JAZZ CAMP WEST

JAZZ CAMP WEST WHAT’S INSIDE:

General Camp Info COVID-19 Protocol First Day Schedule What to Bring, Communicating from Camp, Camp Store Info, Words about Open Mic Directions to Camp Rules and Regulations for All Additional Rules and Regulations for Minors (campers under the age of 18) Class Descriptions Map of Site Daily Schedule

Dear Jazz Camp WEST Students,

Jazz Camp West is almost here! We’re thrilled you will be with us as we finally return to this incredible week of music, dance and community. Allison and I have deeply missed our Jazz Camp West and Living Jazz community. We have an amazing week planned for you with an incredible lineup of artists. Be sure to bring this information packet to camp with you! If you still have questions, don’t hesitate to email us at [email protected] .

See you there! Stacey Hoffman and Allison Miller

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mailto:[email protected]

COVID-19 SAFETY INFORMATION & PROTOCOL

Please read the following information carefully. We have done our best to ensure a safe and healthy environment for everyone onsite during the full 8 days we will be together.

Most of our camp activities will be held outside. However, there will also be indoor classes, indoor

buffet lines for meals and of course some people will be sleeping inside cabins.

We understand there are many differing opinions regarding COVID-19 testing, vaccinations, boosters

and mask wearing. Our goal above all else, is to provide an environment where 300 people can enjoy

time together without the fear of getting sick. Therefore, we are paying very close attention to CDC

and American Camp Association recommendations and are airing on the side of caution. With these

measures in place, we hope our camp attendees will enjoy a week of music and magic without the

fear of getting sick.

Due to constant developments in the trajectory of COVID-19’s spread, our safety measures will adjust to reflect updates in CDC recommendations for prevention, as well as local policy mandates and our organization’s discretion to best protect our communities.

PROOF OF VACCINATIONS:

Living Jazz/Jazz Camp West will be sending out a Google Survey that will require an upload of

vaccination cards/proof of vaccination & boosters against the COVID-19 virus. All must submit proof

of vaccination by May 29, 2022 or risk being ineligible for camp attendance.

As of now, our mandates are as outlined below. Living Jazz retains the right to update according to CDC and American Camp Association recommendations.

VACCINATIONS:

● All onsite attendees must have uploaded proof of vaccination by May 29, 2022 through

the Living Jazz/Jazz Camp West Google Form that was sent to each registered attendee.

VACCINES (NON-BOOSTERS): Everyone must have their initial series of vaccinations.

This means one must have received their second dose of Pfizer or Moderna vaccines at least 14

days prior to attending camp, or a minimum of 14 days following a single dose of Johnson and

Johnson vaccine. All campers, staff, and faculty will be required to provide proof that they have been

fully vaccinated, and if necessary boosted, by May 29th, 2022

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BOOSTERS:

● If 4 months have passed since your initial series, you are required to show proof of your 1st

booster.

● If you are over the age of 50, and 4 months have passed since your 1st booster, we are

requiring proof of your 2nd booster.

While the CDC is strongly recommending these boosters, Living Jazz is requiring them as we

continue to air on the side of caution.

TESTING:

● All onsite attendees must also show proof of a negative COVID-19 test taken within 72

to 84 hours of camp. After extremely careful consideration we have decided to require a legitimate PCR Lab test.

We are not accepting rapid tests. If you have trouble finding a testing site, check here for the location

of a free test closest to you: https://curative.com/ . If you have questions or concerns, please email

[email protected] .

Once your COVID test is taken, we are asking all attendees to refrain from going out into large groups

and to do everything possible to stay COVID free during the few remaining days leading up to Jazz

Camp West.

Make sure to explore where you will be scheduling your COVID test now. No exceptions will be made.

MASKS:

● At the moment, masking is completely optional. Should any staff or camper wish to

wear a mask, they are welcome and fully supported to do so. All campers should bring masks, should there be a change in safety measures or exposure while at camp.

While onsite, campers will use their own discretion about the use of masks when indoors.

Please see our comprehensive COVID-19 Protocol Manual at the end of this document for more detailed information.

TRAVEL:

Living Jazz asks that all who are flying within 2 weeks of camp wear an N-95 mask in the airport and on the flight. Again, while the CDC is recommending the use of masks in-flight, Living

Jazz is requiring the use of masks during travel for the safety of all campers attending.

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https://curative.com/


COVID-FAQ:

What If Camper Has Previously Had Covid?

The CDC does not recommend getting tested again in the three months after a positive viral test if

the person does not have symptoms of COVID-19. Campers and staff who have had a positive

viral test in the 3 months prior to starting camp and have met the criteria to end isolation should

have a letter from their healthcare provider documenting the positive test date and stating the

individual is cleared to end isolation. Please email [email protected] with any requests for

review.

Are There Any Medical Exemptions for Vaccination?

Should a camper have a specific medical condition that prevents them from being vaccinated,

they must email us with their concerns and verification by a doctor. These cases will be reviewed

on a case-by-case basis. Please email [email protected] with any requests for review.

PAYMENT OF BALANCES: All balances must be paid by May 23rd , 3 weeks before the start of camp.

Balances can be paid online by going to https://www.livingjazz.org/manage-account and logging into your

account. If you have any questions, please let us know. If a balance is not paid before camp, we cannot hold

your reservation.

ARRIVAL: Please carpool if possible! Once you arrive, you won’t need your car and will be asked to park in a

designated area for the week. No cars may be driven on-site during the week unless given permission in

advance because of health or mobility issues.

Everyone should arrive between 10-11am on Sunday June 12th to register, set up tents if camping, place

belongings in cabins, or drive to Siden Conference Center to drop off belongings before the outdoor picnic . (Remember, camp starts on Sunday this year, NOT Saturday!)

All attendees must wear masks until vaccination cards and negative PCR tests have been checked. Once that is verified, masks may be removed.

Registration Location: From Pescadero Road, enter YMCA Camp Jones Gulch on Camp Jones Gulch Road.

You’ll eventually see an administration building on your left. Park your car in the grassy area and check-in at

the registration tables. You’ll be directed from there. For those camping, arrive closer to 10:00am to allow time

to stakeout your campsite in the designated areas. If you have purchased a “Rent-A-Tent” you will pick up your

equipment at registration and be responsible for taking it to your camping location. There will be approximately

300 people on the site this year. In most cases we have housed people according to age, and of course,

gender. Note: Beds will be taken on a first-come, first-serve basis upon arrival at camp. Classes will begin at

9:00am Monday morning. Camp concludes approx. 2pm on Sunday, June 19 th .

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https://www.livingjazz.org/manage-account

SCHOLARSHIP/WORK-STUDY STUDENTS . All students receiving financial aid are part of our

scholarship/work study program. If you have received a scholarship (reduction in tuition) of any size, you are

required to attend the scholarship/work study meeting on Sunday at 5:30 to receive your work study

assignment. All work study campers are required to stay an additional two hours on the final day to help close

up camp. Please do not plan on leaving until 5pm on sunday June 19th. If your parents are picking you up,

have them arrive at 5pm.

GUEST POLICY: Visitors are not allowed at camp . This is a Jones Gulch Policy and assures privacy and

safety for our participants. However, guests and family are invited on Saturday night to attend the Final Dance

Recital (which starts at approximately 8pm), the final Sunday Student Performances (which are from

10am-1:00pm), and the final BBQ Lunch (at approximately 1pm). The BBQ is available for purchase for guests

for $15. We cannot provide overnight accommodation for guests. Please Note : Final dance performances are

indoors . Any guest coming to the final dance performance will have to show proof of full vaccination as stated

above at the door of the dining room before being allowed in to watch the performance. Please be sure to let

your friends and family know in advance.

FIRST DAY SCHEDULE:

10-11am Arrival and Registration

11-12 Settle-in: set up tents, settle into cabins, settle in at Siden, etc.

12:00pm Lunch at our outdoor picnic area (Sun Ra’s Space)

1:00 Campers: Optional student camp tour - meet @ Sun Ra’s Space.

Faculty: Mandatory FACULTY ONLY Meeting (Main Amphitheater)

2:00 All-camp meeting (Main Amphitheater)

Appx.

3:30

After our All-camp meeting, students may either sign up for their classes

or attend evaluations (Adv. Instrumental Track, Piano Intensive, Vocal

Intensive, Combos, Int/Adv Vocal Ensemble, Guitar Intensive only)

No evaluations are necessary for any other classes including the Jazz

and Latin Big Bands, Gospel Ensemble or Gospel Choir.

4:30 Minors: Mandatory meeting for all students 17 & under on the deck outside

the small dining hall.

5:30 Work Study: Mandatory Scholarship/Work-Study meeting on the deck

outside the small dining hall.

6:30 Dinner

8:15 Faculty Concert

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THINGS TO BRING TO CAMP – Personal Items

RECOMMENDED PACKING LIST

Bedding:

● Pillow(s)

● Sheets

● Warm blankets/Sleeping Bags

● Twin size mattress cover/mattress pad for cabins - *** suggested for added comfort

Hygiene:

● Face masks

● Towels (bathing & swimming)

● Toiletries

● Bug spray

● Sunscreen

● Shower shoes/sandals

● Hand sanitizer

Outdoor Gear:

● Flashlights/Headlamps and any extra batteries

● Water bottle (water stations will be onsite)

● Thermal cup for hot beverages

● Binoculars for bird watching!

Recommended Clothing:

Weather changes from chilly to hot. Please pack accordingly.

● Warm outer layers: coats, sweaters, long-sleeve shirts, hats, gloves, scarves, etc.

● Hot Weather Items: shorts, tank tops

● Bathing suit

● Rain gear (rain is rare)

● Dancers: Bring jazz shoes for the jazz class, and comfortable shoes for Salsa and hip-hop. All

dance classes will be taught on wood floors. Also bring sweatshirts, leotards, tights, sweat pants,

costumes for performances, etc.

● One “fancy” outfit in case you feel like dressing up. We could all use a chance to dress up a

little. Campers sometimes dress up for performing during Open Mic, student performances, or

just because they want to feel fancy. 7

For Tent Camping & RVs: All campers must provide their own camping equipment unless they have

purchased the glamping option or “Rent-A-Tent. NOTE: We do not provide electricity for camping, glamping or RV’s. We also do not provide hook-ups for RV’s. If you have purchased a “Rent-A-Tent”, you will pick that up at registration and be responsible for taking your equipment by car to one of the two ballfields, which are the camping and RV areas.

Tent Camping Additionals for those bringing their own camping equipment:

● Tent

● Tarp (for under-tent moisture protection)

● Tent fly (for possible rain and moisture protection)

● Sleeping bag

● Sleeping pad

● Battery powered lantern

Other Items & Nice to Have Items:

● Cell phones & chargers. We DO NOT guarantee cell coverage at Jones Gulch. Just in case, feel

free to bring a calling card for the payphones.

● Extra batteries for flashlights or battery operated lanterns

● Good quality Ear Plugs for sleeping in cabins or camping if you know you are a light sleeper.

● Please note that internet service has been added to many parts of the campgrounds.

● Bicycles & helmets. There is a paved road that goes throughout camp.

● If you want your own favorite coffee/coffee filters/1 cup coffee filter cone - there will be hot water

in the Dining Hall. (there will be additional coffee service as well)

● Yoga mat for morning Yoga class

● Seating pad/mat for extra comfort while sitting during concerts

● Instruments!!! For Open Mic and Jam Sessions, there will be pianos at Hubbard’s’ Hang,

Randolph Amphitheater, Sun Ra’s Space, and Gold’s Gulch.

