Most people’s best and oldest friends are from our early schools days. DeVos is known to take the life long pleasure of socialization so that if a child or parent signs in online for 1 minute the “privateering school” seems legally is entitled to steal tax payers money. If tax dollars earmarked for education go to pay for private homes of girlfriends instead of education, it should be wrong. But DeVos disagrees and the GOP gives her free reign to create theft rings. More
Eli Broad who sponsors the best and most high performing charter schools in the country tried to stop her plan to defraud the public much like her brother Eric Prince did with his billions Dollar thefts in war of Iraq with his privateering military company Blackwater. To this day Eric Prince finds it offensive that people hold him accountable as to how he spent taxpayers money. Eric Prince said in recent interviews in an Alt-Right media company that he should not be accountable because the missing Billions and Billions of dollars were spent in a “private” military company and therefore he should not have to disclose the where the missing money went nor where it is now.
The only lesson the public can learn is how bottomless the sense of entitlement has become under our dysfunctional government that provides no oversight and no accountability of how and where our rapidly disappearing taxes and pensions has become. Unrepentant thieves have overthrown the government. DeVos will be a disastrous example of self righteous thievery of billions of taxpayers money due to funneling American public funds into “private” pockets. Another billion dollar heist is underway and sanctioned by Paul Ryan and McConnell. No wonder they want to silence the voices of reason.
It is amazing that we are “still” talking about this, right? Jewish slaves that were forced to work for Germans, Japanese slaves that were forced to work in American camps, and Australian slaves had at minimum an “official” apology. Some even received reparation payments for the maltreatment and theft their forefathers have experienced. The “Black Lives Matters” recently put reparation payments for the descendants of American owned slaves back on the national agenda. They are trying anyway.
A lot of people are so tired for those ancient stories. Yet unfortunately they are not ancient stories they are current and very much part of the 21st Century stories. According to the International Labor Organization approximately 21,000,000 slaves are alive today. Yes, today!
Anti-slavery.org educates us that even today:
There are many different characteristics that distinguish slavery from other human rights violations, however only one needs to be present for slavery to exist. Someone is in slavery if they are:
forced to work – through mental or physical threat;owned or controlled by an ’employer’, usually through mental or physical abuse or the threat of abuse;
dehumanized, treated as a commodity or bought and sold as ‘property’;
Contemporary slavery takes various forms and affects people of all ages, gender and races.
“The joy and passion I get when I touch a piano from the instrument has never changed” Frank Martin
Frank Martin Producer/Arranger/Keyboardist
Frank Martin, a producer/arranger is a sought after piano and keyboards player who regularly performs with artists such as Sting, Stevie Wonder, Patti Austin, Narada Michael Walden, etc. Frank Martin made himself available for an interview for our UC Jazz Club Newsletter.
We asked him, what is the most wonderful thing about jazz for you? Frank Martin told us that it is a vehicle for communication with other people. It’s a way to connect, it is a higher-level-than words, powerful connection. I love the listening and the playing off of each other. Music is a great vehicle to communicate.
What originally inspired you to become a jazz musician? Frank told us that the evolution started out of the joy of making music. “I can remember when my piano first arrived in my home as gift to my sisters by my grandmother. I remember putting my hands on it and feeling a strong connection. It was so profound! I still feel this way today when I touch a piano. The joy and passion I get from the instrument has never changed.
I started out as an improvising piano player. The joy I felt was in exploring the world of improvisation and that easily leads one to jazz. Jazz is all about improvisation. It was a natural progression into the jazz world.
I also had the good luck of finding pianist/organist Don Burke.
I grew up in Oakland and initially he was in Oakland and eventually he moved to San Leandro. He and Dave Brubeck studied with the same teacher. I often started my lessons with the music of Dave Brubeck. Don also had me play Miles Davis and Bill Evans. He would play this music and I started to learn and develop a love for that music. I have to give him the credit for planting the seeds.
My first public performance was at Disneyland when I was five years old. I was in Disneyland and by chance ran into another five year old friend of mine who was there as well. When they got the kids on stage, I jumped up with my friend Mike McGuire and felt very comfortable and admittedly enjoyed the attention.
We sang Davey Crocket. This led to another singing talent show, the King Norman Show, when I was in third grade. The King Norman Show put on talent shows at various schools and the regional winners would be invited to Los Angeles to go up against other kids. It was somewhat similar to American Idol, although very loosly. The kids that won the King Norman Show contest locally got to go to Los Angeles and compete against the other local winners. At my school I was lucky enough to win with my singing 3rd grade partner Mark Rice. Just before going on the air the show pianist worked with all the kids, and that as well got the bug going for playing the piano.
