCUSSIONThis course provides musicians with a

solid foundation on all of the primary Latin

percussion instruments. Students learn

effective techniques on congas, bongos,

timbales, bells, and additional auxiliary

percussion instruments. Covers many of

the main Latin grooves typical of son,

salsa, and Latin jazz. Soloing techniques

and typical breaks and song forms are

discussed. Open to all. Course concludes

in a jam session format with members of

the Salsa Piano course!

Wednesdays 6:15 7:45pm7/10 8/14 (6 weeks)

Omar Ledezma $275

LATIN RHYTHMS APPLIEDTO THE DRUM SETIn this challenging course, Danilo Paiz

provides step-by-step instructions on

how to incorporate the sounds of congas(played on bongos tuned down), timbali-

tos, and mambo bell into the standard trap

drum kit. This setup, developed by the

instructor, allows drummers to play salsa,

samba and other Latin rhythms, in

addition to swing and funk functioning

as a one-person percussion section! For

intermediate and advanced drummers

familiar with the basics of Latin percussion.


Danilo Paiz $275

DRUM SOLOSThis course provides an overview of

concepts and techniques for soloing on the

drum set. These techniques are applicable

to a range of styles, from rock, funk,

straight-ahead jazz and fusion to various

world styles (Brazilian, Afro-Cuban), and

non-idiomatic free improvisation. Students

develop solo vocabulary drawn from

rudimental and other sources, developing

4-limb independence through improvisa-

tion over various ostinato patterns. Topics

include trading fours and an introduction

to polyrhythmic drum set applications.

Prerequisite: functional drum set technique.

Thursdays 6:30 8pm

7/11 8/15 (6 weeks)

Alan Hall $275

ESSENTIAL DRUM SET GROOVESFROM AROUND THE WORLDWorking drummers are expected to be

familiar with a range of grooves drawn

from various musical traditions and styles.

This course provides a practical overview

of drum set grooves including the various

important North American grooves

(shufes, swing, rock, funk), the Caribbean

(calypso, mambo, reggae, bolero, 6/8

Afro-Cuban), Brazil (samba, bossa nova,

baio, partido alto) and South America

(cumbia, tango). Less common world

grooves are also covered. Recommended

for drummers interested in expanding

their versatility and learning some great

new grooves! Prerequisite: functional drum

set technique.


7/11 8/15 (6 weeks)

Alan Hall $275

Adult Instrumental CoursesAdult Instrumental Courses

Alan has a laid-back stylebut still makes you wantto work hard. ANONYMOUS

brian blade at the jazzschool, april 2013


15/36

27Enroll online at jazzschool.org

INSTRUMENTALWORKSHOPS

JAZZ BASS LINESFOR NON-BASSISTS with Rob Ewing

A step by step approach to constructingeffective walking bass lines over standard

jazz harmony. Recommended for pianists,

arrangers, and anyone who would like to

gain a better understanding of the function

of the bass in the jazz rhythm section. Open

to all, no bass playing experience required!

Sunday June 30, 11am 1pm

$30 advance $45 day of workshop

Trombonist and educator Rob Ewing is the

director of the Jazzschool Community

Music School. He actively works with

several Bay Area jazz groups including the

Marcus Shelby Orchestra and Disappear

Incompletely The Radiohead Project.

MOTIVIC DEVELOPMENTwith Billy Buss

This workshop covers ways to derive and

develop extensive compositional and

improvisational language from simple

melodic themes. Concepts to be discussed

include advanced modal harmonies,

positive and negative harmony, numerol-

ogy, tonal magnetism, melodic contour/

shape, serialist techniques such as

retrograde, inversion and chromatic and

diatonic spirals. Additionally, students

dissect original compositions of the

instructors and others, considering

the questions: where does the melody

originate, how is it developed and where

can it go? An informational packet outlining

these concepts will be distributed.

Monday, July 1, 6 8pm

$30 advance $45 day of workshopNew York City-based trumpeter Billy Buss

received a B.A. from the Berklee College

of Music and a M.M. from the Thelonious

Monk Institute of Jazz.

