Swing Week

Swing Week

July 5-10, 2020

Augusta’s Swing Week provides participants with the opportunity to work with some of the finest performers and educators in the swing music world today. Workshops cover a variety of styles and levels of instruction on guitar, bass, piano, horns and voice, as well as the history of the art form. Evening activities include legendary late-night jams, concerts, and dances. All workshops are intended for those who can already play their instrument to some extent and are ready to start learning swing style, technique and repertoire. Youth, as well as adults, are welcome to participate.

Swing Week runs concurrently with Classic Country Week; Cajun & Creole Week; Arts, Crafts, & Folklore Workshops; Folk Arts for Kids; and Evening Mini-Courses. Participants can take advantage of all that is offered on campus that week by attending special events, swapping tunes and songs in jam sessions, and sharing in the fun.

Tuition Guide:
$490/week if paid before June 1. $530/week if paid on or after June 1. 

Register Here!

Participants register for one workshop for each of 3 periods for the week. You may also choose to cross over to take Country Week classes for one or more periods of the day. 

Full Class Schedule for Swing Week 2020

(+ Room & Board or other available options.)

Swing with Drumset! (All Levels– DRUMS)– Wes Crawford

 

Beginner to Intermediate and Beyond. No prerequisite.

 

Bring: A pair of drum sticks (I recommend 5A model) and a pair of brushes (I recommend nylon brushes rather than wire ones).

 

Come join us as we learn Swing and related styles on my favorite American homegrown instrument, the drumset! In this class, students will learn how to utilize all four-limbs to create standard rhythms for Swing music of many sorts. We will discuss the origins and evolution of the drumset, we’ll study the masters of this Art, and we’ll understand what musical and instrumental innovations led to the Swing Era and beyond.  Practice of Rhythmic Scales will lead to students’ increasing facility and precision with all rhythms and students will learn to improvise thematically and melodically to best fit a song. Song forms and typical endings will be discussed. Students will benefit from performing along with play-along media and other musicians. When possible, Swing Week Common Repertoire will be featured.

Wes Crawford

After graduating from Virginia Tech in Psychology with some work towards an MBA, Wes toured North America and the Caribbean for eleven years with Jazz/Rhythm & Blues song stylist Jane L. Powell (www.JaneLPowell.com ) where he performed on drumset and worked as Road Manager for the group. Since leaving perpetual road life in 1992, Wes has continued as Ms. Powell’s Manager where he oversees her international performance schedule. While performing for Ms. Powell, the group won numerous awards on the college circuit including Entertainer of the Year in 1990. Since settling into the Washington DC/Baltimore region in 1992, Wes has performed and recorded on drumset and hand percussion with numerous musical acts of all styles including Higher Octave/Narada recording artists Shahin & Sepehr, popular saxophonist Ron Holloway, the late legendary Eva Cassidy, Daryl Davis, and many others. He also performs his solo interactive performance, “A Rhythmic Murder Mystery” on electronic percussion for schools, drumming groups, and musical camps. Wes works with the corporate team-building program, Beatswork!, by Catalyst Events and leads his own group, Enviro Drum- Maryland. Wes was trained for drum circle facilitation by internationally known facilitator, Christine Stevens. Wes considers musical education to be his most important legacy to the future and therefore has taught drumset privately and at Goucher College in Baltimore since 1996. Wes also directed the annual Drumset And Percussion Camp (www.DrumsetAndPercussionCamp.org) of the Goucher Summer Arts Institute from 2005-2013, has taught for the National Guitar Workshop camp system, and has taught at Augusta Blues and Swing Week since 2014. Wes also presents drumset clinics and workshops at schools and universities and for drumming groups. He also writes and conducts interviews for DrumPro Magazine (www.Drum.com) and for Percussive Notes. Since 1999 Wes has offered unique interactive, educational music media through his company, Music And Games 4 U (www.MusicAndGames4U.com). From 2005-2014 Wes served as Vice-President and then President of the Maryland/Delaware Percussive Arts Society Chapter (www.PAS.org) where he organized and managed their annual Day of Percussion event. Wes has an Artist Endorsement relationship with Baltimore Drum Company (www.BaltimoreDrum.com), Dream Cymbals (www.DreamCymbals.com), and ProLogix Percussion (www.ProLogixPercussion.com) and is a member of the Vic Firth Educational Team (www.VicFirth.com).

Swing Choir (All Levels – VOCALS) – Darden Purcell

Swing Choir (All Levels– VOCALS)

Want to sing in a Swing/Jazz Vocal Ensemble? Here’s your chance! Welcoming vocalists of all levels, this mixed voice choir will focus on the tradition of the great vocal groups, The Manhattan Transfer, Singers Unlimited and more. Learn how to blend “parts” within an ensemble, swing in a rhythmic “swing” style as well as explore A Cappella and contemporary repertoire.  