Cabins: All cabins at YMCA Camp Jones Gulch are wooden structures with approximately 6-8 bunk beds in

each. All cabins have electricity and heat. In almost all cases, each person will get both the top and bottom

bunk. PLEASE NOTE: One of the beds in each Sarah Vaughan cabin room has only the top level. All beds are

taken on a first-come basis. The last person to arrive in a Sarah Vaughan cabin might end up with a top bunk

only. In this case, there is an additional space to put clothes. In our minor boys cabin, we might have

additional campers and therefore, cannot guarantee both the top and bottom bunk for each. Belongings can

also be stored beneath the bunk.

If you know that you snore and you know you will be a disturbance in a group cabin, PLEASE consider 8

camping or choosing our “glamping” option out of courtesy. This will provide you with privacy and is actually a

great way to go at Jazz Camp!

Credit Cards and Cash: Don’t forget to bring money for our camp store! We will be selling several items that

you just might have to have including t-shirts, sweatshirts, hats, messenger bags, music books, faculty CD’s,

water bottles, all-camp photos, snacks, etc. We will also be holding an auction and raffle and camp to raise

money for our scholarship fund.

We will be holding a fantastic silent auction and raffle during camp. Auction Bid Sheets will be posted

outside the dining hall deck throughout camp, and we will announce the highest bid winners on Saturday

evening during the final Dance Performance. Raffle winners will be drawn throughout the week during evening

faculty concerts. All proceeds will go directly to our scholarship fund. We appreciate your support!!

Coffee Lovers: Lots of returning campers bring their own coffee. (I do too, because I simply can’t live without

my Peets.) One-cup plastic cones and paper filters make it easy to make your own coffee if the on-site coffee

is not strong enough for you. .

Washing Machines: There are coin-operated washer/dryers on site. We provide laundry soap in our camp

store.

THINGS TO BRING TO CAMP – For Your Classes

Instruments: YOU MUST BRING YOUR INSTRUMENT TO CAMP. There is one piano or keyboard provided

for each class, with an additional 10 keyboards with headsets in our Piano Lab. You are welcome to bring a

keyboard for practice (optional). There are a limited amount of amps. Bring a light portable amp with you.

There are also a limited number of drum sets. If possible bring your drum set with you. We have a dedicated

drum room ( Kellye’s Shed ) where you can set up your kit (and rug) for the week. Returning Campers Please Note: We unfortunately will not be using upstairs Perkins this year (Eddie Marshall Drum Zone). This has

been moved to the Yurt which is labeled as Kellye’s Shed on your map. Percussionists – bring your

instruments. Attention Out of Towners - If you are flying in from out of town we do not expect you to bring your

drum set, keyboard or heavy amp.

Don’t forget your amplifiers and amp cords (small portable amps), extension cords, guitar strings, reeds,

music stands, etc. As well as all class materials: manuscript paper, fake books, charts, batteries, pens and

pencils.

We also suggest bringing a dolly or suitcase carrier with bungee cords for moving heavy instruments around.

The site is quite large and at times you may need to walk quite a distance. A carrier with wheels will be very

helpful if you have a heavy instrument!

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EARLY MORNING YOGA: We offer an early morning Yoga Class with Pamela Carrara, founder of the San

Francisco Yoga Schoo l. Please bring your mats, towels and/or blankets.

THE CAMP STORE/OFFICE: Karin Carson and Kellie Morlock will be running the camp store. Again: We will

not be selling phone cards! Cell phones typically do not work at camp, so consider purchasing phone cards to

use at the pay phones on site. In addition to T-shirts, sweatshirts, hats, messenger bags, music books, flash

drives, tote bags, snacks, water bottles, bottled water, and batteries, you may also want to purchase the

all-camp photo, raffle tickets, Open Mic flash drives or faculty CDs. The store accepts VISA, MasterCard,

checks or cash. We do not have ATM capability. You may want to bring extra dollars for the raffle and silent

auction that helps raise money for our scholarship fund. Expect some terrific prizes!!! More info will be given at

camp.

HOW TO COMMUNICATE FROM CAMP: There are three pay phones on site. (Again- Cell phones don’t

receive a strong enough signal to operate). The general camp number is 650-747-1200. We check for

messages throughout the day and post them on a message board in front of the Dining Hall. The mailing

address is: Camp Jones Gulch, 11000 Pescadero Road, La Honda, CA 94020. There is no computer access.

You must go cold turkey. You can do it! Remember, we are NOT selling phone cards this year!

A FEW WORDS ABOUT OPEN MIC: Open Mic is an hour-long daily student concert with approx. eight acts

performing each day, Monday thru Friday. In addition, we also dedicate Friday evening to Open Mic. This gives

students a chance to perform in front of a live audience regardless of your level. It is often the highlight of your

week! Due to limited space, we use a daily lottery system to choose performers. Unfortunately, not everyone

will get a chance to perform an Open Mic.

Open Mic acts are 5 minutes in length maximum. This time limit ensures the maximum number of participants.

This is your time to be a star, whether you are a beginner or advanced musician. As the week advances, you’ll

meet (and hear) lots of other students. We will have an Open Mic Ambassador. This person will help students

find players for their Open Mic performance. Flash Drive recordings of your Open Mic will be available for

purchase. How Open Mic Works: A daily lottery system is used to choose each day’s performers. Students

can perform as a leader only once during the week. If you haven’t been chosen, you can keep signing-up

every day. We draw names the day before your performance so you have plenty of time to prepare! More info

will be given at camp!

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DIRECTIONS TO JAZZ CAMP WEST (YMCA Camp Jones Gulch)

Address: YMCA Camp Jones Gulch, 11000 Pescadero Rd, La Honda, CA 94020

(650) 747-1200

Note: Internet can get spotty or drop off completely as you get close to camp if you are trying to use your

GPS.

You may want to Mapquest this from your address in advance to see which directions seem best for you.

Here are a few options-

From San Francisco Area:

280 south to Hwy 92 WEST towards Half Moon Bay. Turn LEFT on Hwy 1 South. Drive about 45 minutes and

take a LEFT on Pescadero Road. (Do not take the left turn towards La Honda off of Hwy 1. Go past this and

keep looking for the Pescadero Rd. sign.) Proceed onto Pescadero Rd, drive through the little town of

Pescadero and keep going on up the hill. Turn RIGHT at the YMCA Camp Jones Gulch sign and drive in on

Jones Gulch road until you see the admin. building on your left. (There are other YMCA camp signs. You are

looking for Camp Jones Gulch!) Expect to drive approx. 1 hr. and 30 min. from the Bay Area and 20 minutes

from the Pescadero Rd. turnoff.

From East Bay (2 ways):

1. Quickest way, but very curvy:

980/880 South. Cross the San Mateo Bridge, which takes you on to Hwy 92. Take 280 south, and exit at

Woodside Rd. Turn right and drive through Woodside and follow Hwy 84 West. This will eventually take you

through the little town of La Honda. Take a LEFT on Pescadero Rd. Stay right at the “Y” (left is Alpine Rd.) Go

4-5 miles and turn LEFT at the YMCA Jones Gulch sign.

2. This may take an extra 15 minutes or so, but it is less curvy for those who don’t do well on “endless” curvy

roads: 980/880 south and take the San Mateo bridge to Hwy 92 west. Drive straight and turn LEFT onto Hwy

1 south. Drive straight on Hwy 1 and turn LEFT on Pescadero Road. (Do not take the left turn towards La

Honda off of Hwy 1. Go past this and keep looking for the Pescadero Rd. sign.) Turn RIGHT at the YMCA

Camp Jones Gulch sign and drive in on Jones Gulch road until you see the admin. building on your left.

If you need directions from other locations,

Call YMCA Camp Jones Gulch at (650) 747-1200.

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JAZZ CAMP WEST RULES AND REGULATIONS FOR ALL CAMPERS REGARDLESS OF AGE

MINORS- PLEASE NOTE! There is an additional MINOR document below the Jazz Camp West Rules and

Regulations.

1. Smoking. No smoking is allowed in any of the camp buildings in accordance with California law, including

but not limited to all sleeping areas, the dining hall and the classrooms. Smoking also is not allowed on any

trails, program areas or in front of the entrance to any of the camp buildings. Smoking is allowed only in

designated areas. Please take all precautions to prevent fires and dispose of cigarette butts properly.

2. Music Curfew. Music may NOT be played between the hours of 10:00 p.m. and 8:00 a.m., except at the

evening faculty concerts held in the amphitheater, the dining hall and small dining hall. Music played in the

dining hall MUST stop by 1:00 a.m. The last people to leave the dining hall and small dining hall are

responsible for turning off the lights and closing the doors.

3. Hiking. Trail maps are available from the camp office. For your safety, we recommend that you do not hike

alone and that you remain on the marked trails. Please keep an eye out for poison oak and stinging nettles.

4. Drugs and Alcohol. Camp Jones Gulch policy forbids the use of alcohol or drugs.

5. Damage to Persons and Personal Property. Damage, destruction, abuse, vandalism, or theft of any

personal property is prohibited.

6. Swimming Pool. All students are required to shower before they enter the pool. The pool will be open during

posted times. A lifeguard will be on duty.

7. Wildlife. There are many raccoons at Camp Jones Gulch. Campers must be mindful about leaving food out

or leaving doors open on their cabins or tents. Raccoons are notorious for getting into personal items as well

as munching on any food that is left around.

8. Pets. No pets are allowed at camp.

9. Firearms and Other Fire Dangers. No firearms, ammunition or weapons of any kind are allowed at camp

and are subject to confiscation, if brought. No portable barbeques, fire pits, flammable liquids or fireworks are

allowed in camp. Fires are permitted only in designated campfire areas and fireplaces around camp.

10. Driving and Parking. Parking is limited. Please park in designated parking areas only. Camp roads must

be kept clear in case emergency vehicles have to get through. The road to the Indian Bowl is a maintenance

road only. We discourage the setting of car alarms at camp (raccoons set them off and disrupt concerts and

tent campers). Camp Jones Gulch follows California driving laws. The speed limit in camp is 10 mph.

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11. Meals. Meals will be served for 1 hour after the mealtime begins. Please try to arrive on time for meals.

A vegetarian alternative will be available as well as a salad bar at lunch and dinner. The kitchen prepares

meals for exact numbers of diners. No guests are allowed, unless advance permission is obtained from the

Executive Director. All guests will be expected to pay for meals. Coffee and Tea is served all day in the dining

hall. Please remember our dining hall also serves as our dance studio. If you are eating inside and finishing a

meal late, you may be asked to move outside on the dining hall deck so that we can prepare for the dance

classes.

12. Personal Belongings. Please do not bring any unnecessary valuables to camp. Jazz Camp WEST is not

responsible for any lost or stolen personal property. Personal belongings may be stored in either your cabin or

your car. Cabins do not lock. If you must bring something valuable, you may lock it in our camp store or in the

Director’s cabin.

13. Visitors. Except for the last day of camp or final Friday dance performance, visitors are not allowed at camp unless advance permission is obtained from the Executive Director. All visitors must check in at the

camp office upon arrival. any visitor planning to attend the final night’s dance performance will have to show

proof of full vaccination at the door of the dining hall before being allowed in. there will be no exceptions!

14. Photographs, Videos. There will be a photographer (Rosaura Sandoval) and two videographers (Andy

Mogg and Alexa Melo) at camp. These media materials are used for Jazz Camp WEST and Living Jazz

promotional purposes.

