Dates/TimeJuly 6 –July 11, M, T, W, Th, F, S, 9:00am – 4:00pm
LocationKerry Hall PON, 710 East Roy St, Seattle, WA
The price of this course is $450.00
Course registration will be avaiable on
Monday, December 22, 2014
Jazz at Cornish affords talented middle and high school students an opportunity to develop their jazz improvisation skills with the nationally renowned Cornish College of the Arts jazz faculty and special guest artists. Students can expect an exciting and fun-filled week playing in ensembles with other talented students, and will benefit from both formal and informal tutoring by the faculty. The workshop has been designed so aspiring young musicians can unleash their creative potential and develop the improvisational skills required for spontaneous, interactive music making. Through various exercises designed to cultivate deeper listening skills and boost confidence, the workshop will delve into the art of jazz improvisation. The week culminates in a Saturday concert featuring all of the students in ensembles of different sizes and styles.
Who should enroll?
Students ages 12 to 19 at an intermediate skill level on their instruments and who already have experience playing in their middle school or high school band or orchestra. Vocalists as well as instrumentalists are encouraged to apply.
Monday through Friday, 9:00am to 4:00pm with a break for lunch, and a concluding performance scheduled for Saturday, July 11 at 11:00am in PONCHO Concert Hall on the Cornish campus.
Open for enrollment to students, ages 12-19, with an audition for ensemble groupings.
Requirements & Availability
12 - 19
Learn more about the audition process.
Pianist/composer and Cornish alum Dawn Clement (B.M., 2000) maintains a hectic schedule between teaching and touring with saxophonist Jane Ira Bloom, recording with trombonist and fellow Cornish faculty member Julian Priester, and performing with her own trio consisting of Matt Wilson and Dean Johnson. In addition to Bloom, Clement has toured the U.S. with the Sabella Consort and the Rubin/Clement Piano Dialogues, the latter for which she received a King County Arts Commission grant in 2002. Clement has also performed with such notable artists as Pharaoh Sanders, Nancy King, Ingrid Jensen, Louis Moutin, Hadley Caliman, Mercer Ellington, Mark Helius, Mark Dresser, and Bobby Previte.
Over the last seven years, Clement has performed in some of the world’s premier venues including Carnegie Hall, Le Conservatoire Superieur, Paris, the Kennedy Center for the Performing Arts, and Seattle’s Benaroya Hall, as well as numerous clubs (Sweet Rhythm, Tonic, and Iridium), art museums, and theaters. Clement also has been the recipient of numerous accolades and awards including an invitation to compete at the Third International Martial Solal Jazz Piano Competition in Paris, France (2002), the Earshot Jazz awards for ‘Best Emerging Artist’; (2000), ‘Best Jazz Quartet’ and ‘Best Album’ for her performance with trombonist Priester (2003), and a nomination for ‘Earshot Jazz Record of the Year’ (2004) for her CD Hush. She also finished as one of the top five finalists in the Mary Lou Williams Jazz Piano Competition (2006).
Chris Stover is an Assistant Professor at the New School for Jazz and Contemporary Music in New York City, where he teaches Music Theory, Composition, and World Music and coordinates the Music Theory curriculum. He is a highly active trombonist and composer: in addition to leading his own bands (the Helical Quartet, the Caetano Veloso Project, More Zero, Circle by Night, and the 12-piece big band Book of Sand), he has appeared recently with Django Bates, Darcy James Argue, Fred Ho, Charlie Hunter, Slavic Soul Party, Samir Chatterjee, Eddie Palmieri, Wayne Horvitz, Jovino Santos Neto, and many others. He is also very active as a guest scholar and teacher, with recent residencies at the University of Melbourne, the Ritmisk Musikkonservatorium (Aarhus, Denmark), Conservatório Souza Lima (São Paulo), Escuela de Música Fernando Sor (Bogotá), Queensland Conservatory (Brisbane), the Israel Conservatory (Tel Aviv), Escuela de Jazz de Torres Vedra (La Plata, Argentina), Elon University, and more. His research interests include philosophies of time and process, Husserlian phenomenology, affect theory, philosophy of improvisation, rhythmic and microrhythmic processes in diasporic West African music, and the folkloric and popular music of Cuba and Brazil. His work has been published in Music Theory Spectrum, the Journal of Music Theory Pedagogy, Music Theory Online, Latin American Music Review, and elsewhere, and he has presented at many national and international conferences. Chris’s compositions explore process, growth, flux, and recontextualization, with careful and nuanced considerations of the relationships between melody and harmony and the ways these relationships can change over time. His seventh and eighth CDs as a leader or co-leader are scheduled to be released this coming fall.
Ben Thomas is one of the most in-demand vibraphonists in the Pacific Northwest. In addition to leading jazz and tango ensembles, he performs as a sideman on mallets, percussion and bandoneon with a wide variety of groups including Tangabrazo, More Zero and the Jovino Santos Neto Quarteto. He currently has three albums of original compositions available on Origin Records: Triskaidekaphobia, The Mystagogue and The Madman’s Difference.
Thomas completed his Doctor of Musical Art in Percussion Performance at the University of Washington in 2007. His dissertation was on the development of Cal Tjader’s early Latin Jazz vibraphone style. Thomas received his Master of Music with Honors in Improvisation from the University of Michigan in 1994. While in graduate school, he directed the University’s Jazz Composers Orchestra and performed with Stephen Rush. His time with Rush resulted in the CD recording of Rush’s chamber opera, Murders in the Rue Morgue. Thomas also graduated from Swarthmore College, where he majored in mathematics and music.
In the last few years, Thomas has performed at the Bumbershoot Arts Festival, Ballard Jazz Festival, Earshot Jazz Festival, Detroit-Montreaux Jazz Festival, Anacortes Arts Festival, Ellensburg Jazz in the Valley Festival, Tacoma Maritime Festival, Bellingham Art of Jazz Series, and the Juneau Jazz and Classics Festival. As a composer, Thomas has written for chamber groups, big bands, jazz combos, dance and theater. He has also taught clinics and masterclasses at colleges across the country.
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Tim Carey is a multi instrumentalist, bassist, and composer from Seattle Washington. Carey has played bass professionally since 2003 touring and performing in twenty-six different U.S. states, Canada, the Bahamas, Puerto Rico, Thailand, Japan, and South Korea with musicians such as Jovino Santos Neto, Patrinell Wright and the Total Experience Gospel Choir, the Jim Knapp Orchestra, Adam Rapa, Brothers of Soul, J.J. Barnes, Harvey Wainapel, and his own groups. Carey can be heard playing in Seattle with the Jovino Santos Neto Trio, Reptet, Hardcoretet, Sambatuque, Zubatto Syndicate and as a leader of his own jazz quintet. Since graduating in 2006 with a Bachelor of Music from Cornish College of the Arts, Carey has taught privately as well as presented clinics and workshops at high schools and colleges throughout the United States including at CalArts, the University of Nevada, and the University of Alaska at Fairbanks.