Performing with a band, that didn’t start until high school. The first time we performed publicly was in San Leandro and the band played for a total of $15.00. The name of that first band was “The Trend”. I played the electric organ.
My first organ was a VOX Continental Organ. It was a very cool thing to have. My second was a Farfisa and my third was a Fender Roads Electric Piano. We even wrote some of our own music. We mostly played the contemporary pop/rock songs of that time, which is what the kids in high school really wanted to hear.
I remember enjoying composing, it was a fun thing to do. I was not that good of a music reader and felt more comfortable making up what I wanted to play. I found myself as the years went on organizing jam sessions and get togethers with other players. My parents opened our home for these events and I organized the music. I still organize the music today.
I suppose I got my start when we had those sessions at my parents home.
What’s next on the horizon? Well, on Thursday, May 8 at 7pm, I will perform with Sting at Carnegie Hall as part of the annual Save the Rainforest concert which Sting has produced for the last almost 15 years. Also performing will be my long time musical friend drummer/producer Narada Michael Walden.
For this upcoming performance at Carnegie Hall, my job is to transcribe what we will perform and have it ready for the rhythm section >> 3 keyboard players, two guitarists, a bassist, percussionist and drummer.
Legendary reedman Jim Horn is the one who does the horn parts and if there is a string section, either I do it, or I get help from the Trombone player, Tom Malone of the Letterman band. I have another friend that helps if need be, local conductor/arranger Barbara Christmann. Just prior to these shows some of the stars still are trying to decide what to do, so much of what I do is at the very last minute. For me, working with Sting’s Rainforest band has been 10 years of total joy!!
Recently I just finished producing a record for a local Bay Area singer, Karen Blixt. “Mad Hope” is her second record that I’ve produced for her, the first being “Spin This.”. We are going to play at Yoshi’s on the 15th of April in Oakland. The show will be open to the public. On trumpet will be Randy Brecker from the Brecker Brothers. We also will have the great pianist Patrice Rushen, which for me is a great honor to be able to perform with her. On rhythm guitar we have Jose Neto of the Steve Winwood band. Also the great percussionist/drummer Alex Acuna from the Weather Report band will be with us. He is a simply a wonderful percussionist. Also will be bassist Abraham Laboriel, who is the most recorded bass player in history and former “Yellowjackets” member William Kennedy as the drummer. Vocalist Kenny Washington will make a guest appearance as well. He did one song as a duet, “Five and Five”(aka “Take Ten”) For that record I co-composed 8 songs, and arranged and produced it. We recorded it at the Skywalker Studio in Marin County with the great engineer Leslie Ann Jones.
And I’m half way finished with my second production for Dutch singer Ellen Honert. The first one was “Breath of the Soul” and featured Tuck & Patti, the Turtle Island String Quartet, Brazilian vocalist/guitarist Dori Caymmi and many others.
My process of working with the musicians begins with making demos of the songs and sending it to them. That way they get a feel for what I’m looking for. We never rehearse so the more clarity I provide, the better. The process of recording the demos in my San Rafael studio is something I really love to do. It’s an expansion of what I did at my parents home. I organize the people and bring them together to play.
What does an arranger do exactly? An arranger organizes what the musicians will play. Decides how best to utilize the available instruments and capitalize on the strengths of the players who will be recording. The producer gets the musicians to perform at their highest level and makes sure everything runs smoothly. In my opinion the key is to get the best musicians for the recording. Kind of like cooking … great ingredients allow for the best meal. One has to wear a lot of hats during productions. Needing to stay true to the artist and help realize their vision, as well as help guide them along their path. And to provide a comfortable arena for all of the performers to shine at their best.
I enjoy keeping busy. I teach at UC Jazz Ensembles, I have private students, I teach classes at the Jazzschool, and I participate in Summer Camps, i.e. Jazz Camp West and the Lafayette Summer Music Workshops. I find myself performing all the time as well …
Who are some of the favorite musicians that you have worked to work with and why? When asked who Frank Martin enjoys working with he mused. I enjoy working with Abraham Laboriel, Alex Acuna, William Kennedy he tells us. We have a strong connection with the four of us and the reason is that we all come from a place of joy. They all have perpetual smiles on their faces. Same for guitarist Jose Neto. They love so much what they do and they are masters. They are so joyful to be around. It makes for a wonderful experience.