An all-camp professional color photo will be taken on Thursday at 5:30. We will have a sign up for those

wishing to purchase a photo and they will be on sale in the office during the last days of camp. (Great

memento of Jazz Camp WEST!) We will video the Open Mics for those of you who wish to purchase a flash

drive of your performance while we are still at camp in the camp store. You will also have the chance to

purchase your open mic performance after camp. More about this at camp!

15. Copying. Please plan ahead and do all photocopying in advance of camp. If you plan on performing at

the Open Mic and have your tune picked out before you arrive, make sure to bring several copies of your

charts for your band.

16. Jazz Camp WEST concessions: Jazz Camp WEST T-shirts, sweatshirts, hats, messenger bags, flash

drives, water bottles and other misc. items will be on sale in the camp office. Music books and faculty CD’s will

also be available along with batteries, snacks, water and other miscellaneous items.

17. Phones. There is no guarantee of cellular service at camp. There are pay phones located at the dining

hall, Randolph Lodge and at the administration building. You must bring coins or phone cards to use the pay

phones. COME PREPARED!

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MINOR ONLY RULES AND REGULATIONS- JAZZ CAMP STUDENTS UNDER THE AGE OF 18

Please read thoroughly.

For those students under the age of 18 coming to Jazz Camp WEST, we want to let you know of some camp

policies that pertain specifically to you in addition to the Jazz Camp West general Rules and Regulations.

Please read the following Rules and Regulations carefully.

Parents/Guardians permitting students under 18 years of age to attend Jazz Camp West without an

accompanying parent or guardian, do so with the understanding that Jazz Camp West is an adult music camp

and does not provide direct supervision for students under 18 years of age. Jazz Camp West will provide two

Teen Point People on-site throughout the week. The female Teen Point Person will be housed in the teen girl’s

cabin; and the male Teen Point Person will be housed in the minor male cabin. The Teen Point People will

work towards making sure everyone is comfortable and having a good time, and generally being available if

anyone has any concerns. They will meet with all students under 18 years of age along with Stacey Hoffman,

Executive Director on the first day of camp to go over all rules.

1. Smoking. No smoking is allowed by any student under the age of 18.

2. Adult Camp. All minors will be in an adult environment for the week at camp and will be expected to arrive

to classes on time and participate in all camp activities in a mature fashion.

3. Evening Activities. Every evening during the week of camp there is a faculty concert held in the

amphitheater. We encourage all Jazz Camp West students to attend these concerts, which are rare

collaborative performances. Students under the age of 18 will be asked to attend these faculty performances,

or socialize with their friends in the dining hall or dining hall deck. Wandering around the campsite at night or

leaving the camp without permission is not allowed. Permission to leave the campsite may be obtained only

from Stacey Hoffman, Executive Director.

4. Music Curfew. Music may not be played between the hours of 10:00 p.m. and 8:00 a.m., except at the

evening faculty concerts held in the amphitheater, the dining hall and small dining hall. Music played in the

dining hall MUST stop by 1:00 a.m. The last people to leave the dining hall and small dining hall are

responsible for turning off the lights and closing the doors.

5. Mandatory Minor Meetings . All students under 18 years of age will be required to attend the minor

meeting on the first day of camp at 4:30pm on the deck outside the Small Dining Hall with the Executive

Director and the Teen Point People. If a student cannot attend a scheduled Minor meeting, that student must notify Stacey Hoffman, Executive Director, as far in advance of that meeting as possible.

6. Conduct During Performances. All Jazz Camp students shall give performers attention and respect,

whether at Open Mic performances, evening faculty concerts or during the final day's performance.

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7. Minor Housing. In all cases, minors will be housed together (unless they have permission to camp).

Students will respect their cabin mates, keep quiet after people have gone to sleep and keep their belongings

in an orderly fashion. Non-supervised entry into any cabin other than the student’s assigned cabin is

prohibited.

8. Hiking. For the safety of themselves and others, students under 18 years of age shall walk on designated

trails only. Trail maps are available from the camp office. Please keep an eye out for poison oak and stinging

nettles. Never hike alone.

9. Visitors. No unauthorized visitations are allowed during the week of Jazz Camp. Only the Executive

Director may authorize visitors.

10. Dismissal from Camp. Jazz Camp West requires all students under 18 years of age, who attend Jazz

Camp West, to participate fully in camp activities. If at any time a Teen Point Person or the Executive Director

determines, in his or her sole discretion, that a student is not participating adequately or is not behaving

appropriately, then the student’s parent/guardian will be called and required to pick up the student from camp

immediately. Grounds for dismissal from camp include, but are not limited to, a student’s failure to abide by

Jazz Camp West’s Rules and Regulations. Students sent home under these circumstances are not eligible for

a refund of camp fees. The responsibility and expenses related to transportation home will rest solely on the

parent(s) or guardian(s) of the student.

11. Drugs and Alcohol. The possession or use of any non-prescription substance, including drugs and

alcohol, is strictly prohibited. JAZZ CAMP WEST HAS A ZERO TOLERANCE POLICY IN REGARDS TO

DRUGS AND ALCOHOL. ANY STUDENT FOUND WITH DRUGS OR ALCOHOL WILL BE SENT HOME

IMMEDIATELY WITHOUT BENEFIT OF A REFUND. If the student needs to take any type of medication while

at camp, the student must bring a copy of the doctor’s prescription with him or her to camp. All medication

must be contained in its original prescription bottle.

12. Damage to Persons and Personal Property. Damage, destruction, abuse, vandalism, or theft of any

personal property is prohibited. The student and his or her parent/guardian, together, shall be solely

responsible for any damage that the student may cause to others or to property, regardless of the nature of

the damage or claims, arising from or related to the student’s participation in Jazz Camp West.

13. Leaving Camp. Leaving the Camp Jones Gulch Site for any reason without advance permission of Stacey

Hoffman, Executive Director is prohibited.

14. Swimming Pool. Students under the age of 18 may be required to take a swim test prior to entering the

pool. All students are required to shower before they enter the pool. The pool will be open during posted

times. A lifeguard will be on duty.

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JAZZ CAMP WEST 2022 CLASS DESCRIPTIONS

When creating your personal class schedule keep these things in mind. Jazz Camp provides a unique

opportunity to take advantage of classes you might not normally get the chance to participate in. Taking

classes outside your discipline can enhance your musical education in ways you might not have considered. If

you are an instrumentalist, consider taking percussion, steel drum, vocals or dance for rhythm and timing,

ensemble classes for hands-on experience, or songwriting for expanded awareness of song forms and

composition. The same is true for dancers, vocalists, or percussionists. Think outside the box! This is your

chance to try new things, and enhance your experience. All classes are 1 hour in length, except for dance

classes, which are 1 hour and 15 minutes. There is a 15-minute gap in between classes to give you time to

travel to your next class. Please keep note of the dance class additional time when scheduling your classes.

You can sign up for as many as 6 one-hour classes per day. Each day will also include an additional one-hour

of Open Mic right before dinner, a daily evening faculty concert, and a late night jam session with dessert in

the dining room. Since this is a long jam-packed day, consider carefully whether you want to take a class every

hour. You may want to leave some time in your schedule for practice, relaxation, a dip in the pool, hike in the

woods, or conversation with a new friend.

THEORY

ADVANCED THEORY; Adv.; Dillon Vado; “Chromatic” literally translates to colorful, and in this class we will

develop a wider awareness of the colors that exist in the musical world and a sense of possibilities for further

explorations after camp. This class will aid students in developing a more personal improvisational language

while expanding their accessible color palette through developing a more chromatic solo vocabulary.

We will expand upon typical “chord/scale” theory using major scale modes and melodic minor modes

strategically over dominant “altered” chords. Other topics will implement common chromatic decoration. You

will leave this class playing G#’s and F#’s and all sorts of “wrong notes” over the C major scale, irritating all

your previous teachers and having a blast doing it. Prerequisite: *all levels welcome*, but assumed knowledge

is all 12 major scales/corresponding key signatures, and some familiarity with the ii V I progression. Please

bring your instrument or come prepared to sing! Open to instrumentalists and vocalists.

JAZZ BASICS 101; Beg/Int; John Calloway; All Welcome; Designed to work for Jazz Campers with little or no

training or background in jazz theory or harmony, the class is a "safe" place and space to ask even the most

basic questions about jazz music and music in general. "Air time" will be given to both the novice as well as

those beginners and intermediate students with more advanced questions.

THEORY AND IMPROVISATION; Beg./ Int.; Michael Golds; All instruments welcome. In this class there will be

both lecture and playing your instrument. First, we look closely at musical keys, identify/discuss three chord

qualities (ie; major7, minor7, & dominant7), and where we find them. Identify and understand guide tones in

the most common jazz chord progressions. We will use rhythm and time to play chord/scale patterns. We will

practice them together, learning to improve and "kick-start" your solo. We will also practice arpeggiation of

chord tones, use motivic development, nuanced use of the blues/pentatonic scales, phrase length/shape, and

other elements. I will have lots of handouts, including clear explanations of the above, how to practice better

and more efficiently, and transcribed solos as examples.

SPECIALTY CLASSES

HOW TO TELL A GOOD STORY; All Levels; Open to all campers! Artist-In-Residence Camille Thurman; An

exploration of storytelling and improvisation via transcription analysis. In this class we will learn how to create a

strong solo that tells a melodic story. The masters of Jazz knew how to tell a story and through transcription

and analysis of these well known jazz solos we can begin to explore the mechanisms used in playing a good

solo.

OVERCOMING STAGE FRIGHT; All Levels; Stacey Hoffman; All Welcome; Everyone (and I do mean

everyone) has some form of stage fright. Most people I have encountered spend a tremendous time learning

or practicing their music, but absolutely no time on the actual thing that might be getting in their way of

performing their best. Like learning how to play an instrument, there are tangible ways we can learn to deal

with the predicament of stage fright to not let it get in the way of doing a fantastic performance; We’ll learn at

least ten different ways to approach the dilemma of performance anxiety to help you find the way which works

best for you.

THE MUSIC OF BILL FRISELL; All Levels; Jenny Scheinman; All instruments welcome; Bring your

instruments and let’s dive into the music of the legendary guitarist/composer Bill Frisell. We will focus on his

compositions and transcriptions as well as a few of his most notorious collaborations. I have been playing with

Bill for 20 years and will bring a stack of handwritten charts as well as some of his published material.

JAZZ LISTENING; All Levels; Tanya Darby; All welcome; Listening and discussion of some of the most iconic

and influential recordings to date.

SONGWRITING; All Levels; Jason Ewald; All Welcome; No experience necessary. Songwriting is fun and

easy! We’ll talk about different techniques for songwriting and listen to some great songs from our rich musical

history. But mostly we’ll be doing. Which includes singing, writing, improvising and sharing ideas. We will be

focusing on what I like to call “song writing from the flow”, allowing yourself to joyfully tap into the natural flow

of your inner voice.

GET ON THE GOOD FOOT, NIGHTLY JAM PREP; Int./ Adv.; Jason Ewald; All Instruments and Vocalists

Welcome. Have you ever been at a jam session but were too scared to sit in? Have you gotten lost during the

song? Were you ever cut off in the middle of your solo, or cut someone else off in his or her solo? Or just felt

generally confused and out of place? Learn how to jam with other musicians; how and when to solo, how to

lead & how to follow, how to choose a tune, how to end a tune, the best ways to communicate on stage and

basically how to be a good jam session participant. Each day, we will prepare tunes for the nightly Jam

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Session. As a result you'll play in all the styles: Blues Jazz, Latin, Funk etc. We'll dish out helpful tips, we'll

improvise, and we'll build an understanding of the musical language that you can use each night and beyond!

