Upcoming Events

October 12, 2014

THE IMPROVISOR’S SEMINAR with Clark Suprynowicz – Part 1

saxophone-marcus-stephens

The Improvisor’s Seminar • 3 SUNDAYS, OCTOBER 12, 19 & 26, 2 PM

This workshop series explains how to improvise with a lead-sheet using real world examples from solos by John Coltrane and others. It departs from the often-used approach of “see this chord, play this scale” and gets into the actual vocabulary of jazz in a way that is easily understood and accessible. Visiting musicians demonstrate some of the approaches under discussion, and students listen to audio recordings. No need to bring instruments to this seminar. Discussion topics include:

  • How to play on standards.
  • What it means to “play in a key.”
  • How to recognize the key you’re in, even if it’s not obvious.
  • How playing in a key, rather than from chord-to-chord, is part of the jazz tradition.
  • How to practice so all this gets more intuitive and more fun.

3 Sundays, 2 – 4pm
October 12, 19 and 26
$90 advance • $105 day of workshop

Clark Suprynowicz is a Bay Area composer and music teacher who has been faculty at the Crowden School, SF School of the Arts and the SF Conservatory (composition and musicianship). He’s had new work premiered by the Berkeley Opera, the Crucible, the Berkeley Symphony, and the Pacific Mozart Ensemble. As a bassist, he’s worked with John Zorn, Bill Frisell, Art Lande, and Tom Waits. Clark runs the Berkeley Jazz Workshops, a forum for jazz musicians developing their skills that has been a fixture in Berkeley for more than thirty years.

Start: October 12, 2014 2:00 pm
End: October 12, 2014 4:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

October 19, 2014

AMERICAN SONGBOOK COMPOSER WORKSHOP SERIES: INTERPRETING SONGS with Maye Cavallaro, Wesla Whitfield & Mike Greensill

maye-cavallaro2

Maye Cavallaro SUNDAY, OCTOBER 19, 12 PM

The American Songbook is a collection of popular music from Broadway and Hollywood musicals prevalent from the 1920s to 1960s. In this workshop we’ll explore how to express the themes of these timeless songs, including phrasing, dynamics and tone, tempos and how to sing a song so that it tells your own story. One month before the workshop, students will be given a choice of six songs, from which they will select two songs to work on. We’ll be joined by pianist and arranger Mike Greensill. Class limited to 6 performers but is open to auditors. Consultation required.

Sunday, October 19, noon – 3pm
$100 advance • $115 day of workshop, please call 510.845.5373 to register.
$50 for auditors, available online

Wesla Whitfield inhabits that indeterminate zone where jazz and cabaret meet. Trained in classical music and opera, Whitfield has toiled for more than three decades to become one of the most gifted performers breathing life into that exquisite body of Broadway tunes, movie songs and Hit Parade numbers. Working with pianist/ arranger Mike Greensill, the two released their 19th recording, “Message From the Man in the Moon.” More at weslawhitfield.com

Mike Greensill, in addition to his work with Wesla, has also had the pleasure of accompanying
such diverse talents as Rita Moreno, Margaret Whiting, Broadway stars Lillias White and Franc D’Ambrosio and jazz singers Madeline Eastman, Ann Hampton Callaway and Opie Bellas. In January 2014, Mike published his magnum opus, “Playing for Singers.” In it, he brings his many years of accompanying experience to bear in exploring the accompanist’s art as it applies to the performance of the “Great American Songbook.” Read more at mikegreensill.com

Start: October 19, 2014 12:00 pm
End: October 19, 2014 3:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

THE IMPROVISOR’S SEMINAR with Clark Suprynowicz – Part 2

saxophone-marcus-stephens

The Improvisor’s Seminar • 3 SUNDAYS, OCTOBER 12, 19 & 26, 2 PM

This workshop series explains how to improvise with a lead-sheet using real world examples from solos by John Coltrane and others. It departs from the often-used approach of “see this chord, play this scale” and gets into the actual vocabulary of jazz in a way that is easily understood and accessible. Visiting musicians demonstrate some of the approaches under discussion, and students listen to audio recordings. No need to bring instruments to this seminar. Discussion topics include:

  • How to play on standards.
  • What it means to “play in a key.”
  • How to recognize the key you’re in, even if it’s not obvious.
  • How playing in a key, rather than from chord-to-chord, is part of the jazz tradition.
  • How to practice so all this gets more intuitive and more fun.

