March 16, 2014
A workshop focusing on specific techniques to increase range, power and volume. Includes a demonstration of lead playing, followed by a hands-on master class and Q&A period. Students receive custom handouts. Be ready for a challenge and of course, bring your trumpet!
This exciting workshop is all about understanding the groove and how to perform “in the pocket.” Using body percussion, students gain an understanding of various rhythmic concepts including meter, subdivision, polyrhythms, style and more. Open to all vocalists, instrumentalists, composers and arrangers. Students are encouraged to wear comfortable clothing, as we’re going to get loose!
March 23, 2014
The slow songs of the jazz repertoire may be less technically demanding than their faster counterparts, but they require special skills and arguably greater artistry to play well. In this workshop we tackle those skills head on, focusing on phrasing and feel, and outline practical avenues for improving your mastery of this form. We also explore rubato, cadenzas and double-time feel and other relevant topics as time allows. Prerequisites: facility on a melodic instrument or vocals, improvisational experience and knowledge of basic jazz harmony. Bringing your instrument is recommended.
Sunday, March 23, 11am – 1:30pm
$40 advance • $55 day of workshop
Master jazz vocalist Ed Reed guides students through the art of interpreting a lyric. Topics include pronunciation, breathing and phrasing as suggested by the nature of the lyric, as well as methods of communicating the story of the lyric to highlight emotion, nuance and irony. An inspiration to all he meets, Ed Reed leaves an indelible impression. Students of all levels are welcome and each should be prepared to sing a song of their choice, with a professional accompanist.
While Ed Reed has been singing since he was a child, he didn’t release his first album until 2006 at the tender age of 78. He’s since released two others, including I’m A Shy Guy in 2013. Along the way he’s gained recognition from DownBeat as Rising Star Male Vocalist five times from 2008-2013, and the prestigious Jazz Journalists Association named him Local Jazz Hero in 2011. Reed’s ability to get inside a lyric has been noted by numerous reviewers including DownBeat: “When Ed Reed sings, look for an intimate story every time… he establishes a connection to the lyrics and phrasing that is both beautiful and uncanny.”
What is it about the playing of a great jazz saxophonist that makes it sound so fluid and professional? Tone, intonation, time and note choice are important, but they are not enough. In this workshop we observe and discuss many of the choices of note attack, emphasis, contour, duration and release that differentiate a master from an average player. Students will be critiqued and interactively guided by the instructor to overcome their individual obstacles.
Participation is encouraged but not required. To participate, please prepare this étude to play for critique: antonjazz.com/saxophone-etude. Those who find the étude too challenging are encouraged to play it at a slow tempo, or prepare an easier piece such as “Doxy” or “Tenor Madness.”
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.
April 6, 2014
This workshop offers an informal guided tour of the jazz scene — audio and video — that so richly blossomed before World War II. It isn’t an immersion in what younger jazz players “should” know from some ideological stance, but a way of offering experiences that players and singers might not discover on their own. A tenor player might find something in Dick Wilson, Herschel Evans or Cecil Scott; a singer might be astonished by Connee Boswell or George Thomas; a drummer might find revelation in the work of Sid Catlett. The workshop isn’t “jazz archaeology” — it will end with a visit to the last five years, with evidence that these “older styles” work very well in tandem with ideas one may have gleaned from Wayne Shorter or Betty Carter. All are welcome!