Esperanza Spalding discography and songs: Music profile for Esperanza Spalding, born 18 October 1984. Genres: Vocal Jazz, Art Pop, Jazz Fusion. Albums include The Electric Lady, Emily's D+Evolution, and Esperanza.
Download Esperanza Spalding - Discography 2006 - 2010 torrent or any other torrent from the Audio Music. Direct download via magnet link.Spalding in 2012 Background information Birth name Esperanza Emily Spalding Born ( 1984-10-18) October 18, 1984 (age 33), United States Genres, Occupation(s) Musician, composer, educator, bandleader Instruments Double bass, bass guitar, vocals Years active 2000–present Labels Associated acts, Website Esperanza Emily Spalding (born October 18, 1984) is an American bassist and singer. Spalding was raised in, and was a musical, playing violin in the Chamber Music Society of Oregon at five years old. She was later both self-taught and -trained on a number of instruments, including guitar and bass.
Her proficiency earned her scholarships to and the. In 2017 she was appointed Professor of the Practice of Music.
She has won four, including the at the, making her the first jazz artist to win the award. Contents.Early life Spalding was born in, to an African-American father and a mother of, and descent. She was raised in the in Northeast Portland, which at that time was at its height of. Her mother raised her and her brother as a single parent.Spalding has an interest in the music of other cultures, including that of, commenting: 'With songs, the phrasing of the melody is intrinsically linked with the language, and it's beautiful.'
Spalding's mother shares her interest in music, having nearly become a touring singer herself. Spalding's mother took note of her musical proclivity when Spalding was able to reproduce by ear on the family's piano.Spalding has credited watching classical cellist perform on an episode of as an integral part of her childhood, and what inspired her to pursue music. By the time Spalding was five, she had taught herself to play the violin and was playing with the Chamber Music Society of Oregon.Spalding stayed with the group until she was fifteen years old, and left as. Due to a lengthy childhood illness, Spalding spent much of her elementary school years being, but also attended King Elementary School in northeast Portland. During this time, she also found the opportunity to pick up instruction in music by listening to her mother's college teacher instructor, who instructed her mother in guitar. According to Spalding, when she was about eight, her mother briefly studied jazz guitar in college.Spalding says: 'Going with her to her class, I would sit under the piano.
Then I would come home and I would be playing her stuff that her teacher had been playing.' Spalding also played and clarinet before discovering the double bass in high school. She sings in English, Spanish and Portuguese.Career 2000–03: Early projects and education Spalding began performing live in clubs in Portland, Oregon, as a teenager, securing her first gig at fifteen years old in a blues club, when she could play only one line on bass. One of the seasoned musicians with whom she played that first night invited her to join the band's rehearsals 'so she could actually learn something,' and her rehearsals soon grew into regular performances spanning almost a year. According to Spalding, it was a chance for her to stretch as a musician, reaching and growing beyond her experience. Her early contact with these 'phenomenal resources,' as she calls the musicians who played with her, fostered her sense of rhythm and helped nurture her interest in her instrument.She does not consider herself a musical prodigy, having said, 'I am surrounded by prodigies everywhere I go, but because they are a little older than me, or not a female, or not on a major label, they are not acknowledged as such.' Spalding had intended to play cello, but discovered the bass when she was fourteen at the performing arts high school, to which she had won a scholarship.
The bass was a good fit for her. Spalding found school in general 'easy – and boring' and dropped out. When she was 15 or 16 years old, she started writing lyrics for music for the local indie rock/pop group Noise for Pretend, touching on any topic that came to mind.
Although she had taken a few private voice lessons, which taught her how to project her voice, her primary singing experience had come from 'singing in the shower,' she said, before she started performing vocals for Noise for Pretend.Her desire to perform live evolved naturally out of the compositional process, when she would sing and play simultaneously to see how melody and voice fit together, but she acknowledges that performing both roles can be challenging. In a 2008 interview, she said, 'What can be difficult is being a singer, in the sense that you are engaged with the audience, and really responsible for emoting, and getting into the lyrics, melody, etc., and being an effective bassist/band leader.' Spalding left high school at 16, and after completing her, enrolled in a music scholarship in the music program at, where she remembers being 'the youngest bass player in the program.' Although she lacked the training of her fellow students, she feels that her teachers nevertheless recognized her talent.
