Clinics and Master Classes

Berklee in Sao Paulo

Monday / November 8, 2010 / 9:00 a.m.
Conservatorio Musical Souza Lima
Rua José Maria Lisboa, 745
Såo Paulo
United States
01423-001

Matt Glaser, Jim Odgren, Bruno Raberg, and Sam Skau visit Conservatorio Musical Souza Lima to present a series of clinics, master classes, and a concert.

Admission: 
Free

Maria Mulata Clinic

Thursday / November 4, 2010 / 4:00 p.m.
David Friend Recital Hall
921 Boylston Street
Boston
MA
United States
02115

Maria Mulata presents a clinic as part of Berklee's Latin Culture Celebration. Mulata is one of the amazing new up-and-coming female singers from Colombia. Her style blends the rich cultural influences of Totó la Momposina, Etelvina Maldonado, Petrona Martinez, and Nidia Góngora, among many others. She has been sought out for her memorable, high-energy performances which incorporate an array of new sounds (new to this particular Colombian genre, that is) in her vastly folkloric repertoire.

Mulata has a degree in performance from the prestigious Universidad Javeriana in Bogotá, Colombia. She is the 2007 winner of La Gaviota de Plata from the world-renowned Festival Viña del Mar in Chile, as well as a 2009 Nuestra Tierra award from RCN (Colombia's NBC equivalent). In 2008, she received a Golden Record award for her album Itinerario de Tambores. Later that year, her record Los Vestidos de la Cumbia was listed in the Top 10 of one of Colombia's most illustrious magazines, Semana. Mulata has performed at some of the most prestigious music festivals around the globe, including those in Nicaragua, Costa Rica, the Dominican Republic, El Salvador, Guatemala, México, Chile, South Africa, France, Germany, and Belgium. Most recently she was a decorated guest at the ceremony for Colombia's bicentennial.

Her performances have captivated audiences, taking them on a journey through the sounds of the Caribbean, the Colombia Amazonas, and exciting folklore of the Pacific. In addition to singing in her native tongue, Multata interprets compositions in Sanandresano Creole, Portuñol (a mix of Portuguese and Spanish), and a distinct dialect from the town of Palenque. She is one of the most promising and versatile performers in a new wave of artists representing traditional South American music.

With the help of her musical director, arranger, and bassist Esther Rojas, Maria Mulata will be performing traditional Colombian rhythms mixed with original compositions from styles including cumbia, porro, fandango, currulao, champeta, chande, and tamborito. She will be joined by a student group organized by LCMC '10 coordinator Oscar Stagnaro and Colombian native Leonardo Tatis.

Read more about the Latin Music and Culture Celebration.

Admission: 

Oscar Stagnaro: Mariano Martos—Flamenco Bass

Tuesday / November 2, 2010 / 7:00 p.m.
Berk Recital Hall
1140 Boylston Street
Boston
MA
United States
02215

Mariano Martos, who has taught workshops on flamenco bass all over the world, presents a clinic and concert. Born in Buenos Aires, Argentina, he studied at the Escuela Superior de Jazz Walter Malosetti, with Bucky Arcella at the Estudio Escola de Música in Santiago de Compostela, with Carles Benavent (from Paco de Lucía's band), and with Rafael Cañizares in Barcelona.

Read more about the Latin Music and Culture Celebration

Admission: 

Larry Harlow Clinic

Tuesday / November 16, 2010 / 12:00 p.m.
Berk Recital Hall
1140 Boylston Street
Boston
MA
United States
02215

Larry Harlow is a living legend of Afro-Cuban music. Though jazz and the piano stylings of Art Tatum were the first loves of this Brooklyn native, the music and culture of the New York Latino community fascinated him. After graduating from the famed LaGuardia High School of Music and Art, he traveled to Cuba in the late 1950s and began a two-year adventure studying Afro-Cuban music in all its manifestations. On his return to New York he quickly made a name for himself as a top bandleader and was signed by the new Fania record company.