Generally, those are my favorite people to perform with. Now there is Stevie Wonder, he is a true genius musically. Herbie Hancock – he is a joy and a great inspiration. And my ideal singer is Patti Austin. She is a consummate professional who expects you to be that as well. She is full of joy and life and I love how she communicates with people. I used to work a lot with vocalist Angela Bofill before she had her second stroke. She can get around a little bit now. She needs all our prayers. I go to visit her sometimes. She has a great attitude. After her first stroke she couldn’t speak and with time she went back to speaking at about 85%. She is paralyzed on her left side and is fighting hard. She remains truly inspiring she was a great joy to work with.
What in your opinion makes a great performer? I think one that communicates sincerely. Not only verbally but in what they are playing and singing. Those that park their egos at the door … Many of my favorite musicians have a Jazz background, and many are based in Rhythm and Blues. I love performers that make rhythm of the utmost importance. There are many who just play the song. The great performers always share of themselves and bring something personal to the song.
Are there any suggestions you have for the young musicians in the UC Jazz Ensembles and other inspiring musicians? Yes, be true to yourself and follow your passion. Try to keep that in mind! You are going to hear from a lot of people that you should do something else. That it’s too hard to make it in the arts.That is typically well-intentioned advice, but you can’t take somebodies dream away. You have to have the belief. Follow your passion – attitude is everything!
I tell my students this example. There are a couple of bass players. One says that “there is no work, what am I gonna do?” The other one says “I am so busy!! I got my fifth gig today and I have five more tomorrow.” I tell my students that they are both right. There is no work and in the same town they is too much work. It is not easy, but it is all about the work you put into it. Have a healthy attitude and follow the passion and don’t give up.
How can a novice listener become more knowledgeable about jazz? It is about exposure. Exposure is always the thing. It is like a fine wine if you don’t have the opportunity and if you don’t try it you can’t find out what resonates with you. Exposure to it makes you appreciate it more. Like a good painting, only if you see the painting can you appreciate it. You have to watch and listen. It is a process. My recommendation is that you go to jazz concerts and find out what resonates with you. One artist may resonate with you and may not resonate with another. Maybe just allowing yourself the time to go to Yoshi’s or Anna’s Island and experiencing live music will bring you closer to the music. If you can’t do that use the Internet. The Internet is filled with music of one artist after another. Every style of performer is there! Go to Youtube.com and type in a jazz artists name and you will find him or her performing someplace. It is the same for internet sites like Rhapsody.com and DailyMotion.com. Listen to the music of a jazz artist. Exposure! There is no magical way to appreciate something one doesn’t know.
What is coming up next for you? I am going to be in Bend, Oregon. A local promoter and jazz fan decided to bring together Brazilian guitarist Jose Neto and the great New York based jazz sax player Eric Anderson for a night of Brazilian jazz, along with Brazilian drummer Celso Alberti and myself. Then I am doing some concert work with an Irish Jazz singer Melanie O’Rielly at the Freight & Salvage in Berkeley. Then we are off to LA to perform at the Raven, a club for actors. She has an acting background and we will do a duo. Her style is Irish Jazz ~ traditional music that meets kind of McCoy Tyner!. Then I am starting a recording project with her, writing music inspired by the writings of James Joyce. That should be interesting. And the night after the Raven will perform in a jazz quartet with New York drummer Paul Peress and players I’ve yet to meet, at Spaghetini’s, a Jazz Club in LA. Then comes performance at Carnegie Hall with Sting. I am blessed to be busy doing what I love ~ music music music!! Who knew that those jam sessions at my parents home would spark a career in music …
Karen Blixt and her “Mad Hope” ~ Frank’s second record he produced for Karen Blixt.Yoshi’s on the 15th April in Oakland. The show will be open to the public. On trumpet will be Randy Brecker from the Brecker Brothers. Frank Martin on piano and keyboard. We also will have well known pianist Patrice Rushen. On guitar will be Jose Neto of the Steve Winwood band. On percussion will be Alex Acuna from the Weather Report band. Bassist Abraham Laboriel, who is the most recorded bass player in history and former Yellowjacket member William Kennedy as the drummer will round out the rhythm section. Vocalist Kenny Washington will make a guest appearance as well. On the CD he recorded one song as a duet with Karen.
