Upcoming Events › All Workshops

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

November 22, 2014

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

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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

THE VERSATILITY OF THE MODERN DRUMMER: Using the influence of Modern Pop Music in Jazz Improvisation 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 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.

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

November 23, 2014

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 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

December 7, 2014

THE METRONOME IS YOUR FRIEND with Paul Mehling

paul-mehling

Paul Mehling SUNDAY, DECEMBER 7, 11:30 AM

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.

 

Start: December 7, 2014 11:30 am
End: December 7, 2014 1:30 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

SECRETS OF GYPSY JAZZ GUITAR with Paul Mehling

paul-mehling

Paul Mehling SUNDAY, DECEMBER 7, 2 PM

This workshop focuses on various aspects of Gypsy jazz guitar in the tradition of the legendary Django Reinhardt. Topics include rhythm, picking, scales, arpeggios, chords, soloing, and more. One-on-one evaluation is available to all attendees, with a directed jam at the conclusion of the workshop, time permitting. Bring your instrument, recording device (or paper and pencil) and questions!

Guitarist Paul Mehling is the leader of the Hot Club of San Francisco.

Start: December 7, 2014 2:00 pm
End: December 7, 2014 4:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

January 18, 2015

NEW MODALITIES IN JAZZ COMPOSITION
with Jason Levis – Part 1

jason-levis

Jason Levis SUNDAYS, JANUARY 18 & FEBRUARY 1, 11:30 AM*

This two-part lecture series focuses on strategies to expand your approach to jazz composition and improvisation by utilizing techniques from 21st Century classical composition, including orchestration techniques of the French spectralists, heterophonic practices of the post-war avant-garde, layering principles in new complexity, and extended techniques in musique concrète instrumentale.

PART ONE explores approaches to modal jazz using techniques from French spectralism. Employing simple tools such as instrumentation, register, and dynamics, we explore ways of varying timbre and harmonic color while retaining harmonic function. We also look at how this can be reflected in structures used for improvisation.

PART TWO discusses the use of counterpoint in modern jazz. We begin with a brief introduction to the basic principles of counterpoint and review examples from jazz repertoire by composers like Dave Holland and Henry Threadgill. Utilizing tools such as rhythmic independence, heterophony, and linear melodic layering, we explore ways to extend ensemble interplay in both written and improvised contexts.

*Please Note: The date and time for this workshop has been changed.

Sundays, January 18 and February 1
11:30am – 1:30pm
$60 advance • $75 day of workshop

Jason Levis holds a Ph.D. and M.A. in Composition from UC Berkeley and a B.A. in Music, Naropa University. He has produced, composed and arranged for, performed in, and released over twodozen records, bridging a multitude of musical styles. He is an active performer on the drum set in both art and popular music settings and has extensive national and international performance experience.

Start: January 18, 2015 11:30 am
End: January 18, 2015 1:30 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

February 1, 2015

NEW MODALITIES IN JAZZ COMPOSITION
with Jason Levis – Part 2

jason-levis

Jason Levis SUNDAYS, JANUARY 18 & FEBRUARY 1, 11:30 AM*

This two-part lecture series focuses on strategies to expand your approach to jazz composition and improvisation by utilizing techniques from 21st Century classical composition, including orchestration techniques of the French spectralists, heterophonic practices of the post-war avant-garde, layering principles in new complexity, and extended techniques in musique concrète instrumentale.

PART ONE explores approaches to modal jazz using techniques from French spectralism. Employing simple tools such as instrumentation, register, and dynamics, we explore ways of varying timbre and harmonic color while retaining harmonic function. We also look at how this can be reflected in structures used for improvisation.

PART TWO discusses the use of counterpoint in modern jazz. We begin with a brief introduction to the basic principles of counterpoint and review examples from jazz repertoire by composers like Dave Holland and Henry Threadgill. Utilizing tools such as rhythmic independence, heterophony, and linear melodic layering, we explore ways to extend ensemble interplay in both written and improvised contexts.

*Please Note: The date and time for this workshop has been changed.

Sundays, January 18 and February 1
11:30am – 1:30pm
$60 advance • $75 day of workshop

Jason Levis holds a Ph.D. and M.A. in Composition from UC Berkeley and a B.A. in Music, Naropa University. He has produced, composed and arranged for, performed in, and released over twodozen records, bridging a multitude of musical styles. He is an active performer on the drum set in both art and popular music settings and has extensive national and international performance experience.

Start: February 1, 2015 11:30 am
End: February 1, 2015 1:30 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States
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