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TRANSCRIPT
azzschoolthe
at C A L I F O R N I A J A Z Z C O N S E R V A T O R Y
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2018 SPRING CATALOG
We're celebrating the 20th anniversary of the Jazzschool, 20 years of successfully teaching jazz
to people of all ages, at all levels of ability.
Turn the page for a quick guide to what's inside, then check out our classes, workshops and concerts
for spring 2018, starting on page 8.
You can get all the latest news from the Jazzschool and the California Jazz Conservatory by signing up
for our e-newsletter at cjc.edu.
Or, feel free to call us at 510.845.5373 if you have any questions.
Welcome to our third decade of teaching you jazz and enjoy this spring at the Jazzschool!
Welcome to our third decade of teaching you jazz!
azzschoolthe
at C A L I F O R N I A J A Z Z C O N S E R V A T O R Y
All of us at the California Jazz Conservatory are excited to announce the Grand Opening of our new Jerry Fiddler Annex!
We thank all who have contributed to this significant step forward in the future of the Conservatory.
Visit Fiddler Annex for a tour of:
• Rendon Hall, a classic, comfortable 85-seat performance space with the latest in sound technology from Meyer Sound;
• Five state-of-the-art Wenger practice rooms;
• The Jennifer A. Maxwell Music Library, with thousands of LPs, CDs and books;
• Our 16-station keyboard lab and more!
Please join us for our Grand Opening Week Concerts, February 25th through March 4th (see page 54), and for upcoming concerts in both Rendon Hall and Hardymon Hall (see pages 60 – 61). Jerry Fiddler Annex is located at 2040 Addison Street, directly across the street from our current home.
Drop by and say hi!
Susan Muscarella, President and Dean of InstructionCalifornia Jazz Conservatory
An Open Letter from Susan Muscarella to Our Jazzschool Friends:
INTRODUCTION
Calendar 2
The California Jazz Conservatory 4
The Jazzschool 6
ADULT PERFORMANCE ENSEMBLES
Jazz 8
Latin 12
Brazilian 12
Blues 13
Funk 13
World 13
ADULT INSTRUMENTAL CLASSES
Piano and Keyboard 14
Guitar 16
Harmonica 18
Woodwinds 18
Bass 19
Drums and Percussion 20
THEORY, IMPROVISATION, COMPOSITION
Theory and Improvisation 22
Composition 23
ADULT VOCAL CLASSES
Vocal Technique 24
Performance 24
Young Singers 29
Vocal Mentor Program 30
Vocal Workshops 32
JAZZSCHOOL YOUNG MUSICIANS PROGRAM
Introduction 36
Program Requirements 36
Placement and Audition Requirements 37
CJC Degree Programs 38
Instrumental Ensembles 40
Voice 41
WORKSHOPS
Vocal Workshops 32
General Workshops 42
JAZZSCHOOL CAMPS AND INTENSIVES
Summer Camps & Intensives Preview 55
Summer Youth Program 56
High School Jazz Intensive 57
Girls' Jazz & Blues Camp 58
Summer Vocal Intensive 59
CONCERTS
CJC Concert Series 60
Jazzschool Faculty 62
Board and Staff 69
Instructions and Application Form 70
Map 71
How You Can Help 72
Note: Class, workshop and concert schedules subject to change. Please visit cjc.edu for the most current information.
SPRING 2018 CATALOG PRODUCTION
Cover Jesse Rimler, illustration
Design Poulson Gluck Design
Editorial Rob Ewing, Laurie Antonioli,
Paul Fingerote
Photography Chris Hardy, Robin Kempster, Akida Thomas, Grason Littles and others
Photo research Sheryl Lynn Thomas
Printing FolgerGraphics
Contents Over 100 opportunities to learn jazz
are in your hands right now!Welcome to our Spring 2018 Jazzschool Catalog, where you'll find more than 20 Adult Performance Ensembles, 55 Classes,
20 Workshops, 30 Concerts and more. . .over 100 opportunities for you to learn jazz at the Jazzschool, many of them brand new this spring!
Here's a quick guide to what's inside:
If you're looking for... See...
An Application Form Page 70
Adult Performance Ensembles Page 8
Adult Instrumental Classes Page 14
Theory, Improv, Composition Page 22
Adult Vocal Classes Page 24
Vocal Mentor Program Page 30
Young Musician's Program Page 36
CJC Degree Programs Page 38
Workshops Page 42
Jazzschool Camps & Intensives Page 55
Summer Youth Program Page 56
High School Jazz Intensive Page 57
Girls' Jazz & Blues Camp Page 58
Summer Vocal Intensive Page 59
CJC Concert Series Page 60
Faculty Page 62
Board and Staff Page 69
Map Page 71
Support CJC Page 72
Donors cjc.edu
Everything Else cjc.edu
New Classes / Workshops new
The Jazzschool Spring 2018
Calendar
2018 Jazzschool
Spring Quarter
April 9 – June 11
School Closure
May 28
Spring Performance
Series
June 8 – 21
Susan Muscarella, President and Dean of Instruction [email protected]
Rob Ewing, Director, [email protected]
3
Heads up! Many opportunities fill early, so sign up soon. If you're not sure which class or workshop is right for you, please contact us for guidance: 510.845.5373.
We're here to help!
Laurie Antonioli, Vocal ProgramChair [email protected]
Erik Jekabson, Director, Jazzschool Young Musicians [email protected]
4 5
The California Jazz Conservatory
The California Jazz Conservatory is
the only independent, accredited
school in America completely
devoted to the study and
performance of jazz.
The California Jazz Conservatory honors
the contributions of past masters and
promotes artistic innovation, bringing
together a diverse music community to
develop practical skills, acquire artistic
sensibility, realize creative potential and
find artistic voice.
Founded as the Jazzschool in 1997 and
accredited by the National Association of
Schools of Music in 2009, the California
Jazz Conservatory offers two distinct
education programs:
The California Jazz Conservatory, a
postsecondary degree-granting program;
and the Jazzschool, a non-degree-
granting community education program.
• The California Jazz Conservatory
offers the aspiring professional jazz
musician a 4-year Bachelor of Music
degree in Jazz Studies with optional
concentrations in Brazilian Jazz, Audio
Production and North American Roots
Music;
Our 2-year Associate of Arts degree in
Jazz Studies offers the same effective
faculty, teaching the same 100% jazz
relevant courses at half the cost and
half the time commitment;
• The Jazzschool offers long-term
Classes, short-term Workshops,
and one- and two-week Camps and
Intensives for youths and adults.
In addition, the California Jazz Conserva-
tory's year-round CJC Concert Series
offers a wide array of performances by
students and professionals in our intimate
concert venues: our new Rendon Hall in
Fiddler Annex and our long-established
Hardymon Hall, next to which you'll find
our popular Jazzcaffè, offering light fare
and a range of beers, wines and other
beverages year-round.
Located in the heart of Berkeley's vibrant
Downtown Arts District, the California
Jazz Conservatory campus is easily
accessible by car and public transporta-
tion. The downtown Berkeley BART
station and AC Transit bus stops are
located within a block of campus. Public
parking is available in nearby garages,
in addition to metered street parking
available throughout the neighborhood.
6 766
Ensembles and Classes(Audition required for Ensembles)The Jazzschool offers a wide range
of long-term Performance Ensembles
and Classes for beginning, intermediate
and advanced instrumentalists and
vocalists. Ensembles focus on a wide
range of styles including, but not limited
to, jazz, blues, funk, Afro-Caribbean and
South American music. Classes include
instrumental and vocal technique, music
theory, jazz improvisation and more.
Workshops(No audition required)The Jazzschool offers a variety of
short-term Workshops throughout the
year, available in single sessions or as
a series. Workshops are taught by
professional artists/educators and focus
on specific approaches to strengthening
technical ability, understanding and
applying theoretical concepts to
improvisation, and enhancing live
performance skills, in addition to other
jazz-related topics.
Jazzschool Young Musicians Program(Placement audition required)The Jazzschool Young Musicians Program
offers a range of classes for middle and
high school students. Young Musicians
Program ensembles are available for
beginning, intermediate and advanced
instrumentalists. The program includes
small groups focused on improvisation,
and big bands that delve into style and
repertoire. Vocal performance classes
are also available. Jazzschool Young
Musicians Program ensembles have
repeatedly been honored in the DownBeat Magazine student music awards and at
prestigious jazz festivals, both here and
abroad.
Camps and Intensives (Audition required)The Jazzschool offers Camps and Inten-
sives in the spring and summer in one- and
two-week sessions for adult and youth
instrumentalists and vocalists at all levels.
Faculty Jazzschool classes, ensembles, workshops,
camps, intensives and other programs are
led by a distinguished faculty of profes-
sional musicians who have played with
some of the music world’s biggest names.
More importantly, our faculty consists of
musicians and vocalists who excel in
education, with a focus on teaching
students not just how to play, but how to
perform, transforming talented musicians
into recognized artists.
Enrollment Jazzschool class size is limited and many
classes — available on a first-come, first-
served basis — fill up quickly. We encour-
age you to register early and guarantee
your spot! You can enroll online at cjc.edu
or call 510.845.5373. An application form
also appears on page 71.
The Jazzschool is the California
Jazz Conservatory's community
music school, serving students of
all ages and levels for over 20 years.
The Jazzschool offers instrumentalists
and vocalists long-term Performance
Ensembles/Classes, as well as short-term
Workshops, Camps and Intensives
throughout the year, including:
* Adult instrumental and vocal
Performance Ensembles/Classes in
fall, winter and spring (10 weeks),
and summer (6 weeks);
* Short-term Workshops on weekends
throughout the year;
* Youth instrumental and vocal Perfor–
mance Ensembles in fall, winter, spring
(10 weeks) and summer (6 weeks);
* Youth instrumental and vocal Summer
Camps and Intensives in summer
(1 – 2 weeks);
* Adult instrumental and vocal Camps and
Intensives throughout the year (1 week).
Instrumental ClassesJazzschool instrumental classes provide
study of a specific instrument in a group
setting. Classes are available for saxophone,
harmonica, piano/keyboard, guitar, bass
and drums/percussion. Instruction is
available for beginners (covering basic
technique and instrumental skills) and also
for more advanced players (focused on jazz
style, harmony, improvisation and more).
Vocal ClassesJazzschool vocal classes provide an
opportunity for singers at all levels to
improve style and technique in a group
setting. Performance classes are offered
in jazz, Latin, blues, R&B and pop genres.
Beginners, singers returning to music,
and more advanced vocalists can all find
classes appropriate for their interests.
Theory, Improvisation and CompositionThe Jazzschool offers a number of classes
covering areas of theory, improvisation, ear
training, composition and arranging, music
production, music business and more.
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The Jazzschool
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“Dave Scott has great patience when explaining new concepts. I always felt encouraged to play what I could, or felt, rather than play exactly what was on the page.”
Adult Performance Ensembles
Jazzschool Performance Ensembles
delve into a wide range of styles
including jazz (standards, hard
bop, post-bop, fusion), Latin jazz,
Brazilian, blues, R&B and funk.
Ensembles are available for
instrumentalists and vocalists
at the beginning, intermediate
and advanced levels. Groups
range in size from the trio to the
big band. A placement audition
is required for all Performance
Ensembles.
AuditionsStudents are placed in Performance
Ensembles by audition and require–
ments may include the following:
Playing selected scales; playing and/
or improvising over a piece of your
choice; improvising over a 12-bar
blues or other pieces provided at
the audition; and sight-reading.
Drummers are asked to play various
grooves and solo; bassists are
asked to play bass lines. For more
information please contact Jazzschool
Director Rob Ewing at [email protected]
or 510.845.5373 x14. You can
schedule an audition online at cjc.edu.
JAZZ
BEGINNING JAZZ ENSEMBLEPut theory into practice by learning jazz
standards, while developing improvisation
and ensemble skills. For all instruments.
Prerequisites: knowledge of basic jazz theory and ability to keep time and read music.
Section I: Mondays 6:30 – 8 pmSection II: Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28Steve Erquiaga • $375
Section III: Thursdays 6:30 – 8 pm 4/12 – 6/7 (9 weeks)
Rob Ewing • $375
JAZZ STANDARDS FOR GIGS Develop the skills and repertoire needed
for typical jazz gigs through the study and
performance of common jazz styles includ-
ing swing, bossa, jazz waltz and ballads.
Instructor covers repertoire, essential
arranging concepts (intros, endings, etc.),
relevant jazz harmony and tips for soloing.
Prerequisites: knowledge of basic jazz theory and ability to keep time and read music. Some previous ensemble experience.
Section I: Tuesdays 8:15 – 9:45 pm4/10 - 6/5 (9 weeks)
Section II: Thursdays 6:30 – 8 pm4/12 – 6/7 (9 weeks)
Section III: Saturdays 10 – 11:30 am
Section IV: Saturdays 11:45 am – 1:15 pm
Section V: Saturdays 1:30 – 3 pm4/14 – 6/9 (9 weeks)
Glenn Richman • $375
DAVE SCOTT JAZZ ENSEMBLEA small jazz ensemble (rhythm section
and horns) focusing on standards and jazz
tunes with custom arrangements by the
instructor.
Thursdays 4:30 – 6 pm4/12 – 6/7 (9 weeks)
Dave Len Scott • $375
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 pm4/12 – 6/7 (9 weeks)
Dave Lefebvre • $375
MUSIC OF THE MASTERSDig into the music of John Coltrane,
Thelonious Monk, Wayne Shorter and
other jazz masters. Learn and internalize
a variety of essential grooves while
developing improvisation skills through
the rehearsal of challenging repertoire.
Section I: Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28
Section II: Thursdays 8:15 – 9:45 pm4/12 – 6/7 (9 weeks)
Glenn Richman • $375
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 pm4/11 – 6/6 (9 weeks)
Steve Erquiaga • $375
2018 Spring Quarter / April 9 – June 11 / cjc.edu
1110
ERQUIAGA ENSEMBLE I In this Ensemble l class, you'll work on
improvising over chord changes, playing
with good time and learn the other skills
needed to perform with other musicians.
Class emphasis is on standard mainstream
styles: blues, standards, swing, bebop,
ballads and bossa novas.
Tuesdays 4:30 – 6 pm4/10 – 6/5 (9 weeks)
Steve Erquiaga • $375
ERQUIAGA ENSEMBLE IIThis Ensemble II class focuses on slightly
faster tempos and more involved
tunes! Unusual keys, uncommon tune
structures and more complex melodies
are presented along with standard
repertoire. Includes the music of Miles
Davis, Jobim, Art Blakey, Cal Tjader
and many 60s Blue Note–era artists.
Original compositions are encouraged!
Tuesdays 6:30 – 8 pm4/10 – 6/5 (9 weeks)
Steve Erquiaga • $375
ESBJÖRN SVENSSON new ENSEMBLE This quarter, Frank Martin’s ensemble
focuses on the music of the late Swedish
pianist known for his work with his trio
E.S.T., Pat Metheny and Michael Brecker.
Wednesdays 8:15 – 9:45 pm4/11 – 6/6 (9 weeks)
Frank Martin • $375
HIP-HOP/JAZZ ENSEMBLELearn the material of some of today’s
most innovative artists and hip-hop groups
while enhancing performance skills in this
ensemble dedicated to hip-hop jazz. Study
and perform songs from groups such as
Anderson.Paak, KING, Hiatus Kaiyote,
A Tribe Called Quest, The Internet,
Thundercat, Bilal, Robert Glasper and
Erykah Badu. With an emphasis on stylistic
integrity, as well as melodic, harmonic,
and rhythmic accuracy, the instructor
guides the band and vocalists through the
history of hip-hop jazz, in a course geared
towards an end-of-quarter performance.
Wednesdays 6:30 – 8 pm4/11 – 6/6 (9 weeks)
Steve Hogan • $375
FREE JAZZ ENSEMBLE: THE MUSIC OF PHAROAH SANDERSIf you're a musician interested in stretching
the boundaries of harmony and form, join
us for the Free Jazz Ensemble, as we
focus on the music and improvisational
concepts of a variety of master musicians
each quarter. This spring we investigate
the music of saxophonist Pharoah Sanders,
a leading figure in free jazz and beyond
from his mid 60's collaborations with
John Coltrane to the present day.
Thursdays 6:30 – 8 pm4/12 – 6/7 (9 weeks)
Jason Levis • $375
PIANO TRIODevelop performance skills in the piano,
bass and drums trio format. Open to four
pianists and one drummer with accom-
paniment provided by a professional
upright bassist.
Section I: Mondays 5 – 6:30 pm
Section II: Mondays 6:45 – 8:15 pm
Section III: Mondays 8:30 – 10 pm4/9 – 6/11 (9 weeks) no class 5/28Peter Horvath • $400
Section IV: Fridays 1:30 – 3 pm
Section V: Fridays 3:30 – 5 pm4/13 – 6/8 (9 weeks)
Debbie Poryes • $400
BIG BANDThis 19-piece ensemble covers classic and
contemporary repertoire for big band.
Original compositions by ensemble
members are also workshopped and
performed. Full 3-quarter commitment required (fall, winter, spring).