3 Sundays, 2 – 4pm
October 12, 19 and 26
$90 advance • $105 day of workshop

Clark Suprynowicz is a Bay Area composer and music teacher who has been faculty at the Crowden School, SF School of the Arts and the SF Conservatory (composition and musicianship). He’s had new work premiered by the Berkeley Opera, the Crucible, the Berkeley Symphony, and the Pacific Mozart Ensemble. As a bassist, he’s worked with John Zorn, Bill Frisell, Art Lande, and Tom Waits. Clark runs the Berkeley Jazz Workshops, a forum for jazz musicians developing their skills that has been a fixture in Berkeley for more than thirty years.

Start: October 19, 2014 2:00 pm
End: October 19, 2014 4:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

CELTIC JAZZ (FOR INSTRUMENTALISTS & VOCALISTS) with Melanie O’Reilly & Frank Martin

frank-martin2

Frank Martin SUNDAY, OCTOBER 19, 2 PM

Celtic jazz is part of an “ethno-jazz” movement currently developing in Europe and worldwide. In this unique workshop, instructors Melanie O’Reilly & Frank Martin illustrate the dialogue between the two great traditions of jazz and Irish traditional music, through songs and instrumentals. Tracing the basic elements of the roots of the rich and diverse Irish music tradition, they explore how uplifting Irish instrumental rhythms can be integrated into swing, jazz waltz and Latin rhythms, while also demonstrating how Irish “lilting” (Irish “mouth music”) can be developed and inspire vocal scat. Modal harmonic ideas are demonstrated, illustrating how modes such as Aolian, Dorian, Mixolydian, used in Irish music, can be woven into jazz themes. Finally, the bridging of the melodic tradition of Ireland with contemporary harmony and arrangements illustrating how this “fusion” brings a fresh, new and exciting collaboration — a true Atlantic bridge!

Sunday, October 19, 2 – 4pm
$40 advance • $55 day of workshop

Frank Martin has served as music director for Narada Michael Walden and Patti Austin, appeared at Carnegie Hall with Sting, James Taylor and Elton John, and produced records for Al Jarreau, Turtle Island String Quartet, and Joey DeFrancesco. He has performed or recorded with John McLaughlin, Dizzy Gillespie, Larry Coryell, Herbie Hancock, and many others. See Frank’s bio at frankmartinproductions.com.

Melanie O’Reilly is recognized as one of Ireland’s international jazz ambassadors and celtic jazz pioneers. She tours extensively throughout the world and has become known and respected as a radio presenter/producer. See Melanie’s bio at melanieoreilly.com.

Start: October 19, 2014 2:00 pm
End: October 19, 2014 4:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

NEW MODALITIES IN JAZZ COMPOSITION with Jason Levis – Part 1

jason-levis

Jason Levis SATURDAYS, OCTOBER 18 & 25, 3:15 PM

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.

Saturdays, October 18 and 25,
3:15 – 5:15pm
$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: October 19, 2014 3:15 pm
End: October 19, 2014 5:15 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

October 25, 2014

NEW MODALITIES IN JAZZ COMPOSITION with Jason Levis – Part 2

jason-levis

Jason Levis SATURDAYS, OCTOBER 18 & 25, 3:15 PM

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.

Saturdays, October 18 and 25,
3:15 – 5:15pm
$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: October 25, 2014 3:15 pm
End: October 25, 2014 5:15 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

October 26, 2014

MUSIC TRANSCRIPTION TECHNIQUES with Bob Karty

bob-karty

Bob Karty SUNDAY, OCTOBER 26, 11:30 AM

Transcribing music from recordings is an essential practice with many benefits for aspiring musicians. In this workshop, students are introduced both to traditional transcription techniques as well as the various notation and playback computer programs now available. Instructor demonstrates techniques using Sibelius notation software and Transcribe!, an inexpensive software program which allows you to loop and adjust the speed and EQ of selected recordings for transcription purposes.

Bay Area pianist Bob Karty is well known for his work with several top Brazilian and Latin jazz musicians including Ray Obiedo and Pete Escovedo. He is a founding member of Orquesta La Moderna Tradición and teaches jazz and salsa piano.

