March 9, 2014
The SF Early Music Society presents a performance of beautiful songs by soprano Susan Rode Morris, Shira Kammen and other friends, to celebrate National Women’s Day, reflecting on the thoughts, the joys and the losses in women’s lives, from medieval times to the present. Featuring voices, violin, vielles, harp and percussion.
An understanding of and ability to play polyrhythms is an essential skill in most forms of contemporary music. This hands-on workshop consists of both an explanation and demonstration of polyrhythms, from simple to complex, how they work and how to understand them. For all levels and all instruments, no experience necessary!
March 8, 2014
Pianist and Jazzschool founder Susan Muscarella and saxophonist Madaline Duran join forces for this special concert in celebration of International Women’s Day. Don’t miss this rare meeting of two kindred spirits and leaders of the Bay Area jazz scene. Also featuring Glenn Richman on bass and Akira Tana on drums.
BA in Music Composition, UC Berkeley. PhD candidate in Musicology, University of Évora, Portugal. Founder and President, Jazzschool Inc.; Dean of Instruction, Jazzschool Institute. Director, UC Jazz Ensembles program 1984 – 89; composer, arranger and recording artist; performances at major clubs and festivals including Yoshi’s, Keystone Korner, Great American Music Hall and the Lighthouse, and Monterey, Berkeley and Concord Jazz Festivals; featured on Marian McPartland’s Piano Jazz on NPR; recipient of a 2008 “A Team” Award from the Jazz Journalists Association; member of the Board of Directors, Chamber Music America.
Renowned saxophonist and bandleader, Madaline Duran, brings a wealth of artistry and experience to her work. Madaline grew up in Belmont, California and began playing clarinet at age 10. By junior high, she was on to alto and tenor saxophone developing skills that allowed her to take part in the Monterey Jazz Festival’s High School All Star Band. At that point, Mad was hooked on jazz. Madaline went on to earn a degree in music at the University of Miami, then moved back to the Bay Area where she pursued both freelance music work and ran her own catering business. All of that changed when Mad, at the age of 28, met Eddie at the Cotati Jazz Festival. Mad and Eddie quickly established a personal and professional partnership and through Eddie’s support and encouragement, Mad moved on to becoming a full-time musician. In addition to her work with Eddie, Madaline has performed with the likes of George Cables, Tootie Heath, James Moody, Stan Getz, Eddie Moore, Eddie Marshall and Jessica Williams (to name a few). Music critic, Herb Cain, summed it up best: “Mad Duran is just what jazz needs – soul, swing and a breath of femininity.”
March 2, 2014
Pianist and composer Anne Sajdera’s newest ensemble project presents beautiful contemporary arrangements of American and Brazilian jazz standards. Featuring Anne Sajdera on piano, Harvey Wainapel on saxophone, Peter Barshay on bass, Greg German on drums and special guests Erik Jekabson on trumpet, John Douglas on saxophone, Adam Theis on trombone, Joyce Lee on violin, Christina Simpson on viola and Ariella Hyman on cello.
Pianist and composer Anne Sajdera has long been an invaluable part of the San Francisco Bay Area Brazilian music scene—as leader of her own trio and performing with artists such as Alexa Weber Morales and Sandy Cressman. Her outstanding debut Azul (JAZZIZ Magazine 2012 Top Ten Critic’s Poll, Latin Jazz Corner Great Latin Jazz Albums from 2012, number 5 for best new talent 2012 Jazz Station blog), released by her label (Bijuri Records) and co-produced by Ray Obiedo, highlights her exquisite touch, rhythmic acuity, and melodic resourcefulness. In addition to the roots of American and Brazilian jazz, Sajdera brings European and Hindustani classical training to the compositional table to create a unique musical tapestry.
Upper structure voicings are the spice added to the meat and potatoes of jazz piano voicings. From Bill Evans to Herbie Hancock, they have become a staple in the jazz pianist’s bag. Students will use Chick Corea’s “Mirror, Mirror” as a workshop tune to study and apply these important techniques.
Based on the teachings of his mentor and jazz icon Art Farmer, trumpeter Dmitri Matheny presents a lyrical, melodic approach to jazz improvisation. He explores the mental processes that take place while playing a jazz solo and the skills required for true improvisation. With an emphasis on deep listening and jazz-as-conversation, the workshop outlines the elements of music from the soloist’s perspective (melody, harmony, rhythm, tone, timbre and form), and why the melody should be your guide when improvising. Matheny explains how to spontaneously create your own melodies and develop them in real time through a series of simple or complex harmonic changes. He provides recorded examples, demonstrates specific techniques on his horn, and shares relevant anecdotes, while discussing the importance of your own personal sound. For all improvisers.