Darden Purcell

Darden Purcell is a Washington D.C.-based jazz vocalist, featured with symphony orchestras, big bands and small ensembles; band leader and vocal instructor. Ms. Purcell has shared the stage with many of the world’s top jazz artists including Eric Alexander, Terell Stafford, Jim Pugh, Chip McNeill, Alan Baylock, The Metropolitan Jazz Orchestra, and American Festival Pops Orchestra (Tony Maiello) and more, performing at concert halls and clubs throughout the nation. Dr. Purcell is the Director of Jazz Studies, Jazz Voice Instructor and Director of the Mason Jazz Vocal Ensemble at George Mason University. Darden is a former Washington DC Air Force Band vocalist and has performed back-up vocals for countless artists, including Darlene Love on “The Late Show with David Letterman.” She is an active jazz vocal educator and clinician, having served on the faculty for Illinois Summer Youth Music, George Mason Summer Jazz Workshop and National Jazz Workshop. She has been a guest artist/clinician at Texas Tech University, Virginia Tech, Southern Nazarene University, Illinois Wesleyan University Jazz Festival and the “Jazz Voices” Conference in Graz, Austria. Her students have won “Outstanding soloist” and “Outstanding Musicianship” awards at collegiate festivals as well as Downbeat Student Music Awards. In Spring 2016, the Mason Jazz Vocal Ensemble earned “Outstanding Ensemble” at the Kansas City Jazz Summit. Dr. Purcell received her Bachelor of Arts in Vocal Jazz Performance at Virginia Tech, a Master of Music and a Doctor of Musical Arts in Jazz Performance at the University of Illinois at Urbana-Champaign. Visit Darden online at dardenpurcell.com.

The Vocalist and Bandleader (All Levels– VOCALS) – Darden Purcell

The Vocalist and Bandleader (All Levels– VOCALS)

This course is designed to empower solo vocalists as a bandleaders. Singers will enhance their vocal technique in the appropriate “Swing” and “Blues” genres, further develop their own solo style as well as learn appropriate communication with musicians in a band!  

Darden Purcell

“Darden Purcell is a Washington D.C.-based jazz vocalist, featured with symphony orchestras, big bands and small ensembles; band leader and vocal instructor. Ms. Purcell has shared the stage with many of the world’s top jazz artists including Eric Alexander, Terell Stafford, Jim Pugh, Chip McNeill, Alan Baylock, The Metropolitan Jazz Orchestra, and American Festival Pops Orchestra (Tony Maiello) and more, performing at concert halls and clubs throughout the nation. Dr. Purcell is the Director of Jazz Studies, Jazz Voice Instructor and Director of the Mason Jazz Vocal Ensemble at George Mason University.

Darden is a former Washington DC Air Force Band vocalist and has performed back-up vocals for countless artists, including Darlene Love on “”The Late Show with David Letterman.”” She is an active jazz vocal educator and clinician, having served on the faculty for Illinois Summer Youth Music, George Mason Summer Jazz Workshop and National Jazz Workshop. She has been a guest artist/clinician at Texas Tech University, Virginia Tech, Southern Nazarene University, Illinois Wesleyan University Jazz Festival and the “Jazz Voices” Conference in Graz, Austria. Her students have won “Outstanding soloist”” and “Outstanding Musicianship”” awards at collegiate festivals as well as Downbeat Student Music Awards. In Spring 2016, the Mason Jazz Vocal Ensemble earned “Outstanding Ensemble”” at the Kansas City Jazz Summit.

Dr. Purcell received her Bachelor of Arts in Vocal Jazz Performance at Virginia Tech, a Master of Music and a Doctor of Musical Arts in Jazz Performance at the University of Illinois at Urbana-Champaign. Visit Darden online at dardenpurcell.com.

Gateway to Improvisation (All Levels– ALL INSTRUMENTS) – Seth Kibel

Does the idea of making up your own melodies on your instrument frighten you? Does the musical spotlight cause you to quiver in your footwear of choice? Well, fear not, ’cause Seth is here to remove the mystery and trepidation behind the art of improvisation. We’ll go over a whole host of improvisational techniques, applicable to ALL instruments, from the very basic, to more advanced, approaches to spontaneous composition. We’ll cover such topics as the blues scale, melodic improvisation, rhythm changes, modal jazz, key centers, playing complex chord changes, and more! If you’ve never improvised (or never improvised confidently) this class will throw you head first into a whole new musical universe. But even if you’re an experienced improviser, chances are you’ll gain some new techniques and perspectives from this class.

Seth Kibel

Seth is one of the Mid-Atlantic’s premier woodwind specialists, working with some of the best bands in jazz, swing, and more. Wowing audiences on saxophone, clarinet, and flute, Seth has made a name for himself in the Washington/Baltimore region, and beyond. He is the featured performer with The Kleztet, Bay Jazz Project, Music Pilgrim Trio, The Natty Beaux, and more. He has won 28 Washington Area Music Awards (Wammies), including “Best World Music Instrumentalist” (2003-11) and “Best Jazz Instrumentalist” (2005, 2007-8, 2011-14).

