Stanford Jazz Workshop
38th Season
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2009 Stanford Jazz Festival

> 2009 Festival At A Glance
June 26   James Moody Quartet featuring Benny Green
June 27   Early Bird featuring Crosspulse Duo/Crosspulse Percussion Ensemble
June 27   Gonzalo Rubalcaba
June 28   Dafnis Prieto Si o Si Quartet
July 3   Bobbe Norris with the Larry Dunlap Trio
July 5   Songs of Sinatra: An American Celebration
July 10   Wycliffe Gordon Quartet
July 11   Early Bird Jazz: Woodwinds & Strings
July 11   Regina Carter Quintet
July 12   Everything You Wanted to Know About Jazz (But Were Afraid to Ask)
July 12   Wesla Whitfield & the Mike Greensill Trio
July 17   Brazilian Guitarist Paulo Bellinati with special guests Carlos Oliveira & Harvey Wainapel
July 18   The Donald Harrison 3D Experience
July 19   Wayne Wallace Latin Jazz Quintet
July 20   Blastin’ Barriers with Frederick Harris & Friends
July 21   Julian Lage Group
July 22   Ruth Davies Blues Night with Elvin Bishop
July 23   Simply Standards with Melecio Magdaluyo
July 25   Matt Wilson’s Sonic Garden featuring Julian Lage
July 26   Taylor Eigsti & Free Agency
July 27   Horace-Scope with Jaz Sawyer
July 28   Jeb Patton Trio featuring Albert “Tootie” Heath
July 29   1959 Revisited
July 30   SJW Mentors with Matt Wilson
Aug 1   Madeline Eastman featuring Terell Stafford
Aug 2   The Heath Brothers
Aug 3   Generations Jazz Project
Aug 4   Stan@Stanford: Remembering Stan Getz
Aug 5   Mulgrew Miller Trio
Aug 7   SJW All-Star Jam Session
Aug 8   Dena DeRose Quartet featuring Steve Davis

SJW All-Star Jam Session
Eric Alexander, Sylvan (Schmoe) Elhay, Jimmy Heath, Andrew Speight, saxophone; Terell Stafford, trumpet; Steve Davis, trombone; Dena DeRose, Madeline Eastman, vocals; Peter Bernstein, guitar; David Hazeltine, Randy Porter, piano; Ray Drummond, Larry Grenadier, bass; Louis Hayes, Gregory Hutchinson, drums

Friday, August 7, 8 pm
Take 5!Dinkelspiel Auditorium
Tickets: $34 general | $17 students

Tickets on sale now!

By phone: 650.725.ARTS (2787); In Person: Stanford Ticket Office
For more information, go to our Ticketing Information Page

The faculty of the 2009 Stanford Jazz Workshop is an extraordinary gathering of jazz talent. This unprecedented roster spans three generations, from some of the most exciting young players around to pioneers who originated the sounds of modern jazz. Representing a multitude of styles, schools, and traditions, these artists embody the diversity and vitality of jazz today. The SJW All-Star Jam Session is a once-in-a-lifetime opportunity to hear this unique lineup of musicians play together in an informal setting. More than any other type of performance, a great jam session brings out the spontaneous brilliance of improvised jazz; groups are assembled on the fly and the mixing and matching of musical personalities means that anything can happen. You’ll hear inspired groupings of players that you won’t find anywhere else, and the casual atmosphere gives a special energy to the performance. With so many fantastic musicians on the program, this year’s All-Star Jam Session offers the best of all possible worlds for jazz lovers.

Photo: 2008 All-Star Jam Photo Credit: Scott Chernis

Q&A with Peter Bernstein

What is the first recording you remember hearing as a child?
The first music I remember hearing was "Peter and the Wolf" (by Prokofiev) in school when I was four or five where they teach you about the different instruments, how they represent different characters. A little later I fell in love with ragtime piano.

What job would you have if you weren’t a jazz musician?
Probably a farmer or something that would connect me to the earth.

What’s the strangest experience you’ve ever had on the bandstand?
I used to play a Sunday brunch with Arnie Lawrence and one time at the beginning of the gig the only customers in the place was a table of about 12 people all communicating in sign language. One of the musicians asked Arnie if we should play or wait until some more people came, people that could hear us and Arnie said of course we should play, they could feel the vibrations. Strange and also a good lesson that playing music is about communicating.

If you could play with any other musician, living or dead (with whom you have not played), who would it be and why?
Probably Elvin Jones because I would like to know what that felt like.

What’s your favorite thing about being a Stanford Jazz Workshop faculty member?
Seeing people from all over, all ages and all walks of life come together because of jazz music. It is always a great hang and a learning experience for me to be around the students and of course the other teachers.

How much do you practice?
As a new dad it's hard, I'm lucky to find an hour a day.

If you could be any other type of artist other than a jazz musician, what would you be and why?
A trapeze artist would be cool but I'm afraid of heights. I used to draw a lot so probably a painter.

When did you become interested in music, and what circumstances or events led to your becoming a professional musician?
I always loved music and remember being excited by music from when I was a kid and really wanted to play piano when I was five or six. I took lessons and loved ragtime and played a few simple pieces but I remember improvising and having fun composing little tunes. I started playing guitar when I was 11 and was into blues and rock music, I loved Jimi Hendrix. I was curious about jazz because of all the great guitar players I heard about. I started listening to Charlie Christian and Django Reinhardt and Wes Montgomery and everyone from Blood Ulmer to Joe Pass. Through checking out different guys I got interested in the whole world of jazz: John McLaughlin got me to Miles Davis, and from Miles to Coltrane and Sonny Rollins, Monk and back to Charlie Parker. From there, Lester Young and Count Basie and Ellington and on and on. At the end of high school I really wanted to try to be around as many great players as I could and try to learn about playing jazz on the guitar. My parents might have been wary that I could make a living doing this but they supported me. I was lucky to grow up in New York City where I was able to see and hear so much great music and be in that environment. I never planned a career playing music I just knew I loved it and wanted to get as good as I could, and there wasn't anything else that I wanted to do. I was so fortunate that I was able to meet so many encouraging people who were so generous with their knowledge: Gene Bertoncini, Attilla Zoller and Ted Dunbar. I was also fortunate to be around so many great musicians my age and start playing little gigs around. Somehow I was able to support myself with gigs and teaching beginners and never had to get another job. I was playing as much as I could and going to hear as much as I could and found myself getting a chance to record and play with some of the older masters like Lou Donaldson and Jimmy Cobb and before I knew it, was on a path. I feel so blessed to be able to do something I love to do, to be a part of something I love, something that will continue to challenge me and teach me how to be a better human being.