Steve Campos directing the Big Band at the UC Jazz Ensembes
“Music is a fair and glorious gift of God. I am strongly persuaded that after theology there is no art that can be placed on the same level with music.” Steve Campos favorite quote is by religious founder Martin Luther
Steve Campos, teaches Trumpet for Big Band
Mr. Campos has performed with Stan Kenton, Woody Herman, Dr. John, Big Brother and the Holding Co., Boz Scaggs, Rosemary Clooney, Ray Brown’s Big Band, Dave Eshleman’s Jazz Garden, Full Faith and Credit, Rudy Salvini, and various other acts and bands.
As performer, Steve Campos has had the opportunity to play and record with some of L.A.’s best. He has worked professionally with jazz artists Alan Pasqua, Dave Carpenter, Joe Labarbara, Isaac Smith, Jason Goldman, Kristin Korb, Tim Davies, and others as well as with pop icons A.J. McClean and Colin Hay. He received the Friends of Jazz Scholarship for being an outstanding performer in the jazz field. He participates in the ASMAC composers’ workshop where he worked with established composers Bob Florence and Kim Richmond.
Steve Campos completed his studies in jazz, classical, and film composition and orchestration at the University of Southern California in May of 2004. He was the recipient of the prestigious Randy Newman Scholarship while attending USC and was commissioned to arrange and conduct a Newman original for symphony orchestra in honor of Randy Newman’s appearance at the annual Charles Dickens Dinner. Steve Campos’ works are performed by the Kim Richmond Jazz Orchestra, the Billy Frenzel Jazz Orchestra, the USC Thornton Symphony Orchestra, the USC Thornton Jazz Orchestra, as well as the Los Angeles County High School for the Arts Jazz Ensemble.
Steve Campos In the News
The trumpet section, (Mike Vax, Dennis Noday, John Harner, Steve Campos and Steve Huffsteter) to quote Doug Hughes, “could peel off that old wallpaper you need removed in your home.” www.bigbandjazz.net
“Steve is a young man with a genius for music. He shows great knowledge, perception and ability to express musical ideas in a variety of styles. He is well equipped with the tools of composition, orchestration, and arranging in a variety of styles. His aptitude for film scoring is evident in his work, whether for full orchestra or smaller ensemble. He is well versed in pop, classical and jazz sounds and textures. Steve is someone to watch as a new and fresh voice on the music scene. Add to this his enormous prowess as a brilliant jazz trumpet soloist, and you have something very special.” Kim Richmond saxophonist/grammy nominated composer
“This is one special jazz vocal debut album from Los Angeles area-based Judy Wexler, based upon the musicians and recording studio. Thirteen well-chosen tunes reflect a wide spectrum of popular music, and nary a one can be accused of being overexposed over the decades. the 1960s tune “Down Here On The Ground,” lifted from the film Cool Hand Luke and now a jazz standard, is also taken in a midtempo groove and features a Steven Campos trumpet solo. This album stands miles ahead in the proliferating femme jazz vocal field. I can only hope that it will find its way to the in-baskets of the various jazz radio programmers, and fast! Michael Gladstone, www.allaboutjazz.com
Produced by Barbara Brighton, “Easy on the Heart” has one memorable performance after another. The repertoire is filled with superior obscurities and occasional standards, with highlights including Henry Mancini’s “Moment to Moment,” Oscar Brown’s “Humdrum Blues,” a touching “Tell Him I Said Hello,” and “Down Here on the Ground.” The arrangements expertly utilize pianist Alan Pasqua’s trio (with bassist Darek Oles and drummer Tim Pleasant), Bob Sheppard’s reeds (which include bass clarinet and soprano), and trumpeter Steven Campos. Jazziz Magazine
On The Long and the Short of It, the Bay Area-based Michael O’Neill Quintet has devised a unique role for featured singer Kenny Washington. Washington sings a number of standards in a fairly straightforward manner, but on the originals by O’Neill, he is essentially used as another horn, vocalizing the melody or harmony along with the horns of O’Neill and Steve Campos. Stephen Latessa www.allaboutjazz.com
Arranger/conductor/keyboardist Frank Martin has performed and/or recorded with a variety of artists that include Andrea Bocelli, Sting, Stevie Wonder, Elton John, Steve Winwood, Whitney Houston, Ray Charles, Diana Ross, Chris Isaak, Tevin Campbell, Cheryl Crow, Philip Bailey, James Taylor, Joe Cocker, Billy Joel, and Madonna.