He is the leader, clarinetist, and composer for The (Alexandria) Kleztet, a genre-bending klezmer band he founded in the Baltimore/Washington area. The band’s four albums, Peace, Love and Coffee (2009), Close Enough for Klezmer (2005), Delusions of Klezmer (2002) and Y2Klezmer (1999) are all available nationwide. All four recordings received the Washington Area Music Association’s (WAMA) award for Best World Music Recording following their release. Additionally, Seth was named “”Best World Music Instrumentalist”” by WAMA every year from 2003 through 2011. In 2012, he was bestowed the honor of “”Emeritus”” status in this category. In 2005, 2007, 2008, and 2011-14 he was also named “”Best Jazz Instrumentalist.”” In 2017, his song “”New Waltz”” took home the Grand Prize in the Mid-Atlantic Song Contest, sponsored by the Songwriter’s Association of Washington (SAW).

In addition to his activities with The Kleztet, Seth has fronted a variety of swing and jazz groups, including Bay Jazz Project. In 2002, he was commissioned to write, perform, and record an original score for Dreams in the Golden Country, an original theatrical production at the Kennedy Center in Washington, D.C. In January 2004, Seth released his first jazz CD, Nuts and Bolts. His second solo album, The Great Pretender, was a blues/jazz project released in July 2007 on the Azalea City Recordings record label. His third solo record, Phonin’ It In with Seth Kibel and Bay Jazz Project, is a straight-ahead acoustic jazz record released on Azalea City Recordings in July 2011. In April 2014, he released a “”Jazz for Kids”” album, Jazz For People Who Are Shorter Than Me,”” which was named “”Best Children’s Music Recording”” for 2014 by the Washington Area Music Association.

www.sethkibel.com
facebook.com/sethkibelmusic
@sethkibelmusic

 

History of the Swing Era (All Levels– ALL INSTRUMENTS) – Seth Kibel

Relive the excitement of the heyday of swing with an in-depth look into the lives, careers, and music of such Swing Era pioneers as Fletcher Henderson, Duke Ellington, Benny Goodman, Count Basie, and more! With unbridled enthusiasm, a fair amount of questionable humor, and an extra serving of caffeine, accomplished lecturer Seth Kibel will keep this class as exciting as the music itself with historical anecdotes, live performances from both the instructor and class members, as well as audio and video recordings from the masters themselves!

Seth Kibel

Seth is one of the Mid-Atlantic’s premier woodwind specialists, working with some of the best bands in jazz, swing, and more. Wowing audiences on saxophone, clarinet, and flute, Seth has made a name for himself in the Washington/Baltimore region, and beyond. He is the featured performer with The Kleztet, Bay Jazz Project, Music Pilgrim Trio, The Natty Beaux, and more. He has won 28 Washington Area Music Awards (Wammies), including “Best World Music Instrumentalist” (2003-11) and “Best Jazz Instrumentalist” (2005, 2007-8, 2011-14).

He is the leader, clarinetist, and composer for The (Alexandria) Kleztet, a genre-bending klezmer band he founded in the Baltimore/Washington area. The band’s four albums, Peace, Love and Coffee (2009), Close Enough for Klezmer (2005), Delusions of Klezmer (2002) and Y2Klezmer (1999) are all available nationwide. All four recordings received the Washington Area Music Association’s (WAMA) award for Best World Music Recording following their release. Additionally, Seth was named “”Best World Music Instrumentalist”” by WAMA every year from 2003 through 2011. In 2012, he was bestowed the honor of “”Emeritus”” status in this category. In 2005, 2007, 2008, and 2011-14 he was also named “”Best Jazz Instrumentalist.”” In 2017, his song “”New Waltz”” took home the Grand Prize in the Mid-Atlantic Song Contest, sponsored by the Songwriter’s Association of Washington (SAW).

In addition to his activities with The Kleztet, Seth has fronted a variety of swing and jazz groups, including Bay Jazz Project. In 2002, he was commissioned to write, perform, and record an original score for Dreams in the Golden Country, an original theatrical production at the Kennedy Center in Washington, D.C. In January 2004, Seth released his first jazz CD, Nuts and Bolts. His second solo album, The Great Pretender, was a blues/jazz project released in July 2007 on the Azalea City Recordings record label. His third solo record, Phonin’ It In with Seth Kibel and Bay Jazz Project, is a straight-ahead acoustic jazz record released on Azalea City Recordings in July 2011. In April 2014, he released a “”Jazz for Kids”” album, Jazz For People Who Are Shorter Than Me,”” which was named “”Best Children’s Music Recording”” for 2014 by the Washington Area Music Association.

www.sethkibel.com
facebook.com/sethkibelmusic
@sethkibelmusic

 

Swing Week Repertoire (All Levels– ALL INSTRUMENTS) – Jesse McBee

Learn the heads of classic swing tunes from Swing Week shared repertoire. This class is open to all instruments and all levels. Polish up those nighttime jamming skills! 