"El Judio Maravilloso," as he is affectionately called, revolutionized what is known today as "salsa," developing the explosive sound of the early-'70s bands. He studied audio engineering at the Institute of Audio Research and produced over 260 albums for Fania alone. Harlow is also the producer/pianist for the legendary Fania All-Stars, which spread clave consciousness the world over. He coproduced, wrote music for, and starred in Our Latin Thing and Salsa, two of the definitive documentaries on Afro-Cuban music in New York City. In 2003, Harlow's Latin Jazz Encounter released the albumLive at Birdland, beginning a new phase in his career. He is currently touring with his new Latin Legends Band.

As a governor of the New York chapter of the National Academy of Recording Arts and Sciences, Harlow emphasized the role of Latin musicians. He received the Grammy Trustees Award in 2008 and was inducted into the International Latin Music Hall of Fame in 2000.

Harlow holds a B.A. in music from Brooklyn College and a master's degree in philosophy from the New School of Social Research. He regularly lectures and conducts residencies at Harvard, Yale, and the California state universities.

Harlow presents this clinic as part of the Latin Music and Culture Celebration.

Read more about the Latin Music and Culture Celebration.

Admission: 

Envisioning 21st-Century Music Business Models: Artist Development

Friday / March 25, 2011 / 7:00 p.m.
Berklee Performance Center
136 Massachusetts Avenue
Boston
MA
United States
02115

A clinic session with performance techniques/artist development specialist Tom Jackson and student ensembles.

Admission: 

Randy Weston Clinic

Wednesday / November 17, 2010 / 12:00 p.m.
Oliver Colvin Recital Hall
1140 Boylston Street
Boston
MA
United States
02215

After contributing six decades of musical direction and genius, Randy Weston remains one of the world's foremost pianists and composers today, a true innovator and visionary. Encompassing the vast rhythmic heritage of Africa, his global creations continue to inform and inspire.

"Weston has the biggest sound of any jazz pianist since Ellington and Monk, as well as the richest, most inventive beat," states jazz critic Stanley Crouch, "but his art is more than projection and time; it's the result of a studious and inspired intelligence . . . an intelligence that is creating a fresh synthesis of African elements with jazz technique."

Weston, born in Brooklyn, New York in 1926, didn't have to travel far to hear the early jazz giants that were to influence him. Though Weston cites Count Basie, Nat King Cole, Art Tatum, and of course, Duke Ellington as his other piano heroes, it was Monk who had the greatest impact. "He was the most original I ever heard," Weston remembers. "He  played  like  they  must  have  played  in  Egypt  5,000  years  ago."

Weston’s first recording as a leader came in 1954 on Riverside Records, Randy Weston Plays Cole Porter. It was in the '50s when Randy Weston played around New York with Cecil Payne and Kenny Dorham and wrote many of his best loved tunes, "Saucer Eyes," "Pam's Waltz," "Little Niles," and, "Hi-Fly."  Weston (who is 6' 8") says his greatest hit, "Hi-Fly," is a "tale of being my height and looking down at the ground." Randy Weston has never failed to make the connections between African and American music. His dedication is due in large part to his father, Frank Edward Weston, who told his son that he was, "an African born in America." "He told me I had to learn about myself and about him and about my grandparents," Weston said in an interview, "and the only way to do it was I'd have to go back to the motherland one day."

In the late '60s, Weston left the country. But instead of moving to Europe like so many of his contemporaries, Weston went to Africa. Though he settled in Morocco, he traveled throughout the continent, tasting the musical fruits of other nations. One of his most memorable experiences was the 1977 Nigerian festival, which drew artists from 60 cultures. "At the end," Weston says, "we all realized that our music was different but the same, because if you take out the African elements of bossa nova, samba, jazz, blues, you have nothing. . . . To me, it's Mother Africa's way of surviving in the new world."

Admission: 

The Blue Four: Keeping Your Sound "Authentic" to True Blues

Monday / November 8, 2010 / 12:00 p.m.
Berk Recital Hall
1140 Boylston Street
Boston
MA
United States
02215

With two critically hailed CDs of their own and two full decades of playing together honing their musical attack to a diamond-hard edge, San Diego–based guitarist Chris James and bassist Patrick Rynn are at the forefront of today's traditional blues movement. Gonna Boogie Now, their recent album for Earwig Records, has stirred up a similarly heightened level of critical buzz as their 2008 disc Stop and Think About It, which was nominated for a Blues Music Award and won a Blues Blast Award for Best New Artist Debut.

