Stanford Jazz Workshop

SJW Artists

Peter Apfelbaum Sextet
Kenny Barron / Terrell Stafford / Dayna Stephens / Matt Wilson
Alan Broadbent Trio
Jimmy Cobb Quartet featuring Kenny Barron
Ruth Davies Blues Night featuring Barbara Morrison
Basie and Beyond: Jamie Davis and the Fred Barry Jazz Orchestra
Sasha Dobson Trio
Lou Donaldson Quartet
Madeline Eastman / Dena DeRose
Taylor Eigsti / Julian Lage Group
Eddie Gomez Trio / Frank Wess Quartet
Wycliffe Gordon Presents the Jazz Mentors
Wycliffe Gordon Quartet featuring Matt Wilson
Albert "Tootie" Heath
Jimmy Heath
Bobby Hutcherson
Nancy King
Lee Konitz
Maria Marquez Quintet
Jeb Patton Trio featuring Tootie Heath
Nicholas Payton Quintet
Kurt Rosenwinkel Group
John Santos Quintet
The Latin Side of the Great American Songbook with Peggy Stern
(New) Standards Night wtih Peter Stoltzman
Patrick Wolff Trio

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(New) Standards Night with Peter Stoltzman
A graduate of both Berklee College of Music and the New England Conservatory, Peter Stoltzman has been called “a monster jazz piano player” by the late Jack Elliot (music director of the Mancini Institute and the Grammy awards). Son of two-time Grammy-winning clarinetist Richard Stoltzman, Peter has performed with his father at renowned venues including Carnegie Hall and the Hollywood Bowl, and their work together has been heard on WNYC, Sirius and NPR. A returning Stanford Jazz Workshop faculty member, Peter’s Stanford concert is a special one-of-a-kind evening that will present an array of pop tunes (from the Beatles to Dave Matthews), adapted as contemporary jazz arrangements.

In order to get to know him better, we asked Peter to answer a few questions. Here’s what he had to say:

When did you become interested in music, and what circumstances or events led to your becoming a professional musician?
The truth is, until I was 16 I wanted to be a baseball player. But between my sophomore and junior year of high school I went to music camp instead of baseball camp for the first time, and that changed everything. Music, I had realized at an early age, is not about winning and losing. It’s about creating something of value together—something that transcends the typical limitations of human experience, and can transport a person into states of joy, catharsis, contentment, and peace. The summer I spent at music camp was an opportunity to realize so many things about being a musician: 1) that other people like me loved to play music, and it was actually really cool; 2) that other people were way better than me on their instruments, and I really wanted to learn what they had learned; 3) that musicians enjoyed playing music, enjoyed helping each other get better, and most importantly, I was definitely one of them.

Who is your greatest musical infl uence?
I remember when my father gave me McCoy Tyner’s solo piano record “Revelations.” I listened to that cassette almost every day, and from the beginning of my jazz studies I tried to sound like McCoy. There’s such tenderness and honesty alongside a powerful feeling of longing and assertiveness in McCoy’s playing. He plays with such an emotional range of colors. I think as a 10, 11, 12 year-old, his playing spoke to the world of emotions inside me that I had no way to express. Jazz piano became my outlet for, and my connection to, my inner world.

What’s your favorite thing about being a Stanford Jazz Workshop faculty member?
My favorite thing about being an SJW faculty member is having the chance to help young musicians enjoy the experience of being a musician. Whether they go on to be professional musicians or not doesn’t matter. Each student at SJW is already essentially a musician, and always will be. What matters is one’s relationship with music. Do you love learning (from good experiences and bad)? Do you respect, enjoy, and learn from your fellow musicians? Do you realize what a great gift it is to play music? I want my students to imbibe these kinds of lessons, so that they will always value their own connection to music. As a teacher, when you witness the experience of new growth, understanding, or inspiration, there is nothing more satisfying. Teaching at SJW renews my musical spirit, sharpens my skills, and rejuvenates my enthusiasm
for the music we call Jazz.

To find out more about Peter, go to


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