Thursdays 8:15 – 10:15 pm4/12 – 6/7 (9 weeks)
Dave Le Febvre • $270
Adult Performance Ensembles Adult Performance Ensembles
MILES DAVIS/WAYNE SHORTER ENSEMBLEExplore the music of Miles Davis and
Wayne Shorter from the mid-60s through
the 80s. Repertoire is drawn from far-
reaching classic albums including Miles Smiles, ESP, Filles de Kilimanjaro, Speak No Evil, Bitches Brew, In a Silent Way,
Native Dancer and Jack Johnson. Strong
emphasis placed on group communication
and interaction.
Wednesdays 8:15 – 9:45 pm4/11 – 6/6 (9 weeks)
Steve Erquiaga • $375
2018 Spring Quarter / April 9 – June 11 / cjc.edu
“Dave Le Febvre is a great asset to the school — very knowledgeable, encouraging to student composers, and dedicated to the big band program.”
dave le febvre
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LATIN
SALSA ENSEMBLE IRehearse and perform classic salsa
repertoire including the music of Tito
Puente, Cal Tjader, Eddie Palmieri and
others. Prerequisites: familiarity with and ability to play standard Afro-Caribbean grooves as applied to your instrument.
Tuesdays 6:30 – 8 pm4/10 – 6/5 (9 weeks)
David Belove • $375
SALSA ENSEMBLE IIRehearse and perform more advanced salsa
repertoire. Vocalists interested in participat-
ing should sign up for Salsa Singing (see
p. 28). The two courses work together
throughout the term developing a full set of
high energy dance music for performance.
Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)
David Belove • $375
VENEZUELAN MUSIC ENSEMBLE 360Explore traditional and contemporary
Venezuelan music styles, with a particular
focus on Afro-Venezuelan repertoire.
Exciting rhythms including calypso, joropo
and golpe de tambor will be covered. The
ensemble will culminate in a performance
at the Jazzschool in Hardymon Hall! Open
to all instruments: percussion (congas, hand
percussion), Venezuelan cuatros, vocals,
woodwind and brass instruments, piano,
bass, and drumset. Highly recommended
for students who have taken the Afro-
Venezuelan percussion and Venezuelan
cuatro classes with Jackie Rago in the past.
Prerequisites: intermediate to advanced technique and the ability to play standard grooves.
Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)
Jackie Rago • $375
BLUES
BLUES AND GROOVE ENSEMBLELearn to play the blues and blues-related
styles. Emphasis on the groove as found on
recordings of Charlie Christian, T-Bone
Walker, Albert Collins, Jack McDuff, Louis
Jordan and other “jump” blues and New
Orleans masters. Prerequisites: knowledge of 12-bar blues.
Saturdays 1:30 – 3 pm4/21 – 6/16 (9 weeks)
Danny Caron and Anthony Paule • $375
BRAZILIAN
BRAZILIAN ENSEMBLEStudy and perform the classic and
contemporary Brazilian jazz repertoire of
Ivan Lins, Dori Caymmi, Toninho Horta,
Antonio Carlos Jobim and instructor
Marcos Silva. Vocalists welcome! Audition with Marcos Silva is required. Call 510.845.5373 to schedule your audition.
Section I: Tuesdays 6:15 – 7:45 pm
Section II: Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)
Section III: Wednesdays 6:30 – 8 pm
Section IV: Wednesdays 8:15 – 9:45 pm4/11 – 6/6 (9 weeks)
Section V: Thursdays 1 – 2:30 pm4/12 – 6/7 (9 weeks)
Marcos Silva • $375
FUNK
FUNK ENSEMBLEThis high-energy ensemble explores
repertoire ranging from James Brown
to Tower of Power. For all rhythm section
instruments, horns and vocalists. Prerequi-sites: intermediate technical facility and ability to read charts and standard notation.
Thursdays 8:15 – 9:45 pm4/12 – 6/7 (9 weeks)
Daniel Parenti • $375
WORLD AND BEYOND
WORLD GROOVE ENSEMBLE: NEW ORLEANS & LOUISIANA The World Groove Ensemble emphasizes
the overall groove and how everyone fits
in together. The New Orleans & Louisiana
ensemble may include New Orleans R&B
and funk, zydeco and Cajun, brass band,
second-line, and trad jazz. Sample artists
include Dr. John, The Meters, Clifton Chenier,
Irma Thomas, Jon Cleary, The Dirty Dozen
Brass Band, and Sidney Bechet. This course
may be taken independently of the Carib-
bean and African World Groove classes.
All vocalists and instrumentalists welcome.
Materials provided by instructor. Prerequi-sites: ability to read charts and standard notation.
Thursdays 8:15 – 9:45 pm4/12 – 6/7 (9 weeks)
Jennifer Jolly • $375
STEVE REICH AND new JOHN CAGE ENSEMBLEThis new course explores the rhythm-based
music of 20th-century composers Steve
Reich and John Cage. It’s a perfect
fit for all instrumentalists and vocalists who
read rhythm notation and want to develop
their rhythm skills and musical range
through this unique repertoire. Keyboardists
and percussionists are especially welcome.
Pieces will include Reich’s classic body
percussion composition, Clapping Music.
Other pieces may include excerpts from
John Cage’s Living Room Music, and Reich’s
Nagoya Marimbas (transcribed for key-
boards as needed), Music for Pieces of Wood (played on claves), Six Pianos, or
related repertoire. Prerequisites: ability to read rhythm notation.
Tuesdays 8:15 – 9:45 pm4/10 - 6/5 (9 weeks)
Jennifer Jolly • $375
Adult Performance Ensembles Adult Performance Ensembles
“I study Salsa with David Belove. He is a terrific teacher and musical director!”
david belove
daniel parenti
1514
JAZZ PIANO IIIn this continuation of Jazz Piano I, you'll
learn more advanced chord voicings and
soloing techniques, as well as standard
re-harmonization techniques. Required text:
Jamey Aebersold play-along Vol. 54, Maiden Voyage; The Jazz Piano Book by Mark
Levine (Sher Music Co.); music manuscript
paper and pencil. 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 pm4/9 – 6/11 (9 weeks) no class 5/28Bob Karty • $375
JAZZ PIANO CHORD VOICINGS (FOR PIANISTS AND NON-PIANISTS)
Explore a wide range of jazz piano chord
voicings in this hands-on course. From
simple “shell” voicings to the rich chord
shapes used by Bill Evans, Herbie Hancock
and other contemporary jazz masters. For
pianists and instrumentalists/vocalists
interested in exploring jazz piano harmony.
Prerequisites: basic keyboard proficiency and knowledge of chord structures (triads and 7th chords).
Thursdays 6:30 – 8 pm4/12 – 6/7 (9 weeks)
Colin Hogan • $375
IMPROVISATION FOR new PIANISTSExplore a broad range of concepts and
methodology for playing changes and
modal improvisation. Also includes ideas
for soloing on the blues and developing
facility in odd meters. Intermediate level.
Wednesdays 6:30 – 8 pm4/11 – 6/6 (9 weeks)
Frank Martin • $375
ROCK AND R&B new KEYBOARDSIn this lively hands-on class, students
learn the nuts and bolts of various rock
and R&B keyboard styles by playing
quintessential tunes from the ‘50s through
the present. Students may also request
one tune each which the class will explore
together. In recognition of the enormous
musical legacy of Tom Petty and The
Heartbreakers, this year’s class will include
a special look at the style of renowned
keyboardist Benmont Tench. Materials
provided by instructor. Prerequisites: ability to read standard notation; familiar-ity with major and minor chords.
Tuesdays 6:30 – 8 pm4/10 – 6/5 (9 weeks)
Jennifer Jolly • $375
PIANO AND KEYBOARD
PIANO I If you've ever wanted to play the piano,
now is your chance! Sign up for Piano I 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. Concurrent
enrollment in the Introduction to Music
Theory course is suggested. Required
texts: Mastering Music level 1A,
Piano Town Lessons Level 1 (available at the CJC Bookstore).
Saturdays 10 – 11:30 am4/14 – 6/9 (9 weeks)
Jeanne Walpole • $375
PIANO IIFor those with some experience on keys,
Piano II picks up wherever you left off in
your pianistic pursuits and challenges you
to go farther with your musical endeavors.
Ensemble and solo music is selected to
match your own level and ability on the
piano. This class presents individual
guidance as well as group performance
opportunities. Required text: Bastien Piano for Adults Book 2 (available at the CJC
Bookstore). Prerequisites: Piano I or equivalent experience.
Saturdays 11:45 am – 1:15 pm4/14 – 6/9 (9 weeks)
Jeanne Walpole • $375
APPLIED KEYBOARD HARMONY Learn tonic-dominant chord progressions,
basic turnarounds and chord inversions
in all keys, while developing the ability
to play standard tunes using those basic
progressions in leadsheet format. This
course prepares students for Jazz Piano I
and is recommended for pianists with a
classical background interested in breaking
free of the printed page and learning how
to interpret leadsheets as well as learning
how to improvise. Handouts provided.
Prerequisites: basic keyboard knowledge.
Saturdays 1:30 – 3 pm4/14 – 6/9 (9 weeks)
Jeanne Walpole • $375
JAZZ PIANO I Learn to play jazz standards and the 12-bar
blues through the study of jazz chord
voicings and improvisation techniques.
Required text: Jamey Aebersold play-along
Vol. 54, Maiden Voyage; music manuscript
paper and pencil. Prerequisites: basic piano proficiency, knowledge of major scales, ability to play root-position major, minor, and dominant 7th chords in all keys, ability to read treble and bass clefs.
Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Bob Karty • $375
Adult Instrumental Classes
bob karty
Adult Instrumental Classes
2018 Spring Quarter / April 9 – June 11 / cjc.edu
16 17
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 Grade 1, Mel Bay (available at the CJC
Bookstore). Prerequisites: none, for complete beginners! Students must bring a guitar to class.
Saturdays 10 – 11:30 am4/21 – 6/16 (9 weeks)
Danny Caron and Anthony Paule • $375
JAZZ GUITAR IIf you're a guitarist with a background
in another style and you're interested in
exploring jazz and blues this course is
for you! You'll gain hands-on experience
playing jazz and blues while learning basic
jazz theory, scales, chords, arpeggios and
songs. You'll have fun while learning and
playing! Prerequisites: two years playing experience, knowledge of major and pentatonic scales and all seventh chords.
Wednesdays 6:30 – 8 pm4/11 – 6/6 (9 weeks)
Jeff Massanari • $375
JAZZ GUITAR IIIn this fun and fast-paced continuation of
the concepts explored in Jazz Guitar I,
you'll dive into more complex harmonic
and melodic concepts, scales and chord
voicings, with lots of hands-on playing
time and personal guidance for everyone.
This course is designed for guitarists with
some jazz playing experience looking to
take their playing to the next level.
Prerequisites: Jazz Guitar I or equivalent; knowledge of scale and chord theory and some familiarity with jazz repertoire.
Wednesdays 8:15 – 9:45 pm4/11 – 6/6 (9 weeks)
Jeff Massanari • $375
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, but who have never
seriously practiced or studied music theory
or the guitar fretboard. Prerequisites: ability to play basic barre chords and some familiarity with playing scales. Students should bring a medium or heavy flat pick and be ready to learn how to use it!
Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28Danny Caron • $375
BLUES AND SWING GUITARLearn 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. Dive into
alternate chord cycles and rhythm playing
and 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 pm4/21 – 6/16 (9 weeks)
Danny Caron and Anthony Paule • $375
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 pm4/15 – 6/10 (9 weeks)
Ricardo Peixoto • $375
JAZZ GUITAR COMPINGThis hands-on course provides the
intermediate-to-advanced guitarist with
the tools, concepts and techniques
essential to creative and effective
contemporary comping.
Topics include:
• Comping over straight-ahead, bebop, modal, funk/fusion, ballads, contempo-rary jazz, Brazilian and Afro-Cuban styles of music
• Creative chord voicings — looking at the fingerboard and voicing chords in a more “pianistic” way; quartal harmony (clusters voiced in 4ths) in modal comping; the possibilities of dissonant intervals such as the minor 2nd; slash chords; tritone substitution; and upper-register chord voicings
• Rhythmic anticipation and syncopation: the “right” places to put chords, in order to create “forward motion;” comping in 3/4, 6/8 and odd meters.
Prerequisites: knowledge of chord/scale theory; ability to play major, dominant and minor seventh chords and the ii–V–I progression in all keys.
Thursdays 8:15 – 9:45 pm4/12 – 6/7 (9 weeks)
Steve Erquiaga • $375
Adult Instrumental Classes Adult Instrumental Classes
2018 Spring Quarter / April 9 – June 11 / cjc.edu
1918
HARMONICA
BEGINNING DIATONIC HARMONICAYou'll recognize the diatonic harmonica as
the small harmonica used in blues, rock,
folk and even jazz. In this course, you'll
learn how to hold the instrument, breathe
effectively, play chords, single notes and
bends and develop familiarity with song
forms such as the 12-bar blues and
3-chord folk, rock and country tunes.
Required text: Harmonica for Dummies,
second edition. Prerequisites: bring a 10-hole diatonic harmonica in the key of C
(contact [email protected] for info).
Saturdays 10 – 11:30 am4/14 – 6/9 (9 weeks)
Winslow Yerxa • $375
WOODWINDS
BEGINNING SAXOPHONEAn introduction to the saxophone utilizing
simple ensemble arrangements to get a
head start on fingerings, sound production
and reading in a fun and musical way. All
saxophones are welcome! Prerequisites: none, for complete beginners. Instructor consultation is required. Please call 510.845.5373.
Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28
Bill Aron • $375
BASS
BEGINNING BASSLearn the fundamentals of bass technique,
applicable to all styles of music.
Topics include:
• Tuning
• Getting a good sound
• Left and right hand technique
• Familiarity with the fingerboard
• Music reading fundamentals
• Introduction to walking bass lines,
bossa nova, jazz waltzes and ballads
• Equipment (basses, strings, amps)
Open to electric and upright bassists.
This course serves as a preparation for
the Jazz Bass course. Prerequisites: none, for complete beginners! Students must bring a bass to class.
Thursdays 4:45 – 6:15 pm4/12 – 6/7 (9 weeks)
Glenn Richman • $375
JAZZ BASSLearn a variety of essential techniques
for constructing strong jazz bass lines
on blues, jazz standards in 4/4 and 3/4,
modal tunes, rhythm changes, and ballads.
Techniques for soloing are also covered.
Perform bass lines in class each week with
piano accompaniment provided by the
instructor. Recommended for upright and
electric bassists interested in participating
in the Jazzschool’s ensemble program.
Prerequisites: intermediate technical facility and some ability to read music.
Tuesdays 6:30 – 8 pm4/10 – 6/5 (9 weeks)
Glenn Richman • $375
FUNK AND R&B BASS: new HISTORY, ANALYSIS, AND TECHNIQUEWhile the bass guitar plays an essential
role in nearly every popular music style,
it’s in funk and R&B where it perhaps
finds its most dominant expression. From
James Brown to Sly & the Family Stone
to The Meters to Parliament Funkadelic
to Tower of Power to D’Angelo and many
more, the bass has grounded and helped
define the music that’s made countless
heads bob and booties shake. In this
course, we’ll explore the history of funk
and R&B bass playing, examine its most
iconic players, and dive deep into the
techniques, tones, and tips necessary
to deepen your pocket and expand your
groove awareness.
Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28Jonathan Herrera • $375
Adult Instrumental Classes Adult Instrumental Classes
2018 Spring Quarter / April 9 – June 11 / cjc.edu
“The instructors provided lots of encouragement and a safe environment for the students to work through challenges and to take risks.”
glenn richman
20 21
DRUMS AND PERCUSSION
CREATIVE PERCUSSION new ENSEMBLEGot good pulse? Come join other drum-
mers and let's make some noise together!
We will explore fresh approaches to
percussion ensemble performance and
song structure with an eye towards
performing at the end of the quarter. Our
music will include fruit rhythms, improvisa-
tion, stick tricks, trades, rudiments, world
rhythms and alternative percussion
instruments. We will have focused fun
along the way. We will use drums,
cymbals, bells, shakers and wood blocks
from the American concert percussion,
Afro-Cuban, Brazilian, Asian and Middle
East traditions. Open to all levels.
Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28
Alan Hall • $375
DRILLS, RUDIMENTS AND new RITUALS FOR THE JAZZ DRUMMERMany students who’ve never dialed in a
disciplined practice routine wonder why
they feel limited or stuck in their creative
life. It is often through developing an
organized and disciplined practice regimen
that creativity can be unleashed. This
creative unleashing is the main goal of any
serious jazz musician. We will discuss what
kinds of drills, rudiments and rituals make
sense as musical, professional and personal
goals change and evolve. Alan will share
some of the rituals he has learned from his
teacher, the great Alan Dawson, in addition
to sharing some of his own approaches.
We will also discuss how you, the serious
student, can go about developing and
structuring your own set of routines.
Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28
Alan Hall • $375
RHYTHM TOUR OF BRAZIL new Best known for samba, Brazil has many
diverse and vibrant musical styles through-
out the country. In this class, we will learn
the percussion rhythms of the samba
school drum line, as well as other regions
of Brazilian percussion and see how to play
them in a jazz ensemble or band setting.