She decided to apply to on the encouragement of her bass teacher, and did well enough in her audition to receive a full scholarship. In spite of the scholarship, Spalding found meeting living expenses a challenge, so her friends arranged a benefit concert that paid her airfare. Spalding's savings did not last long, and she considered leaving music for political science, a move jazz guitarist and composer discouraged.He told her that she had 'the 'X Factor' and could make it if she applied herself. During her time at Berklee, her primary bass instructor was John Lockwood. 2004–07: Musical beginnings, teaching and Junjo.
Spalding performing at the in Perugia, Italy, on July 12, 2007., Executive Vice President at Berklee, said in 2004 that Spalding had 'a great time feel, she can confidently read the most complicated compositions, and she communicates her upbeat personality in everything she plays.' Ben Ratliff wrote in on July 9, 2006, that Spalding's voice is 'light and high, up in 's pitch range, and that she can sing quietly, almost in a daydream' and that Spalding 'invents her own feminine space, a different sound from top to bottom.' Spalding was the 2005 recipient of the Boston Jazz Society scholarship for outstanding musicianship. Almost immediately after graduation from college later the same year, Spalding was hired by Berklee College of Music, becoming one of the youngest instructors in the institution's history, at age 20. As a teacher, Spalding tries to help her students focus their practice through a practice journal, which can help them recognize their strengths and what they need to pursue. Her debut album, was released on April 18, 2006, on the Ayva Music label.
It was created to display the dynamic that she felt among her trio. Though Junjo was released solely under her name, Spalding considers it 'a collaborative effort.' 2008–10: Esperanza. Spalding interacting with the audience at the Northsea Jazz Festival, 2009. Is Spalding's second studio album. After Spalding's Grammy win in February 2011, the album entered the at 138. With Esperanza, Spalding's material was meant to be more reflective of herself as an artist, with musicians selected to best present that material.Ed Morales wrote in on June 23, 2008, that Esperanza is 'a sprawling collage of jazz fusion, Brazilian, and even a touch of hip-hop.'
Siddhartha Mitter wrote in on May 23, 2008, that 'the big change' in Esperanza 'is the singing.This makes it a much more accessible album, and in some ways more conventional.' On December 10 at the 2009 ceremonies, Spalding performed at in honor of the 2009 Laureate U.S.President, and again at the the following day. She was personally selected by Obama, as per the tradition of one laureate-invited-artist to perform. Spalding also was the featured final act for the opening night of the 2009 in, Utah.
She closed the show with a number along with bass artists and Sean O'Bryan Smith, who also performed earlier that day.As a tribute to, Spalding was invited to sing along with,. Spalding performed the 1987 hit single '. On February 7, 2010, Spalding became the most searched person and second most searched item on as a result of her appearance the previous evening on the program. 2011–2015: Chamber Music Society and Radio Music Society In November 2011, Spalding won 'Jazz Artist of the Year' at the. Spalding collaborated with on the track 'Leave Me a Place Underground' from the album The Dawn of Light in 2011. She also collaborated with on the album, where she features on the track 'Crayola'.
Spalding also sang a duet with on the track 'Freesia' from the 2011 album Bitches of Renaissance.In the 53rd, Spalding won the, beating,. Targeted Spalding on the Internet, stating that she was not as popular as Bieber and that he should have won the award. They also vandalized her Wikipedia article. Is the third album by Spalding. After her surprise Grammy win, the album re-entered the at number 34 with sales of 18,000. A video was made for the song 'Little Fly'.The song is a poem by set to music by Spalding.
A vinyl version of the album was released in February 2011. Commenting on the album, 's Patrick Jarenwattananon wrote that, 'the finished product certainly exudes a level of sophisticated intimacy, as if best experienced with a small gathering in a quiet, wood-paneled room.' Spalding was the best-selling contemporary jazz artist of 2011, and her album Chamber Music Society was the best-selling contemporary jazz album. On February 26, 2012, Spalding performed at the, singing the standard, alongside the Southern California Children's Chorus to accompany the video montage that celebrated the film industry greats who died in 2011 and early 2012.