BLUES AND SOUL MUSICwith Rick Estrin and Buddy Akacic

Discussion and demonstration of the

technical and emotional components

of blues musicianship as a basic precept

for effective performance across genres,

from blues and gospel to jazz and beyond.

For musicians interested in developing

their groove and expression. Also fornon-musicians interested in developing a

deeper appreciation for the inner workings

of the blues and the poignant human

feelings found in all soul music. Musicians,

bring your instruments!

Sunday, July 14, 2 4pm$30 advance $45 day of workshop

Directed by Rick Estrin, blues harmonica

virtuoso and Alligator recording artist, with

organizational support from Buddy Akacic.

SOLO JAZZ PIANO

with Dan ZemelmanA hands-on masterclass on the art of

playing solo jazz piano. Participants play

for each other and receive feedback from

the instructor. Topics covered include: left

hand techniques (walking bass lines,

comping), developing the ability to play

convincingly in various styles, harmonic

options (playing in and out, chord

substitutions, diminished harmony),

melodic interpretation and more.

Sunday July 14, 2 4pm


JAZZ PIANO HARMONY & RHYTHMwith Dan Zemelman

This workshop provides a range of ways

for jazz pianists to expand their creativity

through the study of new harmonic and

rhythmic possibilities. Topics covered

include voicings and voice leading, moving

voices within a chord, using voicings to go

in and out of the key, exercises for develop-

ing left and right hand independence,

rhythmic groupings and much more.

Sunday, July 21, 2 4pm


Dan Zemelman is a leading Bay Area-based

jazz pianist, composer and teacher. He has

performed throughout the U.S. with Marcus

Shelby, Richard Davis, Mads Tolling and

others, in addition to leading his own trio.

Instrumental WorkshopsInstrumental Workshops

rick estrin

billy buss

26

dan zemelman


16/36

Evening Concert,Saturday, August 10, 8pm

The Clifford Brown/Max Roach

Tribute Quintet with Scotty Barnhart,

Grant Stewart and Clayton Cameron

At Piedmont Piano1728 San Pablo Avenue

$20 at the door

29Enroll online at jazzschool.orgCall 510.845.5373

Instrumental Workshops Instrumental Workshops

SECRETS OF GYPSY JAZZ GUITARwith Paul Mehling

This workshop focuses on various aspects

of Gypsy 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, July 21, 11:30am 1:30pm


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, July 21, 2 4pm


Guitarist Paul Mehling is the leader of the

Hot Club of San Francisco.

LA CLAVE MISTERIOSAwith John SantosA workshop to demystify the often-elusive

clave rhythm, concept and instrument that

is at the heart of so much African-derived

musical expression. Five-time Grammy

nominated producer, composer, band-leader and percussionist John Santos has

spent a lifetime performing clave-based

music and is internationally recognized

as one of the top interpreters of this

profound musical tradition. Over a dozen

variations of the clave will be played,

written, and analyzed with recorded

musical examples to place each one in

context, with Q&A throughout.

Sunday, August 4, 2 4pm

$15

Co-sponsored by LP, Remo, Sabian

and the Jazzschool.

JAZZ IMPROVISATIONwith Scotty Barnhart

Longtime trumpeter with the Count Basie

Orchestra, Scotty Barnhart provides a

historical overview of the jazz tradition,

demonstrating each of the major styles

and how they relate to one another. He

explains how musicians can use various

rhythmic and harmonic elements of each

style as a basis for improvisation, creating

a coherent and well thought-out solo

thats anchored in the history of the idiom.

Please bring your instrument!

Grammy-winning trumpeter Scotty

Barnhart has been a featured soloist with

the Count Basie Orchestra for the past 20

years. He is also the author ofThe World

of the Jazz Trumpet a Comprehensive

History & Practical Philosophy (Foreword

by Clark Terry & Freddie Hubbard, 2005).Saturday, August 10, 3:15 5:15pm$30 advance $45 day of workshop

GOING IN TO GO OUTwith Grant Stewart

In my many years of teaching privately to

professionals and university students in

NYC, one of the most common problems

Ive come across is a lack of command of

the basics of harmony. This weak founda-

tion is usually the root of most musicians

problems. Whether you play standards or

modal/modern jazz, a solid foundation is

crucial to playing well in any style. In this

workshop Ill help you tighten up some of

the basics, strengthen your playing and

get you back on track. Grant Stewart

Since moving to New York City at the age

of 19, saxophonist Grant Stewart has studied

with Donald Byrd, Barry Harris and Joe

Lovano and performed with Curtis Fuller,

John Hendricks, Clark Terry and many others.