Jesse McBee

Dr. Jesse McBee is a jazz trumpet player currently based in Omaha, NE. He graduated from West Virginia University with a Bachelor of Music in Jazz Studies, the University of Louisville with a Master of Music in Jazz Performance and the University of Nebraska-Lincoln with a Doctorate of Musical Arts. He is currently the Store Manager of Thompson Music, a professional brass shop in Omaha, NE, and also serves as an instructor at Iowa Western Community College. Prior to this, he was on faculty at West Virginia University, the University of Nebraska-Lincoln, and the West Virginia Governor’s School for the Arts. In addition to his work as a performer and educator throughout the Midwest, he has had the opportunity to perform and present at the Jazz Education Network Conference and the International Society for Improvised Music Conference.

www.jessemcbeejazz.com

Swing Horns and Style (All Levels– BRASS & WOODWINDS) – Jesse McBee

This class is a focus on swing performance practice and extended techniques.

Jesse McBee

Dr. Jesse McBee is a jazz trumpet player currently based in Omaha, NE. He graduated from West Virginia University with a Bachelor of Music in Jazz Studies, the University of Louisville with a Master of Music in Jazz Performance and the University of Nebraska-Lincoln with a Doctorate of Musical Arts. He is currently the Store Manager of Thompson Music, a professional brass shop in Omaha, NE, and also serves as an instructor at Iowa Western Community College. Prior to this, he was on faculty at West Virginia University, the University of Nebraska-Lincoln, and the West Virginia Governor’s School for the Arts. In addition to his work as a performer and educator throughout the Midwest, he has had the opportunity to perform and present at the Jazz Education Network Conference and the International Society for Improvised Music Conference.

www.jessemcbeejazz.com

Swing Ensemble Class (All Levels– ALL INSTRUMENTS) – Seth Kibel, Jesse McBee, Kathy Reitz, and Marv Reitz

Ensemble Class is the performance lynchpin activity of Swing Week. We recommend that everyone that is signed up for Swing Week join this class offering and put your skills to use and try out all that you are learning during the week! There will be three Ensembles meeting concurrently, and maybe four with enough demand. The Augusta staff will match individuals for each Ensemble in order to best match experience levels within a group and to assure that each group has a reasonable and musical selection of instruments and vocalists. Swing Week Common Repertoire will be selected. The goal of each group is to perform 1-3 songs on Friday! This class is also open to Cajun & Creole Week and Old Country Week attendees.
When signing up for Ensemble Class, please let us know what instrument you play or sing and tell us your level of musical experience as Beginner, Intermediate, or Advanced.

Seth Kibel

Seth is one of the Mid-Atlantic’s premier woodwind specialists, working with some of the best bands in jazz, swing, and more. Wowing audiences on saxophone, clarinet, and flute, Seth has made a name for himself in the Washington/Baltimore region, and beyond. He is the featured performer with The Kleztet, Bay Jazz Project, Music Pilgrim Trio, The Natty Beaux, and more. He has won 28 Washington Area Music Awards (Wammies), including “Best World Music Instrumentalist” (2003-11) and “Best Jazz Instrumentalist” (2005, 2007-8, 2011-14).

He is the leader, clarinetist, and composer for The (Alexandria) Kleztet, a genre-bending klezmer band he founded in the Baltimore/Washington area. The band’s four albums, Peace, Love and Coffee (2009), Close Enough for Klezmer (2005), Delusions of Klezmer (2002) and Y2Klezmer (1999) are all available nationwide. All four recordings received the Washington Area Music Association’s (WAMA) award for Best World Music Recording following their release. Additionally, Seth was named “”Best World Music Instrumentalist”” by WAMA every year from 2003 through 2011. In 2012, he was bestowed the honor of “”Emeritus”” status in this category. In 2005, 2007, 2008, and 2011-14 he was also named “”Best Jazz Instrumentalist.”” In 2017, his song “”New Waltz”” took home the Grand Prize in the Mid-Atlantic Song Contest, sponsored by the Songwriter’s Association of Washington (SAW).

In addition to his activities with The Kleztet, Seth has fronted a variety of swing and jazz groups, including Bay Jazz Project. In 2002, he was commissioned to write, perform, and record an original score for Dreams in the Golden Country, an original theatrical production at the Kennedy Center in Washington, D.C. In January 2004, Seth released his first jazz CD, Nuts and Bolts. His second solo album, The Great Pretender, was a blues/jazz project released in July 2007 on the Azalea City Recordings record label. His third solo record, Phonin’ It In with Seth Kibel and Bay Jazz Project, is a straight-ahead acoustic jazz record released on Azalea City Recordings in July 2011. In April 2014, he released a “”Jazz for Kids”” album, Jazz For People Who Are Shorter Than Me,”” which was named “”Best Children’s Music Recording”” for 2014 by the Washington Area Music Association.

www.sethkibel.com
facebook.com/sethkibelmusic
@sethkibelmusic

 

