November 21, 2014
Hailed for its spirited performances and fascinating fusion of Latin and folk with adventurous jazz explorations, the VNote Ensemble gives voice to the hidden treasure of Venezuelan music. By defiantly ignoring musical boundaries, they create a new direction that blends the infectious rhythms of joropo and swing, gaita and soul and be-bop and calypso, among other styles. Exquisite arrangements, unique compositions, colors and rhythms blend together to deliver a unique musical profile. Featuring Donna Viscuso on flute, Jackeline Rago on Venezuelan cuatro and bandola, Sam Bevan on bass and Michaelle Goerlitz on percussion. vnoteensemble.com
November 16, 2014
The Prima Volta Saxophone Quartet was founded in 2013 by saxophonists Bill Aron and Renée Deeter. Originally formed as a rehearsal group, the quartet soon transitioned into a full-blown performance ensemble in the standard four-part soprano, alto, tenor and bass format. PVSQ members include Bill Aron on soprano saxophone, Julie Auman on alto saxophone, Renée Deeter on tenor saxophone and Steve Logateta on baritone saxophone. PVSQ specializes in an adventurous repertoire, presenting works from the baroque, classical, modern eras and more.
The group’s premiere performance at the California Jazz Conservatory attests to this eclecticism. The program will range from Mozart’s Overture to the Magic Flute to a modern jazz arrangement of We Three Kings. Also expect pieces written specifically for saxophone quartet, such as Bozza’s Andante and Scherzo and Semler-Collery’s Arlequinades, and arrangements of Gershwin’s Three Preludes and Corelli’s “Christmas” Concerto.
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.
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 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.
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.
November 15, 2014
Celebrating the CD Release of 10 Degrees South
10 Degrees South paints a vibrant musical landscape depicting the passion and beauty of Brazilian music and contemporary jazz. Silva’s sophisticated arrangements intersect with Sherie Julianne’s rich, warm voice and captivating sense of rhythm. The evening will feature original arrangements by Grammy-nominated pianist Marcos Silva that will include compositions by Sergio Mendes, Dori Caymmi, Tom Jobim, Chico Pinheiro, Joao Donato and Marcos Silva. Joining Sherie will be Marcos Silva on piano, Scott Thompson on bass, Phil Thompson on drums and Zach Pitt-Smith on flute and saxophone.
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.
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
November 14, 2014
Drummer and percussionist Brian Melvin brings his new band to the CJC to perform selections from their soon-to-be recorded album. Featuring Virgo Sillamaa on guitar, Raul Sööt on saxophone and Peedu Kass on bass. brianmelvin.com
Brian Melvin is an internationally-known drummer/percussionist/educator. He has played and recorded with many of the world’s leading musicians. Not limited by styles, he’s worked with the late Joe Henderson, Mike Stern, John Scofield, Michael Brecker, Randy Brecker, Joe Lovano, Bobo Stenson, Toots Thielemans, Richard Bona, Bob Weir (“The Grateful Dead”), Greg Allman (“The Allman Brothers Band”) and many more. One of his main associations has been with the Hall of Fame bassist Jaco Pastorius. They were good friends and made five historic recordings together. One of their most famous was “Standards Zone” (Global Pacific Records,) which was the no. 1 jazz album for 15 weeks.
November 9, 2014
Whether you are a student or a professional musician of any style, a music lover, a foodie, or anything in between, the CJC welcomes you to a memorable night of music, food and community!
All are invited to bring a creative dish to share along with your creative style and instrument for an informal jam session in a concert setting. The CJC will provide a welcoming environment where both faculty, students, and community members can come to participate, mingle, or just sit back and enjoy what happens.
Each musician will sign up at the door and groups will be called and asked to meet back stage while the group before them is performing so they can get a feel of their unique instrumentation, and how they’d like to approach their jam. For example, a group may include a drummer, trombonist, sitar, and flute; the next collaboration may be made up of a pianist, conga player, cello and vocalist. Each group will have their own unique sound to manifest! These collaborations will give all musicians of all ages and backgrounds an opportunity to explore new horizons together in an informal concert style.
Come be a part of your musical community!
Suggested donation $5-10 (cash only)
Proceeds benefit the CJC Recruitment Tour