This includes bossa nova and samba from
Rio, Forró rhythms such as baião, côco and
forró from the northeast, congada rhythms
from Minas and the rhythmic connections
of the African diaspora that tie in Brazil,
Latin America and the U.S. Instruments
include pandeiros, conga drums, shakers,
tamborims, reco reco, triangle, caxixi, tan
tam, surdos, agogo, etc. etc. Bring your own instrument and instruments will be provided.
Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)
Ami Molinelli • $375
LATIN PERCUSSION I (SALSA, AFRO-CUBAN) Develop a strong foundation on each of
the primary Latin percussion instruments.
Learn effective technique on congas,
bongos, timbales, bells and auxiliary
instruments while studying many of the
Latin grooves typical of son, salsa, and
Latin jazz. The instructor also discusses
and demonstrates soloing techniques,
breaks, song forms and historical informa-
tion. Prerequisites: None, open to all. All instruments are provided for in-class use. Required texts: Progressive Steps to Syncopation for the Modern Drummer, Ted Reed; Stick Control: For the Snare Drummer, George Lawrence Stone.
Wednesdays 6:30 – 8 pm4/11 – 6/6 (9 weeks)
Omar Ledezma • $375
LATIN PERCUSSION II new(CAJÓN) This course is an expansion of Latin
Percussion I (Salsa Afro-Cuban), focusing
on the South American percussion
instrument, the cajón (Peru, Cuba, Spain),
and different rhythms. Class time includes
hands-on practice and clear demonstra-
tion and explanation of how all of the
various instruments work together in
Latin music ensembles and instrument set
up. Prerequisites: None, open to all. All instruments are provided for in-class use. Required texts: Progressive Steps to Syncopation for the Modern Drummer, Ted Reed; Stick Control: For the Snare Drummer, George Lawrence Stone.
Wednesdays 8:15 – 9:45 pm4/11 – 6/6 (9 weeks)
Omar Ledezma • $375
BRAZILIAN DRUM SETLearn the signature drum set grooves
of contemporary Brazilian music including
samba, baião, bossa nova and choro,
and the techniques used to play them.
Emphasis on gaining an authentic
Brazilian sound and feel. Highly recom-
mended for drummers interested in
joining one of the Jazzschool’s Brazilian
ensembles! Prerequisites: functional drum set technique.
Fridays 10 – 11:30 am4/13 – 6/8 (9 weeks)
Marcos Silva • $375
Adult Instrumental Classes
omar ledezma
2018 Spring Quarter / April 9 – June 11 / cjc.edu
THEORY AND IMPROVINTRODUCTION TO MUSIC THEORYLearn the basic skills needed to begin any
serious study of music. Topics include:
music notation, time signatures, key
signatures, rhythmic training, major scales,
intervals, transposition, chord structure,
harmonic progression, ear training and
an introduction to musical form and
composition. Required texts: Practical Theory Complete by Sandy Feldstein,
and Jazz Improvisation: A Pocket Guide
by Dan Haerle (available at the CJC
Bookstore). Prerequisites: none, open to all instrumentalists and vocalists.
Thursdays 8:15 – 9:45 pm4/12 – 6/7 (9 weeks)
Dave Len Scott • $375
BEGINNING JAZZIMPROVISATIONA friendly, supportive atmosphere in
which to practice the basics of jazz
improvisation. Start with the blues
then progress to jazz standards, learning
essential scales and chords, playing at
every session, trading licks, learning
patterns and building solos. Ideal for
classical players or anyone aspiring to
jam or perform with a jazz ensemble.
Vocalists welcome! Required text: Jazz Improvisation: A Pocket Guide by Dan
Haerle (available at the CJC Bookstore).
Prerequisites: facility on an instrument and ability to play all major scales from memory.
Thursdays 6:30 – 8 pm4/12 – 6/7 (9 weeks)
Dave Len Scott • $375
Theory, Improvisation, Composition
22 2018 Spring Quarter / April 9 – June 11 / cjc.edu
INTERMEDIATE JAZZ IMPROVISATIONThis course gives students a strong
foundation in the Great American
Songbook repertoire and the ability
to improvise over chord progressions
with correct notes and good phrasing.
Several compositions will be used as
vehicles to study basic chord structures,
scale structures and non-diatonic neigh-
boring tones. Emphasis is placed
on utilization of basic harmonic concepts,
thereby turning exercises into melody.
A step-by-step conceptual approach is
used and a new concept is added with
each new tune. Prerequisites: beginning Jazz Improvisation or equivalent.
Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Glenn Richman • $375
COMPOSITION ANDARRANGING
ARRANGING FOR SONGWRITERSThis new course provides a practical
overview of the various elements that go
into crafting a compelling song arrange-
ment. Whether orchestrating for cham-
ber ensemble, big band or acoustic guitar
and voice, the arranging choices we make
impact the listener’s perception of a
piece of music and can either help or
hinder the listening experience. Through
the exploration of arranging techniques
applied to numerous musical settings,
students gain a set of tools and listening
skills to help make better writing choices.
The goal of this course is to assist
arrangers in embracing a song’s intrinsic
qualities, providing methods for amplify-
ing its effect on the listener.
Thursdays 6:30 – 8 pm4/12 – 6/7 (9 weeks)
Nahuel Bronzini • $375
SONGWRITINGThis course is comprised of three main
elements. First, every week there is an
exploration of an important element of
songwriting: finding subject matter for
songs, lyric writing, melody composition,
how to combine words and melody,
constructing exciting chord progressions,
and song form. Second, tools are provided
for you to study the songs you love the
most so that you begin to learn directly
from your favorite songwriters. Lastly and
most importantly, a safe and inspiring
space is provided for you to receive
feedback on your original songs and
songs in progress. Over the nine weeks,
expect to learn a whole lot about music
from the particular perspective of how to
apply it to songwriting, to do a deep study
of a few of your favorite songs, and to
write 2–3 original songs.
Tuesdays 1 – 2:30 pm4/10 – 6/5 (9 weeks)
Rachel Efron • $375
23rachel efron
dave len scott
Adult Vocal Classes
24
Adult Vocal Classes
25
BEGINNING JAZZ SINGINGThe class was designed to help the singer
create a focused, relaxed, skilled, and
unique performance. You'll work on basic
musicianship starting with warm-up exer–
cises, improvisation skills, understanding
and singing in different “grooves,” and progress to finding new songs, ascertaining
the correct key, understanding song form,
preparing a leadsheet, and making practice
tracks. We’ll be joined midway through the
course by a professional pianist to further
develop the songs we’ve chosen by
working on sub-text, song interpretation,
communicating our intentions to an
accompanist, singing in different “feels”
including rubato, and setting up and
counting off songs. This class includes
an end-of-quarter performance. This is
a supportive and structured environment
for students with a burning desire to sing!
Mondays 4:45 – 6:15 pm4/9 – 6/11 (9 weeks) no class 5/28Cecilia Engelhart • $430
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
arrangements. The instructor will suggest
repertoire and help students find interesting
songs that are best suited for their voice
and ability. There will be a student perfor-
mance 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.
Section I: Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Cecilia Engelhart • $430
Section II: Thursdays 4:45 – 6:15 pm4/12 – 6/7 (9 weeks)
Andrea Claburn • $430
THE CONTEMPORARY JAZZ SINGER Focus on an array of creative jazz singing
skills including developing a unique
repertoire, communicating with the
rhythm section and creating arrangements
on the spot. Study phrasing, improvisation,
interpretation and work on developing a
personal sound. Rhythm section provided.
You are welcome to bring in songs of your
choice, write original lyrics or use material
provided by the instructor. Prerequisites: consent of instructor — telephone consultation required. Call 510.845.5373 for more information.
Thursdays 6:30 – 8 pm4/12 – 6/7 (9 weeks)
Andrea Claburn • $440
cecilia engelhart
Adult Vocal Classes
VOCAL TECHNIQUE
VOCAL TECHNIQUE ESSENTIALS Learn a variety of vocal exercises designed
to condition and strengthen your voice.
Range, intonation, breath management,
balancing vocal registers, body alignment,
vowel formation and dynamics are all
enhanced through technical exercises.
Applicable to all contemporary vocal styles.
Prerequisites: none, open to all!
Tuesdays 4:45 – 6:15 pm4/10 – 6/5 (9 weeks)
Sandy Cressman • $380
Adult Vocal Classes
PERFORMANCE jazz
FOR THE LOVE OF SINGINGLearn breathing and vocal techniques to
be applied to songs of your choice, while
making friends with the microphone and
learning basic performance skills. This
course is particularly suited for those who
may have temporarily put aside their
vocal dreams due to education, career
or family obligations. Open to all.
Saturdays 10 – 11:30 am4/14 – 6/9 (9 weeks)
Kyra Gordon • $430
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 development. Accompanist
provided. No previous experience required.
Wednesdays 4:45 – 6:15 pm4/11 – 6/6 (9 weeks)
Pamela Rose • $430
andrea claburn
2018 Spring Quarter / April 9 – June 11 / cjc.edu
SUMMER VOCAL INTENSIVE
Laurie Antonioli / Theo Bleckmann
August 6 – 11, 2018 10 am – 4:30 pm
For more information, see page 59
For auditions and more information
about our vocal programs please contact
our Vocal Chair, Laurie Antonioli,
[email protected] or 510.845.5373 ext 21
Adult Vocal Classes
27
SOUL TOWN — CLASSIC RHYTHM & BLUESIf you’re a fan of classic R&B, this class
is for you. Sing your favorite solo and
ensemble songs from the 60s and early
70s. Learn songs made famous by
Aretha Franklin, Etta James, Roberta Flack,
Sam Cooke, Otis Redding, Marvin Gaye,
Smokey Robinson, Sly & The Family Stone
and vocal groups such as The Temptations,
The Supremes, and the O’Jays. If center
stage is not your thing, you can develop
your background singing chops. Students
are encouraged to bring in sheet music of
their favorite songs in the appropriate key.
Focus areas: roots of soul music, proper
song and key selection, melodic phrasing,
improvisation, harmonizing, band leading
tips, preparation for live performance. The
instructor will accompany this class each
week. A rhythm section will be added for
the end-of-quarter performance.
Section I: Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)
Clif Payne • $440
Section II: Wednesdays 8:30 – 10 pm4/11 – 6/6 (9 weeks)
Clif Payne • $440
pop, blues and r&b
BLUES VOCAL FUNSHOP IFeel like singing the blues? Blues is the
most primal, powerful part of your soul
and singing it is more fun than you can
possibly imagine. Students will explore the
deep, authentic singing strategies of great
blues singers from Jimmy Reed to Bonnie
Raitt, while developing blues repertoire.
No prior music experience necessary.
Class is open to both the novice singer
looking for a supportive, fun, instructive
course, and to the more experienced
singer looking to gain insight and control
on the bandstand. Each class is taught by
Bay Area's own jazz/blues diva Pamela
Rose and accompanied by legendary
blues guitarist Danny Caron.
Wednesdays 6:30 – 8 pm4/11 – 6/6 (9 weeks)
Pamela Rose • $430
BLUES VOCAL FUNSHOP II — THE INS AND OUTSThis special 6-week skill-building course
is for the blues vocalist looking to
strengthen their skills in how to launch a
song, and how to land a perfect ending.
There are so many creative ways to
approach this often neglected skill set.
Each student will get much-focused
attention and practice time on repertoire
while learning new strategies and ideas.
Guitarist Danny Caron accompanies all
classes. Prerequisites: students must have taken Blues Vocal Funshop or receive permission from the instructor.
Wednesdays 8:15 – 9:45 pm4/11 – 5/16 (6 weeks)
Pamela Rose • $300
26
BACKDOOR BEBOPLearn the ins and outs of scat singing.
Topics covered include syllable choice,
understanding song form, selecting
tempos, working on articulation, story–
telling, rhythm and more. Learn classic
bebop repertoire including contrafacts
(new melodies over pre-existing chord
progressions), “trade fours,” and have fun
while developing a deeper understanding
of how to function confidently as a jazz
vocalist. Open to all levels.
Tuesdays 6:30 – 8 pm4/10 – 6/5 (9 weeks)
Azure McCall • $450
THE SINGER AND THE SONG:All the best jazz singers are master
musicians and storytellers. This class will
focus on developing our skills as singers,
artists and song interpreters. Topics
include choosing the right song; using
various grooves, tempos and arrange-
ments; learning and memorizing the
melody and lyrics; phrasing; improvisation
skills; communicating with an accompanist;
and stage presence. In this supportive and
challenging environment, students work
on these skills and create arrangements for
songs, culminating in an end-of-quarter
performance. Weeks 2 and 3 include a
professional accompanist, while the last
two classes and performance include a full
trio. For intermediate to advanced singers. Prerequisites: consent of instructor — tele-phone consultation required, 510.845.5373.
Sundays Noon – 3 pm5/13, 5/20, 5/27, 6/3, 6/10 (5 weeks)
Maye Cavallaro • $450
JAZZ AND CONTEMPORARY STYLESSing jazz and interpret songs from pop,
rock, r&b and other contemporary genres
in a jazz style. The instructor can recom-
mend songs and also coach students on
songs of their choice. Topics covered
include healthy vocal technique, arranging
techniques and chart writing. The class
concludes with a public performance!
For intermediate-level singers.
Mondays 8:15 – 9:45 pm4/9 – 6/11 (9 weeks) no class 5/28
Amanda Addleman • $430
JAZZ DUOS — BASS AND VOICE PERFORMANCE The dialogue between a vocalist and
bassist can be an intimate, creative and
exciting opportunity to stretch out and
create a personal sound. We’ll listen to
examples of great duos for inspiration,
such as Sheila Jordan and Harvie S., Nancy
King and Glen Moore among others. This
class provides a chance to dig deeper into
the music, listen to and communicate with
a bassist. Singers will work on vocal
technique, finding the correct keys, stage
presence, interpretation and developing
a personal style. Students will perform
weekly in class and learn the skills needed
to communicate and interpret songs in a
duo setting. Please bring a couple of tunes
to work on. Songs will also be provided.
There will be a final performance, open to
the public.
Thursdays 8:15 – 9:45 pm4/12 – 6/7 (9 weeks)
Daria • $440
Adult Vocal Classes
2018 Spring Quarter / April 9 – June 11 / cjc.edu
clif payne
Adult Vocal Classes
28
Adult Vocal Classes
29
latin
SALSA SINGINGLearn the style, rhythm and technique of
salsa vocal music while learning to play
Latin hand percussion instruments.
Instructor provides instruments like guiro,
maracas and claves to use each week. As
the term progresses, join forces with the
Salsa II instrumental ensemble (see page
12) as you work to develop a performance
set. Representative songs include “Tres
Días de Carnaval” (Celia Cruz), “La
Rebelión” (Joe Arroyo) and “Brujería”
(El Gran Combo). Prerequisites: previous singing experience or basic technique training. All songs are in Spanish but fluency is not required to participate.
Tuesdays 8:15 – 9:45 pm4/10 – 6/5 (9 weeks)
Edgardo Cambón • $380
BOSSA NOVA FOR JAZZ SINGERSThis fascinating course explores the
roots of Brazilian bossa nova and samba.
Instructor Sandy Cressman teaches singers
the signature rhythmic grooves of Brazilian
music as a foundation for the interpretation
of standard and not-so-standard bossa
novas. Vocal phrasing and Portuguese
pronunciation are also covered (in addition
to a few carefully chosen English transla-
tions). A pianist or guitarist accompanies
the class each week, and the course
concludes with an end-of-quarter
performance.
Tuesdays 6:30 – 8 pm4/10 – 6/5 (9 weeks)
Sandy Cressman • $430
world
THE IRISH SONG TRADITIONIrish music has enjoyed a resurgence of
popularity in recent years. In this class
students are introduced to a variety of Irish
songs exploring different styles, from slow
laments to songs of celebration, Celtic
chants to “lilting,” (“mouth music”), and
from sean-nós (old style) to modern Irish
traditional popular songs, and the songs of
the Irish diaspora. Students sing in English
and Gaelic, in both ensemble and individual
settings. Specific vocal techniques will aid
students in the exploration and expression
of Irish singing, such as tone, breathing,
ornamentation, and phrasing, while also
learning the historical significance and
cultural background of each song. Students
sing a cappella style, as well as with pro–
fessional accompaniment. Class concludes
with a concert in the Jazzschool Student
Performance Series. Prerequisites: none. Singers of all levels are welcome. Please note that Gaelic is taught phonetically.
Saturdays 1:30 – 3 pm4/14 – 6/9 (9 weeks)
Melanie O'Reilly • $430
YOUNG SINGERS
VOCAL PERFORMANCE FOR TEENS This is a fun course for teens, focusing on
solo singing and everything needed to put
on a great performance. Students receive
coaching on vocal technique and stage
presence, as well as receiving assistance
in finding the best song for their level and
interests. All genres welcome, from rock
to classical, anything goes!
Wednesdays 4:45 – 6:15 pm4/11 – 6/6 (9 weeks)
Kyra Gordon • $430
COMPOSITION
SONGWRITINGThis course is comprised of three main
elements. First, every week there is an
exploration of an important element of
songwriting: finding subject matter for
songs, lyric writing, melody composition,
how to combine words and melody,
constructing exciting chord progressions,
and song form. Second, tools are provided
for you to study the songs you love the
most so that you begin to learn directly
from your favorite songwriters. Lastly
and most importantly, a safe and inspiring
space is provided for you to receive
feedback on your original songs and
songs in progress. Over the nine weeks,
expect to learn a whole lot about music
from the particular perspective of how to
apply it to songwriting, to do a deep study
of a few of your favorite songs, and to
write 2–3 original songs.
