Calendar of Events › All Workshops

November 23, 2014

EXPLORING THE FINGERBOARD — A COMPREHENSIVE ARPEGGIOBASED APPROACH with Jeff Massanari

jeff-massanari

Jeff Massanari SUNDAY, NOVEMBER 23, 2 PM

This class teaches a simple yet effective way of using arpeggios as a base for playing through chord changes. Students learn fingerings and practice applying them to songs. By using different approach patterns, students can greatly improve their ability to create jazz lines over chord progressions.

Start: November 23, 2014 2:00 pm
End: November 23, 2014 4:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

JAZZ PIANO MASTERS: UNSUNG HEROES
with Larry Vuckovich

larry-vuckovich

Larry Vuckovich• SUNDAY, NOVEMBER 23, Noon

For both musicians and fans, renowned pianist Larry Vuckovich offers a unique workshop highlighting the history of jazz piano. As in the past workshops, he will feature recordings of the masters and also demonstrate on piano their signature styles. The previous workshop presented the New Orleans sounds of Earl ‘Fatha’ Hines, moving up through swing era piano styles and on through the bebop era innovations, hard bop, post bop and contemporary piano styles. The new workshop on Sunday, November 23 features the Unsung Heroes of Jazz Piano – lesser know but true jazz masters who have made an impact on the history of this music. They are: Herman Chittison, Billy Kyle, Johnny Guarnieri, Al Haig, Wade Legge, Gil Coggins, Herbie Nichols, Elmo Hope, Hampton Hawes, Carl Perkins, Lou Levy, Victor Feldman, Terry Pollard, Shirley Scott, Horace Parlan, Duke Pearson, Albert Dailey, and Sir Roland Hanna.

As a special feature Larry will focus on the importance of pianist Horace Parlan, who made a remarkable achievement under most difficult circumstances, surviving paralysis as a child. Horace, highly regarded by the jazz greats, became a most successful, soulful jazz pianist and recording artist. Another feature of today’s program will be women in jazz, highlighting perhaps the most swinging female bebop pianist, Terry Pollard. (Larry will also have a CD sample of her playing). A great Detroit scene pianist, Terry Pollard was also an excellent vibraphonist. When Larry recently mentioned her to Barry Harris, another Detroit great, Barry’s comment was “She was the one!” Another pianist/organist of note is Shirley Scott.

Larry Vuckovich gained first-hand knowledge 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 and as the only student of Vince Guaraldi.

 

Start: November 23, 2014 12:00 pm
End: November 23, 2014 3:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

EXPLORING THE GOLDEN TRIANGLE OF SLAVERY AND SONG with Linda Tillery – Part 3

linda-tillery

Linda Tillery SUNDAYS, NOVEMBER 9, 16 & 23, 11 AM

Join Linda Tillery in a unique opportunity to learn, sing and feel the music that developed through the songs and rhythms of the African Diaspora. Participants learn African- American Spirituals, Field Hollers, Work Songs, Children’s Play Songs, Ring Shouts, Gospel and music from the Sea Islands of Georgia and South Carolina. Series includes singing, hand clapping, stick pounding and some traditional dance. Video and audio recordings are also presented to stimulate in-depth discussions. There will be a lot of singing and the more people that attend, the more powerful the experience will be. Open to all levels.

Sundays,
November 9, 16 and 23
11am – 1pm
$150 advance • $165 day of workshop

Please note: Day 1 of this workshop has been changed from Nov 2. The first class meeting will take place on Sunday November 9.

Linda Tillery is a 47-year veteran vocalist, percussionist, Grammy-nominated producer, cultural historian and the founder and artistic director of Linda Tillery and the Cultural Heritage Choir. She has conducted workshops with the Oakland Symphony Chorus, the MIT Concert Choir, Spelman College Concert Choir, Xarxa Gospel Choir (Barcelona), Muse Choir of Cincinnati and the Oakland Youth Chorus. She has taught classes at Stanford University, Williams College, Pacific School of Religion and the California Institute for Integral Studies. As a vocalist and percussionist, she has performed on over 75 recordings and has produced 15+ recordings.