Is Spalding's fourth studio album, released by record label Heads Up International on March 20, 2012. Spalding hoped this album would showcase jazz musicians in an accessible manner suitable for mainstream radio, while incorporating her own musical compositions with covers of such artists as the. Spalding also made guest appearances during this time, appearing on 's 2013 album, on the track 'Dorothy Dandridge Eyes'. She also sang a jazz duet on ' album, called 'Old & Crazy'.In November 2013, Spalding released a single 'We Are America' to protest the prison camps, with cameo performances by Stevie Wonder. 2016–present: Emily's D+Evolution and Exposure In March 2016, she released her fifth studio album, released by Concord Records.
She was also featured on the production The Great Math Mystery, talking about the connection between music and mathematics. In December 2017 Spalding released, which is her sixth studio album. For this project, she embarked on a creative experiment beginning Thursday, September 12, 2017 at 9 a.m., setting out to create the album from start to finish in 77 consecutive hours, while streaming the whole creative process live on. Once completed, she released 7,777 limited edition recordings of the album. The packaging of the physical album included a piece of the original notepaper Esperanza used to write the lyrics and music, allowing those who witnessed the process to own a piece of the creation itself, directly from the source.About the experiment, Spalding stated on her website: 'The necessity to keep going because it's live draws up another depth of creative facility that can't be reached when you know you can try again tomorrow.' Spalding received an honorary Doctor of Music degree from the in May 2018.
Artistry Influences Spalding was mentored. She has cited jazz bassists and as important influences on her music—Carter for the orchestration of his playing and Holland for the way his compositional method complements his personal style. She has described the saxophone player, and singer-songwriter, as heroes.She has also noted her preference for the. Spalding has said she loves and was influenced by a 'wonderful arc that started 40 years ago where people kept incorporating modern sounds into their music.'
Spalding, who has expressed a desire to be judged for her musicianship rather than sex appeal, believes that female musicians must take responsibility to avoid oversexualizing. And, to write original music, one must read and stay informed about the world. She has said she models her career on those of and, and also cited as a major musical inspiration. Spalding says that her mom was and will always be her role model. Spalding alternates between double bass and electric bass in her performances.Instruments Electric bass. Fender Jaco Pastorius Jazz Bass (fretless). A5 (semi-acoustic, 5-string, fretless).
South Paw Fretless 5-string. Moollon Chambered Double P5 Fretless Bass Amplifiers.SVT-4PRO. Ampeg PN-410HLF cab Strings. Fender 9050M Stainless Steel Flatwound Long Scale (.055–.105) Double bass. 7/8 double bass (manufacturer unknown). Standard model S1 Czech-Ease acoustic road bass Charity work During her 2012 tour, Spalding donated a portion of proceeds from merchandise sales to the non-profit organization. The organization, based in Washington, D.C., works to combat around the world.On September 23, 2018, she appeared with Herbie Hancock at the Lions of Justice Festival, sponsored by, 'to proclaim that all people are worthy of respect and must be treated with the dignity they deserve.'
No award given (1967). (1990; withdrawn). (2018).Spalding performing in 2012 Background information Birth name Esperanza Emily Spalding Born ( 1984-10-18) October 18, 1984 (age 33), United States Genres, Occupation(s) Musician, composer, educator, bandleader Instruments Double bass, bass guitar, vocals Years active 2000–present Labels Associated acts, Website Esperanza Emily Spalding (born October 18, 1984) is an American bassist and singer. Spalding was raised in, and was a musical, playing violin in the Chamber Music Society of Oregon at five years old. She was later both self-taught and -trained on a number of instruments, including guitar and bass. Her proficiency earned her scholarships to and the.
In 2017 she was appointed Professor of the Practice of Music. She has won four, including the at the, making her the first jazz artist to win the award. Contents.Early life Spalding was born in, to an African-American father and a mother of, and descent. She was raised in the in Northeast Portland, which at that time was at its height of. Her mother raised her and her brother as a single parent. Spalding has an interest in the music of other cultures, including that of, commenting: 'With songs, the phrasing of the melody is intrinsically linked with the language, and it's beautiful.' Spalding's mother shares her interest in music, having nearly become a touring singer herself.