Jesse McBee

Dr. Jesse McBee is a jazz trumpet player currently based in Omaha, NE. He graduated from West Virginia University with a Bachelor of Music in Jazz Studies, the University of Louisville with a Master of Music in Jazz Performance and the University of Nebraska-Lincoln with a Doctorate of Musical Arts. He is currently the Store Manager of Thompson Music, a professional brass shop in Omaha, NE, and also serves as an instructor at Iowa Western Community College. Prior to this, he was on faculty at West Virginia University, the University of Nebraska-Lincoln, and the West Virginia Governor’s School for the Arts. In addition to his work as a performer and educator throughout the Midwest, he has had the opportunity to perform and present at the Jazz Education Network Conference and the International Society for Improvised Music Conference.

www.jessemcbeejazz.com

Kathy Reitz

Kathy has attended Augusta for over 25 years. She plays a big bass and a little uke. She appears on The Zombies of Swing (Swing Cat Records, recorded at Augusta with Paul Anastasio and other swing faculty in 1992), Home by Miss Tess, Razz’em Jazz’em’s album on Patuxent, and a small variety of other people’s recordings. She freelances around DC and plays in most of the same bands as her music and life partner, Marv Reitz. These include the Buffalo Nickel Band, Paramount Jazz Orchestra, Big Bang Swing Band, Swing Underground, and Sunshine Skiffle Band. Besides playing with Marv, Kathy’s favorite people to play with are her friends from Augusta.
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Marv Reitz

Marv Reitz was warned by his music teacher father not to be a jack of all trades and a master of none. But Marv decided he’d rather not be a jack of one either. He plays sax, clarinet, guitar, steel guitar, and sings. Last year marked more 25 years at Augusta and 20 on the faculty. A molecular biologist/virologist by day, Marv has been on the Washington, DC, music scene for 45 years. He was an original member of Doc Scantlin’s Imperial Palms Orchestra and now leads the Paramount Jazz Orchestra, a 10-piece ’20s and ‘30s band, and Swing Underground, a 17-piece swing big band. He also plays with the Big Bang Big Band and the Buffalo Nickle Band, a western swing-oriented sextet. He and his wife share a vast repertoire of music. He can be heard with the Sunshine Skiffle Band on Rounder and on Patuxent Music with the Buffalo Nickel Band and Razz’em Jazz’em.
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Learn to Speak Swing (Intermediate/Advanced– GUITAR) – Albanie Falletta

This class is for guitarists who want to unlock the great “mystery” of jazz improvisation, and for those who are already improvising and want to deepen their skill set in the swing-era style. Every genre has its own vocabulary, and nuances of dialect. We’ll talk about the fundamentals that make a solo a swing solo, through the elements of note choice, phrasing, and rhythmic feel. 

Albanie Falletta

A native of Monroe, Louisiana, Albanie was in her formative years exposed to the local music of Louisiana: the sounds of cajun, zydeco, blues and gospel musics at festivals and backyard parties.

Shortly after relocating with her family to San Marcos, Texas at the age of nine, Albanie began taking guitar lessons and developing an interest in acoustic-roots and electric blues, punk rock, and hair metal. Albanie began her love and study of early American Jazz as a freshman in highschool in Wimberley, Texas, when she was exposed to the Parisian Romani guitarist Django Reinhardt.

Listening religiously to recordings of Reinhardt, Louis Armstrong, Billie Holiday, Fats Waller, and other such great figures of jazz, she developed her feel for swing. Soon she was performing alongside mentors Slim Richey, Django Porter, Ray and Linda Sriro, the Jazz Pharaohs, and other players of the Austin scene where she lived and performed in the years after high school. Between 2008 and 2013, Falletta led her own swing/early jazz band Albanie and Her Fellas, and was a member of several groups including the Thrift Set Orchestra, Guy Forsyth and the Hot Nut Riveters, Ivy Divey (a swing trio featuring three part harmony singing with Emily Gimble and Katie Shore), and others.

In the summer of 2013 Albanie relocated to New Orleans, Louisiana, where she is currently living and performing solo, and with various traditional jazz and swing ensembles. Shortly after moving to New Orleans, Falletta began making trips back to Austin to study early acoustic fingerstyle blues with Steve James, and to continue performing with Guy Forsyth, Thrift Set Orchestra, and the Fellas. She now performs mainly in and around the crescent city, and tours as a solo act, performing New Orleans traditional tunes, acoustic blues, ragtime, and original songs.

Jump into Swing Guitar (Beginner/Intermediate– GUITAR) – Albanie Falletta

This is a crash course intro to Swing for guitar players who want to get more familiar with the syncopation that ruled the nation during the 30’s and 40’s. We’ll learn some very swing-able chord shapes, and try out a few different rhythmic approaches to playing them. Each day I’ll bring a new tune to the table, and by the end of the week we’ll have a nice little set list to bring to the jam session. 

Albanie Falletta

A native of Monroe, Louisiana, Albanie was in her formative years exposed to the local music of Louisiana: the sounds of cajun, zydeco, blues and gospel musics at festivals and backyard parties.

Shortly after relocating with her family to San Marcos, Texas at the age of nine, Albanie began taking guitar lessons and developing an interest in acoustic-roots and electric blues, punk rock, and hair metal. Albanie began her love and study of early American Jazz as a freshman in highschool in Wimberley, Texas, when she was exposed to the Parisian Romani guitarist Django Reinhardt.