 

Start: November 23, 2014 11:00 am
End: November 23, 2014 1:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

November 22, 2014

THE INFLUENCE OF BREAKBEAT ON THE MODERN JAZZ DRUMMER with Kevin Coleman

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The Versatility of the Modern DrummerSATURDAY, NOVEMBER 22, 3:15 PM

It is not only the jazz musician’s job to preserve history, but also to reflect the music of the contemporary era. In this workshop drummer Kevin Coleman will demonstrate how to incorporate the genres of breakbeat-correlated music (hip hop, drum and bass, jungle, etc.) to modern jazz. Topics include: Examining the history of sampling and where the breakbeats come from as well as learning drum machine patterns and famous drum loops used for hip-hop and electronic dance music. The instructor will demonstrate the different genres individually and then incorporate all of them while improvising with other musicians as well as drawing upon these different styles when performing a drum solo.

Kevin Coleman is a senior at the California Jazz Conservatory.

This workshop is presented in partial fulfillment of the requirements for the degree of Bachelor of Music in Jazz Studies.

Start: November 22, 2014 3:15 pm
End: November 22, 2014 5:15 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

A FEAR-FREE APPROACH TO IMPROVISATION FOR THE CLASSICALLY-TRAINED MUSICIAN with Jamie Baum

JamieBaum3

Jamie Baum SATURDAY, NOVEMBER 22, 3:15 PM

This workshop is specifically for the classically trained musician — designed to demystify the fear as well as the notion that one must be born with the talent to improvise and “play by ear.” This workshop offers accessible techniques and concepts that can be applied not only to jazz but also to any style of music and for any instrument.

Jamie Baum has impressed audiences, musicians and critics alike with her inventive, finely crafted compositions and commanding and atypical approach to the flute as a lead instrument. Originally from Connecticut, Baum has been living in New York for seventeen years working as a leader or sidewomen with a wide range of consummate musicians including Randy Brecker, Paul Motian, John Abercrombie, Mick Goodrick, George Russell, Donald Brown, Kenny Werner, Fred Hersch, Kenny Barron, Tom Harrell, Dave Douglas, Billy Hart, Mickey Roker, Uri Caine, Ursel Schlicht, Leni Stern, Wadada Leo Smith, V. M. Bhatt, Karaikudi Mani, Hakim Ludin, etc., in a wide range of styles. Though focusing primarily on jazz, she has been involved in projects performing classical and new music to Brazilian, Indian and Latin music offering her ample opportunity to develop a strong personal style.

This workshop made possible in part by generous support from Altus flutes.

Start: November 22, 2014 3:15 am
End: November 22, 2014 5:15 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

November 16, 2014

SUS CHORDS: THE HOW, WHEN AND WHY OF USING THEM with Anton Schwartz

anton-schwartz

Anton Schwartz SUNDAY, NOVEMBER 16, 2:15 PM

A deep look at suspended dominant chords, this workshop discusses how they operate by listening to examples of their use. Topics include: traditional versus modern use, sus-flat-9, sus-add-3, relation to II-V-I progressions, techniques for improvisation. Prerequisite: basic music theory.

Start: November 16, 2014 2:15 pm
End: November 16, 2014 4:15 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

EXPLORING THE GOLDEN TRIANGLE OF SLAVERY AND SONG with Linda Tillery – Part 2

linda-tillery

Linda Tillery SUNDAYS, NOVEMBER 9, 16 & 23, 11 AM

Join Linda Tillery in a unique opportunity to learn, sing and feel the music that developed through the songs and rhythms of the African Diaspora. Participants learn African- American Spirituals, Field Hollers, Work Songs, Children’s Play Songs, Ring Shouts, Gospel and music from the Sea Islands of Georgia and South Carolina. Series includes singing, hand clapping, stick pounding and some traditional dance. Video and audio recordings are also presented to stimulate in-depth discussions. There will be a lot of singing and the more people that attend, the more powerful the experience will be. Open to all levels.