REIMAGINING ICONIC SONGS OF THE 70’S & 80’S; Julie Wolf; All Levels; For both instrumentalists and

vocalists. We’ll tap the talents and strengths in our assembled class and as a group we’ll conspire to create

unique versions of iconic songs written by some of our most seminal songwriters. Some crazy wonderful music

will brew in Gold’s Gulch. Let’s do this!

THE AFRO CARIBBEAN RHYTHM SECTION AND THEN SOME; Int/Adv.; Dave Flores; For all

instrumentalists; Bass, Drums, Percussion, Piano and Guitar ! As with any genre in music, the feel of the

groove is a team effort and when we are all speaking the same musical dialect we create magic, also known

as playing the same groove. Sometimes the only info on the chart might be “gosspley, latin, African vibish type

feel” (true story). Our class will provide tools for the rhythm section as a whole to give you some options. We

will explore the Caribbean (son, calypso, reggae), South America (samba, cumbia), African (afrobeat, highlife),

and how to mix and match.

STRINGS

I AM BOWED, HEAR ME ROAR!; All Levels; Jenny Scheinman; String players this is our time! We will spend

the first third of the class warming up and tuning our group sound, then focus on repertoire and practice

techniques for improving groove, language, and memory. Of all the instruments, the bowed string is the closest

to the human voice. It can moan, gliss, scrape and whisper. It can whip people up into a frenzy, and sing them

a lullaby. Let’s hone our powers.

THE MUSIC OF BILL FRISELL; All Levels; Jenny Scheinman ; String players and all instruments welcome;

Bring your instruments and let’s dive into the music of the legendary guitarist/composer Bill Frisell. We will

focus on his compositions and transcriptions as well as a few of his most notorious collaborations. I have been

playing with Bill for 20 years and will bring a stack of handwritten charts as well as some of his published

material.

MICHAEL BOW THE BOAT ASHORE; Int./Adv; Jenny Scheinman; An ensemble class for connoisseurs of the

bowed string. Come indulge yourself in the extravagant comforts of sympathetic string resonance! We will build

our boat from ballads, blues, fiddle tunes & chorinos, and sail our craft all the way to shore.

DANCE & MOVEMENT Reminder: All dance classes (except yoga) are an additional 15 minutes in length (total 1 hour, 15 min)

FINE BODY YOGA™; Pamela Carrara; All Welcome; (7-7:45 am); Suitable for both the experienced and

newbie, Fine Body Yoga™, is an easily accessible effective practice, and specifically designed for you to get

the most out of your activities here at Jazz Camp, with ease and grace! As I have been coming to Jazz Camp

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since 1986, and a yoga practitioner and professional for 45+ years, I am pretty familiar with the comings and

goings, the ups and downs, and the exertion and rest it takes in this environment to avoid getting depleted

physically, mentally, and emotionally which greatly can impact our Spirit. Each class is an extra opportunity to

mindfully begin and establish your day, and honor your whole Self by aligning your physical and subtle bodies

to be more steadfast: balanced, centered, focused, and grounded. This can help you be more alert, flexible,

resilient and stable at all levels of consciousness to heighten your potential. The sessions include yogic

energization techniques, and movement with emphasis on the breath, giving you greater access to your fullest

self-expression and creativity. If you are used to doing yoga on a mat, or use props, please bring them. There

will be some mats available. Mats are optional for the standing portion of the practice. For sitting and lying

down, a towel or a blanket will be sufficient. I look forward to starting these Jazz Camp days with you!!!

MORNING CONTEMPORARY JAZZ DANCE; All Levels; Lynn Brilhante; This class is open to all levels. Bring

your energy and your spirit. We will explore the wonders of moving through space using our energy and great

music as our guides. Class will include a basic warm-up and floor stretch and progress to movement and

basic choreography combinations. Our goal is to move, create and have a wonderful dance experience.

Emphasis is on the fun and the spirit of movement. Add dance to your Jazz Camp schedule! This is a great

class to jump-start your dance life or enhance your existing dance experience. Bring loose, comfortable

clothing and/or dance attire. Both dance footwear and bare feet work just fine for class.

AFTERNOON CONTEMPORARY JAZZ DANCE; Int.- Adv; Lynn Brilhante; Explore! This class will contain

more material and improvisation than the morning class. We will dig deeper into the Contemporary Jazz

Dance vocabulary and into slightly more complex movement. Some dance experience is a plus. Bring your

spirit, your energy and your desire to dance. We will create an expressive, energy-filled experience designed

to increase your strengths as a dancer and as a performer. Bring loose, comfortable clothing and/or dance

attire. Both dance footwear and bare feet work for class. Let’s Dance!!!

GROOVE THEORY; All Levels; Samara Atkins; This class is open to all levels and will cover the basic

mechanics of grooving to music and utilizing your body as your instrument. We will be exploring the natural

way your body moves, which will allow us to tune into the organic way your body grooves. You'll be inspired to

let loose and get down to music from the 70s to present-day, using the art of freestyle dancing. You'll learn

some groovy sequences and experiment with an activity to showcase at the end of camp. You'll learn some

tips and techniques to expand your idea of sound, potentially understanding musical nuances from a different

perspective. Movers of all degrees are welcome. Dancers come in attire that will allow you to be comfortable

and move freely. (T-shirts, hoodies, sweats, leggings, basketball shorts, and joggers are good suggestions).

Wear comfortable sneakers with laces.

IS IT WORTH IT? LET ME WORK IT!; Int./Adv.; Samara Atkins; This class is for the dancer/artist that has

some experience with the fundamentals of hip hop and other movement and is ready to take their moves and

overall performance to another level. The focus will mainly be on performance technique, sharpening skills on

execution, delivery, timing nuances, stage presence, and elevating the overall performance level. Movement

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will be intricate in order to work with all of these components. You don't have to be a master of hip-hop, but this

genre will be our main vehicle of expression. There will be facilitated exercises and activities on performing as

we explore various concepts of what makes a great performance. Urban choreography will be taught in this

class and artists will have a chance to create moves or work that could be incorporated into the performance

piece that will be performed at the end of camp, if they so choose. Come in attire that allows you to move fully

and freely. (T-shirts, hoodies, sweats, leggings, basketball shorts, and joggers are great examples of what to

wear and artists are encouraged to showcase their personal style through their clothing). Wear comfortable

sneakers with laces to move in. If it's worth it, then come and work it! Put your thang down, flip it, and reverse

it.

RUEDA DE CASINO (CUBAN SALSA); All Levels; Manuel Suarez; Rueda De Casino was developed in Havana

Cuba in the late 50’s and early 60’s. It is an incredibly fun form of salsa where dance partners form a circle,

dance moves are called out by one person, and dancers move around the circle exchanging partners. This class

will teach you how to dance and to connect the music to the movements. You will learn the basic steps and the

fundamentals of solo and partner dancing.

RUEDA DE CASINO (CUBAN SALSA) Int./Adv.; Manuel Suarez Rueda De Casino was developed in Havana

Cuba in the late 50’s and early 60’s. It is an incredibly fun form of salsa where dance partners form a circle,

dance moves are called out by one person, and dancers move around the circle exchanging partners. This

class will teach you how to dance and to connect the music to the movements. This intermediate and

advanced class focuses on improving your skills and styles and provide you with new tricks to show off in the

clubs.

PIANO

PIANO INTENSIVE; Adv; Randy Porter: By Audition on first day of camp. Two class periods are reserved for

six advanced participants where we will explore all aspects of the piano including technique, vocabulary, style

and the textures necessary to elevate your playing, especially with regard to a jazz trio format.

10:15-11:15: Master Class with pianist Randy Porter;

Students play and receive instruction. Each pianist will have an opportunity to play, listen, discuss musical

concepts, and grow in an intimate, supportive and focused environment.

11:30-12:30: Trio playing with professional bass and drums.

Each pianist will have an opportunity to play, listen, discuss musical concepts, and grow in an intimate,

supportive and focused environment. We will cover many topics, including: chord voicings, comping, solo piano

playing, arranging, syncopation, swing feel, interactive/conversational trio playing, odd meters, phrasing, the

Blues, Brazilian and Cuban styles, piano technique, ear training, and more. NOTE: If accepted into the Piano

Intensive you may also audition/join either a Combo OR the Advanced Instrumental Program.

COMPING AND VOICINGS FOR PIANISTS; Int/ Adv.; Randy Porter; Learn how to consistently play better

voicings and comping techniques. Topics include: How to use good voice-leading. Extensions that warm up

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your harmony. Common rhythmic patterns. Comping for yourself (for singers) or others. Common progressions

and Standards studied with class participation encouraged.

BASICS OF SOUL AND R&B PIANO; Beg./Int., Colin Hogan; Join in while we use classic songs to study the

foundational concepts of playing piano and keyboard in Soul and RnB music.

STYLES OF THE JAZZ PIANO GREATS; Int./Adv.; Colin Hogan; In this class we will use the compositions and

solos of such legendary pianists as Herbie Hancock, Oscar Peterson, McCoy Tyner, and others and study what

gives each of them a distinctive style and sound.

THE ART OF THE VAMP; All Levels; Colin Hogan; Vamping on short repeated sections is an integral part of

many genres including Jazz, Funk, Latin, and Gospel. In this class we will use tools such as theme and

variation and shifting "gears" to create compelling accompaniment and solos over vamps.

BLUES PIANO; Beg./Int.; Carmen Staaf; The Blues is a fundamental building block of jazz, as well as a

musical lineage that influenced all of 20th century American music and continues to inform popular music

today. In this class, we will study early Blues musicians such as Bessie Smith and Robert Johnson,

investigating the call-and-response narrative approach and “blue notes” so essential to the style. We will learn

Blues piano techniques that imitate these vocal and guitar stylings, as performed by Otis Spann, Gene Harris,

and other greats. We will also look at the 12-bar AAB form that became the standard Blues format,

internalizing this harmonic and melodic structure and developing improvisations over it that “sing” in the style

of early Blues vocalists. We will finally learn how the Blues evolved as it entered the jazz idiom, looking at

swing- and bebop-era blues melodies and harmonic substitutions. Prerequisites: Open to all levels. A working

knowledge of major and minor pentatonic and blues scales, and basic 7th chords, will be helpful but is not

required.

CUBAN PIANO LAB; All Levels; Carmen Staaf; In this class, we will explore Cuban musical genres, focusing

especially on son, cha cha cha and Latin jazz. We will start with a brief historical overview of Cuban musical

genres including son, rumba, punto, bolero, cha cha cha, guajira, and changui. We will then listen to the

development of Cuban piano styles from the contradanzas of Saumell and Cervantes through the work of later

musicians like Peruchin, Ruben Gonzalez, and eventually Chucho Valdes and Gonzalo Rubalcaba. We will

investigate how son, cha cha cha and rumba in particular influenced what is now known as Salsa music.

THE AFRO CARIBBEAN RHYTHM SECTION AND THEN SOME; Int/Adv; Dave Flores; For all

instrumentalists; Bass, Drums, Percussion, Piano and Guitar ! As with any genre in music, the feel of the






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SPONTANEOUS MORNING ENSEMBLE; All Levels; Jovino Santos Neto; Instrumentalists and vocalists

welcome- This class is aimed at all levels of musicianship. Reading is not necessary. Compositions and

arrangements are created by Jovino in class with the available instruments and are learned by ear before

being notated. Everyone who wants to can play, developing strong listening skills in the process. All

instruments and vocals are welcome.