Spalding's mother took note of her musical proclivity when Spalding was able to reproduce by ear on the family's piano.Spalding has credited watching classical cellist perform on an episode of as an integral part of her childhood, and what inspired her to pursue music. By the time Spalding was five, she had taught herself to play the violin and was playing with the Chamber Music Society of Oregon. Spalding stayed with the group until she was fifteen years old, and left as. Due to a lengthy childhood illness, Spalding spent much of her elementary school years being, but also attended King Elementary School in northeast Portland. During this time, she also found the opportunity to pick up instruction in music by listening to her mother's college teacher instructor, who instructed her mother in guitar. According to Spalding, when she was about eight, her mother briefly studied jazz guitar in college. Spalding says: 'Going with her to her class, I would sit under the piano.Then I would come home and I would be playing her stuff that her teacher had been playing.'
Spalding also played and clarinet before discovering the double bass in high school. She sings in English, Spanish and Portuguese. Career 2000–03: Early projects and education Spalding began performing live in clubs in Portland, Oregon, as a teenager, securing her first gig at fifteen years old in a blues club, when she could play only one line on bass.One of the seasoned musicians with whom she played that first night invited her to join the band's rehearsals 'so she could actually learn something,' and her rehearsals soon grew into regular performances spanning almost a year.
According to Spalding, it was a chance for her to stretch as a musician, reaching and growing beyond her experience. Her early contact with these 'phenomenal resources,' as she calls the musicians who played with her, fostered her sense of rhythm and helped nurture her interest in her instrument.
She does not consider herself a musical prodigy, having said, 'I am surrounded by prodigies everywhere I go, but because they are a little older than me, or not a female, or not on a major label, they are not acknowledged as such.' Spalding had intended to play cello, but discovered the bass when she was fourteen at the performing arts high school, to which she had won a scholarship. The bass was a good fit for her.Spalding found school in general 'easy – and boring' and dropped out. When she was 15 or 16 years old, she started writing lyrics for music for the local indie rock/pop group Noise for Pretend, touching on any topic that came to mind.Although she had taken a few private voice lessons, which taught her how to project her voice, her primary singing experience had come from 'singing in the shower,' she said, before she started performing vocals for Noise for Pretend. Her desire to perform live evolved naturally out of the compositional process, when she would sing and play simultaneously to see how melody and voice fit together, but she acknowledges that performing both roles can be challenging.
In a 2008 interview, she said, 'What can be difficult is being a singer, in the sense that you are engaged with the audience, and really responsible for emoting, and getting into the lyrics, melody, etc., and being an effective bassist/band leader.' Spalding left high school at 16, and after completing her, enrolled in a music scholarship in the music program at, where she remembers being 'the youngest bass player in the program.' Although she lacked the training of her fellow students, she feels that her teachers nevertheless recognized her talent. She decided to apply to on the encouragement of her bass teacher, and did well enough in her audition to receive a full scholarship. In spite of the scholarship, Spalding found meeting living expenses a challenge, so her friends arranged a benefit concert that paid her airfare. Spalding's savings did not last long, and she considered leaving music for political science, a move jazz guitarist and composer discouraged.
He told her that she had 'the 'X Factor' and could make it if she applied herself. During her time at Berklee, her primary bass instructor was John Lockwood. 2004–07: Musical beginnings, teaching and Junjo.Spalding performing at the in Perugia, Italy, on July 12, 2007., Executive Vice President at Berklee, said in 2004 that Spalding had 'a great time feel, she can confidently read the most complicated compositions, and she communicates her upbeat personality in everything she plays.' Ben Ratliff wrote in on July 9, 2006, that Spalding's voice is 'light and high, up in 's pitch range, and that she can sing quietly, almost in a daydream' and that Spalding 'invents her own feminine space, a different sound from top to bottom.' Spalding was the 2005 recipient of the Boston Jazz Society scholarship for outstanding musicianship. Almost immediately after graduation from college later the same year, Spalding was hired by Berklee College of Music, becoming one of the youngest instructors in the institution's history, at age 20.
