November 9, 2014
Learn to effectively harmonize melodies and create arrangements for solo guitar in this hands-on workshop. Using his own arrangements as a guide, ace guitarist Jeff Massanari covers basic approaches to developing chord melodies using standard voicings and presents a range of techniques for creating richer and more complex arrangements. Topics covered include counterpoint, inner line movement, alternative voicings and reharmonization. Prerequisites: students should know basic 6th and 5th string root jazz chords (major 7th, -7b5) and have some ability to read music.
Jeff Massanari is a Bay Area-based guitarist who has studied at Berklee College of Music and performed with Mark Inouye and the San Francisco Symphony, Kenny Washington, Pamela Rose, Wally Schnalle, Mary Wilson, Keely Smith, Kim Nalley and Denise Perrier. Read more at jeffmassanari.com.
November 15, 2014
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.
November 16, 2014
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.
November 2, 9 and 16,
11am – 1pm
$150 advance • $165 day of workshop
Linda Tillery is a 47-year veteran vocalist, percussionist, Grammynominated 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.
ALTERED DOMINANT AND DOMINANT 13(b9) CHORDS: THE HOW, WHEN AND WHY OF USING THEM
with Anton Schwartz
These two chords provide rich colors that are essential to the palette of intermediate and advanced jazz players. This workshop takes a deep look at the chords and their 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.
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.
November 22, 2014
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.
THE VERSATILITY OF THE MODERN DRUMMER: Using the influence of Modern Pop Music in Jazz Improvisation with Kevin Coleman
It is not only the jazz musician’s job to preserve history, but also to reflect the music of the modern era. In this workshop, drummer Kevin Coleman demonstrates how to incorporate various genres of contemporary music, and how to apply them when improvising in modern jazz. Topics include: learning drum machine patterns and programmed drum beats used for hip-hop, and electronic dance music, as well as styles of drumming from modern rock genres. Students listen to examples of these genres, and analyze the drumming from each. The instructor then demonstrates the different genres individually and incorporates 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.
November 23, 2014
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.
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.
December 7, 2014
Returning with his popular workshop for musicians and singers of all levels, Mehling demonstrates a range of practice techniques making creative use of the metronome. Improve your productivity and increase your musicianship! Open to all.
Guitarist Paul Mehling is the leader of the Hot Club of San Francisco.