THE MUSIC OF HERMETO PASCOAL; Int./Adv.; Jovino Santos Neto; The legendary Brazilian musician

Hermeto Pascoal continues to compose daily at 86 years old. Recently, he gifted about 100 new compositions

to Jovino, who will select and prepare some of them for this Camp ensemble to play as a celebration of

Hermeto’s birthday in June. It will be an incredible opportunity to perform new music by one of the living

masters of music on our planet. All instruments welcome. Charts will be made available online prior to Camp.

THE HISTORY AND TECHNIQUES OF BRAZILIAN PIANO; All Levels; Jovino Santos Neto; This class aims at

providing pianists with a complete understanding of Brazilian musical styles applied to the piano. We will look

at the history and evolution of the piano language in Brazil, listen to recordings and analyze the techniques

involved in playing Brazilian music. Instructional documentation will be made available for download prior to

Camp. Click this link for Instructional documentation: CLICK HERE

GOSPEL PIANO 101; All Levels; Ben Heveroh; Gospel Piano 101 is a hands on class for students at all

levels. Beginners are welcome! Study the mechanics of how to get that Gospel sound..! Learn church chords,

House Raising Chords, how to play a Shout, Talking Music, Reverent as well as Celebration music, how to be

the choir, the soloist and the congregation all from behind the piano..! Yes that's right..! And students will

learn much about general musicianship, jazz theory, piano skill development and more. This class will

help enhance your jazz piano as well... This is a fun class but we will put in some work..!

BASS

THE AFRO CARIBBEAN RHYTHM SECTION AND THEN SOME; Int/Adv.; Dave Flores, Scott Thompson; For

all instrumentalists; Bass, Drums, Percussion, Piano and Guitar ! As with any genre in music, the feel of the






CLASSIC BASS LINES, TAKING IT EASY; Beg/Int; Scott Thompson; In this class we learn easy songs that

you will recognize as soon as you hear the bass line! From motown to todays pop hits this is a great

introduction to playing bass in a dance band. Just bring your bass and a notepad and let's groooove tonight!

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https://drive.google.com/drive/folders/1M9ulMqlYrwQydQMjvRiLGTwp_ZU6bbvl?usp=sharing

CLASSIC BASS LINES, ADVANCED GROOVE EDITION; Int/Adv; Scott Thompson; This is the advanced

version of the Classic Bass lines class, where we dive into advanced songs such as "P.Y.T.", "Rock with You"

and "I Wanna Dance with Somebody".

THE ART OF THE DOUBLE BASS; Int/Adv; Jonathan Richards; An intensive dive into double bass technique,

covering the fundamentals that every bass player should have! The class will focus on exploring the

fingerboard, intonation, sound production, time, scales, arpeggios, shapes, fingering, and tips for both arco

and pizzicato playing. It will be very hands on, so be ready to play! While the class may be geared towards

more intermediate/advanced players, there will be many take aways for the beginning bassist as well!

HOW TO CREATE A BASS LINE; All Levels; Jonathan Richards; There are endless ways of creating bass

lines! We will explore the fundamentals of constructing solid lines, and study great bass players and their

varying approaches. Throughout the week we will create bass lines in different musical contexts, and think

about ways to incorporate your own musical voice and vocabulary into your playing.

RHYTHM SECTION MASTERCLASS; All Levels; All Welcome; Jonathan Richards; All instruments welcome!

Over the course of the week we will listen to the great rhythm sections in jazz and examine what made them

so special. We will then put our analysis into action, as we play tunes with varying feels, vibes, and tempos.

We will discuss the role and responsibilities of each instrument, examine the communication within the rhythm

section, and talk about ways to support and interact with horn players and vocalists.

RHYTHM SECTION FEELS: FROM NEW ORLEANS TO HARLEM TO MOTOWN AND BEYOND; Beg/Int;

Josh Thurston-Milgrom; In this course, we will go through the toolbox of styles that every modern jazz rhythm

section player is expected to know, from a traditional two-feel, to walking bass, Afro-Latin styles, and funk, and

ending up with some common odd-time signature feels. Not just for bassists, we’ll explore how each classic

bass line fits together with the drums, piano, and guitar styles of classic rhythm sections. You’ll know what to

play, and how to play it, on any tune that gets called at the session! Along the way, we will develop a

rough-and-ready approach to walking bass lines that will allow you to easily create classic-sounding jazz bass

lines over any set of chord changes.

MAKING THE CHANGES: WALKING BASS AND SOLOING; Int/Adv; Josh Thurston-Milgrom; In this class we

will explore approaches to take your walking bass lines to the highest level, creating lines that not only outline

the chord changes, but also have great melodic flow and the classic jazz sound exemplified by the lineage of

jazz bassists from Milt Hinton to Ray Brown to Ron Carter. Then, we will explore how the same techniques can

be used to solo over chord changes in the bebop and post-bop style. If you know what scale or arpeggio to

play on each chord but are still looking to get them to all flow together, this is the class for you!

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DRUMS, STEEL DRUMS

FUN-DAMENTALS OF DRUMMING; Beg./Int.; Ana Barriero; In this class we will go over a number of

categories that are an important part of a drummers foundation and practice routine. Rudiments, Technique,

Time Keeping, Coordination and Feel.

JAZZ UP YOUR TIME!; All Levels; Ana Barriero; This course will look into jazz concepts, tunes and rhythms

that will help us all move forward in our playing no matter your level. We’ll work on listening, playing upbeats,

tracking the pulse when there is syncopation, singing rhythms, subdivisions, polyrhythms and space.

BRAZILIAN STYLES ON THE DRUM-SET; Int./ Adv.; Ana Barreiro; Samba, Bossa, Afoxé, Samba-raggae,

Baião, Ijexá, Maracatu... We will look beyond the Bossa Nova groove and learn how to play different Brazilian

grooves adapted to the set.

DRUMMING BASICS; Beg/Int; Darrell Green; Explore how to establish good posture, drum setup and

technique to optimize ultimate playing performance. Learn various ways of developing good time and feel.

APPLICATION OF DRUM RUDIMENTS TO MUSIC IN REAL TIME; Int/Adv; Darrell Green; Explore how to use

and access drum rudiments, maximizing the ability of getting around the drum kit. Learn how to play fills and

how to apply drum rudiments between the limbs.

TRADING BARS; All Levels; Darrell Green; Learn how to comfortably trade with the drums. We'll explore

trading with 2, 4, 6 and 8 bar phrases and learn how to create a musical and rhythmic conversation via

trading.

THE AFRO CARIBBEAN RHYTHM SECTION AND THEN SOME; Int./Adv.; Dave Flores, Scott Thompson; As

with any genre in music, the feel of the groove is a team effort and when we are all speaking the same musical

dialect we create magic, also known as playing the same groove. Sometimes the only info on the chart might

be “gosspley, latin, African vibish type feel” (true story). Our class will provide tools for the rhythm section as a

whole to give you some options. We will explore the Caribbean (son, calypso, reggae), South America (samba,

cumbia), African (afrobeat, highlife), and how to mix and match. This class is for all instrumentalists; bass

players, drummers, and everyone else!

MO BELL OR NO BELL: AFRO CARIBBEAN DRUM SET; Int./Adv.; Dave Flores; With so much “Latin” to play,

making the appropriate musical decision for the time depends on several things. Choosing to play the bell of

the cymbal or a mounted bell is only one of many calls we have to make. In this class, we will explore several

grooves that fall under the “Latin” umbrella and learn, for example, the difference between calypso and

cha-cha-cha as played on the drumset.

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ON THE ONE…FOR THE FIRST TIME; Beg./Int; Dave Flores; This is a beginner's drum set class. Here we

will learn the mechanics of the instrument, and develop tools and concepts to help you talk real cool with your

hands and feet! But more importantly, give you the confidence to add these tools to what you do, and helps

you communicate with your drummers more efficiently.

FUN WITH PARADIDDLES! FOR BEGINNERS; Beg; Allison Miller; This class is perfect for complete

beginners! No experience needed! We will take my favorite rudiment, the Paradiddle, and get right to

drumming, exploring different ways of playing the Paradiddle around the drum kit. We will also learn a few

classic grooves: Rock, Swing, and Latin. All you need is a little imagination and a creative spirit!

MELODY IS KING AND QUEEN; Int/Adv; Allison Miller; In this class we will spend the week discovering just

how melodic the drums actually are. We will create our own melodies and explore ways to expand upon those

melodies, improving our solo voices and our ability to “tell our story”. SAY NO TO LICKS! SAY YES TO

MELODY!

STEEL PAN WORKSHOP; All Levels; Mark Rosenthal; Get your groove on! Steel Pans are known for their

sweet, innervating sound, and If you’ve never experienced it now is the time! -We will be jamming from day

one. Our goals will be to have fun and prepare a piece, or two for our Saturday showcase. This class is great

for stepping out of your comfort zone and into a new comfort zone. Once you start playing your hands start to

remember. All the pans have notes written on them so there is really no need to learn that ahead of time.

Tunes are taught by rote as is traditional in Trinidad where Pan originated. One camper told me recently, ”I’ve

been wanting to take your class for 11 years and now I’m here!!” So it’s never too late. There is a saying in

Trinidad, “Not I, We!” Come join the Pan Party and Jam with us!

PERCUSSION

TUMBA, CENCERRO Y CHÉKERE; All levels; John Santos; The big three in Afro-Cuban folklore - Conga

drum (tumbadora), bell (cencerro) and beaded gourd (chékere). Basic rhythms we will approach: Guiro (6/8),

and Iyesá (4/4). We will also tackle simple to intermediate technique exercises. Bring a conga, bell, and/or

chékere if you have them. There will be a limited number to share.

AFRO-LATIN ROOTS OF JAZZ ON VIDEO AND AUDIO; All Levels; John Santos; Video analysis and listening

class - all levels. We will review profound video clips from Cuba, Puerto Rico, Perú, the US and Brazil!

SPIRIT SONGS; All Levels; John Santos; Afro-Cuban songs of sacred/spiritual origin are the foundation of a

great deal of contemporary Salsa and Latin Jazz. They continue to be a strong base of identity for many

Afro-Latin descendants in and out of the region. We will sing in Yoruba and Ki-Kongo dialects. The rich

melodic, harmonic and rhythmic qualities of this music will inspire you as well as enhance your musicality.

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MO' PANDEIR-O! - All Levels; Ami Molinelli; The "Brazilian" Tambourine - a frame drum brought to Brazil

through the Portuguese drum "Adufe" with origins of technique and history from the Moors, Middle East and

North and West Africa. This sometimes deceivingly simple looking drum has a heavy pedigree of rhythmic

intelligence that spans many cultures. Used in choro, samba, forró, samba-rock, and incorporated by American

drummer Stanton Moore. This class is heavy on technique as well as a history of samba through the pandeiro.

I will have some pandeiros!

DRUMMING IN THE STREETS! FROM MARDI GRAS TO CARNAVAL - 2ND LINE, SAMBA AND MARCHING

MUSIC! All Levels; Ami Molinelli; Parade style drumming! From New Orleans to Rio de Janeiro - Samba,

Samba Funk and the funky Bo-Diddley! This class will play with Samba School Rhythms, Call and Response

and all the Brazilian auxiliary percussion instruments as well. Plus see how some contemporary samba

schools are Samba-Funk things up! Caixas, Snares, Surdos, Tamborims, Agogo bells, and more! This class

will also be about getting ready for the Indian Bowl Parade and have a chance to collaborate with the Brazilian

vocal class. Be prepared to do some listening and then make some noise! Please bring your instrument – I

will have some instruments!