Saturday, August 10, 3:15 5:15pm$30 advance $45 day of workshop

BRUSHWORKSwith Clayton Cameron

Grammy-winning drummer Clayton

Cameron is best known for his long working

relationship with legendary vocalist Tony

Bennett. In 2003, Cameron released

Brushworks, a book and DVD on the art of

brush drumming. A faculty member in the

jazz studies program at UCLA, Cameron is

widely regarded as one of worlds greatest

authorities on jazz brushes.

Saturday, August 10, 3:15 5:15pm


john santos

Santos has generallybeen a sparkplug fora wave of musicalinvention at the vortexwhere jazz, Latin andother ideas meet. JAZZTIMES

paul mehling

28

clayton cameron

scotty barnhart

grant stewart


17/36

31Enroll online at jazzschool.org30 Call 510.845.5373

ADVANCED JAZZ GUITARHARMONY with John StowellModes of the melodic and harmonic minor

and triad substitutions are clearly ex-plained and demonstrated in the context

of developing an extended harmonic

vocabulary. Students get hands-on

experience locating new sounds and with

ear training in the context of specic

sounds, chords, progressions and songs.

Please bring your guitar and note paper.

Recording the workshop is recommended

but not required. A 40-page pdf le with

workshop material will be emailed to all

participants. Prerequisite: for intermediate

to advanced level guitarists.

Portland-based guitarist John Stowell has

35 years of international playing and

teaching experience and has recorded

and/or performed with Milt Jackson, Lionel

Hampton, Art Farmer, Conte Condoli, Herb

Ellis, Bill Watrous, Mundell Lowe, George

Cables, Billy Higgins, Billy Hart, Richie

Cole, Paul Horn, Tom Harrell, Don

Thompson, Dave Liebman and many

others. He has also published several

instructional books and videos.

Sunday August 25, Noon 3pm


IMPROVISATION SKILLSwith Jorrit Dijkstra

This workshop helps develop skills that are

often overlooked, such as how to respond

to fellow musicians, train your musical

reactions and generate original improvised

ideas. Activities in this exciting, interactive

workshop include ear training exercises,

musical games and a variety of short

improvisation assignments. Recommended

for all musicians interested in developing

a fresh approach to improvisation in any

style of music.

July 28, 2 4pm


Instrumental Workshops

IMPROV CONCEPTS IN THE MUSICOF STEVE LACY with Jorrit DijkstraSaxophonist Steve Lacys music was never

just a nice melody or harmony his

pieces were always about something

and their performance requires research

into the possibilities of your instrument

and the interaction between ensemble

members. Jorrit leads participants through

some of Lacys more conceptually-

oriented pieces, exploring a range of

mind-expanding strategies for solo and

group improvisation. Bring your instrument!

August 25, 2 4pm$30 advance $45 day of workshop

Saxophonist and composer Jorrit Dijkstras

current projects include The Whammies

play the Music of Steve Lacy, with leading

Chicago, Boston and Amsterdam improvis-

ers, and an electro-acoustic duo withcelebrated drummer/composer John

Hollenbeck. He has released 12 albums

as a leader and collaborated with many

top European and American musicians

including Tony Malaby, Gerry Hemingway,

Herb Robertson, Barre Phillips, John

Butcher, Willem Breuker and Han Bennink.