Tuesdays 1 – 2:30 pm4/10 – 6/5 (9 weeks)
Rachel Efron • $375
ARRANGING FOR SONGWRITERSThis new course provides a practical
overview of the various elements that go
into crafting a compelling song arrange-
ment. Whether orchestrating for chamber
ensemble, big band or acoustic guitar
and voice, the arranging choices we make
impact the listener’s perception of a piece
of music and can either help or hinder
the listening experience. Through the
exploration of arranging techniques
applied to numerous musical settings,
students gain a set of tools and listening
skills to help make better writing choices.
The goal of this course is to assist
arrangers in embracing a song’s intrinsic
qualities, providing methods for amplify-
ing its effect on the listener.
Thursdays 6:30 – 8 pm4/12 – 6/7 (9 weeks)
Nahuel Bronzini • $375
Adult Vocal Classes
nahuel bronzini
2018 Spring Quarter / April 9 – June 11 / cjc.edu
30 31
Adult Vocal Classes Adult Vocal Courses Adult Vocal Classes
2018 Spring Quarter / April 9 – June 11 / cjc.edu
Learn how to take Center Stage like a pro from two of the Bay Area’s most respected professional vocalists/educators in this comprehensive development course!
“The Vocal Mentor Program with Maye Cavallaro gave me all the tools I needed to launch myself as a regularly gigging professional jazz singer. She covers everything: marketing, hiring & rehearsing the band, selecting material, developing arrangements, organizing set lists, wardrobe, stage presence and more — it is a very broad education. Having an experienced, supportive, friendly professional to guide me through the process was an invaluably helpful experi-ence. It requires a lot of time, effort and dedication, but if you want your singing to make the quantum leap from performing at open mics and recitals to owning the stage for an entire show, there’s nothing better out there.”
This program also includes:
• A professional sound technician
and quality live recording of your
performance
• Staff at the door and on-site during
the performance
• Guidance in marketing and
promotion, including how
to prepare publicity materials
• Inclusion in California Jazz
Conservatory advertising,
marketing and publicity
• A percentage of the door/ ticket sales
Laurie Antonioli / Maye Cavallaro • $850
Contact Vocal Chair, Laurie Antonioli, for
more information on how to apply for this
program: laurie @ cjc.edu, 510.845.5373
VOCAL MENTOR PROGRAM
CENTER STAGE — A Mentored Program for Concert Developmentwith Maye Cavallaro and Laurie Antonioli
Work through the process of presenting a full-length, public, professional-level
concert. Candidates work with their mentor over the course of three or four months,
preparing their concert by choosing songs, working out arrangements, deciding on
sequencing, and developing patter and stage presence. Lessons also include making
a budget, hiring and rehearsing musicians and developing a marketing plan.
Candidates will be most successful if they are advanced students who have some
performing experience in classes and workshops or in a professional environment.
A repertoire of 15 to 20 memorized songs in various styles is recommended. This is
a unique opportunity for singers to design a performance that reflects a personalized
artistic vision. Concert dates are available throughout the year.
32 33
Adult Vocal Classes
VOCAL WORKSHOPS
BASS AND VOICE DUO WORKSHOP with Kavita Shah and François MoutinThis workshop focuses on the possibilities
inherent in a duo performance setting
employing the intriguing combination
of bass and voice. Vocalists will work
on solidifying foundational skills and
expanding vocal technique. Bassists will
work on extending comping vocabulary
and will develop a singing approach to
bass playing, by strengthening the
correlation between what the bassist
hears and what the bassist plays.
Hailed by NPR for her “amazing dexterity for musical languages,” vocalist/composer Kavita Shah, a native New Yorker of Indian descent fluent in Spanish, Portuguese, and French, incorporates strands of Latin American, West African, and Asian folk music traditions into her original reper-toire. She has toured with her band throughout the US, Canada and Europe. Her debut album, “Visions,” co-produced by Lionel Loueke, was released in 2014 on
Adult Vocal Classes
sandy cressman
32 2018 Spring Quarter / April 9 – June 11 / cjc.edu
Greg Osby’s Inner Circle Music label to critical acclaim; Shah’s second album “Interplay,” due for release by Dot Time Records in February, 2018, is a program of standards in duet with bassist François Moutin with special appearances by pianist Martial Solal and Shah’s mentor, NEA Jazz Master Sheila Jordan.
François Moutin, a virtuosic bassist, was born in Paris and received a doctorate in physics at the age of 24, before choosing to become a professional musician. He was a member of the legendary Martial Solal Trio and, at 29, began co-leading the Quintet Moutin with his twin brother Louis, a project which later evolved into the Moutin Reunion Quartet. François has worked with such musicians as Jean- Michel Pilc, Randy Brecker, Dave Liebman, Toots Thielemans, James Moody, Terri Lyne Carrington, Michel Legrand and many others. www.moutin.com
Sunday, April 8, Noon - 3 pm$75 advance, $90 day of workshop
VOCALS AND PERCUSSIONwith Sandy Cressman and Ami MolinelliFundamentals of rhythm and vocals coor-
dinated together. We will take vocal warm-
up exercises and practice to different body
percussion grooves (Latin, Brazilian 3/4,
r&b, etc.) Instructors will explain the vari-
ous rhythms and unlock how to practice
while vocalizing. We will learn some basic
body percussion exercises that are great
practice techniques for vocalists. Also,
instructors will supply auxiliary percussion
that is appropriate for vocalists and make
recommendations on specific instruments.
We will learn lyrics in Spanish and Portu-
guese and how to play shakers, clave, and
tambourines. We will cover a bossa, samba,
cha cha, 3/4, 6/8, zydeco beat, baiao,
r&b, swing and learn basics of American
rhythms like hambone, juba, and swing.
Born in New York and raised in the Bay Area, Sandy Cressman began her career recording and performing with the vocal jazz group “Pastiche,” with whom she recorded several CDs and toured the U.S. and Japan. In the late 1990s, she followed her passion for Brazilian jazz and formed her group, Homenagem Brasileira. Sandy recorded two CDs with Homenagem Brasileira, and has toured the U.S., Europe and Brazil, performing with her group and collaborating with other Brazilian and Brazilophile musicians. Recently, Sandy performed as a special guest of SpokFrevo Orquestra on the Main Stage of Carnaval in Recife, Brazil. In 2017, Sandy released a new CD of all original Brazilian music composed in collaboration with a number of talented Brazilian musicians, recorded in Brazil and in the U.S. Throughout her career, Sandy has studied various methods of vocal technique, in order to improve as a vocalist and teacher. She created her own vocal technique, ConnectedVoice, which fuses voice development and ear training for the jazz singer.
Ami Molinelli is a professional percussion-ist and educator specializing in Brazilian and Latin percussion, especially the pandeiro. She is the co-leader of the Brazilian choro and jazz ensemble, Grupo Falso Baiano. Her extensive performance and recording credits include theater, television (NBC) and live performances with artists such as Luciana Souza, Jovino Santos-Neto, Mike Patton, George Duke, Allessandro Penezzi, Mike Marshall, Hamilton de Holanda, Teka, John Santos, and Michael Spiro.
Part I: Sunday, April 29, 2 – 4 pmPart II: Sunday, May 6, 2 – 4 pm
$120 for the 2-part workshop,
or $60 per workshop (advance);
$135, $75 day of workshop
françois moutin and kavita shah
Adult Vocal ClassesAdult Vocal Classes
34 35
Adult Vocal Classes
34
DISCOVERING JAZZ VOCAL STYLEwith Sandy CressmanFrom Billie Holiday and Sarah Vaughan
to Mark Murphy, Kurt Elling, Gretchen
Parlato and beyond, the various styles of
jazz singing cover a lot of territory. This
class explores several versions of the same
jazz standard as sung by a range of master-
ful singers, both classic and contemporary.
We will explore, sing, and absorb the musi-
cal and stylistic devices employed by these
great artists, and then each student will
have a chance to sing the tune with piano
accompaniment. Students gain new ideas
to help develop their own unique style of
jazz singing. Repertoire will be provided
in the class.
Sunday, April 15, 1 – 4 pm$50 advance, $65 day of workshop
INTERPRETATION AND PHRASINGwith Stephanie CrawfordIt’s not what you sing but how you sing it.
In this master class setting, students will
explore how the lyric informs the phrasing
and interpretation of a song. Each singer
should bring two songs in their key with the
appropriate sheet music. Open to all levels.
Stephanie Crawford’s consummate skill as a storyteller, arranger, and improviser has brought her worldwide recognition. She was the 1993 recipient of the prestigious French award “Django D’Or” for Best International Jazz Vocalist. From 1989 until 1996, Ms. Crawford was Professor of Jazz Vocals at Centre D'Informations Musicales (CIM) and Institute D'Art, Culture et Perception (IACP) in Paris, France. During her tenure, she nurtured and mentored numerous jazz vocalists from the burgeoning French jazz scene, while recording and performing to mesmerized audiences. Prior to her work in Europe, Ms. Crawford had received her Bachelor of Fine Arts degree from Wayne State University and subsequently studied Vocal Jazz Theory, Technique, Esthetics,
Performance, and Craft with jazz luminar-ies Barry Harris and Frank Foster at the Cultural Jazz Center, New York. During this time she performed throughout the East Coast in countless venues, from jazz clubs to major festivals and special events.
Sunday, April 22, Noon – 3 pm$75 advance, $90 day of workshop
stephanie crawford
CONNECTEDVOICE: VOCAL TECHNIQUE AND APPLICATION with Sandy CressmanThis workshop will explore the exercises
and principles of ConnectedVoice tech-
nique, which is a way of developing con-
nected and consistent sound from low to
high range, with a choice of dynamics and
colors. In the morning session, we will learn
exercises designed to work through vocal
transitions, connecting the speaking and
singing voice. These exercises also connect
voice development with ear training, using
various patterns based on jazz chords,
scales, and jazz vocabulary. After the lunch
break, we will learn how to apply the exer-
cises and techniques to songs. Please bring
in those problem songs! We will work both
as a group and individually, to pinpoint
solutions to individual vocal issues.
Sunday, May 20, 11 am – 4 pm$100 advance, $115 day of workshop
IMPROV ZOO: GAMES AND TOOLS FOR CREATIVE GROWTHwith Jennifer Jolly
For full desciption, see p. 53
Sunday, May 20, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
INSIDE THE LYRICS with Ed ReedMaster jazz vocalist Ed Reed guides stu-
dents through the art of interpreting a lyric.
Topics include pronunciation, breathing
and phrasing as suggested by the nature
of the lyric, as well as methods of commu-
nicating the story of the lyric to highlight
emotion, nuance and irony. An inspiration
to all he meets, Ed Reed leaves an indelible
impression. Students of all levels are wel-
come and each should be prepared to sing
a song of their choice, with a professional
accompanist. Open to all.
While Ed Reed has been singing since he was a child, he didn’t release his first album until 2006 at the tender age of 78. He’s
since released two others, including “I’m A Shy Guy” in 2013. Along the way, he’s gained recognition from DownBeat as Rising Star Male Vocalist five times from 2008–2013, and the prestigious Jazz Journalists Association named him Local Jazz Hero in 2011. Reed’s ability to get inside a lyric has been noted by numerous reviewers including DownBeat: “When Ed Reed sings, look for an intimate story every time… he establishes a connection to the lyrics and phrasing that is both beautiful and uncanny.”
Sunday, May 27, Noon – 3pm$75 advance, $90 day of workshop
STARDUST: THE MUSIC OF HOAGY CARMICHAEL with Maye Cavallaro
Part of the American Songbook Composer Workshop SeriesHoagland Howard “Hoagy” Carmichael
(1899–1981) was an American composer,
pianist, singer, actor, and bandleader. He
penned some of the most beloved tunes in
the American songbook including “Star-
dust,” “Georgia On My Mind,” “Skylark,”
“Lazy River” and many more. In this work-
shop we’ll explore and sing the beautiful
music of Hoagy Carmichael. We’ll also
listen to how some jazz greats have inter-
preted 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 arrange-
ment ideas. Lots of singing for all 3 weeks.
A warm, charismatic stage performer and accomplished musician, Maye Cavallaro has traveled extensively in Japan and the U.S., both performing and teaching. She has released several CDs as a leader and has been a favorite vocal instructor at the Jazzschool for many years.
3 Sundays, April 8, April 22, April 29, Noon – 3 pm$275 advance, $290 day of workshoped reed
352018 Spring Quarter / April 9 – June 11 / cjc.edu
Young Musicians ProgramYoung Musicians Program
36 37
PLACEMENT AND AUDITION REQUIREMENTS SPRING 2018
AUDITION MATERIALSEntering musicians are asked to prepare
two skill-level appropriate jazz standards,
improvise over a 12-bar blues (optional) or
rhythm changes (for high school students
only) and sight-read.
HOW TO SCHEDULE AN AUDITION To schedule an audition, please apply
online at: cjc.edu/youth_auditions
After your application is received, you will
be contacted within 1 – 2 weeks with an
audition time. Auditions are scheduled on
a first-come, first-served basis and will be
scheduled at the earliest available time.
Students will be contacted with placement
information following the audition.
AUDITION DATES: Ongoing
AUDITION BY VIDEO (OPTIONAL) Students have the option of submitting an
online video audition rather than scheduling
an in-person audition. Students submitting
their audition online are still required to fill
out an online application (see above). On
the application form, please select video
submission. Please note: online video submis-
sions are not available for the Studio Band
or Advanced High School Jazz Workshops.
INSTRUCTIONS FOR ONLINE VIDEO SUBMISSIONS
• Student should be clearly visible
and audible on the video.
• Perform two skill-level appropriate
jazz standards. Please state the name
of each piece before you play it.
• Download one of the two improvisation
tracks at cjc.edu/youth_auditions
for the improvisation portion of your
audition. Two choruses required.
• On the video, it is important that your
playing is heard louder than anything
else, including any accompanying tracks.
PIANO AND GUITAR PLAYERS Follow the above instructions with only
one change: after improvising, please
demonstrate comping/voicings on a
blues or rhythm changes.
DRUMMERSPlease demonstrate the following styles:
• swing, bossa nova, funk/rock
• Demonstrate each style at various
tempos (i.e., slow, medium, fast)
• On each style/tempo please “trade
fours” with yourself (4 bars of time,
4 bars of solo, etc.)
• Play at least 16 bars of each example
After you have completed your video,
upload your audition to YouTube and title
the video with your name (Example: John
Smith Jazzschool Audition). You should make
this a private video (unless you don’t mind it
being available to the public). Once the video
is uploaded, send a link to erik @cjc.edu. You may also upload the video to a private
website and email a link. Please do not
email audition videos as attachments.
For more information about the Jazzschool
Young Musicians Program placement process,
please visit cjc.edu/youth_auditions or
contact Program Director, Erik Jekabson,
[email protected] or 510.845.5373.
The Jazzschool Young Musicians
Program is a year-round,
comprehensive, music education
and performance program
designed for instrumental and
vocal students between the ages
of 11 and 18. The Young Musicians
Program has been at the center
of the Jazzschool’s educational
and artistic goals since 1997. Its
curriculum provides students
with the opportunity to work
with professional jazz artists
and educators, strengthening
performance skills, expanding
knowledge of jazz theory and
improvisation, and learning more
about the foundations of jazz
and related styles of music.
Students participate in after-school
classes and in master classes with
nationally known jazz artists, as
well as performing in venues
throughout the San Francisco
Bay Area and beyond.
2018 PROGRAM REQUIREMENTS
Jazzschool Young Musicians Program
ensembles require a commitment of
three quarters (fall, winter and spring).
Students unable to commit to a full
school year are still encouraged to
audition; however, priority will be given to
those who can remain in the program for
the entire school year. Students wishing
to audition mid-year will be placed in the
program based on availability of open
spots in ensembles and the student’s
ability level. Please note that, while it is
our mission to find a place for everyone
in our Young Musicians Program, we may
not be able to accommodate all students
who apply.
“The classes were very well thought out and the instructors did a great job easing the students into the music.”
2018 Spring Quarter / April 9 – June 11 / cjc.edu
erik jekabson
Jazzschool Young Musicians Program
38 39
What degree of jazz artist do you want to be?
The California Jazz Conservatory is the only
independent accredited school in America completely
devoted to the study and performance of jazz.
We offer two paths to your degree in Jazz Studies.
Both offer a 100% jazz relevant curriculum.
Both are taught by an effective faculty
of top jazz artists/educators.
Both offer a preeminent artistic and academic
experience in the center of the vibrant
Bay Area arts scene.
And both offer you the opportunity
to transform yourself,
from a burgeoning musician
to a respected artist.
Bachelor of Music Degree in Jazz StudiesA 4-year, 100% jazz-relevant degree program offering
unique optional areas of concentration in Brazilian Jazz,
North American Roots Music, and Audio Production
in partnership with Fantasy Studios.