Start: October 26, 2014 11:30 am
End: October 26, 2014 1:30 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

MUSICAL LIAISONS: BILLIE HOLIDAY AND LESTER YOUNG with Ellen Johnson & Don Braden

ellen-johnson

Ellen Johnson SUNDAY, OCTOBER 26, 12 PM

Billie Holiday “Lady Day” and Lester Young “Prez” had one of the most special musical relationships in the history of jazz. From the late 1930s, the two made music together that transcended into a perfect dance, often anticipating the other’s movements before they happened. This workshop explores the rich repertoire that became famous as a result of their enigmatic relationship. This is an opportunity to sing and play through the songs and analyze what contributes to the success of a musical partnership. Students are provided with several lead sheets of the classic songs that Lady Day and Prez performed together. Open to both vocalists and instrumentalists.

Ellen Johnson is an accomplished vocalist, educator, lyricist and author of the biography, Jazz Child: A Portrait of Sheila Jordan (published by Rowman & Littlefield). She has performed and recorded with such jazz luminaries as Louie Bellson, Charles McPherson, Sheila Jordan, Don Braden and Roy McCurdy. Her newest release, “Form & formless,” features guitarists Larry Koonse and John Stowell.

Don Braden has toured the world leading his own ensembles, as a special guest, and as a sideman with greats such as Betty Carter, Wynton Marsalis, Freddie Hubbard, Tony Williams, Roy Haynes and many others. He has composed music for everything from duo to full symphonic orchestra, in many styles, for recordings (including 18 CDs as a leader and over 80 as a sideman), film and television, and worked several years as composer for Bill Cosby. He is also a world renowned educator, having spent nearly two decades giving master classes at countless schools and universities, and running first class educational programs

Start: October 26, 2014 12:00 pm
End: October 26, 2014 3:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

BEGINNING BOSSA NOVA GUITAR with Ian Faquini

Ian-Faquini

Ian Faquini SUNDAY, OCTOBER 26, 2 PM

This workshop covers basic guitar chord shapes and progressions common in Brazilian music by examining the songs of great composers such as Antonio Carlos Jobim, Vinicius de Moraes, Baden Powell, Dorival Caymmi and others. The instructor also demonstrates essential Brazilian rhythms including bossa nova, samba, baiao, frevo, and toada. Prerequisites: Students should have some experience with basic chords and an interest in Brazilian music.

Ian Faquini is a Brazilian composer, guitarist, and singer. He has studied with many influential Brazilian musicians including Guinga, Marcus Tardelli, Lula Galvao, Chico Pinheiro and others. Ian teaches regularly at the California Brazil Camp.

Start: October 26, 2014 2:00 pm
End: October 26, 2014 4:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States

THE IMPROVISOR’S SEMINAR with Clark Suprynowicz – Part 3

saxophone-marcus-stephens

The Improvisor’s Seminar • 3 SUNDAYS, OCTOBER 12, 19 & 26, 2 PM

This workshop series explains how to improvise with a lead-sheet using real world examples from solos by John Coltrane and others. It departs from the often-used approach of “see this chord, play this scale” and gets into the actual vocabulary of jazz in a way that is easily understood and accessible. Visiting musicians demonstrate some of the approaches under discussion, and students listen to audio recordings. No need to bring instruments to this seminar. Discussion topics include:

  • How to play on standards.
  • What it means to “play in a key.”
  • How to recognize the key you’re in, even if it’s not obvious.
  • How playing in a key, rather than from chord-to-chord, is part of the jazz tradition.
  • How to practice so all this gets more intuitive and more fun.

3 Sundays, 2 – 4pm
October 12, 19 and 26
$90 advance • $105 day of workshop

Clark Suprynowicz is a Bay Area composer and music teacher who has been faculty at the Crowden School, SF School of the Arts and the SF Conservatory (composition and musicianship). He’s had new work premiered by the Berkeley Opera, the Crucible, the Berkeley Symphony, and the Pacific Mozart Ensemble. As a bassist, he’s worked with John Zorn, Bill Frisell, Art Lande, and Tom Waits. Clark runs the Berkeley Jazz Workshops, a forum for jazz musicians developing their skills that has been a fixture in Berkeley for more than thirty years.

Start: October 26, 2014 2:00 pm
End: October 26, 2014 4:00 pm
Venue: California Jazz Conservatory
Address:
2087 Addison St, Berkeley, CA, 94704, United States
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