Dijkstra is currently on faculty at Berklee

College of Music and the New England

Conservatory in Boston.

john stowell

jorrit dijkstra

Instrumental Workshops

A highly accomplished

musician, he is acerebral improviserwho nevertheless playswith warmth andrhythmic excitement. THE BOSTON GLOBE

John Stowell plays jazz,but he doesnt use anyof the clichs; he has anincredible originality.John is a master creator. LARRY CORYELL

More guitarists wouldplay like John Stowellif they knew how. HERB ELLIS


18/36


COMPOSITION& ARRANGINGREHARMONIZATION TECHNIQUESAPPLIED TO STANDARD TUNESThe interpretation of standard tunes

continues to be one of the central

elements of jazz performance, practice

and tradition. Reharmonization techniques

provide performers and arrangers with

tools to contextualize, update and

personalize this repertoire. Developing

familiarity with reharmonization tech-

niques is also benecial to improvisers in

better learning to hear and respond to the

ways pianists, guitarists, bassists and other

accompanists revise the harmony of a

given chord progression in performance

from moment to moment. A broad range

of techniques is introduced in the context

of weekly arranging assignments. Open

to both instrumentalists and vocalists.

Prerequisite: functional knowledge of

basic jazz harmony.

Mondays 6:30 8pm

7/8 8/12 (6 weeks)

Adam Shulman $275

SONGWRITING

Students explore melody writing, basicharmony, more adventurous chord

progressions, song form, rhyme schemes,

and cultivate the instrumental component

of songwriting all with the purpose of

honing each students unique songwriting

voice. In-class and at-home composition

and listening exercises are assigned each

week, while students begin the daily

practices of morning pages and

transcription of melody and harmony.

Most important, students develop two

or three songs over the course of the

six-week session, to be presented and

rened in real time.


7/13 8/17 (6 weeks)

Rachel Efron $275

THEORY &IMPROVISATION

BEGINNING THEORYAND IMPROVISATION

Never improvised? Comfortable withthe blues scale but insecure with chord

changes? Want to learn or solidify your

knowledge of basic jazz theory? This

hands-on course provides students with

a friendly, supportive atmosphere in

which to practice improvising. Starting

with the blues, students progress to jazz

standards, learning major, minor and

dominant scales and chords, playing

at every session, trading licks, learning

patterns and building solos. Students

learn to identify song forms and common

chord progressions. Ideal for classical

players or anyone aspiring to jam orperform with a jazz ensemble. Open to all

melodic instruments, including pianists

who want to focus on right-hand soloing,

and vocalists are welcome! Required text:

Jazz Improvisation: A Pocket Guideby

Dan Haerle (available at Jazzschool Books

& Records). Prerequisites: Facility on an

instrument and ability to play all major

scales from memory.

Wednesdays 6:30 8pm7/10 8/14

Dave Scott $275

INTRODUCTION TO MUSIC THEORYAn intro-level course covering the basic

skills needed to begin any serious study

of music. Topics include: music notation,

time signatures, key signatures, rhythmic

training, major scales, intervals, transposi-

tion, chord structure, harmonic progres-

sion, ear training and an introduction to

musical form and composition. Prerequi-

sites: None, open to all instrumentalists

and vocalists. Required texts: Practical

Theory Complete by Sandy Feldstein

andJazz Improvisation: A Pocket Guide

by Dan Haerle (available at Jazzschool

Books & Records).


7/10 8/14

Dave Scott $275

PLAYING CHANGES AND TELLINGA STORY IMPROVISING ONTHE 12-BAR BLUESThis course guides aspiring jazz musicians

through a process of becoming more

condent improvising on chord changes,

while developing the ability to tell a

story with compelling, engaging and

memorable improvised solos. Using the

12-bar blues as a starting point to focus on

these techniques, students are introduced

to a range of variations on this most

commonly used song form. For all melodic

instruments. Prerequisites: functional

instrumental technique, knowledge

of major scales and major and minor

arpeggios, some knowledge of basic

jazz theory.

Thursdays 6:30 8pm

7/11 8/15 (6 weeks)

Kasey Knudsen $275

Theory, Improvisation & CompositionTheory, Improvisationand Composition

Dave Scott is an exceptionallygifted teacher who bringsknowledge, experience and joyto his students. I hear musicwith new excitement now andfeel lucky to have studied withsuch a talented educator. ANONYMOUS


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34 35Call 510.845.5373 Enroll online at jazzschool.org

Adult Vocal CoursesAdult Vocal Courses

Greetings,Summer Songbirds!