Sundays,
November 9, 16 and 23
11am – 1pm
$150 advance • $165 day of workshop

Please note: Day 1 of this workshop has been changed from Nov 2. The first class meeting will take place on Sunday November 9.

Linda Tillery is a 47-year veteran vocalist, percussionist, Grammy-nominated producer, cultural historian and the founder and artistic director of Linda Tillery and the Cultural Heritage Choir. She has conducted workshops with the Oakland Symphony Chorus, the MIT Concert Choir, Spelman College Concert Choir, Xarxa Gospel Choir (Barcelona), Muse Choir of Cincinnati and the Oakland Youth Chorus. She has taught classes at Stanford University, Williams College, Pacific School of Religion and the California Institute for Integral Studies. As a vocalist and percussionist, she has performed on over 75 recordings and has produced 15+ recordings.

 

Start: November 16, 2014 11:00 am
End: November 16, 2014 1:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

ALTERED DOMINANT AND DOMINANT 13(b9) CHORDS: THE HOW, WHEN AND WHY OF USING THEM
with Anton Schwartz

anton-schwartz3

Anton Schwartz SUNDAY, NOVEMBER 16, 11 AM

These two chords provide rich colors that are essential to the palette of intermediate and advanced jazz players. This workshop takes a deep look at the chords and their accompanying scales, examining how each is constructed, why they are constructed that way and how they may be used to maximal effect. Their sounds are contrasted within the context of jazz (e.g. when should one be used rather than the other?) by listening to examples of their use. Additional topics include: different types of “outness”; and lydian dominant, the “sister” of the altered sound. This workshop is appropriate for students with little prior exposure to the subject, as well as students familiar with melodic minor and diminished harmony who wish to deepen their understanding. Prerequisite: an understanding of basic theory and the mixolydian & diminished scales.

Start: November 16, 2014 11:00 am
End: November 16, 2014 1:45 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

November 15, 2014

PLAYING THE HECK OUT OF “THERE WILL NEVER BE ANOTHER YOU” with Anton Schwartz

anton-schwartz2

Anton Schwartz SATURDAY, NOVEMBER 15, 3:15 PM

This workshop delves deeply into one of the most widely-played of all the jazz standards: a classic by Harry Warren. We examine the song’s harmony in ways that will directly help us improvise over it, discussing the chord progression on both a micro level (how each chord leads to the next) and a big-picture level (how they all work together to form a coherent song). Suggestions are given for ways to mentally simplify the song’s structure, as well as a variety of neat harmonic tricks to embellish the chord changes. Students have the option to improvise over the song and get critiqued, with recommendations given for a direct path to improvement. Prerequisites: facility on a melodic instrument or vocals. Knowledge of basic harmony, including major, minor and mixolydian scales. Suggested: some familiarity with There Will Never Be Another You, and with altered and half-diminished chords. Bring your instrument (optional).

With home bases in both Seattle and Oakland, saxophonist Anton Schwartz has won critical acclaim for each of four 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. Education is a key focus and Anton has taught at Harvard University, the Jazzschool, Stanford Jazz Workshop and the Brubeck Institute. See Anton’s bio at antonjazz.com.

Start: November 15, 2014 3:15 pm
End: November 15, 2014 5:15 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

TRIAD-ISM: USE OF TRIADS IN IMPROVISATION with Tristan Norton

tristan-norton

Tristan Norton SATURDAY, NOVEMBER 15, 3:15 PM

A workshop focusing on the use of triads in crafting unique melodic lines for improvisation. Students will learn how triads can be derived from select scales and organized melodically and rhythmically into improvisational licks applicable both to common chord progressions and “out” playing. This workshop is ideal for players of all melodic and chordal instruments and will include worksheets and in-class playing of examples.

Tristan Norton is a senior at the California Jazz Conservatory.

This workshop is presented in partial fulfillment of the requirements for the degree of Bachelor of Music in Jazz Studies

Start: November 15, 2014 3:15 pm
End: November 15, 2014 5:15 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States
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