In the jazz world of music his performance credits include Flora Purim & Airto Moriera, Herbie Hancock, John McLaughlin, Narada Michael Walden, Stanley Jordan, Dizzy Gillespie, Mel Torme, Bobby McFerrin, John Handy, Ramsey Lewis, Joe Farrell, and the Slide Hampton Big Band. Orchestra performances included concerts with the San Francisco Symphony, San Francisco Chamber Orchestra, and the Orchestra of St. Lukes (New York Philharmonic Orchestra).
As a producer he has worked with such artists as Al Jarreau, Lisa Fischer, Bobby McFerrin’s Voicestra, the Award Winning A Cappella group SoVoSo, Gospel vocalists NuVision, story telling Jazz vocalist Rhiannon, Jazz guitarist Mimi Fox featuring organist Joey DeFrancesco and vocalist Angela Bofill, jazz vocalist Karin Blixt featuring Buddy Montgomery, Russell Ferrante, Bruce Forman, Alex Acuna, and William Kennedy, as well as Dutch vocalist Ellen Honert featuring Dori Caymmi, Abraham Laboriel, Turtle Island String Quartet, Tuck & Patti, and Pedro Eustache.
As Musical Director he has toured with such artists as Patti Austin, Angela Bofill, Narada Michael Walden, Mickey Thomas, Roy Ares, Tevin Campbell, and Clarence Clemens.
For two years he also worked as assistant Musical Director for The Afternoon Show on KPIX Television in San Francisco, California. Currently on staff as an educator at the Jazzschool in Berkeley, California, he is in demand as a clinician both in the United States, having taught at the Naropa Institute in Boulder Colorado, Stanford Jazz Workshops at Stanford University, as well as in Europe at the acclaimed SAMI Institute in Sweden. Annual music summer camps include JazzCampWest and the Lafayette Summer Music Workshops.
Frank Martin infuses the Advanced Combo I with the professionalism and creativity he is so famous and beloved for.
Frank Martin is a great performer and a wonderful teacher. A wide range of compositional techniques and musical devices are explored and applied to class assignments including: the use of different rhythmic feels and grooves; reharmonization; form changes; innovative intros, outros, codas and vamps; and alterations to melody and lyrics. Students sing and/or play selected repertoire in a variety of styles and learn how to make even the most common standards sound new. Read feature article about Frank Martin
In the News
Frank Martin Keyboard virtuoso/arranger/musical director Frank Martin has amassed a very impressive track record working with world-class performers in a diverse array of musical styles. In the pop arena, Martin has performed and/or recorded with stars that include Sting, Stevie Wonder, Elton John, Steve Winwood, Whitney Houston, Ray Charles, Diana Ross, Chris Isaak, Andrea Bocelli, Cheryl Crow, Philip Bailey, James Taylor, Joe Cocker, Billy Joel, Madonna and Ricki Martin. In the jazz world, his performance credits include Flora Purim & Airto Moriera, Herbie Hancock, John McLaughlin, Dizzy Gilespie, Mel Torme, Bobby McFerrin, John Handy, Ramsey Lewis, Joe Farrell and the Slide Hampton Big Band. Orchestra performances have included concerts with the San Francisco Symphony, San Francisco Chamber Orchestra and the “Orchestra of St. Lukes” (New York Philharmonic Orchestra).
As a producer, he has worked with high-profile artists such as Al Jarreau, Bobby McFerrin’s “Voicestra,” SoVoSo,” Joey DeFrancesco and Alex Acuña, Jazz guitarist Mimi Fox, vocalist Angela Bofill and the Turtle Island String Quartet. As musical director, he has toured with such artists as Patti Austin, Angela Bofill, Narada Michael Walden, Mickey Thomas, Roy Ayres, and Clarence Clemens. Currently, Martin is on staff at the University of California in Berkeley as well as the Jazzschool in Berkeley, California. He is in demand as a clinician both in the United States and in Europe.