For the third year we are thrilled tooffer our weeklong Vocal Intensive withJazzschool artist-in-residence, Grammy-nominated Theo Bleckmann. One of theworlds most creative singers, Theo is also aneducator who will inspire a quantum leap for ten lucky students. The six-dayworkshop culminates with a Saturday night performance, open to the public.This intensive is designed for intermediate to advanced level singers, but theremany other courses for beginners. So why not take the plunge?

Theres Everything You Wanted to Know About Music Theory just for singers as well as technique and ear training. This summer youll notice a shift withmore pop, R&B and singer-songwriter offerings. Raz Kennedy oversees our newR&B division with two courses, beginning and intermediate/advanced. TheBeatles Choir and Singer-Songwriter Repertoire courses are running for just

three weeks. Singing for Fun and For the Love of Singing are back. LatinStandards and Salsa Singing will continue through the summer as well asThe Denitive Jazz Singer and our Jazz for Teens class.

We also offer a cool course for vocalists who are ready to step out and get Readyfor the Gig as well as courses on arranging, songwriting and a new improvisationclass called Dont Say A Word. Seattle singer Greta Matassa visits for a concertand workshop, while Maye Cavallaro continues her composer repertoire serieswith Unsung Gems from The Great American Songbook plus a special one-day intensive on music software. Detailed descriptions follow and you can enrollonline, but please dont hesitate to contact me at [email protected] toconsult about whats right for you. We look forward to hearing your voice!

Laurie AntonioliDirector, Jazzschool Community Music School Vocal Program

PERFORMANCE

jazz

BEGINNING VOCALJAZZ PERFORMANCEAn introductory course for singers who

would like to develop a fearless approach

to improvisation and interpretation. Vocal

technique, repertoire development and

stage presence are addressed in a safe

and creative environment. Students should

bring songs of their choice to work on

with the instructor and a professional

accompanist. Open to all.

Section I: Tuesdays 6:30 8pm

7/9 8/13 (6 weeks)

Andrea Claburn $295

Section II: Wednesdays 6:30 8pm

7/10 8/14 (6 weeks)

Ellen Johnson $295

Adult Vocal Courses

SINGING FOR FUNSinging is one of the rst things we do as

human beings, and sometimes in the

course of learning to sing we forget how

natural and joyful it can be. Whether you

are an experienced singer or just getting

started, this course is a low-stress,judgment-free opportunity to express

yourself musically and explore what your

voice can do. Designed for all levels and

accompanied by a professional pianist,

participants sing together and individually

while working on favorite songs and

building skills that enhance the singing

experience. Give yourself a treat and come

sing for fun! Open to all.

Thursdays 6:30 8pm

7/11 8/15 (6 weeks)

Kathy Blackburn $295

FOR THE LOVE OF SINGINGStudents learn breathing and vocal

techniques and apply them to songs of

their choice, making friends with the

microphone and learning basic perfor-

mance skills in a safe and supportive

environment. This course is particularly

suited for those who may have temporar-

ily put aside their vocal dreams due to

education, career or family obligations.

Open to all.


7/13 8/17 (6 weeks)

Faith Winthrop $295

Jazzschool Community Music School Summer Quarter

July 8 August 18 (6 weeks)

Summer Quarter Student Consultations

Ongoing! Contact [email protected] for more info.

Vocal Intensive

August 12 17

SUMMER 2013 CALENDAR

andrea claburn

Faith is the best! Amazingteacher, amazing voice!A privilege to be herstudent.

ANONYMOUS


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36

Adult Vocal Courses

Call 510.845.5373 Enroll online at jazzschool.org

Adult Vocal Courses

THE DEFINITIVE JAZZ SINGERA course for intermediate to advanced

singers who want to increase their knowl-

edge of jazz vocabulary and performance

skills. This course incorporates vocal

warm-up exercises to promote healthy

vocal technique, ear training to assist inhearing chord progressions, improvisational

skills, preparing lead sheets (charts),

transcriptions and effective microphone

technique. A professional rhythm section

will be available to reinforce the craft of

directing and communicating effectively

with multiple musicians on stage. Students

build repertoire while preparing songs in

contrasting jazz styles.


