"Wow!! What a clinic. The teacher that took those kids for lunch after your class said that they couldn't stop talking about all of the stuff that you covered. They loved the work that you did with the rhythm section. They all felt that they better understood each piece after you had gone through it with them. They finally started to 'feel' the music. You got them interested from the start, and we were interested all the way through. I learned a lot; and I know that the kids did, too. Thanks for sharing your knowledge with us."
Ron Cadez, Director of the Collège Bêliveau Jazz Band; Winnipeg, Manitoba, Canada

"Jenny Ryan, director at Monacan High School: '...The opportunity to play for Tony and get immediate feedback that includes demonstration from him and experimentation/correction with the kids is awesome....'"
"The Titan Jazz & Art Festival:
A Model for Others, Part II" by Brian Rollins, JAZZed, Vol. 12, No. 1.

Photo credit:
Trinity Episcopal School

 

"[Mike] Boyd echoes this. 'Tony is the best at working with this age group. He is clear, articulate, funny, and extremely knowledgeable, which translates well on all levels to the students. He has done such a masterful job over the years in giving advice that is immediately applicable to the band. He has worked with the drummer(s) on the style of playing the ride cymbal in swing, how to play the backbeat on the snare in a funk tune, the tone of the horn-players in a traditional New Orleans song, how to correctly hold a microphone as a vocalist, how to swing as an ensemble, and more. All of this advice gets immediately taken from the workshop to the stage later that afternoon. The students don't forget these tips, either: they stick with the band in the following years. As a director, it is always great to hear what Tony comments upon; I learn as much as the students….'"
"The Titan Jazz & Art Festival: A Model for Others, Part II" by Brian Rollins, JAZZed, Vol. 12, No. 1.

"'Everybody learned from his clinics. The string orchestra is used to being more confined,' said Sokolow [West Orange (NJ) High School director]. 'His focus on groove and feel was different for the kids and worthwhile.'.... García has a reputation beyond borders in the jazz world."
West Orange (NJ) Chronicle

"Adam Weinstein, a drummer and senior, said García helped the [jazz band] students master a Latin song they were working on
'We were playing it as written and were having trouble expressing the feelings,' he said. 'He told us some of the rhythms Latin players use,
and we brought it into the piece and definitely got the Latin feeling we needed for the song.'"

New Jersey Star-Ledger

Clinics are available on a variety of topics and in many different settings. Additional financial support for Antonio García's clinics may be available via Conn-Selmer Inc. Kjos Music, or Virginia Commonwealth University, and other independent sources. He will be happy to assist you in pursuing such grants: often the entire application is no more than a page long.

"'Everyone involved felt strongly that the educational component was the foremost consideration; so the first aspect we addressed was securing a clinician. In my opinion, a quality clinician is the crucial piece of the festival. We wanted an individual who was an excellent jazz musician, readily capable of demonstrating concepts via his/her own playing and/or singing. It was equally important that this individual be a gifted jazz educator, able to communicate clearly, and experienced with high school musicians and the challenges that they typically face in performing jazz. Since we decided to have a single clinician for our festival, it was important that this person be adept at addressing aspects across the entire ensemble: rhythm section, each horn section, soloists, and singers. Lastly, we wanted someone whose manner would help create a relaxed yet productive atmosphere in the clinics. We're fortunate that our clinician, Antonio García (Director of Jazz Studies at Virginia Commonwealth University), possesses all of these qualities in abundance. Most festivals bring in multiple clinicians or a new face each year. While not advocating against those ideas, I must note that Mr. García has been our sole clinician every year. The consensus among our participating directors—especially those who have attended multiple times—is that his consistent presence is one of the most appealing aspects of our festival."
Brian Rollins, "The Titan Jazz & Art Festival: A Model for Others, Part I" by Brian Rollins, JAZZed, Vol. 11, No. 6.

"Tony's relative ease and concise teaching helps bring out in the student the performer they have always desired to be. As a colleague, it is really appreciated when guests help us getting the students inner confidence to grow."
Luis Fred, Trombone Professor,
Puerto Rico Conservatory of Music

(Front row) Puerto Rican Conservatory student drummer Vladimir Sotomayor,
trombone professors Luis Fred and Hommy Ramos, (red shirt) guest artist Antonio García,
and (second row middle, dark shirt) trombone students Joshua Ortiz, (front row) Fernando Lopez,
Rody Huertas, and Luis Silva after García's masterclass there.

"Thank you, Tony!!! I received raving comments about your clinic, and we should do this again for sure
I truly appreciated your willingness to work with our students and visit us during your vacation time."

Marco Pignataro, Director, Jazz and Caribbean Music Department,
Puerto Rico Conservatory of Music

 

"We so enjoyed your clinic and critiques on our performance from last Saturday's contest at Missouri State University. I happened to catch your presentation last year at our state music convention and was so excited to have our students this year hear you speak about improv. We have been working out of your book occasionally in class throughout this year, and key-center approach has been beneficial for encouraging more students to try improvising."
Brian Perkins, Band Director,
Ozark High School (MO)

In past years, grants had also been available from The Commission Project and from the IAJE/BET Artist Outreach Network, both of which had provided García with extensive support over the years.

 

"You not only know how to work with pupils, your friendly and competent manner helped a lot to motivate them. Being a trombonist, you especially motivated our wind players; but you also showed our rhythm section how to support the band. Finally, you proved your musical competence by transcribing a solo for the trombone, which you not only played on the trombone but also sang. This was an excellent example for our pupils to see the way a jazz musician works, develops a feeling for jazz, and extemporizes. Our pupils have been deeply impressed by your work and have been trying hard to imitate what they have learned. We are convinced that you will be an asset to any school of music that is fortunate to have you—and that every student working with you will benefit strongly from your musical competence."
Tilman Yäger, Director,
Albert Einstein Gymnasium Big Band,
Böblingen, Germany

 

Whether at your school, festival, conference, or community center...vocal or instrumental...small or large ensemble...musicians or non-musicians...
performance, history, theory, arranging, technology, pedagogy, business, or more, Antonio García offers sessions that engage, educate, and actively involve your participants.