PERCUSSION FUNK-DAMENTALS! NUMBERS 1-10! ; All Levels; Ami Molinelli; If you can count to ten, this

class if for you! If you want to work on your understanding of syncopated rhythms... this class is for you! This

class will explore how to read rhythm notation from master percussion composers such as Steve Reich, John

Bergamo, John Cage, etc. Understanding how to break-down difficult syncopated rhythms, odd meters and

actually perform a written piece of notation. Immersed in both the traditional contexts of world music and

honoring musical traditions from West Africa, India and the U.S. this class will explore how composers have

applied non-western percussion theory to written pieces of music. (Example, one piece of music has geometric

shapes only!). I will provide frame drums and/or you can bring your instrument and apply it! This class will

explore rhythm games as well as innovative percussion music form the 20th century.

THE AFRO CARIBBEAN RHYTHM SECTION AND THEN SOME; Int/Adv.; Dave Flores and Scott Thompson;

For all instrumentalists; Bass, Drums, Percussion, Piano and Guitar ! As with any genre in music, the feel of

the groove is a team effort and when we are all speaking the same musical dialect we create magic, also

known as playing the same groove. Sometimes the only info on the chart might be “gosspley, latin, African

vibish type feel” (true story). Our class will provide tools for the rhythm section as a whole to give you some

options. We will explore the Caribbean (son, calypso, reggae), South America (samba, cumbia), African

(afrobeat, highlife), and how to mix and match.

GUITAR

JAZZ GUITAR INTENSIVE; Adv.; Terrence Brewer; By Audition Only On First Day of Camp; This 2-hour Guitar

Intensive specializes in the art of in-the-moment Guitar performance and arranging. The class is reserved for a

small group of advanced guitarists who will explore details of the guitar, including technique, phrasing, various

guitar styles, equipment, and the ideology necessary to enhance your understanding and playing, especially

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with respect to a jazz guitar trio/quartet format. Each guitarist will have an opportunity to play, listen, discuss

musical concepts, and grow in a supportive and focused environment. The intensive will cover many areas of

study, including: chord voicings, chord comping, solo guitar playing, arranging, syncopation, swing feel,

interactive/conversational trio/quartet playing, phrasing, swing, Bebop, odd meters, the Blues, Brazilian styles,

Afro-Cuban styles, Guitar technique and more. The focus will be to play with more depth, fluidity, and

musicality as the week progresses.

THE HISTORY OF JAZZ GUITAR; A PERFORMER’S GUIDE; All Levels; Terrence Brewer; This course will

take a step-by-step approach to traversing the evolution of the history of Jazz guitar, both historically and from

a playing perspective. Each day of the course will focus on a different era/set of artists who define(ed) that time

period/style period. The course will feature audio examples, accompanying lead sheets/charts and will involve

playing through and analyzing the music of the various time periods. The History of Jazz Guitar will focus

on/feature the music of Lonnie Johnson, Eddie Lang, Charlie Christian, guitarists of the bebop era, Django

Reinhardt, Joe Pass, Jim Hall, Wes Montgomery, Grant Green, Pat Metheny, John Scofield, Kurt Rosenwinkle,

Julian Lage and many more.

WHAT THE FOLKIES ALL KNOW; Beg./ Int.; Adam Levy; Studying jazz guitar, we’re usually encouraged to

leave the “campfire chords” behind and rely on moveable chord forms and scale patterns instead. It’s a shame,

because some of the things that make the guitar special happen in lower/open position. In this class, you’ll

learn to love the forgotten end of the fretboard. You’ll also learn to use a capo effectively and we’ll explore

some alternate tunings as well.

KEYS TO THE FRETBOARD; Int./Adv.; Adam Levy; Any time we practice a musical thing (a chord, scale, or

melody, for example) in just one key, it’s easy to miss the forest for the trees. We may not see how it relates to

our musical vernacular or to the logic of the fretboard. By practicing things in all 12 keys, we understand them

better and understand the guitar better. This class will show you how.

UKULELE ORCHESTRA; All Levels; Adam Levy; This class is for beginners who want to experience the fun

and excitement of learning songs from the blues, rock, and jazz genres on the Ukulele! Students will also learn

basic chords, exercises, and percussive effects, and know the joy of being part of a wonderful Ukulele group

experience! Bring your ukulele to camp to make sure you have one. If you do not have one, there will be a

limited amount available to borrow.

PLAYING JAZZ STANDARDS - GROUP JAM!; All Levels; Keith Ganz; Learn jazz chords, progressions,

rhythms, and soloing approaches while playing jazz standard tunes together with the class. Beginners will

learn basic jazz chords and rhythms while more experienced players will be introduced to soloing approaches,

substitutions, and concepts tailored to their level…with lots of soloing time. This is a 100% PLAYING class!

EXPANDING JAZZ GUITAR; Int./Adv.; Keith Ganz; The aim of this class is for students to find fresh inspiration

beyond scales and chord shapes. Bring any and all questions! Topics may include: How to generate the kind of

27

ideas that actually spark your own creativity (priming your own pump), going beyond chord shapes to find

unique voicings & textures, using chord tones, color tones and passing tones anywhere on the fretboard, ear

training/transcription, how to freely interpret chord progressions, improving your time feel, articulation, and

more!

BEYOND CHORD SHAPES-CREATING FRESH GUITAR PARTS FOR ANY STYLE; All Levels; Ketih Ganz;

This class explores simple and endless ways to create original guitar parts for any chord, rhythm, and style,

from a folky two-note open G chord to a jazzy ten-note C#7b5#5#9. Learn to create fresh sounds by leaving

out or exchanging notes (and which ones). Work with texture, density, contrast, interval combinations, open

strings, creative right hand approaches, and more to compose your own voicings and guitar parts and make

any song your own.

THE AFRO CARIBBEAN RHYTHM SECTION AND THEN SOME; Int/Adv.; Dave Flores, Scott Thompson; For

all instrumentalists; Bass, Drums, Percussion, Piano and Guitar ! As with any genre in music, the feel of the






BRASS INSTRUMENTS

NEW SOUNDS ENSEMBLE; ALTERNATIVE APPROACHES FOR IMPROVISERS ; Darren Johnston; This

ensemble class is for the bold and the brave! (Or just the curious); While improvising over the harmony of a

song form can be delightful and engaging, it is certainly not the only path that can be taken. In this class we

will play games and exercises that are designed to sharpen our ears, improve our auditory-memory, and

unlock our imaginations. We will discuss and play a variety of game pieces, graphic scores, verbal scores,

“conduction”, and other approaches to composing for improvisers. At times we might sound bizarre, and at

times we might sound beautiful, two descriptors that are not mutually exclusive. We will likely touch on sounds

unlike any music any of us have heard before. In the end, we will have had large amounts of fun, and

hopefully find that we can improvise with a greater awareness of each other, with a new sound palette, and

with a more compositional and strategic mind.

TRUMPET YOGA; All Levels; Darren Johnston; For brass players, the key to developing a consistent and

beautiful sound, extensive range, flexibility, endurance, and good intonation, is the development of a proper

warm-up routine. We will begin each session with variations on long-tone exercises with special attention

being placed on "pre-hearing" the sound with increasing amounts of detail, and perfecting the relaxed,

efficient, full breath needed to create a beautiful tone. While releasing physical tension through a warm, wide

column of air, we will gradually move into other exercises designed to address ear-training, blending sounds as

a section, and expanding melodic possibilities. The goal of this class is to provide students with a template for

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crafting one's own technical work-out that is specific to one's individual musical goals, and flexible enough to

be updated from week to week, as one's abilities and artistic vision evolves.

A HISTORY OF JAZZ TRUMPET; All Levels; Darren Johnston; In this class we'll basically kick back and listen

to some of the great jazz trumpet innovators and stylists from the genesis of the music up to the present. We'll

discuss evolutions of style, and the personal histories of some of our favorite jazz trumpeters.

FLUTE; All Levels; John Calloway; Class will be divided according to ability level, focusing on technique and

improvisation with jazz and Latin styles of music. We will also look at Brazilian and other flute choir music.

Must have some rudimentary skills on flute.

BRASS WARM UPS, CHOP MAINTENANCE, AND SELF CARE; All Levels; Tanya Darby; Comprehensive

exploration into fundamental brass technique and developing effective warm up routines.

TROMBONISTS UNITE! All Levels; Natalie Cressman, Jeff Cressman; Perhaps the instrument that best

emulates the human voice, this class is all about celebrating the idiosyncrasies of the oft under-appreciated

trombone! We'll look at the basics of good breathing, tone production, technical calisthenics, and developing a

consistent practice routine. We'll play some music as a group in order to develop our intonation and blend as a

trombone section, and discover the important role the trombone has played across a spectrum of musical

styles! Most importantly we'll have a chance to let loose and improvise while cultivating the concept of playing

with your ears and from the heart. The only prerequisite is a trombone!

SAX

PLAYING THE BLUES OVER STANDARDS; Beg/int: Charles McNeal; Most students learn to play the blues

when they are playing a song built on the “Blues Form.” This class will focus on playing the blues over songs

from the Great American Songbook.

THE BLUES; All Levels; Camille Thurman; An in depth exploration of the blues and the various

harmonic/melodic approaches to improvisation and storytelling.

INCORPORATING PATTERNS INTO YOUR JAZZ LANGUAGE; Int/Adv; Charles McNeal; While it's easy to

learn a pattern and play it verbatim over a set of chord changes, but in this class we'll learn how to use

patterns to expand your melodic jazz language.

A GUIDE TO EFFECTIVE PRACTICE HABITS; All Levels; Charles McNeal; Do you feel like your practice

sessions aren't giving you the results that you're looking for? This class will focus on developing practice habits

that'll help you get better results from your practice sessions. Whether you're memorizing songs, learning a

solo or etude, increasing your jazz vocabulary or simply trying to develop better technique. I'll teach you habits

that will put you on the right track to learning more efficiently.

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SAXOPHONE ENSEMBLE; Beg./ Int.; Kristin Strom; What sounds better than one saxophone? More

saxophones, of course. We’ll play through a variety of material for saxophone ensemble – some acapella and

some with rhythm section.

YOUR SOUND IS YOUR CALLING CARD!; Int./Adv.; Kristin Strom; Whether you’re playing a ballad or a

blazing funk tune, you need a good sound. We’ll talk about what makes a great sound in different styles and

work on warm-ups and exercises to improve yours.

VOCALS

VOCAL INTENSIVE; Adv; Johnaye Kendrick; The Vocal Intensive is an opportunity for 10 advanced singers to

work with a professional jazz artist in a highly concentrated setting. You'll be working on vocal preparation,

concept, improvisation, finding your individuality, the mechanics of singing, communicating with a trio and

much, much more! This week-long, first-half-of-the-day intensive includes a professional rhythm section,

featuring some of the Bay Area's best musicians and featured performances for all attendees. You must

commit to the full ½ day Intensive. No partial attendance. Vocalists may rejoin our regular classes in the

afternoon.

9-10: Master Class with Johnaye Kendrick

10:15-12:30: Class joined by professional piano, bass & drums

About the Audition: Because of the high volume of applicants, you will be singing just ½ chorus of a song of

your choice. Please bring a chart (lead sheet) in your key if you have one. You will be accompanied by a

pianist. If you have been accepted into the Vocal Intensive Program in previous years, you are still eligible to

audition! WHAT WE WILL BE LISTENING FOR: Singing in tune, good "time", memorized lyrics, phrasing,

concept & style, confidence, and what you bring to your music. You do NOT have to be able to read music to

be in the Intensive. NOTE: For those who are not accepted into the Vocal Intensive, our Vocal Intensive

teacher will be teaching an afternoon class as well. Please plan your schedule accordingly.