Associate of Arts Degree in Jazz StudiesA 2-year program, offering the same effective faculty
and the same 100% jazz-relevant courses taught in
the first two years of our Bachelor program, but at
half the tuition investment and half the time commitment
to get you started in your career in jazz.
What degree of jazz artist do you want to be?
Contact our President and Dean, Susan Muscarella, to
find the best fit for you: [email protected] or 510.845.5373.
Our campus is located at 2087 and 2040 Addison Street,
Berkeley, CA, 94704 / 510.845.5373 / cjc.edu
In a musicianOut an artist
41
Young Musicians Program
40
HIGH SCHOOL JAZZ ENSEMBLE Gain a greater understanding of jazz
theory and develop improvisation skills
through the study and performance of
challenging jazz repertoire.
Section I: Mondays 4:45 – 6:15 pm 4/9 – 6/11 (9 weeks) no class 5/28Raffi Garabedian • $375
Section II: Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Colin Hogan • $375
Section III: Tuesdays 4:45 – 6:15 pm 4/10 – 6/5 (9 weeks)
Charles Hamilton • $375
Section IV: Wednesdays 4:45 – 6:15 pm4/11 – 6/6 (9 weeks)
Rob Ewing • $375
Section V: Wednesdays 6:30 – 8 pm4/11 – 6/6 (9 weeks)
Rob Ewing • $375
Section VI: Thursdays 4:45 – 6:15 pm4/12 – 6/7 (9 weeks)
Colin Hogan • $375
Section VII: Saturdays 11:45 am – 1:15 pm 4/14 – 6/9 (9 weeks)
Colin Hogan • $375
Section VIII: Saturdays 11:45 am – 1:15 pm4/14 – 6/9 (9 weeks)
Darren Johnston • $375
MIDDLE SCHOOL JAZZ ENSEMBLE Learn to play jazz and improvise while
covering a wide repertoire from John
Coltrane, Sonny Rollins, Eddie Harris and
other jazz masters.
Section I: Mondays 4:45 – 6:15 pm4/9 – 6/11 (9 weeks) no class 5/28Colin Hogan • $375
Section II: Wednesdays 4:45 – 6:15 pm 4/ 11 – 6/6 (9 weeks)
Erika Oba • $375
Section III: Thursdays 4:45 – 6:15 pm 4/12 – 6/7 (9 weeks)
Erika Oba • $375
Section IV: Saturdays 11:45 am – 1:15 pm4/14 – 6/9 (9 weeks)
Isaac Narell • $375
HIGH SCHOOL FUNK ENSEMBLELearn the classic funk hits of James Brown,
Sly Stone and others. Vocalists and horns
welcome! Music is learned by ear. Also open
to advanced middle-school musicians.
Section I: Saturdays 10 – 11:30 amSection II: Saturdays 11:45 am – 1:15 pm4/14 – 6/9 (9 weeks)
Joe Bagale • $375
VOICE
VOCAL PERFORMANCE FOR TEENSDelve into songs as a means of storytelling
while simultaneously developing a personal
connection to a lyric. All styles of music are
welcome and students are encouraged to
bring in songs of their choice. The instruc-
tor can also suggest repertoire suitable for
individual students. Build vocal technique
through a variety of warm-up, ear-training
and musicianship exercises.
Wednesdays 4:45 – 6:15 pm4/11 – 6/6 (9 weeks)
Kyra Gordon • $430
rob ewing
Young Musicians Program
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.
Please note that all ensemble
prices on pages 40 – 41 are
priced for the quarter.
large performance ensembles
STUDIO BANDDevelop technique, knowledge of jazz
style and an ability to improvise through
standard and contemporary big band
repertoire. This highly-selective ensemble
records at Fantasy Studios, performs
frequently and participates in competi-
tions throughout the U.S. The Studio Band
has played at Yoshi’s and Savanna Jazz,
as well as jazz festivals in California, New
York, Seattle, Idaho, the Vienne Jazz
Festival in France and the Montreux Jazz
Festival in Switzerland. Full school year
commitment is required. Instrumentation:
5 saxes, 5 trumpets, 5 trombones, guitar,
piano, bass and drums.
Mondays 6:30 – 8 pm4/9 – 6/11 (9 weeks) no class 5/28Dave Eshelman • $225
small performance ensembles
ADVANCED HIGH SCHOOL JAZZ WORKSHOP Explore the post-bop harmonic, melodic,
rhythmic and formal innovations of
Coltrane, Shorter, Corea, Hancock, Brecker
and others in this multiple DownBeat
award-winning ensemble. For advanced-
level high school student players,
competent in the bebop language.
Record at Fantasy Studios and participate
in various competitions and festivals.
Section I: Mondays 4:45 – 6:15 pm4/9 – 6/11 (9 weeks) no class 5/28Michael Zilber • $375
Section II: Mondays 4:45 – 6:15 pm4/9 – 6/11 (9 weeks) no class 5/28Erik Jekabson • $375
dave eshelman
2018 Spring Quarter / April 9 – June 11 / cjc.edu
42 43
WorkshopsWorkshops
The Jazzschool offers a variety of
short-term Workshops throughout
the year, available in single sessions
or as a series. Workshops are
taught by professional artists/
educators and focus on specific
approaches to strengthening
technical ability, understanding
and applying theoretical concepts
to improvisation, and enhancing
live performance skills, in addition
to other jazz-related topics.
CONNECTIVE TISSUES: THE ART OF THE RHYTHM SECTIONwith Pete MalinverniA discussion and demonstration of the
elements each member of the rhythm
section (piano, guitar, bass, drums)
should focus on in order to achieve a
cohesive, free and swinging collaboration
on the stage and in the studio. Jazz is a
collaborative art form in which the single
gifts of each participant must serve the
whole. This is a hands-on workshop open
to all rhythm section players!
Pianist Pete Malinverni has performed or recorded with a wide range of jazz luminaries including Joe Lovano, Vernel Fournier, Mel Lewis and many others. He appeared twice on NPR’s “Piano Jazz” with Marian McPartland, and many of his thirteen recordings as a leader have earned four-star reviews and inclusion on best-of lists in several publications including DownBeat Magazine. Pete is a Steinway Artist and serves as head of jazz studies at Purchase College Conservatory of Music in New York.
Sunday, April 8, 1 – 3 pm$30 advance, $45 day of workshop
EXPANDING OUR RHYTHMIC FREEDOM with Anton SchwartzHow many of us feel trapped by our own
rhythmic habits when we improvise? Our
rhythmic ideas fit neatly into the measures
like nicely stacked boxes. We know our
playing could be much freer and more
exciting, but we just can’t seem to find a
path to get there. Perhaps we’ve tried to
introduce polyrhythms into our playing but
find that things fall apart when we attempt
them. In this workshop, we’ll explore poly-
rhythmic elements and learn to assimilate
them in an incremental process, whereby
we can avoid the brain meltdown that
can come from attempting a new poly-
rhythm all at once. The result is a rhythmic
concept that is both freer and more solid.
Bring your instrument (optional).
Saxophonist Anton Schwartz has won critical acclaim for each of five albums released since 1998. He has performed across the country in major venues from the Monterey Jazz Festival to Yoshi’s, SFJAZZ, Blues Alley and the Blue Note in New York. See Anton’s bio at antonjazz.com.
Saturday, April 14, 3:15 – 5:15 pm$30 advance, $45 day of workshop
pete malinverni
BASS AND VOICE DUO WORKSHOP with Kavita Shah and François MoutinThis workshop focuses on the possibilities
inherent in a duo performance setting
employing the intriguing combination
of bass and voice. Vocalists will work
on solidifying foundational skills and
expanding vocal technique. Bassists will
work on extending comping vocabulary
and will develop a singing approach to
bass playing, by strengthening the
correlation between what the bassist
hears and what the bassist plays.
Hailed by NPR for her “amazing dexterity for musical languages,” vocalist/composer Kavita Shah, a native New Yorker of Indian descent fluent in Spanish, Portuguese, and French, incorporates strands of Latin American, West African, and Asian folk music traditions into her original reper-toire. She has toured with her band throughout the US, Canada and Europe. Her debut album, “Visions,” co-produced
by Lionel Loueke, was released in 2014 on Greg Osby’s Inner Circle Music label to critical acclaim; Shah’s second album “Interplay,” due for release by Dot Time Records in February, 2018, is a program of standards in duet with bassist François Moutin with special appearances by pianist Martial Solal and Shah’s mentor, NEA Jazz Master Sheila Jordan.
François Moutin, a virtuosic bassist, was born in Paris and received a doctorate in physics at the age of 24, before choosing to become a professional musician. He was a member of the legendary Martial Solal Trio and, at 29, began co-leading the Quintet Moutin with his twin brother Louis, a project which later evolved into the Moutin Reunion Quartet. François has worked with such musicians as Jean- Michel Pilc, Randy Brecker, Dave Liebman, Toots Thielemans, James Moody, Terri Lyne Carrington, Michel Legrand and many others. www.moutin.com
Sunday, April 8, Noon – 3pm$75 advance, $90 day of workshop
kavita shah and françois moutin
2018 Spring Quarter / April 9 – June 11 / cjc.eduanton schwartz
44 45
josh nelson
44 45
WorkshopsWorkshops
TELLING YOUR STORY — SOLO PIANO TECHNIQUES AND METHODS with Josh NelsonAcclaimed jazz pianist, composer, ar-
ranger and educator, Josh Nelson, will
discuss various styles and approaches
to solo jazz piano, and invite attendees
to perform their own short solo pieces.
He will explore concepts ranging from
daring harmonic substitutions to creating
rhythmic and melodic excitement within
a solo performance. Other topics include:
developing your own solo voice, utilizing
lyrical content in an instrumental setting,
and creating effective intros and endings.
Pianist Josh Nelson has performed with some of the most respected names in jazz, including Natalie Cole, Benny Golson, Sheila Jordan, Jeff Hamilton, John Clayton, Richard Galliano, Seamus Blake, Matt Wilson, Chris Potter, Dayna Stephens, Sara Gazarek, Lewis Nash, Greg Hutchinson, and George Mraz. Josh’s accolades over the years include the Louis Armstrong Award, the John Philip Sousa Award, and making the semi-final round in the prestigious 2006 Thelonious Monk International Jazz Piano Competition.
Saturday, April 14, 3:15 – 5:15 pm$30 advance, $45 day of workshop
DISCOVERING JAZZ VOCAL STYLEwith Sandy CressmanFrom Billie Holiday and Sarah Vaughan
to Mark Murphy, Kurt Elling, Gretchen
Parlato and beyond, the various styles
of jazz singing cover a lot of territory.
This class explores several versions of
the same jazz standard as sung by a
range of masterful singers, both classic
and contemporary. We will explore, sing,
and absorb the musical and stylistic
devices employed by these great artists,
and then each student will have a chance
to sing the tune with piano accompani-
ment. Students gain new ideas to help
develop their own unique style of jazz
singing. Repertoire will be provided in
the class.
Sunday, April 15, 1 – 4 pm$50 advance, $65 day of workshop
GETTING YOUR IMPROVISING INTO SHAPE: GUITAR IMPROVISATION WORKSHOPwith David BeckerLearn to use chord shapes — specifically
major, minor, diminished and augmented
triads — to build single line solos. Topics
covered include: utilizing chord shapes
to simplify playing over altered chords;
using chromatic notes to connect chord
shapes; and playing outside of the
changes. Prerequisites: knowledge of basic harmony and some facility on guitar.
Grammy-nominated guitarist, composer and producer David Becker has released 14 recordings, many topping the jazz and contemporary music charts. In 2005, Becker released a duo effort with guitar master Joe Diorio and has also performed with guitar greats Attila Zoller, Larry Coryell, John Abercrombie and Kenny Burrell. He has released three instructional books, Getting Your Improvising Into Shape, Playing in Shapes, and Rhythmic Motifs for Comping and Soloing.
Sunday, April 15, 2 – 4 pm$30 advance, $45 day of workshop
2018 Spring Quarter / April 9 – June 11 / cjc.edu
“I have taken two classes and learned so very much, that I recently registered for a third!”
david becker
sandy cressman
dan zemelman
4746
Workshops
RHYTHMIC AND HARMONIC IDEAS FOR JAZZ MUSICIANSwith Dan ZemelmanAn exploration of the fundamentals of
rhythm (using beat subdivision, patterns
and hand separation exercises) and har-
mony (going through harmonic principles
and exercises based on classical theory,
diatonic regions, voice leading, minor
4–1, Neapolitan 6th chords and more)
and applying these concepts to jazz.
Dan Zemelman is a leading Bay Area-based jazz pianist, composer and teacher. He has performed throughout the U.S. and Europe with Lee Konitz, Marcus Shelby, Richard Davis, Mads Tolling and others, in addition to leading his own trio.
Sunday, April 15, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
VOICE LEADING, TONAL HARMONY AND SUBSTITUTIONSwith Dan ZemelmanTopics covered include: Voice leading as
applied to chords and chordal movement;
tonal harmony workout — finding chord
voicings for all diatonic modes, then
finding V–I’s for each of those, using
voice leading; chord substitutions — a
harmonic approach — diminished theory,
minor IV, etc.; an alternative approach to
chord substitutions as taught by pianist/
educator Kenny Werner.
Sunday, April 15, 2 – 4 pm$30 advance, $45 day of workshop
2018 Spring Quarter / April 9 – June 11 / cjc.edu
INTERPRETATION AND PHRASINGwith Stephanie CrawfordIt’s not what you sing but how you sing
it. In this master class setting, students
will explore how the lyric informs the
phrasing and interpretation of a song.
Each singer should bring two songs in
their key with the appropriate sheet
music. Open to all levels.
Stephanie Crawford’s consummate skill as a storyteller, arranger, and improviser has brought her worldwide recognition. She was the 1993 recipient of the prestigious French award “Django D’Or” for Best International Jazz Vocalist. From 1989 until 1996, Ms. Crawford was Professor of Jazz Vocals at Centre D’Informations Musicales (CIM) and Institute D’Art, Culture et Perception (IACP) in Paris, France. During her tenure, she nurtured and mentored numerous jazz vocalists from the burgeoning French jazz scene, while recording and performing to mesmerized audiences. Prior to her work in Europe, Ms. Crawford had received her Bachelor of Fine Arts degree from Wayne State University and subsequently studied Vocal Jazz Theory, Technique, Esthetics, Performance, and Craft with jazz luminaries Barry Harris and Frank Foster at the Cultural Jazz Center, New York. During this time she performed throughout the East Coast in countless venues, from jazz clubs to major festivals and special events.
Sunday, April 22, Noon – 3 pm$75 advance, $90 day of workshop
THE METRONOME IS YOUR FRIEND with Paul MehlingReturning 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, April 29, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
HOT CLUB JAZZ GUITAR with Paul MehlingThis workshop focuses on various aspects
of hot club-style jazz guitar in the tradi-
tion 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 con-
clusion of the workshop (time permitting).
Bring your instrument, recording device
(or paper and pencil) and questions!
Guitarist Paul Mehling is the leader of the Hot Club of San Francisco.
Sunday, April 29, 2 – 4 pm$30 advance, $45 day of workshop
paul mehling
“This place is the best. I love it and we’re all SO lucky that the Jazzschool exists.”
48 492018 Spring Quarter / April 9 – June 11 / cjc.edu
ORIGINS OF LATIN JAZZ, THE CUBAN MELODIC/RHYTHMIC CONNECTION + RARE JAZZ INSTRUMENTAL AND VOCAL GEMSwith Larry VuckovichMaster jazz pianist and long-time
veteran of the Bay Area jazz scene, Larry
Vuckovich, returns to the CJC and pres-
ents the Origins of Latin Jazz melodies
and rhythms. Cuba played a major
role in both of these elements. La
Habanera rhythm pattern was used in
the 19th century by the French composer
Bizet. Further on, combined with Afri-
can rhythms and Cuban rhythmic and
melodic elements, this music developed
into a sophisticated jazz influential form.
Larry Vuckovich will bring out the music
of famous Cuban composers such as
Ernesto Lecuona and Osvaldo Farrés. He
will also include and present the styles
and developments of Cuban music that
followed later. Hearing and experiencing
the modern version of this music first-
hand at the famed Black Hawk club in
San Francisco, by the great band that Cal
Tjader had, left a strong impression. Cal
Tjader’s quintet was one of the top Latin
bands in the country, having such person-
nel as Mongo Santamaria on congas,
Willie Bobo on timbales/drums, Al
McKibbon on bass and Vince Guaraldi
on piano. In the second part of this work-
shop, rare instrumental and seldom-heard
vocal gems, that left an important mark
in this art form, will be presented. As
always, Larry Vuckovich will demonstrate
a number of examples on the piano and
invite the attendees to participate.
Larry Vuckovich gained first-hand knowl-edge from performances or recordings with many of the jazz greats including Dexter Gordon, Charles McPherson, Charlie Haden, Tom Harrell, Bobby Hutcherson, Tony Bennett, Joe Williams,
Jon Hendricks, Bobby McFerrin, Billy Higgins, Philly Joe Jones and Elvin Jones. Larry has been associated with several piano icons such as Bud Powell, Red Garland, Bill Evans, Barry Harris, Tommy Flanagan, McCoy Tyner, Chick Corea. He was the only student of Vince Guaraldi.