The duo's high-energy approach is deeply rooted in the postwar sound—Chicago, Memphis, Mississippi Delta—yet incorporates a singular spin. Their repertoire is loaded with splendid, well-crafted originals. James and Rynn inaugurated their musical partnership in 1990, when both young bluesmen were living in Chicago for the first time. The sartorially splendiferous duo has been inseparable ever since, their telepathic onstage interplay always in dazzling evidence.

Born in North Carolina but raised in the warm and sunny climes of San Diego, James got hooked on the blues early, joining the band of guitarist Tomcat Courtney as a 13-year-old harpist. He soon switched to bass, then guitar, soaking up every nuance of the genre from each master he encountered.

Rynn hails from Toledo, Ohio and learned the bass in a high school jazz orchestra before a chance encounter with an Elmore James cassette forever changed his musical journey. A five-year gig with local blues heroes Art and Roman Griswold soon ensued.

The pair met in Chicago and started working together, James showing Rynn the finer points of traditional blues until they thought as one. Their first major break came when drummer Sam Lay asked both of them to join his band, a gig that lasted for half a decade. There they encountered young harpist Rob Stone, the threesome developing a keen musical chemistry that endures to this day. Back in Chicago, the trio formed a new combo, the C-Notes, and cut a debut CD, No Worries, in 1998. Just My Luck, the band's encore release, emerged on Earwig in 2003. That musical partnership is still going strong; the three write all of their original material together and appear on one another's CDs (James and Rynn are prominent on Rob's latest Earwig disc, Back Around Here). Along the way, James and Rynn have worked with many of the greatest postwar bluesmen still active. They were close to Dave Myers, the late bassist of the Aces, toured worldwide and recorded as the backing band for over four years with guitarist Jody Williams (they're on his '04 disc You Left Me in the Dark), and backed pianist Dennis Binder on his 2007 album Hole in That Jug. They've made several recordings with a variety of blues luminaries, toured Europe, Japan, Canada, as well as the United States, and appeared in the Martin Scorsese–produced PBS film documentary Godfathers and Sons. Particularly noteworthy was Rynn's 2010 Blues Music Award nomination as Best Blues Bassist.

Gonna Boogie Now is a hard-hitting collection with a spectacular lineup of guest stars. Pianists Henry Gray and David Maxwell and drummers Sam Lay and Willie Hayes helped James and Rynn cook up an encore outing sure to delight any traditional electric blues fan. Like its predecessor, the critically lauded CD has been high on the Living Blues Radio Charts in recent months, making it clear that this traditionally rooted duo will be playing their sizzling brand of blues for a long time to come.

Admission: 

Maria Schneider Clinic: The Art Spirit

Thursday / December 9, 2010 / 12:00 p.m.
Berklee Performance Center
136 Massachusetts Avenue
Boston
MA
United States
02115

Composer Maria Schneider will discuss the ideas and teachings that are presented in The Art Spirit by Robert Henri and the analogies between art and music. Henri was an American artist, teacher, and outspoken advocate of modernism in painting. 

Schneider became known through the jazz orchestra she founded in 1992. The group has performed her music at festivals and concert halls worldwide, and she has received numerous commissions and guest-conducting invitations, working with over 80 groups from over 20 countries spanning Europe, South America, Australia, and the United States.

The artists and organizations she’s written for are as diverse as Toots Thielemans, the Carnegie Hall Jazz Orchestra, Ivan Lins, Peter Sellars’s New Crowned Hope Festival (Mozart Festival in Vienna), Jazz at Lincoln Center, the Kronos Quartet, and Dawn Upshaw and the Saint Paul Chamber Orchestra.

Schneider’s recording career has brought eight Grammy nominations, and her recording Concert in the Garden made history as the first album to win a Grammy Award with internet-only sales. She received a second Grammy for "Cerulean Skies" (Best Instrumental Composition) from her most recent recording, Sky Blue.