7/10 8/14 (6 weeks)

Ellen Johnson $295

READY FOR THE GIGPreparation for a public performance

involves tending to a list of details in order

to make the gig go smoothly. When you

perform for an audience, you want to think

about singing, and not be distracted by

the many variables that can interfere with

your focus. In this course students learn

how to prepare for a show, covering topics

such as making a set list, having greatcharts, hiring a band, talking to your

audience, even dealing with the pre-gig

jitters. Singers will also perform for one

another in class, and well see exactly how

all of these issues can be dealt with in a

way that liberates the creative part of

performing. Open to all.


7/10 8/14 (6 weeks)

Stephanie Bruce $295

latinA MODERN APPROACHTO SINGING LATIN STANDARDSA course for intermediate and advanced

vocalists interested in developing arepertoire of Latin American folk songs.

Students sing lush boleros, cha-cha-chas,

guarachas, son, milongas, Argentinian

zambas, and other Latin American classics

made famous by vocalists including

Omara Portuondo and Eliades Ochoa from

the Buena Vista Social Club. Focus is on

phrasing, interpretation, melodic alterna-

tives, lyrics, emotional and creative expres-

sion, as well as ensemble and individual

singing. Trio accompaniment provided.

Prerequisite: consent of instructor.

Mondays 6:30 8pm

7/8 8/12 (6 weeks)Maria Marquez $295

SALSA SINGINGThis course introduces a basic repertoire

of songs for singers of all levels to learn

the style, rhythm and technique of salsa

vocal music. All songs are in Spanish but

uency is not required to participate.

Students also learn to play some basic

percussion while singing and the instructor

provides instruments like guiro, maracas

and claves to use each week. An accompa-

nist on piano or guitar works with students

to learn the songs. Later in the quarter, theclass joins up with the Salsa II instrumental

ensemble (see page 17), and works toward

a combined performance at the Jazzschool.

Songs include Tres Das de Carnaval

(Celia Cruz), La Rebelin (Joe Arroyo)

and Brujera (El Gran Combo), providing

a great foundation. Open to all.


7/9 8/13 (6 weeks)

Edgardo Cambn $295

r&bR&B VOCAL PERFORMANCEThis exciting new vocal performance

course delves into the music of old-school

Motown, Michael Jackson, Aretha Franklinand contemporary young artists like Adele

and Beyonc. Instructor Raz Kennedy (of

Bobby McFerrins Voicestra) draws from a

selection of R&B and pop material to work

on solos, harmonies and overall vocal

expression. Students are also welcome to

bring in their own songs to work on.

Strengthen your voice and energize your

performances by learning specic

techniques to expand dynamic range and

increase vocal resonance. Learn to belt

without tension and to sing freely with a

safe vocal method, developed through

Kennedys professional experience inhigh-energy musical theater and large-

scale pop and swing bands.

Section I (Beginning):

Mondays 6:30 8pm

Section II (Intermediate/Advanced):

Mondays 8:15 9:45pm

7/8 8/12 (6 weeks)

Raz Kennedy $295

ellen johnson

theopolis crump

37

raz kennedy

Superior jazz singing by an

artist o the highest quality

who deserves to be heard

much more widely

JAZZ JOURNAL INTERNATIONAL

on Ellen Johnson


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contemporary &pop

THE BEATLES CHOIRSing the timeless music of the Beatles with

other singers in 2, 3 and 4-part harmonyand enjoy the songs in a whole new way.

Work from written choral arrangements

and learn harmony parts to different

Beatles tunes each week, in addition to

learning to create your own harmonies.

Lets have fun! Pianist provided, open to all.

Thursdays 6:30 8pm

7/11 7/25 (3 weeks)

Ellen Robinson $140

SINGER-SONGWRITERREPERTOIRE FOR JAZZ VOCALISTSFor jazz vocalists interested in updating

their repertoire, this 3-week coursefocuses on the music of popular singer-

songwriters from the early 70s through

the present, including Leonard Cohen,

James Taylor, Carole King, Paul Simon,

Adele and Alicia Keys. Students learn and

perform two tunes each week and go

home with the charts! Healthy vocal

technique and elements of style are

covered. Pianist provided, open to all.