Listening religiously to recordings of Reinhardt, Louis Armstrong, Billie Holiday, Fats Waller, and other such great figures of jazz, she developed her feel for swing. Soon she was performing alongside mentors Slim Richey, Django Porter, Ray and Linda Sriro, the Jazz Pharaohs, and other players of the Austin scene where she lived and performed in the years after high school. Between 2008 and 2013, Falletta led her own swing/early jazz band Albanie and Her Fellas, and was a member of several groups including the Thrift Set Orchestra, Guy Forsyth and the Hot Nut Riveters, Ivy Divey (a swing trio featuring three part harmony singing with Emily Gimble and Katie Shore), and others.

In the summer of 2013 Albanie relocated to New Orleans, Louisiana, where she is currently living and performing solo, and with various traditional jazz and swing ensembles. Shortly after moving to New Orleans, Falletta began making trips back to Austin to study early acoustic fingerstyle blues with Steve James, and to continue performing with Guy Forsyth, Thrift Set Orchestra, and the Fellas. She now performs mainly in and around the crescent city, and tours as a solo act, performing New Orleans traditional tunes, acoustic blues, ragtime, and original songs.

Fascinating Rhythms (and chords and lines): Swing ‘comping’ techniques and repertoire (Beginner/Intermediate– PIANO) – Harry Appelman

Fascinating Rhythms (and chords and lines): Swing ‘comping’ techniques and repertoire for piano (Beginner/Intermediate– PIANO) – Harry Appelman

The workshop, for beginners and intermediate players, will use selected swing standards to illustrate approaches to “comping” (accompanying a band or soloist). We will cover fundamentals such as understanding (and digging into) the swing eighth note feel, comping rhythms, and rootless voicings, as well as the use of space to enhance the band’s swing feel.

Specific topics will depend on the levels and interests of participants.
You don’t have to play “a lot of piano” to be an effective pianist in this music! Like any groove music, it’s all about putting the right note(s) in the right place.


Classic Country Week and Cajun and Creole Week attendees are welcome!

 

Harry Appelman

Harry Appelman has performed on concert stages on five continents. He has been chosen three times to participate in U.S. State Department music tours overseas — to South and Central America, Eastern Europe, Turkey and Cyprus, and South Asia. He has performed in Egypt with the Smithsonian Jazz Masterworks Orchestra and the Todd Marcus Quartet, and has performed at the Festival Gnaouas et Musiques du Monde in Essaouira, Morocco and the Montreux Jazz Festival in Switzerland. Mr. Appelman is a member of Afro Bop Alliance, winners of a 2008 Latin Grammy, and has toured the United States and Canada with the Woody Herman Orchestra and the Artie Shaw Orchestra. A recipient of a 2012 Maryland State Arts Council Award for composition, he was a finalist in both the 1987 and 1988 Thelonious Monk International Jazz Piano Competitions (finishing second in 1988) and one of three prizewinners in the 1989 Great American Jazz Piano Competition. Appelman has performed in small groups led by Conrad Herwig, Eddie Daniels, Gary Thomas, George Garzone, Jerry Bergonzi, Jim Snidero, Drew Gress, Brian Lynch, Don Braden, and Walt Weiskopf, among others. Long-term musical collaborators include such non-Western musicians as Afghani vocalist/harmonium virtuoso Humayun Khan and tabla player Broto Roy. Mr. Appelman was named in Washingtonian magazine’s February 2003 “Great Music” issue as one of the D.C. area’s best jazz artists. He currently performs in the area at Blues Alley, the Millenium Stage at the Kennedy Center, Wolf Trap, Twins, and other popular jazz venues.

Appelman leads the latin jazz group Duende Quartet, and has played frequently with Palmetto recording artists Rumba Club. He has performed in concert with the Baltimore Symphony Orchestra under the direction of Darren Atwater, and the Alexandria Symphony Orchestra with guest soloist Branford Marsalis. He has also resided and performed in Boston and New York City — where he played with numerous creative and respected groups, ranging from trumpeter Scott Wendholt’s quartet to vocalist Dakota Staton’s trio.

A native of the Chicago area, Appelman began his classical music training in the first grade, later turning to the fusion and rock idioms and ultimately to jazz. After graduating with a B.A. in Economics from the University of Illinois — where he was honored as a Phi Beta Kappa and Summa Cum Laude — he went on to earn a Master of Music degree with Distinction from the New England Conservatory. His post-graduate music studies have included work with Jim McNeely, Fred Hersch, Stanley Cowell, Tom McKinley, Sophia Rosoff and other brilliant pianist-teachers.

Elements of Soloing for Jazz Piano (Intermediate/Advanced– PIANO) – Harry Appelman

Elements of Soloing for Jazz Piano (Intermediate/Advanced– PIANO) – Harry Appelman

There are millions of ways to solo in jazz, and an experienced player’s solo on the same tune will likely be different each time they play it. But there are also certain fundamentals that should be part of all good solos. We’ll cover chord voicings, chord-scale relationships, and the various other elements — including bebop, the language of jazz soloists — that factor into the creation of a good, swinging jazz solo.
Specific topics will depend on the levels and interests of participants. Please bring some blank music paper and a pencil.