 

Listen to García interviewed on “With Good Reason: Jazz & Civil Rights,” May 15, 2010, broadcast on 88.9 WCVE-FM and affiliated radio stations throughout Virginia, archived and available anytime thereafter at the show's web site. Download a related PDF handout here.

 

Antonio García scat-sings in a clinic session with the trio of Melvin Peters (piano), Bucco Xaba (drums), and Mike Campbell (bass) at The South African Jazz Educators Conference in Pretoria, South Africa.


Mr. García presented numerous clinics and workshops on improvisation, scatting, arranging, trombone performance, jazz history, and business-related topics. He also rehearsed with our jazz combo and jazz ensemble. The visit culminated in a performance with the Carthage Jazz Ensemble.

I had planned a very intense schedule for Mr. García, trying to take advantage of his vast knowledge in the short time that he was at Carthage. During the rigorous schedule, he was upbeat, energetic, and extremely generous with everyone that he encountered, students and faculty.

Mr. García is truly a master teacher; his love for teaching and music is evident and infectious. His witty, informative delivery style kept the students truly interested and focused on the topic at hand. He has left the Carthage students and faculty inspired and excited. Carthage faculty and students are so grateful for the opportunity to work with a master instructor of Mr. García's caliber.
Prof. David Ness, Director of Jazz Studies, Carthage College (WI)


cheese.vocalese

Watch him demonstrate the art of vocalese for middle-school students—using a topic they suggest on the spot!

Click on the image at left to play.

This video is a bit blurry but is still informative—and fun!


Executives recognized the extraordinary teamwork they saw embodied in the jazz ensemble. After performing for Motorola, vice president Michael Winston praised us in a letter: "Led by Ron Modell and Antonio García, the NIU Jazz Ensemble demonstrated the principles of creativity, leadership, individual skills, and the harmony and synergy achieved through teamwork."
Ron Modell, Former Director of the Northern Illinois University Jazz Ensemble, in his book Loved Bein' Here With You,
regarding national and international creativity workshops for Motorola executives


William gets a drum set lesson from Antonio García at Christchurch Grammar School in Perth, Australia as Josh and Haslett look on.

Photo credit:
Graham Nielsen,
Christchurch

 

"Thank you so much for the fantastic workshops that you presented for us last week.
On Friday when I returned to school and on Saturday at the State Music Festival the students kept yelling out to me
to tell me about how they had used your materials at their sessions with clients and how the clients had responded....
What did your visit mean for us? I just talked with our supervisor and received his permission
to proceed with writing a new course on improvisation so that it could be taught in the fall."

Lee Anna Rasar, RMT, Music Therapy, University of Wisconsin–Eau Claire

 

Leading workshops for middle school students.


"The clinics and concert proved to be a fantastic musical and educational experience for my students.
In his work with the ensembles Mr. García made quick assessments about each group and was able to offer positive feedback
and suggestions aimed at building upon existing skills. In the clinic setting with the combined groups, the students were engaged
in activities aimed at a greater understanding of elements of jazz including style, improvisation, and listening.
Mr. García's energy, enthusiasm, and outstanding musicianship were and continue to be an inspiration to my students."

Michael Cook, Band Director, Robinson Secondary School, Fairfax, VA


For the discussion "Copyright in the International Classroom and Marketplace" in Toronto, Canada for the International Association for Jazz Education Conference, Antonio García was the only non-lawyer on a panel with five lawyers from the U.S. and Canada. Pictured are Alan Bergman (IAJE General Counsel and panel moderator), Antonio García (then editor for the IAJE Jazz Education Journal), John M. Waxman, (Jon M. Waxman Associates), Casey Chisick (Cassels, Brock, & Blackwell), Peter Steinmetz (Cassels, Brock, & Blackwell), and Paul Spurgeon (SOCAN) discussing Canadian and American copyright law.

Photo credit: copyright 2003 Les Golan
montage by Antonio J. García

 

Antonio García and colleagues presented
a jazz performance and workshop
to students from Fudan and
Beijing Foreign Studies Universities.

"I like the form of this kind of lecture: presentation with performance, really interesting. Jazz is a symbol of multiculturalism. Without African tradition brought over to the United States, jazz would not exist—nor would the blues. Nowadays, jazz is spread to all over the world. Sometimes jazz music, itself is a kind of language, which can be used to communicate with between audience and the musicians. Perhaps, after I'm back to China I will listen to jazz more."

— Visiting Chinese Student

"García, along with his band, introduced us the origin and history of Jazz not by flavorless presentations but by live Jazz performance. He even asked us to interact with him in the performance. It was fun. He and his band merged the unique rhythm of bass and drum with Chinese music, Cuba music, Brazilian music, and even Waltz. But all of them felt like Jazz. This reminded me of the Melting Pot that many people used to describe America. Different people with different cultures came to America, and all were transformed into Americans. Jazz as a musical style originated in America, fueled by the brave who are willing to take chances to create and expand it. It reflects the key elements that have made America the way it is today."

— Visiting Chinese Student

 

"Thank you so very much for the tremendous efforts you have put forth to make this clinic a success.
You have shared so much and in such inventive ways, and I know the kids and my collegues have learned so much.
Quote from one of the directors: 'Better than any course I took in college.'"

Stephen Lytle, Coordinator, East Carolina Honors Jazz Bands

| Top |

| Return to Educator Menu || Return to Hot TopicsMenu |