7/11 7/25 (3 weeks)

Ellen Robinson $140

TECHNIQUE

VOCAL TECHNIQUE ESSENTIALSA course on vocal conditioning, stamina

and maintenance, along with ear training

and placement for pitch accuracy.Students work on specic exercises to

increase both vertical and horizontal ranges

and learn to implement dynamics, tone

color, vibrato and straight tone. Learn how

to utilize the break in your vocal range and

sing with a full voice connection to enhance

style and interpretation. Open to all.


7/9 8/13 (6 weeks)

Raz Kennedy $275

THEORY, EAR TRAINING& IMPROVISATION

MUSIC THEORY BASICS

FOR SINGERSThis is the place to ask and get answers!

Pianist Lee Bloom covers many of the

basics that a singer needs to know, from

key signatures and transposing, song

forms and chord changes, to basic

rhythmic feels (e.g., swing, bossa nova,

straight-eighth) and some rudimentary

piano skills. Basic ear training includessinging intervals, scales, identifying chords

and singing in harmony. Vocalists are often

intimidated by the lingo and knowledge

necessary to function as a bandleader, yet

its often the vocal artist who must lead

the band. A basic understanding of these

concepts helps singers gain condence

and freedom. Then the real fun begins!

Open to all.


7/9 8/13 (6 weeks)

Lee Bloom $275

EAR TRAINING FOR VOCALISTSThis course enhances the listening and

singing skills of participants, by develop-

ing the capacity to recognize, identify and

sing a variety of scales, intervals, chords,

melodic and harmonic patterns. Through

a series of fun and informative exercises,in both group and individual settings,

students learn how to apply their voices to

these essential musical concepts. Really

being able to hear what you sing and sing

what you hear, and identify how it relates

to a song, strengthens a singers overall

musicianship and creates more enjoyment

and condence. Prerequisite: minimum

two years singing experience.

Tuesdays 6:30 8pm

7/9 8/13 (6 weeks)

Raz Kennedy $275

WORDLESS VOCALIMPROVISATIONLeave your words at the doorstep as we

leap into the world of traditional and

contemporary approaches to wordless

vocal improvisation. Special emphasis is

placed on group improvisations (circle

singing) and improvisational approaches

to repertoire from the Great American

Songbook. Bring an open mind and a

song youd like to sing!


7/11 8/15 (6 weeks)

Carl Oser $275

raz kennedy

tiany austin

Worth every pennyand every minute.Raz is amazing.

ANONYMOUS

ellen robinson


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COMPOSITION& ARRANGING

A NEW COAT OF PAINTArranging for Solo Singers

Contemporary jazz singers are becomingincreasingly creative in their choice and

presentation of the tunes they love to sing.

Whether the staples of your book were

penned in the Tin Pan Alley period, or

youve moved forward a few decades into

the popular tunes of the 1960s, 70s and

beyond, putting your own spin on a song

is exciting for you, your band, and your

audience. If you are not a songwriter,

arranging is a great option. In this course,

students learn how to re-imagine a familiar

piece of music using the components of

harmony, rhythm, form, and concept.

Come to class with a few tunes youd liketo work with, and youll walk away with

some new charts for your book.

Wednesdays 6:30 8pm

7/10 8/14 (6 weeks)

Stephanie Bruce $295

SONGWRITING

Students explore melody writing, basicharmony, more adventurous chord

progressions, song form, rhyme schemes,

and cultivate the instrumental component

of songwriting all with the purpose of

honing each students unique songwriting

voice. In-class and at-home composition

and listening exercises are assigned each

week, while students begin the daily

practices of morning pages and

transcription of melody and harmony.

Most important, students develop two

or three songs over the course of the

six-week session, to be presented and

rened in real time.


7/13 8/17 (6 weeks)

Rachel Efron $275

CONCERT PREPARATIONAND PERFORMANCEFOR VOCALISTS

A mentor program offering a unique

opportunity for aspiring professionalsingers to create and present

a concert at the Jazzschool.

This individually customized course is

designed to guide singers from concept to

performance. Concert dates are

jazzschool summer 2013 download

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