Sunday, April 22, Noon – 3 pm$30 advance, $45 day of workshop
larry vuckovich
SUPER CHOPS JAZZ GUITAR WORKSHOP with Mimi FoxLearn to play great jazz lines in the style
of Wes Montgomery, Pat Martino, Joe
Pass, and others while developing great
technique, aural skills, and sophisticated
vocabulary that can be added to your
musical palette. Focus on playing lines
everywhere on the neck in a logical
and musical way. For intermediate
to advanced students.
Internationally renowned guitarist/composer/recording artist Mimi Fox has been named a winner in 6 consecutive polls of international critics in DownBeat Magazine, and has been recognized by writers and colleagues alike as one of the most eloquent guitarists on today’s scene, as “a prodigious talent” by Guitar Player Magazine.
Mimi has performed/recorded with some of the music world’s most commanding players, including fellow guitarists Charlie Byrd, Stanley Jordan, and Charlie Hunter; Grammy-nominated saxophonists Branford Marsalis, David Sanchez, Houston Person, and the late Don Lanphere; vocalists Abbey Lincoln, Diana Krall, Kevin Mahogany, and Janis Siegel (Manhattan Transfer); B3 organ masters Joey DeFrancesco, Barbara Denerlein and Dr. Lonnie Smith; and powerhouse drummer, Terri Lyne Carrington. She has also performed with legends Stevie Wonder and John Sebastian and with Patty Larkin’s Vanguard Records– produced La Guitara project.
Saturday, April 28, 3:15 – 5:15 pm$30 advance, $45 day of workshop
Workshops
mimi fox
Workshops
“Mimi Fox is a passionate teacher and a great communicator.”
5150
WorkshopsWorkshops Workshops
STARDUST: THE MUSIC OF HOAGY CARMICHAEL with Maye Cavallaro
Part of the American Songbook Composer Workshop SeriesHoagland Howard “Hoagy” Carmichael
(1899–1981) was an American composer,
pianist, singer, actor, and bandleader. He
penned some of the most beloved tunes in
the American songbook including “Star-
dust,” “Georgia On My Mind,” “Skylark,”
“Lazy River” and many more. In this work-
shop we’ll explore and sing the beautiful
music of Hoagy Carmichael. We’ll also
listen to how some jazz greats have inter-
preted 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 arrange-
ment ideas. Lots of singing for all 3 weeks.
A warm, charismatic stage performer and accomplished musician, Maye Cavallaro has traveled extensively in Japan and the U.S., both performing and teaching. She has released several CDs as a leader and has been a favorite vocal instructor at the Jazzschool for many years.
3 Sundays, April 8, April 22, April 29, Noon – 3 pm$275 advance, $290 day of workshop
SCALES! with Dan ZemelmanAn exploration of some of the more
unusual scale options in jazz and beyond.
Modal scales, diminished scales, whole-
tone scales, minor scales (melodic minor,
etc), augmented scale, 9 note scale, Mes-
siaen modes of limited transposition and
more. Learn how to apply these scales
and how to practice them (using patterns,
rhythmic variance, 2 hand varieties).
Sunday, May 6, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
VOCALS AND PERCUSSIONwith Sandy Cressman and Ami MolinelliFundamentals of rhythm and vocals coordi-
nated together. We will take vocal warm-up
exercises and practice to different body
percussion grooves (Latin, Brazilian 3/4,
r&b, etc.) Instructors will explain the vari-
ous rhythms and unlock how to practice
while vocalizing. We will learn some basic
body percussion exercises that are great
practice techniques for vocalists. Also,
instructors will supply auxiliary percussion
that is appropriate for vocalists and make
recommendations on specific instruments.
We will learn lyrics in Spanish and Portu-
guese and how to play shakers, clave, and
tambourines. We will cover a bossa, samba,
cha cha, 3/4, 6/8, zydeco beat, baiao,
r&b, swing and learn basics of American
rhythms like hambone, juba, and swing.
Born in New York and raised in the Bay Area, Sandy Cressman began her career recording and performing with the vocal jazz group “Pastiche,” with whom she recorded several CDs and toured the U.S. and Japan. In the late 1990s, she followed her passion for Brazilian jazz and formed her group, Homenagem Brasileira. Sandy recorded two CDs with Homenagem Brasileira, and has toured the U.S., Europe and Brazil, performing with her group and collaborating with other Brazilian and Brazilophile musicians. Recently, Sandy performed as a special guest of SpokFrevo Orquestra on the Main Stage of Carnaval in Recife, Brazil. In 2017, Sandy released a new CD of all original Brazilian music composed in collaboration with a number of talented Brazilian musicians, recorded in Brazil and in the U.S. Throughout her career, Sandy has studied various methods of vocal technique, in order to improve as a vocalist and teacher. She created her own vocal technique, ConnectedVoice, which fuses voice develop-ment and ear training for the jazz singer.
Ami Molinelli is a professional percussion-ist and educator specializing in Brazilian and Latin percussion, especially the pandeiro. She is the co-leader of the Brazilian choro and jazz ensemble, Grupo Falso Baiano. Her extensive performance and recording credits include theater, television (NBC) and live performances with artists such as Luciana Souza, Jovino Santos-Neto, Mike Patton, George Duke, Allessandro Penezzi, Mike Marshall, Hamilton de Holanda, Teka, John Santos, and Michael Spiro.
Part I: Sunday, April 29, 2 – 4 pmPart II: Sunday, May 6, 2 – 4 pm
$120 for the 2-part workshop,
or $60 per workshop (advance);
$135, $75 day of workshop
2018 Spring Quarter / April 9 – June 11 / cjc.edu ami molinelli
“This place has improved the lives of thousands of people and created an incredible space for jazz music in the SF Bay Area! Thank you, Susan!”
53
“Ms. Jolly is an exceptionally gifted teacher. Her love of the music is obvious and contagious. I would study anything she taught!”
52
CONNECTEDVOICE: VOCAL TECHNIQUE AND APPLICATIONwith Sandy CressmanThis workshop will explore the exer-
cises and principles of ConnectedVoice
technique, which is a way of developing
connected and consistent sound from low
to high range, with a choice of dynamics
and colors. In the morning session, we will
learn exercises designed to work through
vocal transitions, connecting the speak-
ing and singing voice. These exercises
also connect voice development with ear
training, using various patterns based on
jazz chords, scales, and jazz vocabulary.
After the lunch break, we will learn how
to apply the exercises and techniques
to songs. Please bring in those problem
songs! We will work both as a group and
individually, to pinpoint solutions to indi-
vidual vocal issues.
Sunday, May 20, 11 am – 4 pm$100 advance, $115 day of workshop
THE LIFE AND MUSIC OF BILL EVANS — A Documentary Film Screening and Jazz Piano Master Class with Dave ThompsonAn in-depth look at legendary jazz pianist
Bill Evans’ life, music and influence on the
world of jazz piano. The workshop will
include a screening of the recently released
Bill Evans documentary, “Time Remem-
bered,” produced and directed by award-
winning CBS producer Bruce Spiegel. The
documentary will be followed by a hands-
on masterclass, with analyses of Bill’s own
pieces, and his harmonically rich approach
to standards, providing clear insight into
his compositional talents and a working
understanding of his remarkable ability to
create such compelling richness and beauty.
Dave Thompson has been playing and teaching for 30 years. He is currently presenting master classes on the life and music of Bill Evans at various venues in Northern California, Los Angeles, Cleveland, New York and abroad. During his time in New York he studied with George Shearing and Joanne Brackeen. He has also com-posed film scores and his most recent solo CD, “Introspect,” was released to critical acclaim including reviews by Mark Myers of jazzwax.com and the Wall Street Journal.
Sunday, May 13, Noon – 3 pm$30 advance, $45 day of workshop
jennifer jolly
IMPROV ZOO: GAMES AND TOOLS FOR CREATIVE GROWTHwith Jennifer JollyWe all improvise in daily life, and yet we
often feel stuck in musical ruts. We may
feel limited in our expression and afraid
of playing something that sounds wrong.
This interactive workshop offers a host
of fun, non-traditional improv games
for instrumentalists and vocalists at all
levels. Participants can expect to stretch
creatively and feel freer playing on their
own and with others. Games may include
body percussion, playing with prompts
and chance elements, free improvisation,
soundtracking, walkabouts, conducted
improvisation, and other experiences.
We will cultivate a collective sense of
play in our playing! Prerequisites: basic proficiency on your instrument. Materials provided by instructor.
CJC faculty member Jennifer Jolly teaches keyboards, New Orleans/Louisiana and world music ensembles, and improvisation at the CJC, clinics, camps, after-school programs, and her private studio. She cur-rently performs with Kotoja, Zulu Spear, The Jolly Gibsons, Big B & His Snake Oil Saviors, The Bait & Switch Blues Band, and several other Bay Area groups. She plays for choruses, churches, and musical theater productions on keyboards, voice, flute, and percussion.
Sunday, May 20, 11:30 am – 1:30 pm$30 advance, $45 day of workshop
WorkshopsWorkshops
INSIDE THE LYRICS with Ed ReedMaster jazz vocalist Ed Reed guides stu-
dents through the art of interpreting a lyric.
Topics include pronunciation, breathing and
phrasing as suggested by the nature of the
lyric, as well as methods of communicating
the story of the lyric to highlight emotion,
nuance and irony. An inspiration to all he
meets, Ed Reed leaves an indelible impres-
sion. Students of all levels are welcome and
each should be prepared to sing a song of
their choice, with a professional accompa-
nist. Open to all.
For Ed’s bio, see p. 35
Sunday, May 27, Noon – 3pm$75 advance, $90 day of workshop
Workshops
2018 Spring Quarter / April 9 – June 11 / cjc.edu
dave thompson
START PLANNING YOUR SUMMER!
The Jazzschool is proud to offer a range of summer camps and intensives for both adults and young musicians (middle school and high school age). These fun, immersive programs are a great way to jump-start your learning, by working closely with our talented instructors for a week or more. They also serve as the perfect forum for you to meet like-minded musicians from around the Bay Area and beyond. All of our camps and intensives conclude with a concert in the Jazzschool’s Hardymon Hall, open to public, free of charge.
Space is limited and each of these programs is certain to sell out! Early registration is highly recommended. Please see the following pages for details and check cjc.edu for the most recent program updates.
• Summer Youth Program 56
• High School Jazz Intensive 57
• Girls’ Jazz & Blues Camp 58
• Summer Vocal Intensive 59
Jazzschool Camps and Intensives
552018 Spring Quarter / April 9 – June 11 / cjc.edu
Marcos Silva
Group CJC Brazilian
Department Chair
Marcos Silva presents
an afternoon of original m
usic inspired by his Brazilian roots.
Jazzschool Young M
usiciansParticipants in our Young M
usicians Program
perform, led
by CJC Young Musicians
Program Director
Erik Jekabson.
CJC Blue and Green Ensem
blesFeaturing CJC’s advanced ensem
bles, students who excel in m
usicianship, artistic leadership and academ
ic excellence.
Jazz in the Neighborhood
Presents: W
il Blades / Scott Am
endolaW
il Blades and Scott Am
endola are the first artists in this weekly JITN showcase
at Fiddler Annex.
Montclair
Wom
en’s Big Band
This local treasure brings together som
e of the Bay Area’s best jazz wom
en in one of the W
est Coast’s m
ost formidable
ensembles.
Laurie Antonioli / Theo Bleckm
ann CJC Vocal Chair Laurie
Antonioli and CJC Artist-In-Residence
Theo Bleckmann
celebrate with an evening of contem
porary vocal m
usic with an all-star group.
Linda Tillery & The Cultural H
eritage Choir Featuring the rich m
usical traditions of African-Am
erican roots m
usic in a joyous evening of jazz.
Electric Squeezebox
Orchestra w
ith John Santos
Erik Jekabson leads this 17-piece big band
featuring many of the Bay
Area’s best players and arrangers, with special
guest John Santos.
Enjoy these Grand Opening Concerts from
the California Jazz Conservatory in our classic new venue,
Rendon Hall, located in our new
Jerry Fiddler Annex, 2040 Addison Street in Berkeley.
Tickets at cjc.edu or call 510.845.5373
Jazz in the Neighborhood concert series every Wednesday at 8:00 pm
($20; $10 for Students). Electric Squeezebox Orchestra (CJC resident ensemble)
every Sunday at 4:30 pm ($15; $10 for Students). ESO series m
ade possible in part by a generous contribution from Larry Dodge and Carol Shen.
Celebrate the Launch of Fiddler Annex with Our Grand Opening Concert Series!
$25
4:30 pm
2/25Sunday
$10
6:30 pm2/26
Monday
$25
8:00 pm2/27
Tuesday
$25
8:00 pm2/28
Wednesday
$25
8:00 pm3/1
Thursday
$25
8:00 pm3/2
Friday
$25
8:00 pm3/3
Saturday
$25
4:30 pm3/4
Sunday
yellow 18-2, purple c50 m
56 y25 k0 purple c50 m
56 y25 k0, yellow 18-2
seafoam 261-8, red 91-2
seafoam 261-8, yellow
18-2
gray-purple 137-8, red 91-2 gray-purple 137-8, orange 46-1
a zz california
conservatorya zz california
conservatory
a zz california
conservatorya zz california
conservatory
a zz california
conservatorya zz california
conservatory
HIGH SCHOOL JAZZ INTENSIVE
July 23 – 27, 201810 am – 4 pm
A Five-Day Intensivefor Advanced High School Jazz Instrumentalists!
Michael Zilber, Artistic Director
Six to eight advanced high school musicians are selected to work closely with top Bay Area jazz artists for a week of rehearsals, master classes and private lessons. Concludes with a performance at the school.
A departure from the typical one-instructor-to-an-ensemble model, the student group meets daily with a complete ensemble of seasoned professional musicians working to develop improvisation and arranging/composition skills in an intensive rehearsal format. Each participant receives a professional- quality recording of the concert!
Openings for all rhythm section instruments and horns.
See cjc.edu / hsji for a daily schedule of events.
Tuition • $795
For more information and audition pre-screening, please contact the Jazzschool at 510.845.5373 or email: erik@ cjc.edu
Dr. Michael Zilber is the director of the Jazzschool’s multiple DownBeat award–winning Advanced High School Jazz Workshop.
Students develop skills in ensemble playing, music reading, improvisation, instrumental technique, rhythm, jazz theory and more.
Tuition • $495 per week or $900 for both weeks
For additional information please contact Rob Ewing, Jazzschool Youth Program Director, at 510.845.5373 x 14 or email [email protected].
Please see cjc.edu / jsyp for complete details.
• Jazz Ensemble
• Funk Ensemble
• New Orleans Brass Band
• Visiting Clinicians
• Jam Sessions
• Jazz Theory
• Private Lessons
• Guest Performers
SUMMER YOUTH PROGRAM
Open to all instrumentalists entering 7th – 10th grades
Two Five–Day Sessions!
June 18 – 22 and June 25 – 29, 2018
Monday – Friday
9:30 am – 3 pm
All-camp performances each Friday evening at 6 pm
56 572018 Spring Quarter / April 9 – June 11 / cjc.edu
SUMMER VOCAL INTENSIVEAugust 6 – 11, 2018 • 10 am – 4:30 pm
A Five-Day Intensive Workshop with
Theo Bleckmann and Laurie Antonioli
GIRLS’ JAZZ & BLUES CAMPOpen to all instrumentalists and vocalists entering 6th – 12th grades
July 30 – August 3, 2018Monday – Friday 9:30 am – 3 pm
All-Camp Performance, Friday, August 3, 6pm
A supportive musical environment where girls have fun and develop self- confidence while honing improvisational, technical and ensemble skills. Directed by Jean Fineberg & Ellen Seeling, with an all-women faculty from the Montclair Women’s Big Band.
Tuition • $499 • Some financial aid available.For program information: [email protected] or leave message at 510.758.2200Registration: cjc.edu/girlsreg or call 510.845.5373
• Jazz Combo
• Blues & Soul Group
• Latin Ensemble
• Pop Vocal Group
• Rhythm & Blues Choir
• Jazz Big Band
• “My Life” Spoken Word Poetry
• Songwriting
• Theory & Improv
• Vocal Skills
• Percussion (joins Latin)
• One Private Lesson
• Lunchtime Open Jam
CJC Artist-in-Residence and Grammy-nominated ECM recording artist, Theo Bleckmann, joins CJC Vocal Chair, Laurie Antonioli, in a return of this popular annual, week-long workshop. As jazz singing today has expanded vastly in genres and styles, this unique intensive emphasizes the technical, creative and spiritual aspects of singing and performing and serves as a catalyst for artistic growth no matter where your path leads. Bleckmann and Antonioli will assist the students in their personal and musical development, opening doors to new ideas and encouraging possibilities. The intensive culminates with a perfor-mance open to the public, Saturday, August 11, at 8 PM.
Limit: 10 students (Open to intermediate
to advanced singers. International students
welcome! Contact [email protected])
Tuition • $950 (Refund Policy: Until July 1st, $100 of the $950 tuition fee is non-refundable. No refunds are allowed after July 1st.)
Learn to create,
perform and sing
in a distinctive
and authentic
style!