Great musicians make What’s New, Pussycat? come alive and help Lisa B keep the atmosphere fun and swinging. Ben Flint’s keyboards on the first two tracks help set the tone, and Frank Martin’s clever piano playing on the rest of the disc complements Lisa B’s singing perfectly (check out the electric piano in “Cha Cha de la Gata (Kitty-Cat Cha)”). The recording is vibrant and detailed. What’s New Pussycat? is fun, impressively played and sung, and, yes, very sexy.” SoundstageAV.com, Joseph Taylor
Frank Martin’s “In the Pocket” class on rhythm is super-fun. You’ll be on your feet and moving. Frank gives enough handouts that you’ll have two years’ worth of practice materials by the end of the class. Student on yelp.com 2009
Multi-Platinum record winner, composer/keyboardist Frank Martin has performed his edgy-jazz style with everyone from Dizzy Gillespie to Sting and Elton John. Count on hearing a jazz trio of the highest of caliber — pushing the limits of harmony and improvisation in modern jazz expressions. http://www.sanjosejazz.org
Frank Martin’s clever piano playing on the rest of the disc complements Lisa B’s singing perfectly (check out the electric piano in ‘Cha Cha de la Gata (Kitty-Cat Cha)’). The recording is vibrant and detailed. ‘What’s New Pussycat?’ is fun, impressively played and sung, and, yes, very sexy.” Radio stations across the country have jumped on the record. www.jazz review.com
Convergence by Ian Dogole & Hemispheres offers up a kaleidoscopic brew of innovative, adventurous Jazz spiced with flavors from around the globe. Blending African, Middle Eastern, Asian and South American instruments with more traditional Jazz instrumentation and song forms, percussionist Ian Dogole, along with Grammy-nominated woodwind virtuosi Paul McCandless (with Oregon) and Sheldon Brown (formerly with Omar Sosa), bassist/flutist Bill Douglass (with Marian McPartland and Mose Allison), and Frank Martin take their listeners on an unforgettable aural journey that it is simply out of this world. www.jazzheads.com
Keyboard virtuoso/arranger/musical director Frank Martin has amassed a very impressive track record working with world-class performers in a diverse array … www.jazzheads.com
“Jazzmérica,” is produced by three-time Grammy nominee Wayne Wallace and boasts an all-star band including Frank Martin, John Santos, Ricardo Peixoto, Michael Spiro, Paul Van Wangeningen, David Belove, Edgardo Cambón, Melecio Magdaluyo and many others.
Convergence by Ian Dogole & Hemispheres offers up a kaleidoscopic brew of innovative, adventurous Jazz spiced with flavors from around the globe. Blending African, Middle Eastern, Asian and South American instruments with more traditional Jazz instrumentation and song forms, percussionist Ian Dogole, along with Grammy-nominated woodwind virtuosi Paul McCandless (with Oregon) and Sheldon Brown (formerly with Omar Sosa), bassist/flutist Bill Douglass (with Marian McPartland and Mose Allison), and Frank Martin take their listeners on an unforgettable aural journey that it is simply out of this world. www.jazzheads.com
Keyboard virtuoso/arranger/musical director Frank Martin has amassed a very impressive track record working with world-class performers in a diverse array … www.jazzheads.com
Dann Zinn teaches saxophone and leads the UC Jazz Intermediate Combo III Ensemble
Dann Zinn https://www.dannzinn.com/
Dann Zinn plays saxophones, flutes, and various ethnic flutes. He has recorded or performed with Joe Henderson, Russell Ferrante (from The Yellow Jackets), Chuck Findley (The Tonight Show), Jeff Tain Watts, Freddie Hubbard, Mary Wells, and Martha and the Vandellas, among many others.
Dann’s first solo album of original music, Ten Songs, has garnered critical acclaim through the U.S. and Europe from publications such as Jazz Times and JazzIz. Current projects include original world fusion band Jack, jazz group The Deadly Zinns, and free improv band Spontanous Burstation.
Dann Zinn performs and teaches a blend of processed and original jazz and world music
He tours throughout the U.S., Canada, and Mexico. Locally, he has been featured at the Monterey Jazz Festival, San Francisco Jazz Festival, San Jose Jazz Festival, Yoshi’s Nightspot, and the Kuumbwa Jazz Center among countless others.
His first solo recording of original music, Ten Songs, has garnered critical acclaim throughout the U.S. and Europe from such prestigious publications as Jazz Times and JazzIz. Other performances include numerous television, radio, and multi media projects, such as Tiger Woods and John Madden video games, Kangaroddy children show on PBS, and a Willie Mays special on CBS.
He is also working on a series of tone and technique books which present various systems for organizing scales and related subjects.