As a teacher, Spalding tries to help her students focus their practice through a practice journal, which can help them recognize their strengths and what they need to pursue. Her debut album, was released on April 18, 2006, on the Ayva Music label. It was created to display the dynamic that she felt among her trio.
Though Junjo was released solely under her name, Spalding considers it 'a collaborative effort.' 2008–10: Esperanza.Spalding interacting with the audience at the Northsea Jazz Festival, 2009. Is Spalding's second studio album. After Spalding's Grammy win in February 2011, the album entered the at 138.
With Esperanza, Spalding's material was meant to be more reflective of herself as an artist, with musicians selected to best present that material. Ed Morales wrote in on June 23, 2008, that Esperanza is 'a sprawling collage of jazz fusion, Brazilian, and even a touch of hip-hop.'
Siddhartha Mitter wrote in on May 23, 2008, that 'the big change' in Esperanza 'is the singing. This makes it a much more accessible album, and in some ways more conventional.' On December 10 at the 2009 ceremonies, Spalding performed at in honor of the 2009 Laureate U.S. President, and again at the the following day.She was personally selected by Obama, as per the tradition of one laureate-invited-artist to perform. Spalding also was the featured final act for the opening night of the 2009 in, Utah.She closed the show with a number along with bass artists and Sean O'Bryan Smith, who also performed earlier that day. As a tribute to, Spalding was invited to sing along with,.
Esperanza Spalding Family
Spalding performed the 1987 hit single '. On February 7, 2010, Spalding became the most searched person and second most searched item on as a result of her appearance the previous evening on the television program.2011–2015: Chamber Music Society and Radio Music Society In November 2011, Spalding won 'Jazz Artist of the Year' at the.
Spalding collaborated with on the track 'Leave Me a Place Underground' from the album The Dawn of Light in 2011. She also collaborated with on the album, where she features on the track 'Crayola'.Spalding also sang a duet with on the track 'Freesia' from the 2011 album Bitches of Renaissance. In the 53rd, Spalding won the, beating,. Targeted Spalding on the Internet, stating that she was not as popular as Bieber and that he should have won the award. They also vandalized her Wikipedia article. Is the third album by Spalding.
After her surprise Grammy win, the album re-entered the at number 34 with sales of 18,000. A video was made for the song 'Little Fly'.The song is a poem by set to music by Spalding. A vinyl version of the album was released in February 2011. Commenting on the album, 's Patrick Jarenwattananon wrote that, 'the finished product certainly exudes a level of sophisticated intimacy, as if best experienced with a small gathering in a quiet, wood-paneled room.'
Spalding was the best-selling contemporary jazz artist of 2011, and her album Chamber Music Society was the best-selling contemporary jazz album. On February 26, 2012, Spalding performed at the, singing the standard, alongside the Southern California Children's Chorus to accompany the video montage that celebrated the film industry greats who died in 2011 and early 2012. Is Spalding's fourth studio album, released by record label Heads Up International on March 20, 2012.Spalding hoped this album would showcase jazz musicians in an accessible manner suitable for mainstream radio, while incorporating her own musical compositions with covers of such artists as the. Spalding also made guest appearances during this time, appearing on 's 2013 album, on the track 'Dorothy Dandridge Eyes'. She also sang a jazz duet on ' album, called 'Old & Crazy'. In November 2013, Spalding released a single 'We Are America' to protest the prison camps, with cameo performances by Stevie Wonder.
2016–present: Emily's D+Evolution and Exposure In March 2016, she released her fifth studio album, released by Concord Records.She was also featured on the production The Great Math Mystery, talking about the connection between music and mathematics. In December 2017 Spalding released, which is her sixth studio album. For this project, she embarked on a creative experiment beginning Thursday, September 12, 2017 at 9 a.m., setting out to create the album from start to finish in 77 consecutive hours, while streaming the whole creative process live on.Once completed, she released 7,777 limited edition recordings of the album.