 

 

Harry Appelman

Harry Appelman has performed on concert stages on five continents. He has been chosen three times to participate in U.S. State Department music tours overseas — to South and Central America, Eastern Europe, Turkey and Cyprus, and South Asia. He has performed in Egypt with the Smithsonian Jazz Masterworks Orchestra and the Todd Marcus Quartet, and has performed at the Festival Gnaouas et Musiques du Monde in Essaouira, Morocco and the Montreux Jazz Festival in Switzerland. Mr. Appelman is a member of Afro Bop Alliance, winners of a 2008 Latin Grammy, and has toured the United States and Canada with the Woody Herman Orchestra and the Artie Shaw Orchestra. A recipient of a 2012 Maryland State Arts Council Award for composition, he was a finalist in both the 1987 and 1988 Thelonious Monk International Jazz Piano Competitions (finishing second in 1988) and one of three prizewinners in the 1989 Great American Jazz Piano Competition. Appelman has performed in small groups led by Conrad Herwig, Eddie Daniels, Gary Thomas, George Garzone, Jerry Bergonzi, Jim Snidero, Drew Gress, Brian Lynch, Don Braden, and Walt Weiskopf, among others. Long-term musical collaborators include such non-Western musicians as Afghani vocalist/harmonium virtuoso Humayun Khan and tabla player Broto Roy. Mr. Appelman was named in Washingtonian magazine’s February 2003 “Great Music” issue as one of the D.C. area’s best jazz artists. He currently performs in the area at Blues Alley, the Millenium Stage at the Kennedy Center, Wolf Trap, Twins, and other popular jazz venues.

Appelman leads the latin jazz group Duende Quartet, and has played frequently with Palmetto recording artists Rumba Club. He has performed in concert with the Baltimore Symphony Orchestra under the direction of Darren Atwater, and the Alexandria Symphony Orchestra with guest soloist Branford Marsalis. He has also resided and performed in Boston and New York City — where he played with numerous creative and respected groups, ranging from trumpeter Scott Wendholt’s quartet to vocalist Dakota Staton’s trio.

A native of the Chicago area, Appelman began his classical music training in the first grade, later turning to the fusion and rock idioms and ultimately to jazz. After graduating with a B.A. in Economics from the University of Illinois — where he was honored as a Phi Beta Kappa and Summa Cum Laude — he went on to earn a Master of Music degree with Distinction from the New England Conservatory. His post-graduate music studies have included work with Jim McNeely, Fred Hersch, Stanley Cowell, Tom McKinley, Sophia Rosoff and other brilliant pianist-teachers.

So you want to play a little uke? (Beginner – UKULELE) – Kathy Reitz

So you want to play a little uke? Beginning Ukulele (Beginner– UKULELE) – Kathy Reitz

 

Do you feel an infection of the ukulele bug coming on or do you just want to see if it is really all that contagious? If so, this class is just for you so come along and try a taste of the ukukoolaid. No previous experience with the ukulele is required. This is for anybody who is new or fairly new to stringed instruments or even new to music.
Do you like to sing but never have an accompanist? When you reach that awful realization that singing along at a jam or with a band is a lot different from singing along with a record or singing in the bathtub, learning the uke is the solution for you! It will get you singing more often. Do you play a non-chording instrument and wish you had a better ear for not just basic chords but for cool chord extensions? Jazz chords are just as easy to finger on a uke as cowboy chords!

Although to be a master of ukulele takes persistence and dedication just like notoriously difficult instruments, you can get from rank beginner to a most satisfying level in a much shorter time on a ukulele than almost any other instrument! It is not necessary to have callouses with which you could drive a 16 penny nail in order to spend a lot of time playing. For once it is exciting and fun to be a beginner! By the end of the week we should have a small repertoire of songs in a couple of keys, basic right hand technique, and a few things for your bag of tricks.

My class will be taught in the C tuning: GCEA. I will be able to loan a couple of good playing ukes out for the week if necessary by reservation. Even my supply is limited.

Questions? reitz@verizon.net or 240-463-0044

Kathy Reitz

Kathy has attended Augusta for over 25 years. She plays a big bass and a little uke. She appears on The Zombies of Swing (Swing Cat Records, recorded at Augusta with Paul Anastasio and other swing faculty in 1992), Home by Miss Tess, Razz’em Jazz’em’s album on Patuxent, and a small variety of other people’s recordings. She freelances around DC and plays in most of the same bands as her music and life partner, Marv Reitz. These include the Buffalo Nickel Band, Paramount Jazz Orchestra, Big Bang Swing Band, Swing Underground, and Sunshine Skiffle Band. Besides playing with Marv, Kathy’s favorite people to play with are her friends from Augusta. 