In addition to teaching the UC Jazz Intermediate Combo III, Dann has taught saxophone, big bands, jazz combos, history of jazz, history of rock and roll, music appreciation, and applied woodwind classes at Cal State University, East Bay for ten years. He is also on the faculty of the Dave Brubeck Institute and the Jazz School. Dann has received two teacher recognition awards from the National Foundation for Advancement in the Arts, and has been selected for inclusion in Who’s Who Among America’s Teachers, 2005.Current projects include original world fusion band Jack, jazz group The Deadly Zinns, and free improv band Spontanous Burstation.
The Advanced Combo consist of the top players in UC Jazz Ensembles. Placement in these combos is restricted. The advanced combos perform jazz standards, challenging and contemporary material such as Dave Liebman and Chick Corea, and original compositions. Advanced musicians should have a thorough understanding of bebop and contemporary improvisation styles, and a familiarity with the musical languages of Charlie Parker, Miles Davis, John Coltrane, Wayne Shorter, Bill Evans, etc. Students should know diatonic and non-diatonic jazz harmonic theory and have memorized several jazz standards. They should have technical fluency on their instrument and possess advanced jazz musicianship skills, including sight-reading, transposition, odd-meter playing, and pitch/chord recognition, although the combos will continue to work in all of these areas. Advanced combos frequently perform at highly visible venues on and off campus and perform biannually at our end of semester concerts with the UC Jazz Big Band.
Ted Moore created the UC Jazz Club to infuse his department with community spirit and to share his students’ talent with the Bay Area Community!
Ted Moore
Mr. Moore is head of the prestigious Jazz Department at UC Berkeley. Aside of his administrative duties he offers his skills as the Percussion Director of UC Jazz Ensembles Advanced Combo II, Improv Workshop
A graduate of the Eastman School of Music, Ted Moore has toured the world with Paul Winter, Marian McPartland, Stan Getz, Joe Williams and many others. For several years, he lived in Rio de Janeiro, Brazil, performing timpani and percussion with the Brazilian Symphony Orchestra, as well as touring and recording with one of Brazil’s leading saxophonists, Victor Assis Brasil. Mr. Moore has composed original scores for several films and television series, including the NOVA science series on PBS.
Since graduating from the Eastman School of Music, Ted has pursued a career which has taken him to many parts of the world with many different artists. He is leader and composer for his own Brazilian jazz group, Brasilia, which has released its first CD to national acclaim. He has performed with Stan Getz, Paul Winter, Marian McPartland, Eric Gale, Jack Wilkins, Gene Bertoncini, and Joey DeFrancesco. On tour, Ted has performed throughout the US and Canada, as well as Japan, Spain, England and Holland.
He also spent two years living in Rio de Janeiro as percussionist with the Brazilian Symphony Orchestra, and performing with many well known Brazilian jazz artists. He has played in Carnegie Hall, Lincoln Center, the Kennedy Center, the Cathedral of St. John in New York, Grace Cathedral in San Francisco and Suntory Hall in Tokyo.
Ted Moore, Director, UC Jazz Ensembles
Ted Moore’s Brasilia and the Oregon Symphony
In February 2007, Director of UC Jazz, Ted Moore, will once again be performing his arrangements for small group and symphony orchestra, this time with the Oregon Symphony in Portland. The concert will feature his group, Brasilia, including Phil Markowitz on piano and Romero Lubambo on guitar. This follows last season’s appearances with the Rochester Philharmonic and the Vancouver Symphony.
“[Ted] Moore’s originals speak the bossa dialect more authentically than the compositions of perhaps any other non-Brazilian.” — Mark Holston, JazzIz magazine
“[Ted] Moore’s writing is true to bossa nova standards in its relentless melodicism and unexpected chord progressions. Driggs’ vocals effortlessly find the balance between strength and femininity.” Jazz Southwest magazine
The new UC Jazz Club has been founded by the University Jazz Students and its faculty. We invite donors and volunteers who have an avid interest in enjoying and supporting our growing program.
The UC Jazz Club will offer several unique sponsorship opportunities for the purpose of remodeling the UC Jazz studios.
Our current and growing resources in the studios include equipment, practice areas, a jazz library and recordings of live performances of the UC Jazz Ensemble’s members..
Our goal is to uphold this Bay Area UC Jazz tradition which has enchanted the Bay Area and often the world since 1966.
Please contact Mr. Ted Moore, the department’s director to learn about the program.Contact us NOW for our Ad Sponsorship Opportunities at https://ucjazz.berkeley.edu/