MEDITATION AND PERFORMANCE; All Levels; Johnaye Kendrick; In this course we will use guided

meditation as a tool for expanding our creative process and musical performance. Students will be introduced

to techniques for managing stress, performance anxiety and negative self talk. We will explore the benefits of

grounding and meditation in music as well as everyday life.

BLUES: THE BEGINNING; Beg./Int; Tammi Brown; We will journey into the world of Blues by reviewing its

origin in order to gain a greater understanding and source of its lamentation. In this class, participants will

be introduced to singing various Blues styles - (from Delta to Chicago Blues) as well as encouraged to dig

deep within their hearts and souls to express their own Blues.

UNDERSTANDING AND PERFORMING THE BLUES; Int/Adv; Tammi Brown; We will explore important

aspects of Blues that invoke spontaneity, creativity, and self-expression. This will include a focus on different

incarnations of the 12-bar Blues and other formal paradigms such as the 8-bar and 16-bar Blues.

30

Participants will be encouraged to discover their own Blues style through this exposure. Prepare to release

the 'Blues' in you.

BLUES: RISING FROM THE FIELDS; All Levels; Tammi Brown; Participants will experience the Blues, it's

dark and painful roots, by examining the oral tradition of African music. This will include the melodic cries of

the Field Holler and work songs which later developed into the Blues. Prepare to take an active role in

learning and singing this American art form and writing your own Blues story.

HOW TO BECOME YOUR BEST PERFORMER; All Levels; Kofy Brown – Boost your stage presence and

learn to connect and engage with your audience. Everyone has to overcome nerves and hopefully project an

amount of confidence of what you are presenting to your audience. Whether you’re playing covers or even

scarier, performing your own songs out in public, we all need a confidence boost and tools to help us stay

calm, engaged and to perform with intention. We’ll cover breathing techniques, setting intentions and tapping

into our authenticity to help booster that good, creative energy we all need to take our performance to the next

level.

HOW TO TELL A GOOD STORY?; All Levels; Artist In Residence: Camille Thurman; Open to all Campers;

An exploration of storytelling and improvisation via transcription analysis.

LIKE A FINE WINE - KEEPING YOUR VOICE STRONG AND FLEXIBLE THROUGH THE YEARS; Beg./Int.;

Kate McGarry; Provides a basic tool kit for keeping your voice healthy, flexible and strong through the years.

Based on the principles of Somatic Voicework (TM) the LoVetri Method, this class will be a lab style workout

where we’ll learn about structural changes in the voice as we mature, experiment with chest, mix, and head

registration, bright and dark vowels, releasing constriction, and developing a healthy and loving relationship our

primary instrument and life long companion. (Age 50+ or those who are old at heart 🤣)

THE SECOND TIME AROUND; Int./Adv.; Kate McGarry; Nowadays it's easy for jazz singers to get stuck on

the scatting squirrel wheel after they've sung the head of a tune. Some of our most beloved jazz singers never

skopdop-skiddilyop-ed, but still knew how to take a good melody and make it their own by reinterpreting on the

second chorus using jazz language. This workshop offers tools for improvising over jazz standards, connecting

with the harmony and rhythm through the lyrics and the melody of the song. We'll learn about melodic

structure points, embellishments, developing counter melodies and more!

MASTERCLASS WITH KATE MCGARRY; All Levels; Bring a song you are working on and willingness to step

into a space of growth and transformation. I bring 40 years of experience as a professional vocalist and

teacher - vocal technique, rhythm, phrasing, narrative, intention - together we'll get to the heart of the song.

Includes group exercises and individual work by signup.

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CANTA BRASIL; Beg./Int.; Sandy Cressman; We will learn songs from classic genres of Brazilian Music:

Bossa Nova, Samba, MPB, Frevo! We will collaborate with Ami Mollinelli's percussionists at some point in the

week after the first few classes.

SING LIKE A HORN; Int./Adv.; Natalie Cressman (Sandy Cressman will teach the last day); Learn to sing

some classic improvised solos by master jazz artists, to be sung as scat or with lyrics that have been

composed for them. We will learn some very “singable” solos by Miles Davis, Sarah Vaughn, Chet Baker,

Jobim and more. We will also explore ways to create your own vocalise lyrics. We will learn by ear and have

the option of reading transcriptions of the solos.

INTRO TO RHYTHMIC VOICES WITHIN; Beg/Int.; Christelle Durandy; Pulling from the Latin and Cuban

musical tradition. Christelle will introduce a skill set useful to learn, sing melodies while tap/clap rhythms

simultaneously, feeling that steady pulse within and without. NO SPANISH SPEAKING REQUIRED!!!!!

THE RHYTHMIC VOICES WITHIN; Int/Adv.; Christelle Durandy; Rhythm is a playground. We will explore,

through melodies from the broader African diaspora: how to work with/develop rhythmic concepts accuracy;

the value of keeping time, feeling it within the body, tapping/clapping steady percussive patterns while singing

and improvising; vocals rhythmic palette creativity (i.e: displacement, constraints, vocabulary,...); languages

rhythmic concepts (i.e: awareness of syllable stresses).

JE T’AIME: FRENCH IN JAZZ; All Levels; Christelle Durandy; A melodic and rhythmic walk learning songs in

Romance languages (French and Spanish). NO SPANISH - FRENCH SPEAKING REQUIRED; multiple

supports will be provided !!!

ALL-CAMP GOSPEL CHOIR; All Levels; Terrance Kelly; All Welcome; Here's your chance to sing Gospel

music under the direction of Terrance Kelly- Everyone is invited! We will do several types of gospel music from

contemporary to traditional, giving a taste of what’s out there in gospel today. This is often the most memorable

experience at camp, so don't miss it.

GOSPEL ENSEMBLE; All Levels; Terrance Kelly; Small ensemble working with contemporary gospel stylings

and harmonies and polyrhythms. Sing Gospel in an ensemble and get the benefit of working in a small unit.

We will perform at the final gospel concert. No Audition Necessary.

GOSPEL STYLINGS; All Levels; Terrance Kelly; Do you ever listen to Bebe Winans and say “I wish I could do

that!”? Fortify your singing with authentic Gospel runs and add them to your singing arsenal. This class will

help the student strengthen their voice and gain clarity of movement.

BEGINNING VOCAL JAZZ ENSEMBLE; Beg./Int.; Christine Guter; Learn to sing jazz harmony in an

ensemble setting. Everyone welcome! We’ll learn a beginning vocal jazz arrangement and potentially perform

on the final concert. Rewarding, cocreative, educational, enlightening, and so much fun!

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ADVANCED VOCAL JAZZ ENSEMBLE; Int./Adv; Christine Guter; This is a small vocal ensemble for those

who enjoy the challenge of singing tight harmony in a jazz setting. Grow your musicianship skills and

experience a high level of performance in a supportive, inspirational environment. This group will perform on

the final jazz camp concert! AUDITION REQUIRED ON FIRST DAY OF CAMP.

THE "EVERYTHING" VOCAL MASTER CLASS; All Levels; Christine Guter; This class will have participants

perform each day and receive valuable feedback on solo performances. Topics covered will include

communicating with your audience, choosing appropriate keys, communication with instrumentalists (verbal

and non-verbal), choosing appropriate keys, performance anxiety, jam session protocol, professional musician

etiquette, how to get gigs, and so much more!!

REIMAGINING ICONIC SONGS OF THE 70’S & 80’S; All Levels; Julie Wolf; For both instrumentalists and

vocalists. We’ll tap the talents and strengths in our assembled class and as a group we’ll conspire to create

unique versions of iconic songs written by some of our most seminal songwriters. Some crazy wonderful music

will brew in Gold’s Gulch. Let’s do this!

ENSEMBLE CLASSES

LET’S WORK AND GET DELIRIOUS WITH PRINCE!; All Levels; All Welcome; Kofy Brown – We’ll explore and

dive into all things Prince. From his demo recordings, to the purple hits and beyond. We will take an

exploratory look at the different genres of music Prince incorporated into his sound as well as the overall

impact Prince and his music politics has had on the recording industry and artists alike.

JAZZ CAMP BIG BAND; All Levels; Tanya Darby; Instruments Only; No Audition Necessary. Performance

based course with a look into instrumental roles, structure and history of the big band. Participants will learn to

develop the ear and create arrangements in the ring shout tradition.

FUNK ENSEMBLE: All Levels; Kofy Brown; Julie Wolf; All Instrumentalists and Vocalists welcome; Explore the

unique elements of funk in a group ensemble. We will dig into different genres of funk from James Brown, Sly

Stone, P-Funk, Prince, and more. In addition to playing, the class will listen, analyze and explore recordings in

the same way one would study jazz or any other authentic style of music. Learn about locking in with other

players, making it bounce, and hitting on the '1', and basic concepts of the funk groove. Note: We will be the

dance band for the Final Dance Party on Friday night!

NEW SOUNDS ENSEMBLE; ALTERNATIVE APPROACHES FOR IMPROVISERS ; Darren Johnston; This

ensemble class is for the bold and the brave! (Or just the curious); While improvising over the harmony of a

song form can be delightful and engaging, it is certainly not the only path that can be taken. In this class we

will play games and exercises that are designed to sharpen our ears, improve our auditory-memory, and

unlock our imaginations. We will discuss and play a variety of game pieces, graphic scores, verbal scores,

“conduction”, and other approaches to composing for improvisers. At times we might sound bizarre, and at

33

times we might sound beautiful, two descriptors that are not mutually exclusive. We will likely touch on sounds

unlike any music any of us have heard before. In the end, we will have had large amounts of fun, and

hopefully find that we can improvise with a greater awareness of each other, with a new sound palette, and

with a more compositional and strategic mind.

LATIN BIG BAND; All Levels; John Calloway; Instruments Only; No Audition Necessary. Sight-reading skills a

big plus! Study and performance of various Latin Jazz and Afro-Cuban big band music culminating in the

Friday night camp concert/ dance party.

ADV INSTRUMENTAL TRACK; Adv; Camile Thurman; Instruments Only. By Audition on first day of camp. This

2-hour group intensive offers advanced students a week-long opportunity to study and play together under the

tutelage of Ingrid Jensen and several rotating faculty members. Designed for a maximum of 12

instrumentalists, this program provides advance instruction in a focused immersive setting.

3:00-4:00: Master Class with Camille Thurman

4:15-5:15: Class conducted by a different faculty member each day.

The Advanced Instrumental Track culminates with a performance on the last Saturday of camp. Note: If

accepted into the Instrumental Track, you may NOT join a Combo. However you MAY audition/join the Adv.

Piano Program.

SPONTANEOUS MORNING ENSEMBLE; All Levels; Jovino Santos Neto; All instrumentalists and vocalists

welcome. Jovino Santos Neto will compose and arrange new original music on the spot, based on traditional

and contemporary Brazilian forms. All students learn the material by ear and take part in the creation process.

No reading is necessary, but a keen musical ear and sharp reflexes are prerequisites.. Please Note: violinists,

clarinet players and all specialty instruments encouraged.

COMBOS

All Combos will be organized after an evaluation on first day of camp. There are ten faculty-led combos of

varying levels. Spend the week playing in a combo setting under the tutelage one of our faculty members. The

combos are NOT just for advanced players. Don’t hesitate to be evaluated if you're a less-experienced player.