Admission: 

Aaron Goldberg Clinic

Thursday / November 4, 2010 / 1:00 p.m.
Cafe 939
939 Boylston Street
Boston
MA
United States
02115
Aaron Goldberg

Aaron Goldberg is a pianist and composer performing at the vanguard of jazz music. His new album Home (April 2010, Sunnyside) and his last, Worlds, both exhibit the sensitivity and dynamism of Goldberg's longstanding trio featuring Reuben Rogers and Eric Harland.

In 2004 and 2008, Goldberg produced and performed in historic fundraising concerts for senator John Kerry and president Barack Obama. He is the co-arranger/composer (with John Ellis) of the Baby Loves Jazz series of books and albums, as well as the musical director of All Souls at Sundown, a jazz and poetry series in New York. He is also a member of the instrumental faculty at the New School for Jazz and Contemporary Music, and a clinician at conservatories and universities around the world.

Admission: 
Free

Hot Rize Clinic

Wednesday / November 3, 2010 / 1:00 p.m.
Berk Recital Hall
1140 Boylston Street
Boston
MA
United States
02215

Hot Rize has marked over 30 years in the bluegrass history book. Following the untimely passing of guitarist Charles Sawtelle in 1999, the band reorganized in 2002 with Bryan Sutton on guitar and has continued to play several shows each year, delivering its high-energy, soulful, and unique sound to fans old and new. Though many years from its full-time touring period of 1978–1990, Hot Rize has kept its legend growing by delivering first-class music and entertainment as only it can.

The traditional-yet-progressive Colorado band started its 12 years of full-time performing in January, 1978. The group named itself after the secret ingredient of Martha White "self-rising" flour, the product Flatt & Scruggs promoted in the '50s and '60s.

Original band members were Tim O'Brien on lead and harmony vocals, mandolin, and fiddle; Pete Wernick on banjo and harmony vocals; Charles Sawtelle on guitar, harmonies, and lead vocals. Mike Scap, the group's original guitarist, departed after three months and was replaced by Nick Forster on bass, with Sawtelle switching from bass to guitar. Forster also became the group's emcee and main harmony singer. Hot Rize recorded its self-titled debut album, a blend of traditional and new material, in 1979. Their second album, Radio Boogie, came out in 1981.

On the strength of their first records and national touring, Hot Rize rose to prominence in the early '80s, appearing frequently on such national broadcasts as NPR's A Prairie Home Companion and The Nashville Network's Ralph Emery Show. Their stage show gained renown, featuring their strong and soulful bluegrass combined with their wacky but musically deft "alter-ego" country swing band, Red Knuckles and the Trailblazers. The group performed in almost every state, as well as Europe, Japan, and Australia.

In 1984, Hot Rize released a concert album featuring the Trailblazers and in 1985 released Traditional Ties. Untold Stories and Take It Home came out in 1987 and 1990 respectively. Many songs from these records, such as "Walk the Way the Wind Blows," "Colleen Malone," and "Just Like You," reached #1 positions on national bluegrass airplay charts. After 12 years of full-time year-round performing and recording, the group disbanded amicably, all members subsequently pursuing solo careers.

The 1990s saw Hot Rize reunite several times each year, mostly at bluegrass festivals, with occasional short tours through 1998. Live recorded cuts appeared on various festival albums. Toward the end of 1990, Hot Rize received the Entertainer of the Year award from International Bluegrass Music Association at the organization's first annual Awards Show. In 2009, the band was selected to co-host the 20th annual IBMA Awards Show. Hot Rize also picked up a Grammy nomination in 1991 and won IBMA Song of the Year from the IBMA. In 1994 Sawtelle was diagnosed with leukemia, eventually dying in 1999 from complications of a bone marrow transplant. The classic group's span as the same four musicians had lasted 21 years. Its performing commitments in 1999 were fulfilled as Charles Sawtelle memorials, with Peter Rowan or Jeff White filling the guitar slot.

A live concert recording from 1996, So Long of a Journey, was issued in 2002, the first Hot Rize album in over a decade. Also in 2002, the group started performing again, with several shows each year. Bryan Sutton, a superpicker and one of Nashville's leading session players, was added on guitar. Hot Rize has remained one of the top attractions in bluegrass, well into its fourth decade.

Admission: 

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