March 15, 2014
From 1992, when his group New Klezmer Trio released Masks and Faces and “kicked open the door for radical experiments with Ashkenazi roots music” (San Francisco Chronicle) to 2013’s simultaneous release of Subatomic Particle Homesick Blues (featuring Joshua Redman) and Unfold Ordinary Mind (featuring Nels Cline), which the New York Times noted for “a feeling of joyous research into the basics of polyphony and collective improvising,” clarinetist and composer Ben Goldberg has shaped a career through relentless pursuit of musical truth across many genres and styles, resulting in the Downbeat Critics’ Poll naming him the #1 Rising Star Clarinetist in both 2011 and 2013. Join Ben Goldberg, Michael Coleman (piano) and Hamir Atwal (drums) for an unforgettable evening of music that explores Goldberg’s compositions and more.
About Ben Goldberg
Ben Goldberg grew up in Denver, Colorado. He received his undergraduate music degree from the University of California, Santa Cruz and a Master of Arts in Composition from Mills College. He was a pupil of the eminent clarinetist Rosario Mazzeo, and studied with Steve Lacy and Joe Lovano. In 2012 Ben premiered Orphic Machine, a ten movement song-cycle based on the poetical writings of Allen Grossman. Commissioned by Chamber Music America’s New Jazz Works and performed by an all-star nine-piece band with Carla Kihlstedt on vocals, the Los Angeles Times calls Orphic Machine “knotted and occasionally spooky composition marked by dazzling interplay.” A 2013 Grant from the Shifting Foundation enabled Ben to record Orphic Machine, for release in 2014. Other recordings include Unfold Ordinary Mind and Subatomic Particle Homesick Blues (BAG Production, 2013);Go Home (BAG, 2010); Tin Hat’s The Rain is a Handsome Animal (New Amsterdam, 2012); Speech Communication (Tzadik, 2009); Baal: The Book Of Angels vol. 15 (Tzadik, 2010); the door, the hat, the chair, the fact (Cryptogramophone, 2006); Plays Monk (Long Song, 2007); Nels Cline’s New Monastery: a view into the music of Andrew Hill (Cryptogramophone, 2006); Twelve Minor (Avant, 1998); Junk Genius (Knitting Factory Works, 1995); What Comes Before (Tzadik, 1998); and New Klezmer Trio’s Melt Zonk Rewire and Short for Something (Tzadik). Ben currently composes for and leads the following groups: Unfold Ordinary Mind featuring Nels Cline and Ellery Eskelin; Go Home featuring Charlie Hunter, Ron Miles, and Scott Amendola, “A searching ensemble that welcomes lyrical improvisation while embracing the groove.” (The New Yorker); Ben Goldberg School, a sextet that recently offered the initial workshop performances of Ben’s new piece Come Back Elliott Smith, and the Ben Goldberg Trio with Greg Cohen and Kenny Wollesen. He is also a composer-member of the avant-chamber jazz ensemble Tin Hat; and performs in a duo with pianist Myra Melford called DIALOGUE. Other notable affiliations include plays monk; Myra Melford’s Be Bread; Nels Cline’s New Monastery; Todd Sickafoose’s Tiny Resistors; Allison Miller’s Boom Tic Boom; and Clarinet Thing. The 11- piece Ben Goldberg’s Brainchild performs Ben’s on-the-spot compositions.
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!
Jack Dynis welcomes spring to the Jazzschool with his show, “Love, I Hear,” a selection of songs about the bumpy road to love by Porter, Sondheim, Rodgers and Hart, Coleman, Gershwin and more. Featuring Jennifer Clevinger on piano, Barbara Speed, woodwinds, Carla Kaufman on bass and Jack Dorsey on drums. www.loveihear.com
“I cannot tell a lie, when I saw Jack at the Jazzschool open mic, my first thought was: ‘Drop dead gorgeous.’ Then, when he got up to sing, ‘Oh, he can sing too?’ Jack is the complete package: A glorious voice with a wonderful understanding of the lyric, and a feast for the eyes. What more could a diva desire?” — Angharad Jones, vocalist, Jazzschool Vocal Jam host
“I’m always moved when I listen to Jack Dynis. He is a great singer and storyteller. He has excellent taste in material, he is earnest and believable, and delivers standards as if he wrote them.”
— Larry Smith, singer
“Jack Dynis loves good songs. He knows more about interesting songs and songwriters - whether show tunes, tin pan alley, or jazz – than any other singer I know. To hear Jack sing a well-known standard is to hear it as if for the first time: He finds the buried gold and expressive potential in every note of the melody and every word of the lyrics and makes you feel them, too. When he sings an unfamiliar song, it becomes a heartfelt gift he shares with you.” — Barry Warren, singer and songwriter
“This is what it’s about: having someone else feel something deeply when you sing a great song. When I’m performing it seems like the audience is breathing with me and feeling everything I’m feeling. It’s a shared experience and a gift to both of us.” — Jack Dynis
Part of the Concert Preparation and Performance Series
March 21, 2014
Modern Music Society, is a college jazz big band at International Christian University, also known as ICU, based in Tokyo, Japan. The jazz big band ensemble consists of five saxophones, four trumpets, four trombones and the rhythm section; piano, guitar, bass and drums. Join MMS as they make their second appearance at the Jazzschool to perform a range of music from classic jazz pieces to modern jazz works, including Count Basie, Woody Herman, Thad Jones, Buddy Rich, Phil Woods, John La Barbera and more.
March 22, 2014
The Jazzschool’s Young Musicians Program students take the stage for this end-of-quarter performance series. Come hear exciting sets from our many ensembles. This is a free event.
Detailed schedule coming soon!
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.
Join these Bay Area jazz treasures for an afternoon of standards and originals in the classic jazz piano trio format. Featuring Dick Hindman on piano, Seward McCain on bass and the legendary Colin Bailey on drums.
This concert has been made possible by a generous gift from Jacquelin and Sheafe Ewing.