58 59
4–11 various times California Jazz Conservatory Student Performances Free*
27 Sun 4:30pm Vocal Jam $10
23 Mon 7:30pm Dave Eshelman’s Jazz Garden Big Band $25
18 Fri 8pm Masaru Koga Group $18
JU
NE
30 Sat 8pm Laura Dreyer and the Manhattan/Rio Connection $20
16 Sat 8pm Dick Conte Quartet: Annual $20 CJC Piano Scholarship Benefit
22 Fri 6pm Jazzschool Summer Youth Program Free* Concert Week 1
15 Fri 8pm Calle Ocho & Nuevo Mundo: $15 An Evening of Cuban Heart & Soul
3 Sun 4:30pm Blues Vocal Jam Free*
2 Sat 8pm Sam Priven: On Self-Care $18
AKIRA TANA LAURA DREYERCALLE OCHO
7 Sat 8pm François Moutin & Kavita Shah Duo $20
13 Fri 8pm Ratatet’s “Heroes, Saints and Clowns” CD Release $18
21 Sat 8pm Sherie Julianne Friedlander $18 and Marcos Silva Quartet
8 Sun 4:30pm The Pete Malinverni Trio $20 with John Wiitala and Akira Tana
14 Sat 8pm Peck Allmond: Eddie Marshall Tribute $20
6 Fri 8pm Azure McCall: Songs & Verses $20
20 Fri 8pm Danny Bittker: DannyBoyBlue $15
22 Sun 4:30pm Vocal Jam $10
AP
RIL
24 Sun 4:30pm Vocal Jam $10
26 Sat 8pm 5th Annual Benefit Concert: $20 Angelo Montesano Scholarship Fund
61
15 Sun 4:30pm SFEMS—Les Violettes: Render Unto Caesar: $20 Music from the Court of Leopold I, Holy Roman Emperor
27 Fri 8pm Susan Muscarella Trio $20
Information and Tickets:
cjc.edu/concerts
MA
Y
28 Sat 8pm California Jazz Conservatory Senior Project $18
29 Sun 4:30pm California Jazz Conservatory Senior Project $18
KAVITA SHAH DAVE ESHELMAN SUSAN MUSCARELLA
19 Sat 8pm Center Stage: Jon Rosenthal $15
25 Fri 8pm David Slusser: Stray Horns Play Sun Ra $15
1 Fri 8pm People Power Band $15
8–10 various times Jazzschool Young Musicians’ Program Free* Performances
12–16 various times Jazzschool Community Music School Free* Student Performances
29 Fri 6pm Jazzschool Summer Youth Program Free* Concert Week 2
* Your generous donations allow us to offer these free presentations.
CJC Concert SeriesJoin us in our new Rendon Hall in Fiddler Annex for our weekly series of concerts!
“Jazz in the Neighborhood Presents”A weekly showcase of local artists ($20/$10 for students)Every Wednesday night at 8:00 pm through June
Electric Squeezebox Orchestra Our 17-piece Resident Artist Big Band, led by Erik Jekabson ($15/$10 for students)
Every Sunday afternoon at 4:30 pm through JuneSupported by a generous donation from Larry Dodge and Carol Shen.
62 63
Amanda Addleman (voice) B.M. Performance from Berklee College of Music. Student of Mili Bermejo-Greenspan, Ken Cervenka, Greg Hopkins, Maggie Scott, Lee Strawn & Tierney Sutton. Professional musician with past residencies at The Palace Hotel, Savanna Jazz Club and more. Vocal Program Director at Sir Francis Drake High School and private music educator and clinician.
Laurie Antonioli (voice) Studied at Mt. Hood College and Cal State Long Beach. Chair, Vocal Program, California Jazz Conservatory. Professor and Director of Vocal Jazz Department, Kug U., Graz, Austria. Private studies with Joe Henderson, and Mark Murphy. Origin Records recording artist; Nabel Records recording artist; performed and recorded with George Cables, Bobby McFerrin, Richie Beirach, Pony Poindexter, Joe Bonner; bandleader of the American Dreams Band; led international group Foreign Affair; lyricist for Richie Beirach; co-creator of the Pauer— Antonioli Songbook. www.laurieantonioli.com
Bill Aron (saxophone) M.M. in Performance, SF State; B.A. in Music UC Berkeley. Professional musician and music educator for 46 years; specializing in classical saxophone playing with the San Francisco Saxophone Quartet and San Francisco Symphony among others.
Joe Bagale (drums) Eastman School of Music (1.5 years) currently lead vocalist, keyboardist, guitarist with Mickey Hart Band. Leads Joe Bagale band, performs with Jazz Mafia, Hot Einstein, Disappear Incompletely. www.joebagale.com
David Belove (bass) Studied at SF State and San Francisco Conservatory of Music. Recorded or performed with Pete Escovedo, John Santos and The Machete Ensemble, Danilo Perez, Tito Puente, Francisco Aguabella, Rebeca Mauleon, Ray Obiedo, Marcos Silva, Joe Henderson, Max Roach, Blue Mitchell, Eddie Harris, Mark Levine, Pat Metheny, Larry Coryell and Zakir Hussain.
Nahuel Bronzini (arranging)B.M. San Francisco Conservatory of Music, jazz studies at Escuela de Música Contemporánea and classical guitar at Conservatorio J.J. Castro (Argentina). Active music producer and arranger in the Bay Area music scene, having worked with groups and artists such as Tony Toni Toné!, Magik Magik Orchestra, Diana Gameros, D’Wayne Wiggins and Kendra McKinley. Board member for the Recording Academy SF Chapter and Committee member for AES SF Chapter. Nahuel works out of Airship Laboratories Studios in Richmond, CA. www.nahuelbronzini.com
Edgardo Cambón (percussion, voice) Bandleader for 26 years of the renowned salsa band “Edgardo & Candela.” Toured throughout South America, Europe, and Africa since 1986. LP (Latin Percussion Co.) endorser. Performed or recorded with Jesús “Chucho” Valdés (Irakere), Eddie Palmieri, Carlos Santana, José Luis “Changuito” Quintana, Orestes Vilató, Salsa Romántica Stars Jerry Rivera and Eddie Santiago, Keith Terry and “Crosspulse,” Omar Sosa, Jeff Narell, Andy Narell, Sovosó (formerly Bobby McFerrin’s “Voicestra”) Mike Spiro, Karl Perazzo and Rebeca Mauleón. www.musicandela.com
Danny Caron (guitar) B.A. in English and Music, Oberlin College and Conservatory; graduate of Howard Roberts Program, Guitar Institute of Technology, Los Angeles. Best known for being music director and guitarist for the legendary pianist and vocalist Charles Brown until his death in 2000. He has played and recorded with Van Morrison, Bonnie Raitt, Dr. John, Clifton Chenier, Donald Fagan, Hadda Brooks, Red Callender, and many others. www.dannycaron.com
Maye Cavallaro (voice) Advanced degree in Education, UC Santa Barbara; B.A. in English Lit, UC Santa Barbara. Fellow NY Cabaret Symposium; faculty, Blue Bear School of Music; private coaching, 25 years; producer, 8 recordings; bandleader, recording artist; awarded Best of the Year in Jazz by the San Francisco Chronicle; visiting clinician, St. John’s U.; graphic artist, web designer. www.teachingjazz.com
Andrea Claburn (voice)B.Mus (Jazz Studies) California Jazz Conservatory; BA (High Honors, Humanities) University of California at Berkeley. Producer/arranger, composer for album Nightshade (released January, 2017). Co-bandleader, Andrea Claburn/Jua Howard Group. Awarded the CA Jazz Conservatory’s Mark Murphy Vocal Jazz Scholarship (2010). Classically trained in piano and violin. Extensive experience as an instructor of vocal technique, performance, improvisation, and musicianship. Studied with Suzanne Pittson, Sandy Cressman, Laurie Antonioli, Raz Kennedy. www.andreaclaburn.com
Sandy Cressman (voice) Educated at UC Berkeley and San Jose State University; international performing and recording artist and clinician. Artist-in-Residence or lecturer at Jazz Education Network Conference, Cornish Institute of the Arts, San Francisco State University, CSU Long Beach, KUG University (Graz Austria), ASMM (Paris), Voice Conference Munich, JazzCamp West, Stanford Jazz Camp and California Brazil Summer Camp. Bandleader of critically acclaimed Homenagem Brasileira Quintet. Cressman has performed and recorded with Jovino Santos Neto, Marcos Silva, Weber Iago, Antonio Adolfo, and SpokFrevo. Cressmanmusic.com
Daria (voice)Education: SFSU/New College of California, B.A. Humanities/Early Childhood Music Ed.; A.A. Foreign Languages; International performing/recording artist, songwriter/educator. Performs with The Hot Licks and a capella trio, Dangerous Divas. Releases include “Strawberry Fields Forever — Songs by the Beatles” on Origin/OA2 Records; “Feel the Rhythm” on Jazz ‘m Up Records (own label). Performed and/or recorded with Dan Hicks, Bob Dorough, Dave Grisman, Elvis Costello, Diana Krall and others. Taught at CJC, Piedmont Piano, College of Marin, Blue Bear School of American Music and other locations. www.dariajazz.com
Rachel Efron (songwriting) B.A., Harvard U. (extensive coursework in both writing and music). Studied jazz piano with faculty at Berklee College of Music. Released three albums of original music and toured on both coasts. Bandleader of Rachel Efron Ensemble, which has performed locally at such venues as Yoshi’s, The Plush Room, The Independent, Freight & Salvage and Cafe Du Nord. www.rachelefron.com
Cecilia Engelhart (voice)Education: San Francisco Conservatory, Mannes College of Music. Has performed/recorded with a wide range of artists including: 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; has performed at Montreux Jazz Festival, Berlin Jazz Festival, North Sea Jazz Festival; performed and recorded with Bobby McFerrin, Joe Henderson, Les McCann, John Scofield, John Handy, David Byrne, Turtle Island String Quartet, Maria Schneider and Andy Narell; faculty, Jamey Aebersold Jazz Clinics; publications include Guitar Duets and arrangements from his CD Cafe Paradiso.
Dave Eshelman (trombone)From 1984 to 2007, Dave Eshelman served as Director of Jazz Studies at California State University, East Bay (formerly Cal State Hayward). Eshelman has performed extensively with many jazz groups in the Bay Area and has worked as a featured soloist in the big bands of Ray Brown, Joe Henderson, Tito Puente and Gerald Wilson. Various artists across the United States and Europe — such as Joe Henderson, Don Ellis, Bill Watrous, and Stan Kenton, the Swedish Radio Orchestra and the Airmen of Note — have performed his compositions and arrangements.
Rob Ewing (trombone) Jazzschool Director. Jazzschool Summer Youth Program Director. B.A., Naropa U.; 2 years, Berklee College of Music. Leader of Disappear Incompletely — The Radiohead Project. Performances with STS9, Marcus Shelby Orchestra, Vinny Golia, Latin Giants of Jazz, Ray Vega, Wayne Wallace, Graham Connah, Joe Bagale, The Barr Brothers, Les Gwan Jupons, John Schott’s Typical Orchestra, Jazz Mafia Symphony, Oakland Active Orchestra, Half of Half, Leslie Helpert, Rebecca Griffin, Naytronix. www.robewingmusic.com
Jazzschool Faculty
amanda addleman
Jazzschool FacultyJazzschool Faculty
2018 Spring Quarter / April 9 – June 11 / cjc.edu
Jazzschool Faculty
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Jazzschool Faculty
Jean Fineberg (saxophone, flute)M.Ed. in Secondary Education, B.S. in Science; B.A. in Arts & Sciences, Pennsylvania State U. Founder, leader of Deuce and Saxophunk; Assistant Director, composer, arranger, Montclair Women’s Big Band; toured and recorded with Melba Liston, David Bowie, Laura Nyro, Chic, Sister Sledge; consultant, San Francisco Arts Commission; NEA Jazz Fellow; recipient, ASCAP music composition awards, Meet The Composer grants; featured on Marian McPartland’s Piano Jazz on NPR.
Raffi Garabedian (saxophone)B.F.A. in Jazz Performance, The New School, NYC. Performs with Brass Magic, Raffi Garabedian Blues Band, and many others. Studies with Dann Zinn, Dayna Stephens, Mark Turner, Tony Malaby, Chris Cheek, Ben Street, & Bill McHenry.
Kyra Gordon (voice) Vocalist/B.Mus. in Jazz Vocal Performance, California Jazz Conservatory. Spent a year performing in Paris, France, at Les Carveau Des Oubliettes and The One Way. Performed with Martha High, Boney Fields, Lucky Peterson, Kenny Neal, and Vernon Bush with Taj Mahal. Soundtrack vocals for feature films “Owned” and “Bert.” Vocalist/keyboards with improvised hip-hop collective The Freeze, performing the Bay Area’s hit show “Mortified.”
Alan Hall (drums) Advisor/Associate Professor CJC Drum Program. former assistant professor at Berklee College of Music; lecturer at Cal State University East Bay; clinician; author; band leader composer for original sextet: Ratatet. Performed and/or recorded with Geoffrey Keezer, Ed Simon, Russell Ferante, Art Lande, Ernie Watts, Paul McCandless, Eddie Harris, Bruce Williamson, Rebecca Paris, Kai Eckhardt, Jimmy Haslip, Stuart Hamm; artist endorsement with Zildjian Cymbals, Vic Firth Sticks, Aquarian Accessories and Brooks Drums jazzdrumming.com.
Charles Hamilton (trombone)Leader of the Berkeley High School Jazz Ensemble for 28 years. Has performed with Joe Henderson, Fred Berry, Karlton Hester, Khalil Shaheed, Marcus Shelby, and Babatunde Lea. Created the San Francisco Bay Jazz Band at the invitation of the U.S. State Department, taking them to Asia twice (Vietnam and China). Recently released “Charles Hamilton and Beyond: Mr Hamudah” for Global Recording Artists. Currently directing the UC Santa Cruz Big Band. Received the National Foundation for the Advancement of the Arts “Distinguished Teacher in the Arts” Award.
Jonathan Herrera (bass) B.A. University of Southern California; Honors Graduate, Los Angeles Music Academy. 2012 Artist-in-Residence, Los Angeles College of Music. Current LACM faculty, teaching Synth Bass. Former Editor-in-Chief of Bass Player Magazine, current Senior Contributing Editor. Performed and recorded with Stanley Jordan, Brain, Oz Noy, Miguel Migs, Cathedrals, Jonas Hellborg, Cyrus Chestnut, MoeTar, and many more. Extensive international touring and clinic experience. Moog, MXR, DSI, Nordstrand, and Aguilar endorsing artist. Staff Producer and Studio B Chief Engineer, Airship Laboratories recording studios.
Colin Hogan (piano)B.A. Cal State East Bay. Performances with James Moody, Peter Erskine, Bob Brookmeyer, Roy Ayers, Maria Schneider and hip hop luminaries such as Too $hort, DJ QBert, Dan the Automator, and Lyrics Born.. 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)BA U.C. 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 Carcasses, Balawan, Faye Carol, Tuck and 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
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 Saxo-phone 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. Keyboardist, melodica player, vocalist, composer, and educator (keyboards, world music, improvisation). Specialty in New Orleans R&B, African, Caribbean, blues, soul/funk, rock, Americana, jam bands, country swing, Cajun/zydeco, groove/percussive and improvisational music. Currently performing with Zulu Spear, Babá Ken Okulolo & Friends, Big B and His Snake Oil Saviors, The Jolly Gibsons, and several reggae/ska, blues/ R&B, and Americana groups; frequent sub with Tom Rigney & Flambeau. Current accompanist for choruses, churches, and musical theater productions. Previous performance credits include Phil Lesh, Kotoja, Barbara Dane, and Hot Links. Long-time faculty instructor at the CJC, Cazadero Family Camp, after-school programs, and private studio. Secondary instruments include steel drums, flute, and percussion.
Bob Karty (piano) B.A. Biology, Reed College. Pianist, composer, recording engineer, producer. Performs with Ray Obiedo, Pete Escovedo, world-jazz sextet Tanaóra, Conjunto Karabalí (led by Michael Spiro & Santana percussionist Karl Perazzo). Founding member of Orquesta La Moderna Tradición, one of the few authentic charanga orchestras outside of Cuba, with whom he performed for over 15 years and recorded three albums. www.bobkarty.com
Omar Ledezma Jr. (percussion, voice) Diploma, Performance, Berklee College of Music 2003. B.S., Law School, Santa Maria University, Caracas, Venezuela 1995. Active local performer, teacher, GRAMMY-winning with Pacific Mambo Orchestra (2014) and world-class musician. Toured with renowned artists in USA, Europe and South America. Has participated in more than 45 recordings, DVDs and books. Omar is Pearl, Soultone, Pinchclip artist. Omarledezmajr.com
Dave Le Febvre (saxophone) Recipient of an NEA Grant for Jazz Education. Dave has recorded 6 albums as a bandleader and has performed at many Bay Area Jazz Festivals and in Europe. Musicians who have recorded or performed in Dave’s group include Billy Childs, John Patitucci, Clay Jenkins, Dave Crigger, Eddie Marshall, Seward McCain and many others. Dave’s big band compositions have been performed by Freddie Hubbard, Richie Cole, and the BBC Big Band. www.jazzwest.com/davelefebvre
Jason Levis (percussion) Ph.D. and M.A. in Composition, UC Berkeley; B.A. in Music, Naropa University. Two-time Meet the Composer award recipient; Eisner Prize for Music winner; Outstanding Graduate Student Instructor (UC Berkeley); Interaktion Festival finalist (Berlin), drummer and composer Jason Levis has led and collaborated in numerous jazz, improvised music, and chamber ensembles in the San Francisco Bay Area and Berlin, Germany. These include the Heftpistole Chamber Ensemble; duo B.; Married Couple; DRY; live dub-reggae ensemble Joseph’s Bones; the Echo Chamber Ensemble; most recently the Berlin Boom Orchestra, and many more. www.jasonlevismusic.com
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
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Jazzschool Faculty
Daniel Lucca Parenti (bass) Performance experience with many jazz legends including Concord Jazz Recording Artists Rosemary Clooney, Michael Brecker, and Lionel Hampton. With Rosemary Clooney, Daniel participated on Two Grammy Nominated Albums. He has released seven full-length original albums under his Original Project D-Lucca. He continues to perform with many well-known Bay Area Artists including Sheila E, Pete Escovedo, Tommy Igoe, Rodney Franklin, and more.