The packaging of the physical album included a piece of the original notepaper Esperanza used to write the lyrics and music, allowing those who witnessed the process to own a piece of the creation itself, directly from the source. About the experiment, Spalding stated on her website: 'The necessity to keep going because it's live draws up another depth of creative facility that can't be reached when you know you can try again tomorrow.' Spalding received an honorary Doctor of Music degree from the in May 2018. Artistry Influences Spalding was mentored.She has cited jazz bassists and as important influences on her music—Carter for the orchestration of his playing and Holland for the way his compositional method complements his personal style. She has described the saxophone player, and singer-songwriter, as heroes.
She has also noted her preference for the. Spalding has said she loves and was influenced by a 'wonderful arc that started 40 years ago where people kept incorporating modern sounds into their music.'
Spalding, who has expressed a desire to be judged for her musicianship rather than sex appeal, believes that female musicians must take responsibility to avoid oversexualizing themselves. And, to write original music, one must read and stay informed about the world.She has said she models her career on those of and, and also cited as a major musical inspiration. Spalding says that her mom was and will always be her role model. Spalding alternates between double bass and electric bass in her performances. Instruments Electric bass. Fender Jaco Pastorius Jazz Bass (fretless). A5 (semi-acoustic, 5-string, fretless).
South Paw Fretless 5-string.Moollon Chambered Double P5 Fretless Bass Amplifiers. Ampeg PN-410HLF cab Strings.
Fender 9050M Stainless Steel Flatwound Long Scale (.055–.105) Double bass. 7/8 double bass (manufacturer unknown). Standard model S1 Czech-Ease acoustic road bass Charity work During her 2012 tour, Spalding donated a portion of proceeds from merchandise sales to the non-profit organization. The organization, based in Washington, D.C., works to combat around the world.On September 23, 2018, she appeared with Herbie Hancock at the Lions of Justice Festival, sponsored by, 'to proclaim that all people are worthy of respect and must be treated with the dignity they deserve.'
No award given (1967).(1968). (1990; withdrawn).
“Individually, Stevens, Parlato and Martin are powerful artists with unique visions. Together, they have created something transcendent.”Tillery is proud to announce their single CORCOVADO (Quiet Nights of Quiet Stars) written by Antonio Carlos Jobim in 1960, with an English lyric crafted by Gene Lees and Buddy Kaye. The trio recorded the standard while making their debut album, and is now offering it to fans on Band Camp this holiday season.You can listen and make a purchase by clicking on the image above or.“May this music bring moments of peace amidst troubled times.” says Tillery.Posted in.
WHOTILLERY featuring Rebecca Martin, Becca Stevens, Gretchen ParlatoWHATMasterclass “Methods, Process and Practice of Songwriting and Collaboration” &evening Performances “Jazz Gallery 20th Anniversary Concerts”WHERE1160 BroadwayNY, NY 10001WHENFriday, March 18th (Concerts)Saturday, March 19th (Masterclass and Concerts)Masterclass: 2:00pm – 4:00pmConcert performances: 7:30pm and 9:30pm shows.COSTMasterclass on Saturday 3/19 $150.00Ticket prices for concert vary. Follow link for more information.Friday 3/18 @ 7:30pm Friday, 3/18 @ 9:30pmSaturday, 3/19 @ 7:30pmSaturday, 3/19 @ 9:30pmTILLERY, a collaborative project created by, and will grace the stage at the Jazz Gallery located at 1160 Broadway in New York City on March 18th and 19th. The group will perform two sets each evening (at 7:30pm and 9:30pm) as part of The Jazz Gallery’s 20th Anniversary Concert series.In addition, Tillery will also offer a masterclass on Saturday afternoon from 2:00pm – 4:00pm titled “Methods, Process and Practice of Songwriting and Collaboration” and will take participants on a journey through the musical paths and varied songwriting methods of Rebecca Martin, Gretchen Parlato and Becca Stevens. This revealing masterclass will enlighten and inspire through a range of topics that include early musical experiences, writers block, breakthroughs, connecting your creative work to your daily life and in collaborative partnerships.The cost of the two hour masterclass is $150.