Not everyone will end up in a combo, so please be prepared with a second choice during that time slot, or

create your own group!

About the Evaluation: Combos are by evaluation only on first day of camp. Instrumentalists will be asked to

perform up to 3 pieces of contrasting styles: one blues, one standard from either the great American songbook

or a classic jazz song, and one song in another style that you like, Latin or pop or funk or anything else. You do

not need all three categories covered to audition - if you only know the blues, that's just fine! You may be asked

to sight read a short selection. If you are playing a more complicated tune, you are responsible to bring your

own backing track. These are readily available on iRealB or Jamey Aebersold in iTunes. Your tracks must be

on a phone, laptop or any other device that we can plug in. No CDs please.

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Drummers should be able to play 12 and 32 bar forms using a variety of feels, including but not limited to

swing, funk, and samba. Drummers may be asked to take chorus over a specific form or trade fours with

themselves (i.e. four bars of time/four bars of solo).

Remember, we have 10 combos of all levels; Beginning, Intermediate and Advanced.

The evaluations help us get an overall feeling for your style and ability so that we can place you in a combo

with other musicians and an instructor where you can both play and learn!

Note: Your Combo evaluation will be the same evaluation used for the Piano Intensive and/or Advanced

Instrumental Track (if you are interested in those programs). You will NOT audition separately for these

advanced programs. If you are accepted into the Advanced Instrumental Track, you may not also be in a

Combo.

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THEAFRO-CARIBB

EANRHYT

HM

SECT

IONANDTHEN

SOME

DaveFlores/ScottTho

mpson

Beg/IntBass

RHYT

HMSECTIONFEELS:FRO

M

NEW

ORLEA

NSTO

HARLEM

TO

MOTO

WNANDBEYOND

JoshThu

rston-MIlgrom

InstrumentsOnly

COMBO

JoshThu

rston-Milgrom

Beg/IntBass

CLASSICBASSLINES,

TAKINGITEASY

ScottThom

pson

AllLevsAllWelcome!

RHYT

HMSECTION

MASTER

CLASS

JonathanRichards

The

Wes

Win

g (o

utdo

or)

AllLevsTrombo

ne

TROMBO

NISTSUNITE

NatalieCressman

JeffCressman

AllLevsG

uitar

BEYO

NDCHORD

SHAPES-FRE

SH

GUITARPA

RTSFO

RANYSTYLE

KeithGanz

Sun

Ra'

s Sp

ace

(out

door

)

Int/AdvDrums

APP

LICA

TIONOFDRU

M

RUDIM

ENTSTOM

USICINREA

LTIME

DarrellGreen

Int/AdvDrums

BRAZILIANSTY

LESONTHE

DRU

MSET

AnaBarreiro

InstrumentsOnly

COMBO

JulieW

olf

AllLevsAllInstruments

FUNKEN

SEMBLE

KofyBrownandJulieW

olf

RESERV

EDFOROPE

NM

IC

REHEA

RSALSTILL6:30

Mai

n Am

phith

eatr

e

AllLevsA

llWelcome

SPONTA

NEO

USMORN

ING

ENSEMBLE

Jovino

SantosNeto

AllLevsA

llWelcome

LET'SWORK

ANDGET

DELIRIOUSWITHPRINCE

!

KofyBrown

AllLevsInstr.O

nly

JAZZCAMPBIGBAND

TanyaDarby

Int/AdvAllInstruments

THEMUSICOF

HER

METOPASCOAL

Jovino

SantosNeto

AllLevsInstrumentsOnly

LATINBIGBAND

John

Calloway

AllLevsA

llWelcome

ALL-CAMPGOSPELCHOIR

TerranceKelly

J

azz

Cam

p W

est S

ched

ule-

at-a

-Gla

nce

202

2

AdvG

uitar

JAZZGUITARINTENSIVE

TerrenceBrewer2nd

hou

r:Karen

Horne

r,bass;

Dillon

Vado,drums

Sim

cock

Lod

geInt/AdvDan

ce

RUED

ADECA

SINO

(Cub

anSalsa)

Manue

lSuarez

AllLevsDrums

JAZZUPYO

URTIME!

AnaBarreiro

Int/AdvStrings

MICHAELBOWTHEBO

AT

ASH

ORE

Jenn

ySche

inman

Ham

p's

Hav

en

(out

door

)O

PEN

JAM

SPA

CE!

AlllevelsA

llWelcome

GETONTHETH

EGOODFOOT,

NIGHTLYJAMPRE

P

JasonEw

ald

AllLevsAllWelcome

SONGWRITING

JasonEw

ald

InstrumentsOnly

COMBO

BenHeveroh

AlllevsTrum

pet

AHISTO

RYOFJAZZTRU

MPE

T

DarrenJohn

ston

Int/AdvSax

YOURSO

UNDISYOUR

CALLINGCARD

!

KristenStrom

Tin

Pan

Alle

y (o

utdo

or)

AllLevsTrum

pet

BRASSW

ARM

UPS,CHOP

MAINTENANCE

,

ANDSELF-CA

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TanyaDarby

AllLevsSteelD

rums

STEELPA

NW

ORK

SHOP

MarkRo

senthal

AllLevsSteelDrums

STEELPA

NW

ORK

SHOP

MarkRo

senthal

Julia

n's

Jam

(o

utdo

or)

Beg/IntSax

SAXO

PHONEEN

SEMBLE

KristenStrom

Beg/IntSax

PLAY

INGTHEBLUESOVER

STANDARD

S

CharlesMcN

eal

InstrumentalistsOnly

COMBO

NatalieCressman

Tran

e's

Stat

ion

(out

door

)

Int/AdvSax

INCO

RPORA

TINGPAT

TERN

SINTO

YOURJAZZLANGUAGE

CharlesMcN

eal

AllLevsPian

o

THEHISTO

RYANDTECHNIQUES

OFBR

AZILIANPIANO

Jovino

SantosNeto

InstrumentalistsOnly

COMBO

MarkRo

senthal

AllLevsSax

AGUIDETO

EFFECTIVE

PRACT

ICEHABITS

CharlesMcN

eal

Int/AdvBass

CLASSICBASSLINES,A

DVA

NCE

D

GRO

OVEED

ITION

ScottT

hompson

Cop

pola

's C

rib

(out

door

)

Beg/IntA

llWelcome

JAZZBASICS101

John

Calloway

AllLevsVocal

HOWTOBECOMEYO

URBE

ST

PERF

ORM

ER

KofyBrown

Kel

lye'

s Sh

edBe

g/IntDrums

FUN-DAMEN

TALSOF

DRU

MMING

AnaBarriero

BegDrums

FUNW

/PA

RADIDDLES!

FORBE

GINNER

S

AllisonMiller

AllLevsDrums

TRADINGBARS

DarrellGreen

Beg/IntD

rums

ONTHEONE...FORTH

EFIRS

TTIME

DaveFlores

Int/AdvDrums

MELODYISKINGANDQUEEN!

AllisonMiller

Int./Adv.Percussion

MOBELLORNOBELL:AFRO

CARIBB

EANDRU

MSET

DaveFlores

Gol

d's

Gul

ch

(out

door

)

AllLevsAllWelcome

REIM

AGININGIC

ONICSONGS

OFTH

E70’s&80’s

JulieW

olf

Beg/IntAllInstruments

THEO

RY+IM

PROV

MichaelGolds

InstrumentsOnly

COMBO

MichaelGolds

AllLevsAllWelcome

THEMUSICOFBILLFRISELL

Jenn

ySche

inman

AllLevsA

llWelcome

NEW

SOUNDSEN

SEMBLE;

ALTER

NAT

IVEAPP

ROACH

ESFOR

IMPR

OVISER

S

DarrenJohn

ston

The

M

ad Z

one

Int/AdvVo

cal

THESECO

NDTIM

EARO

UND

KateM

cGarry

Int/AdvVocal

UNDER

STANDINGAND

PERF

ORM

INGTHEBLUES

TammIB

rown

AllLevsVo

cal

BLUES:R

ISINGFRO

MTHE

FIELDS

TammiBrown

AllLevsVocal

MED

ITAT

IONAND

PERF

ORM

ANCE

John

ayeKend

rick

AllLevelsVocal

MASTER

CLASSW

ITH

KATEM

CGARR

Y

KateM

cGarry

Beg/IntVocal

BLUESTHEBE

GINNING

TammIB

rown

Pied

mon

t Pia

no

Lab

AllLevsPiano

CUBA

NPIANOLAB

Carm

enStaaf

AllLevsPiano

GOSPELPIANO101

BenHeveroh

AllLevsPiano

THEART

OFTH

EVA

MP

ColinHogan

Beg/IntPiano

BASICSOFSO

UL

ANDR&BPIANO

ColinHogan

Beg/IntPiano

BLUESPIANO

Carm

enStaaf

Int/AdvPiano

STYLESOFTH

EJAZZ

PIANOGRE

ATS

ColinHogan

Ran

dolp

h Am

phith

eatr

e (o

utdo

or)

AlllevelsStrings

IAMBOWED

,

HEA

RMERO

AR!

Jenn

ySche

inman

AllLevsVocal

GOSPELENSEMBLE

TerranceKelly

InstrumentsOnly

COMBO

Carm

enStaaf

AllLevsVocal

GOSPELSTY

LINGS

TerranceKelly

Beg/IntDrums

DRU

MMINGBASICS

DarrellGreen

UK

E G

RO

VE

(out

door

)

AllLevelsUkulele

UKU

LELEORC

HESTR

A

AdamLevy

Cha

mbe

rs

Cha

mbe

r (o

utdo

or)

Int/Adv

ADVA

NCE

DTHEO

RY

Dillon

Vado

Beg/IntVocal

CANTA

BRA

SIL

Sand

yCressm

an,accom

panied

byIanFanq

uini

Beg/IntVo

cal

LIKE

AFINEWINE-K

EEPINGYOUR

VOICESTRO

NGANDFLEXIBLE

THRO

UGHTHEYEARS

KateM

cGarry

Int/AdvVocal

THERH

YTHMICVOICESW

ITHIN

ChristelleDurandy

Int/AdvVocal

SINGLIKEAHORN

NatalieCressman/Sandy

Cressm

an

AllLevsVo

cal

THEEV

ERYT

HINGVOCA

L

MASTER

CLASS

ChristineGuter

7 -

7:45

am -

Dini

ng H

all

8:15

am -

Smal

l Din

ing

Hal

l

Br

eakf

ast 8

am

/ L

unch

12:

30

/ D

inne

r 6:3

0pm

FIN

E BO

DY Y

OG

A- P

amel

a C

arra

ra

E

ARLY

MO

RNIN

G V

OC

AL W

ARM

-UPS

.

.

.

.

AdvVo

cal(ByAud

ition

Only)

VOCA

LINTENSIVE-Joh

nayeKen

drick

10:15-12:30w/Trio:W

alterBa

nkovitch,piano

;Aaron

Germain,bass;

MarkLee,drums

AdvPian

o(b

yau

ditio

non

ly)

PIANOIN

TENSIVE

Rand

yPo

rter

2ndho

ur:w

/KarenHorne

r,bass;Dillon

Vado,drums

AdvInstOnly(byaud

ition

only)

ADVIN

STRU

MEN

TALTR

ACK

CamilleThurmanw/rotatin

gguestfacultyeachday(2nd

hou

r)

JAZZ CAMP WEST

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Transcript of JAZZ CAMP WEST