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,” “Hiding In Plain Sight” and “You Don’t Know Nothing,” the latter with soul singer Frank Bey. Has performed at festivals including Monterey Jazz, Umbria Jazz, San Francisco Blues, Mississippi Valley Blues, Du Maurier Jazz, Waterfront Blues, S.F. Jazz, Atlanta Olympic Games. www.anthonypaule.com
Clif Payne (voice) Evershift recording artist, international concert vocalist, vocal coach. Payne’s debut solo album — “Welcome To My World” — was released in 2016. Discovered by Bobby McFerrin, Clif has performed or recorded with Freda Payne, Bobby McFerrin, Bill Champlain, Lenny Williams, Evelyn “Champagne” King, Norman Connors, and Harvey Mason. He has opened for Tony Bennett, Johnny Mathis and Dionne Warwick and shared the stage with Dianne Reeves, The Commodores, Lionel Richie, Lakeside and Sheila E. www.clifpayne.org
Ricardo Peixoto (guitar) Native of Rio de Janeiro, graduated from Berklee College of Music, studied with Pat Metheny. Also studied classical guitar with George Sakellariou at SF Conservatory. Adventure Music recording artist, composer, arranger, has performed nationally and internationally with Claudia Villela, Terra Sul, Carlos Oliveira, Airto, Flora Purim, Guinga, Dori Caymmi, Bud Shank, Dom Um Romão, Claudio Roditi.
Debbie Poryes (piano) National and international performing artist including Yoshi’s, Healdsburg Jazz Festival, Bim House and Concertgebouw in Amsterdam, New Morning in Paris, Quasimodo in Berlin, released several albums as a leader, received four-star Downbeat review for her latest 2017 trio CD, “Loving Hank,’ studied at UC Berkeley and Hilversum Conservatory in the Netherlands: has a teaching credential in Jazz Studies, Netherlands; was a tenured faculty member for 7 years in 2 Dutch music conservatories, Hilversum and Arnhem; toured with John Clayton Big Band; 40 years private instruction in jazz piano and jazz/classical theory; faculty member Stanford Jazz Workshop. debbieporyes.com
Jeff Massanari (guitar) Four years performance and composition coursework at Berklee College of Music. Performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Jeff has released four albums under his own name and is featured on numerous others. jeff-massanari.com
Azure McCall (storyteller) After releasing her first CD, Azure was asked by the great bassist Ray Brown to be his vocalist on tour. Azure later became the first singer to work with Freddie Hubbard’s band. Additional collaborators include Frank Morgan, Tennyson Stephens, Joe Lovano, Geoffrey Keezer, Curtis Lundy, and Dizzy Gillespie. In 2008, President Barack Obama asked her to perform at his pre-election party. Azure became the ‘jazz diva’ for Celebrity and Royal Caribbean Cruises.
Ami Molinelli (percussion) MFA Cal Arts. Co-leader of Grupo Falso Baiano. Performance and recording credits include Luciana Souza, Hamilton de Holanda, Jovino Santos Neto, Danilo Britto, Nilson Matta, Romero Lubambo, Jai Uttal, George Duke.
Isaac Narell (saxophone)BFA 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 arrange-ments 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
Melanie O’Reilly (voice) BA in Arts, Brendan Smith Theater Academy, Dublin. Internationally performing singer-songwriter, bandleader and recording artist; awarded “Best Of the Bay Area” by East Bay Express in 2007; host of “Jazz on the Bay,”for RTE Radio 1, winner of PPI Radio Award for Music Specialist Program of the Year; chosen as one of Ireland’s foremost jazz ambassadors by Downbeat.
Jackie Rago (percussion)B.A. Music and Arts Institute of SF, artistic and musical director of the Venezuelan Music Project and a founding member of the VNote Ensemble (formerly The Snake Trio) bands, which she travels and performs with on an ongoing basis. She was also a founding member of Altazor (Nueva Canción ensemble), Wild Mango (world beat music), Keith Terry & Crosspulse (world percussion) and Trio Altamira (contemporary Latin American music). www.jackelinerago.com
Glenn Richman (bass) Mannes School of Music (1 yr); Berklee College of Music (2 yrs). Advisor, Jazzschool Bass Program; student of Buster Williams, George Mraz and Mike Longo; performed with Bobby Hutcherson, Jon Hendricks, Dave Liebman, Chet Baker, Benny Green, Dakota Staton, Chris Connor, Tom Harrell, Eddie Henderson, John Hicks, Mike Clark, Jack Wilkins, Billy Hart, Larry Willis, George Coleman and Mickey Roker; faculty, Brubeck Institute, UC Berkeley and Chabot College. www.glennrichman.com
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 and 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 nationwide, and resulted in the publication of a book on the topic. www.pamelarose.com
Dave Len Scott (trumpet) M.A. in Trumpet Performance, U. of Northern Colorado; B.A. in Instrumental Music, U. of Michigan. National performing and recording artist, jazz, classical idioms. Performs with: Glide Memorial Church Change Band; Brass Monkey Brass Band; TRUMPETSUPERGROUP (founder); Dave Scott Jazz Quartet. Currently adjunct faculty at Sonoma State University (Instructor of Trumpet); Berkeley City College (Humanities Department/Jazz History); and San Francisco State University (Brass Methods, Jazz Arranging). www.davescott.org
Ellen Seeling (trumpet)B.M. in Jazz Studies, Indiana U. Composer, arranger and recording artist. Founder and Director, Montclair Women’s Big Band; featured on Marian McPartland’s Piano Jazz on NPR and Grammy Foundation; performed with Thad Jones/Mel Lewis Big Band, Joe Cocker, Ray Barretto, Patti LaBelle; consultant, San Francisco Arts Commission.
Marcos Silva (piano) Adviser, California Jazz Conservatory Brazilian Program. National and international performing and recording artist, composer, arranger, producer, educator; performed with Leny Andrade, Emilio Santiago, Marcio Montarroyos, Jon Lucien, Claudio Roditi; Music Director, arranger, keyboards for Flora Purim, Airto, Toninho Horta, Paquito D’Rivera, Bud Shank, Ricardo Silveira, Dori Caymmi, Nana Caymmi, Danilo Caymmi, Edu Lobo, Joyce; leader, Marcos Silva and Intersection. www.marcossilva.com
Jeanne Walpole (piano) M.A. in Music Theory, San Francisco State U.; M.A. Studies in Piano Manhattan School of Music; B.A., Smith College: studied with Dick Hindman 1990–2003; Pianist, Nordstrom.
Winslow Yerxa (harmonica) Author of Harmonica for Dummies, advice columnist at Bluesharmonica.com, and president of the Society for the Preservation and Advancement of the Harmonica. Over 30 years experience in a wide variety of styles. Performs with SF Harmonica Ensemble and Tuula Tossavainen. www.winslowyerxa.com
Michael Zilber (saxophone) Ph.D. in Composition, NYU; M.M. in Composition, Tufts U.; B.Mus. in Composition, New England Conservatory. Currently co-leads a quartet with guitar great John Stowell, and is completing a recording project in New York with Mike Clark, James Genus and Rachel Z. Co-led a group with drumming legend Steve Smith for 8 years. Has performed, toured or recorded with everyone from Dave Liebman to Dizzy Gillespie, including Miroslav Vitous, Bob Berg, Eddie Henderson, Fareed Haque, Geoffrey Keezer, Donald Harrison, John Handy, Dave Douglas, Barry Finnerty, Bruce Barth, and Clarence Penn. www.michaelzilber.com
Jazzschool Faculty
2018 Spring Quarter / April 9 – June 11 / cjc.edu
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Board and Staff
BOARD OF DIRECTORS
Tyler Johnston, Chairman
Susan Brand, Vice Chairman
Richard A. Lyons, Secretary
Neil Rudolph, Treasurer
Steve Baker
Clifford Brown, Jr.
Charles Charnas
James Ellis
Jerry Fiddler
Rita Hargrave
John Moss
Susan Muscarella
Gregg Perloff
Jerry Povse
Jim Reynolds
M. David Sherrill
Judy Walters
Kevin Whitman
Michael Yovino-Young
DIRECTORS EMERITUS
Denny Abrams
Sherie Friedlander
Sy Grossman
Vaughan Johnson
James J. Keefe
Bert Lubin
Larry Marcus
Ernie Mieger
Amy Orton
John Papini
Walter Riley
Danny Scher
Michael Zaninovich
ADVISORY BOARD
Tom Carr
Carole Davis
Paula Forney
Benny Green
Charles Hamilton
Stacey Hoffman
Mark Levine
Jason Olaine
Patricia Phillips
David Ring
Jayne Sanchez
Chuck Sher
Merrilee Trost
Wayne Wallace
Peter Williams
PROGRAM STAFF
Susan Muscarella President and Dean of Instruction, California Jazz Conservatory (CJC)
Rob Ewing Director, Jazzschool
Laurie Antonioli Chair, CJC Vocal Program Director, Jazzschool Vocal Program
Erik Jekabson Director, Jazzschool Young
Musicians Program
2018 Spring Quarter / April 9 – June 11 / cjc.edu
ADMINISTRATIVE STAFF
Bill Aron Business Manager
Jesse Rimler Registrar and Custodian of Records, California Jazz Conservatory
Karen Shepherd Director of Financial Aid, California Jazz Conservatory
Zack Mondlick Assistant to the Dean, California Jazz Conservatory
Alejandra Carrasco-Zanini Assistant to the Director, Jazzschool
Samuel Priven Program Coordinator
Julie Birch Data Manager/ Systems Administrator
Paul Fingerote Marketing and Public Relations Director
Sheryl Lynn Thomas Digital Marketing Manager
Hollis Ashby Communications Consultant
Mary D’Orazi Development Associate/ Concert Booking Manager
Lauren Adams Development Consultant
Max Hodes Operations Director
Kim Nucci IT Systems Administrator
Technical Projects Director
Michael Golds, Aaron Hipschman and Alex Shapiro-Romano Operations Staff
Tatyana Dimitrova-Pelov House Manager
Lee Brenkman Sound Technician
Robert Sope Piano Technician
Poulson Gluck Design Graphic Design
Chris Hardy Photographer
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tyler johnston, cjc board of directors chair
70 Call 510.845.537370 Call 510.845.5373
Instructions and Application
To enroll in the Jazzschool
Spring Quarter, please read
these important instructions!
For courses that don’t require an audition or consultation, sign up online
at cjc.edu or complete the application
on page 71 and submit it along with full
tuition. Students may register online,
by phone (510.845.5373), mail, fax
(510.841.5373) or in person. Enrollment
is on a first-come, first-served basis
and cannot be guaranteed without full payment. Students applying for
courses that are full may be placed
on a waiting list. The Jazzschool
accepts checks (made payable to
California Jazz Conservatory), cash,
VISA, MasterCard or Discover.
Payment plans are available.
To register in courses requiring a consultation or audition please
call at 510.845.5373 for assistance
with placement.
PERFORMANCE ENSEMBLESAdmission is based on a confidential,
friendly 20-minute placement audition
to determine where students are best
suited to play or sing. Placement auditions
address students’ overall musicality,
technical ability, stylistic preference(s)
and availability.
Please fill out the online
ensemble application form
at cjc.edu/ensemble or call
the Jazzschool to schedule
an appointment (510.845.5373).
Please note: With the exception of the
Fall Quarter, students previously enrolled
in a performance ensemble have the
option of re-enrolling in that same course
again on a consecutive quarterly basis
within the academic year without having
to re-audition. New students wishing to
enroll in a performance ensemble in
winter, spring and/or summer quarters
must schedule a placement audition
or telephone consultation and will be
accepted on a parts-available basis.
JAZZSCHOOL FACULTY AND COURSE SCHEDULESGiven prestigious national and interna-
tional performance and/or lecture
opportunities that arise, Jazzschool
faculty, course offerings and/or class
schedules may be subject to change.
If these or similar circumstances arise,
the Jazzschool will make every effort to
provide its students with the optimal
educational experience possible.
REFUND POLICYCourse and ensemble tuition includes a
$50 non-refundable deposit. Requests to
drop must be received in writing within 48
hours of the first class meeting to qualify
for a refund; please visit the main office or
e-mail [email protected] to request a refund.
Refunds for remaining tuition are not
possible after the 48-hour drop deadline.
$100 per week of camp and intensive
tuition is non-refundable; the remainder
is refundable only until 30 days prior
to the start of the program. Tuition for
workshops is non-refundable. No excep-
tions please! Please note: Refunds may
take up to 30 days to process. Please visit
cjc.edu/policies for more information.
Enroll online at cjc.edu or call 510.845.5373
Please read instructions on facing page before completing application form.
Name (print) ____________________________ ____________________________________________
Address __________________________________________________________________________ Street City/State Zip
Home phone ( ___ ) _____________________ Work phone ( ____ ) ______________________
Cell phone ( ___ ) ________________________ Email __________________________________
Instrumentalist — list instrument(s) played and years studied/performed:
_____________________( ) _____________________( ) _________________________( )
Vocalist — years studied/performed: ____ new student ____ returning student
I will enroll in (list by class title; see class listings):
1. _____________________________________ 2. _____________________________________
3. _____________________________________ 4. ______________________________________
How did you hear about the Jazzschool? _____________________________________________
For courses requiring audition or consultations, please call the Jazzschool prior to submitting your application at 510.845.5373
Please enclose full tuition for all courses. Note: Enrollment cannot be guaranteed without full payment.
Charge my tuition to: ____ VISA ____ MasterCard ____ Discover
Card #_____________________________________________________ Exp. date _____________
3-digit security code ___________
Signature of cardholder ____________________________________________________________
Name as It appears on card _________________________________________________________
San Pablo Ave
Fulton
Ashby
College Ave
580
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
70 7171
University Avenue
2087& 2040
P
72
We invite you to make your mark on our future and the future of jazz with a contribution to
the California Jazz Conservatory.
You can add your name to a variety of opportunities.
We have multiple scholarship funds, offering you opportunities to support one or more of our
education and performance programs.
And, we are pleased to introduce a number of ways in which your company or organization
can join us in partnership.
If you’d like to learn more about how you can help CJC, please contact Mary D’Orazi ([email protected]).
If you’d like to learn more about how CJC can help your company or organization, please contact
Paul Fingerote ([email protected]).
For more information about supporting CJC, please visit our website at cjc.edu/support.
You’ll also find a list of contributors on our website.
We thank you and all of our donors for supporting our future and the future of jazz!
Make your mark on our future and the future of jazz!
72
Your contribution will ensure that our future and the future of jazz is in good hands!
Make your mark on our new Fiddler Annex —
support our future and the future of jazz!
Support an artist or a special cause like the Dick Conte Piano Scholarship with your contribution!
Reach thousands of prospects year-round with your company’s message!
NO
N-P
ROFI
TO
RGA
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ATIO
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U.S
. PO
STA
GE
PAID
BERK
ELEY
, CA
PERM
IT N
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IN H
OM
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cjc.
edu
2087
Add
ison
Stre
etBe
rkel
ey C
A 94
704
510.
845.
5373
info
@ cj
c.edu
JA
ZZSC
HO
OL
SPRI
NG
QU
ARTE
R 20
18
April
9 –
June
11
• In
stru
men
tal a
nd V
ocal
Cla
sses
• Be
ginn
ing,
Inte
rmed
iate
, Adv
ance
d Le
vels
• Yo
uth
and
Adul
t Pro
gram
s•
Perfo
rman
ce E
nsem
bles
• W
orks
hops
and
Clas
ses
• Te
chni
que
and
Mus
ician
ship
• Th
eory
and
Impr
ovisa
tion
• Co
mpo
sitio
n an
d Ar
rang
ing
• Co
ncer
ts
Cl
asse
s, W
orks
hops
and
Conc
erts
may
sell
out!
En
roll
or b
uy ti
cket
s onl
ine
now
at cj
c.edu
.
Audi
tions
for E
nsem
bles
are
ongo
ing.
CELEBR
ATING YEARS 02a
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hool
the
at C
AL
IFO
RN
IA J
AZ
Z C
ON
SE
RV
AT
OR
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