Recognized for his warm tone, soaring lyricism and masterful technique, Dmitri Matheny has been hailed as “the first breakthrough flugelhornist since Chuck Mangione” (San Jose Mercury News). Emerging in the 1990s as a protégé of Art Farmer, Matheny has matured into “one of the jazz world’s most talented horn players” (SF Chronicle), touring internationally and releasing nine critically acclaimed albums. He is an honors graduate of Interlochen Arts Academy and the Berklee College of Music.
This workshop covers piano comping techniques from Bud Powell and Thelonious Monk to the present. Mark discusses and demonstrates various styles, including those of Herbie Hancock, McCoy Tyner and Mulgrew Miller.
The ace guitarist delves into the art of tasteful and effective rock and funk rhythm guitar! These principles apply to multiple genres from jazz fusion to R&B, reggae, ska, hip hop, metal and more. Open to all.
March 1, 2014
Celebrated for his warm tone, soaring lyricism and masterful technique, American musician Dmitri Matheny has been lauded as “the first breakthrough flugelhornist since Chuck Mangione” (San Jose Mercury News). First introduced to jazz audiences in the 1990s as the protégé of Art Farmer, Matheny has matured into “one of the jazz world’s most talented horn players” (SF Chronicle). The Dmitri Matheny Group will perform selections from Matheny’s nine critically acclaimed CDs, balancing fresh, original works with familiar jazz classics, hard bop, west coast cool and beloved standards from the Great American Songbook. “Their music is a fertile landscape without boundaries,” writes the Oakland Tribune, “earning Matheny and his cohorts a reputation as one of the most eclectic and daring ensembles on today’s jazz scene.”All About Jazz agrees: “An all-star jazz band featuring some of the most accomplished musicians in the western United States, the Dmitri Matheny Group is a cohesive and seamless unit, serving up equal parts soulful expression, caressing phrases, imaginative asides, and dedicated lyricism.”
Featuring Dmitri Matheny on flugelhorn, Dave Ellis on tenor saxophone, Matt Clark on piano, Ron Belcher on bass and Leon Joyce on drums. dmitrimatheny.com
February 28, 2014
In an art form awash with ingenues and shiny singers newly minted from music school, Ellen Robinson’s straight-from-the-heart performance is a breath of fresh air. She delivers loads of presence and offers a wide range of first-rate material exploring a program laden with unexpected treasures. Moving easily from an Irving Berlin standard, to a Joni Mitchell tune, to a Mose Alison blues, she also displays impressive skills as a songwriter infusing hard-won wisdom into her original tunes. With her latest CD Don’t Wait Too Long, she makes a convincing case for the value of life experience as a template for reimagining American Songbook standards and more contemporary fare. Ellen sings with a deceptively unadorned style, eschewing vocal acrobatics and scat solos in favor of close attention to sinuous melodies and emotionally insightful phrasing. She distills the essence of each song and demonstrates an understanding of connectivity that is palpable in live performances with her sympatico band who display the same understanding of what musical artistry is all about. It’s the work of an artist with a clear, heartfelt vision, exquisite taste, and lovely voice that lingers in your ear long after the music has finished. Featuring Murray Low on piano, Kristen Strom on saxophone, Sam Bevan on bass and David Rokeach on drums.
Vocalist, composer, educator and choral director Ellen Robinson released her debut jazz album On My Way To You in 2001 and emerged as a stand-out on the Bay Area’s burgeoning jazz vocal scene. She followed up with 2006′s Mercy! an album gleaned from performances in Berkeley and San Francisco between 2001-2005. With her 2012 CD Don’t Wait Too Long she offers an object lesson in music’s transformative power, a power that she both embodies and transmits. Ellen has performed to packed houses in the Bay Area such as Yoshi’s, Freight and Salvage, Piedmont Piano Company, Jazz at the Chimes, the Sound Room and Savanna Jazz. She has also enjoyed collaborations with many talented Bay Area jazz musicians, including pianists Ken French and Ben Flint; bass players John Wiitala and John Shifflett; reed players Charles McNeal, Kristen Strom and Harvey Wainapel; and drummers Jeff Mars, Dan Foltz and Bud Spangler. A gifted educator who teaches at the Jazzschool in Berkeley and the Community Music Center in San Francisco, Ellen directs several vocal programs and ensembles, including a musical theater workshop at the acclaimed senior theatre company Stagebridge and The Anything Goes Chorus, a community chorus that has given public performances and free concerts at retirement homes, homeless shelters, prisons and half-way houses since the early 1980s. Ellen’s tireless efforts as an educator and cultural activist were recognized in 2011 with a prestigious Jefferson Award. She doesn’t see much separation between her work in the classroom or on stage. “As a teacher I feel like I’m a performer, and as a performer I feel like a teacher. I want people to be entertained and I want them to feel different after they’ve heard my music.” ellenrobinson.com