Participants must sign up by visiting this.For general questions regarding Tillery, contact Karen Kennedy, 24 Seven Artist Development atPosted in. The Tillery Workshop at the JazzSchool in San Francisco, CA.We had a fantastic and very busy week in California this September, beginning in San Francisco and finishing up in Los Angeles. Here are some highlights.A very special thanks to the Ostroff’s; The JazzSchool; BetaLevel; Joon, Alex and everyone at the Blue Whale – and of course, all who participated and came to our performances.Our next scheduled workshop isn’t until October of 2014 at the Falcon in Marlboro, NY – but you can still. It’s going to be a beautiful day filled with songwriting, singing, performing, a special lunch created by the Falcon Arts chef and a Tillery concert – all to take place in the lower Hudson Valley (just 60 miles from NYC).
You can even travel by train and be picked up and returned to the station! It’s a great value.We look forward to seeing you!Rebecca, Gretchen and Becca. Gretchen Parlato, Rebecca Martin and Becca Stevens of TILLERY Songwriting Workshop SeriesTillery is pleased to announce several study opportunities, a mix of masterclasses and workshops being offered on the West Coast. They are open to all musicians and creatives no matter your instrument.
Please have a look below and write to Rebecca Martin at rebecca@larreccamusic.com with any questions.We look forward to seeing you!SAN FRANCISCO, CA: Sunday, September 22th, 2013 (Workshop)TILLERY is pleased to visit the Jazzschool in San Francisco this fall! The Jazzschool is an innovative nonprofit organization dedicated to the study and performance of jazz — America’s indigenous art form —and related styles of music from around the world. Founded in 1997, the Jazzschool is located in the historic Kress Building at Shattuck and Addison, in the heart of the Downtown Berkeley Arts District.
The Jazzschool is part of a vibrant East Bay arts community that includes the Freight & Salvage, Berkeley Repertory Theatre, Aurora Theatre, East Bay Media Center and renowned Cal Performances at the University of California. Hailed as one of the nation’s most comprehensive centers for jazz studies, the Jazzschool offers instrumentalists and vocalists of all ages and skill levels a broad spectrum of performance ensembles, lectures, workshops and private instruction. Courses are designed for the professional musician, the serious student and the jazz aficionado seeking personal enrichment. A multi-faceted institution, the Jazzschool comprises several key components.WHATThe Jazzschool hosts a full day Workshop with Rebecca Martin, Gretchen Parlato and Becca Stevens of TILLERYWHERE2087 Addison StreetBerkeley, CA.
94704WHENSunday, September 22nd, 201310:00am – 4:30pmCOST$150 per participantDETAILSFor more information,:info@jazzschool.org or call 510/845-5373.LOS ANGELES, CA: Tuesday, September 24th, 2013 (Masterclass)We are really excited to partner up with Gretchen’s sister Heather Parlato and the space that she helps to program called ‘Betalevel’. This hip ‘rough and tumble’ venue is described as ‘part studio, part club, part stage, and part screen; Betalevel is located in a basement in Chinatown, Los Angeles, and plays host to various media events such as screenings, performances, classes, lectures, debates, dances, readings, and tournaments. Its members are artists, programmers, writers, musicians, designers, agit-propers, filmmakers, and reverse-engineers.’It’s best to locate the space by clicking on the link to ‘directions’ below – as the door is somewhat hidden behind Hill Street.
We’ll give you a number to call after you register just in case (“Don’t worry, Jake. It’s Chinatown.” I’ve always wanted to use that somewhere) – so join us for an evening masterclass session!“ The Methods, Process and Practice in Singing and Songwriting” A masterclass with Rebecca Martin, Gretchen Parlato and Becca Stevens of TILLERY – “The Methods, process and practice in Singing and Songwriting” will take participants on a journey through the musical paths and varied songwriting methods of Tillery’s Rebecca Martin, Gretchen Parlato and Becca Stevens.
This revealing workshop will enlighten and inspire through a range of topics that include early musical experiences, writers block, breakthroughs, connecting your creative work to your daily life and finding your true voice. During the session, participants will be led through several unique songwriting processes with hands on writing and composing exercises done individually and in collective groups. Guaranteed to get the creative juices flowing!WHATWHERE963 N. Hill Street (right behind)in ChinatownLA, CAWHENTuesday, September 24th, 20136:00pm – 9:00pmCOST$90 per participant.