 

Bass for Intermediate Advanced Players (Intermediate/Advanced – BASS) – Ralph Gordon

 Bass for Intermediate Advanced Players (Intermediate/Advanced– BASS) – Ralph Gordon

 

With scale studies that climb up and down the neck which work on shifting and addition the different thumb positions you can start to play in all 3 octaves of the bass. Move your ideas up an octave.
The Study of 7th Chords (6 different ones) play in 2 octaves
Studying the ninth chords
Rhythm drops and rakes
Using the bow (German and French grip)
Unusual scales and where used: diminished, chromatic, whole tone, harmonic minor, lydian dominant.

All topics will be covered but the interests of the class will prevail

For preparation contact me at ralphgordonbass@gmail.com for class handouts.

Ralph Gordon

Instructor bio coming soon!

Swing Bass Essentials (Intermediate – BASS) – Ralph Gordon

Swing Bass Essentials (Intermediate– BASS) – Ralph Gordon

 

In this class, we’ll explore some of the harmonic elements and physical techniques used for playing swing music on the bass and get you up walking Since the right hand is where the different feels and grooves are expressed, we’ll take some time to learn some different right hand techniques and listen to and experiment with these different techniques, while playing some standard swing songs. We’ll talk about the role of the bass within the swing band rhythm section. Since the groove is paramount in swing music, we’ll spend some time learning how to better play “in the different pockets” with other instruments. On the left hand, we’ll play through and talk about some basic scales, and I’ll show you how to break down chords into arpeggios and then use some of these intervals to make creative and interesting bass lines that will complement the song you are playing. Since turnarounds are a main component of swing music, we’ll talk about what a turnaround is, how it is used, and we’ll play through some of the common swing turnarounds so that students will become familiar with them. This will be a great skill to get comfortable with as you join in on jam sessions in the evening! We’ll explore and experiment with all of these concepts using swing tunes that employ chord structures common to many other swing songs:

– Rhythm Changes (I Got Rhythm chords)

– Honeysuckle Rose

– Lady Be Good

– Jersey Bounce

– Fly Me to the Moon

– Swing/Jazz Blues progressions (only a little different from traditional blues changes!)

We’ll try the tunes above in several different keys, so students can get a feel for “what makes the song tick”, thus taking the mystery out of playing without the music in front of you!

Ralph Gordon

Instructor bio coming soon!

Swing Dance for Musicians: Lindy Hop, History, and YOU (All Levels– DANCE) — David & Amy Loomis

Swing music wouldn’t exist without swing dancing, and here’s an opportunity to try it out! You can dance your way through swing music and the history of a partner dance that took the world by storm. In this two-left-feet friendly course, Amy and David will help you get in the groove and move to swing music, while learning about the historic and contemporary influences that have shaped this living art form. In this course you will learn everything you need to get started with swing dancing, including: how to be a comfortable partner dancer, some common patterns that will get you moving right away, and how to improvise your own moves. Come wearing comfortable clothing and footwear. Shoes with a hard leather, suede, or smooth sole will help give you the best experience. We will have dance socks available for purchase that work well with your favorite sneakers.

David Loomis

A longing for the vibrant social scene of Southern Californian swing dancing led Amy and David to build a community around swing dance in West Virginia. David has been a leader in the West Virginia swing dance community for the past 8 years as an instructor, organizer, and eager enthusiast of local dance music. David approaches teaching swing dance from the learner’s perspective, with an emphasis on making learning fun through social engagement, community-building, games, and personal challenges, a focus on individual growth, and a healthy expectation that everyone will make a mistake sooner or later, and that’s okay. David’s dance philosophy is one of respect for the history and tradition of swing dancing, including learning and teaching about its origins, as well as making thoughtful choices about how to contribute to this living art form. 

Evening Mini-Course: Swing Dancing Basics for the Curious or Casual Dancer (All Levels) – David and Amy Loomis

Have you ever heard good music and felt the need to move? Maybe your toe starts tapping, or your head bobs to the beat? Have you ever wondered what it would be like to dance with someone to swing music? If you answered yes to any of these questions, then this course is for you! This course is a zero-to-hero-in-training dance course geared towards people who have little or no dance experience.

 

By the end of this mini-course in swing dancing basics, you will

  • Dance common patterns to jump-start your social dancing capabilities
  • Feel comfortable on the dance floor with a partner
  • Improvise your own steps on the social dance floor
  • Have some fundamental knowledge about the origins of swing dance

You do not need a partner to sign up for this course, but feel free to bring one or a friend! No dance experience is required or expected!

David Loomis

A longing for the vibrant social scene of Southern Californian swing dancing led Amy and David to build a community around swing dance in West Virginia. David has been a leader in the West Virginia swing dance community for the past 8 years as an instructor, organizer, and eager enthusiast of local dance music. David approaches teaching swing dance from the learner’s perspective, with an emphasis on making learning fun through social engagement, community-building, games, and personal challenges, a focus on individual growth, and a healthy expectation that everyone will make a mistake sooner or later, and that’s okay. David’s dance philosophy is one of respect for the history and tradition of swing dancing, including learning and teaching about its origins, as well as making thoughtful choices about how to contribute to this living art form.