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Students who attended Jazz in the Pines Student Clinic in 2024 do not have to re-audition to attend in 2025. You will be automatically accepted and will be contacted to confirm your attendance through CampInTouch after you complete your application. All other applicants should submit an audition following the guidelines below.

Video files (30-60 seconds each)

Video 1: Ensemble playing
Student playing written jazz literature with school ensemble (rehearsal or performance)

Video 2: Improvisation
Student improvising on F or Bb blues in a swing style; 2-3 choruses
Backing tracks are permitted.

Video 3: (Optional)
Student may submit a third video displaying additional ensemble and/or improvisational skills (should be different repertoire from the first two videos)

Audition Instructions:
Complete an online Camper application through CampInTouch.
Once you have completed the Camper Application, your application will be reviewed within 5 days by a member of the Enrollment team. At this time, you will be charged the $50 application fee and receive an email with a link to the Submittable audition application for you to submit your audition. Complete the Submittable audition application and provide an email address for your teacher recommendation form within Submittable.

We use the platform Submittable to receive all auditions for the ����ֱ�� Program (a universal platform utilized for exhibitions, contests and even university and job applications). It is very easy to use. You will be prompted to set up a free Submittable account with your email. This account can be used for any future open calls you apply to at ����ֱ�� and beyond!

Priority Audition Deadline: February 15, 2025
First round evaluation will take place shortly after this date. You will be notified of acceptance as soon as evaluations are complete. Auditions will be reviewed on a rolling basis after February 15. Please allow up to two weeks for a response to allow time for faculty evaluation. Auditions will be accepted until the program is full or the instrument need is met.

Plan to bring your own folding music stand and equipment marked with your name. Rhythm section players should bring instruments unless you are flying to Idyllwild and transporting the equipment is not possible. ����ֱ�� cannot provide individual instruments or personal equipment.

Jazz Instrumental Intensive Required Attire:
Casual dress for all concerts
Collared shirt or blouse (short sleeve is fine)
Long slacks or dresses/skirts below the knee

A typical day starts off with a morning of classes, taught by acclaimed jazz performers and educators. At 9:00, younger students attend classes in music theory; more advanced students attend classes in arranging and composing, which culminates in performances of student work. At 10:00, students attend master classes on their specific instruments, where specific playing techniques are discussed in detail. At 11:00, students stay with their instrument groupings, but shift emphasis to Jazz Improvisation; under the guidance of their instructors, students play improvised solos every day.

After lunch, the emphasis shifts to ensemble rehearsals, with the faculty becoming directors; big band and combo (small ensemble rehearsals) occur throughout the afternoon. Students are placed in ensembles according to their ability and experience (determined by an audition on the first day of camp).

The instrument listing is for the purposes of a student’s primary assignment in a big band; there is flexibility as to what a student would play in a master class or combo.

Drums – 3
Bass (Upright/Electric) – 3
Guitar – 2
Piano/Keyboard – 2
Alto Sax – 3
Tenor Sax – 2
Bari Sax – 1
Trombone – 4
Bass Trombone – 1
Trumpet – 5

*The instrument breakdown listed above is a projection of the intended enrollment for the program – actual final enrollment may vary slightly from this at the conductor’s discretion.

Tom Hynes (Auxiliary Jazz Chair/Guitar) is an educator, guitarist and composer. Tom is a full time Professor of Music at Azusa Pacific University, and also serves on the faculties of ����ֱ�� and St. Catherine’s Academy. Credits include Hubert Laws, Liza Minelli, Kim Richmond Concert Jazz Orchestra, Pacific Symphony, and the US Department of State. He has composed music for the Smithsonian Institute and the Orange County Museum of Art. Jazz recordings include The Sun Shop and Tom Hynes and Marshall Hawkins: Live at The Fret House.

John Daversa is a distinguished trumpet-player, composer, arranger, producer, bandleader and educator. He is also a multiple Grammy Award winner and nominee and the recipient of many other awards and honors. In addition to his active career as a performer and recording artist he is currently Professor and Chair of Studio Music and Jazz at the University of Miami’s Frost School of Music.

In 2017 the John Daversa Big Band’s album, Kaleidoscope Eyes: Music of the Beatles garnered three Grammy nominations for Best Large Jazz Ensemble, Best Arrangement Instrumental, and Best Arrangement Vocals or A Cappella. In 2019, American Dreamers: Voices of Hope, Music of Freedom, a big band album featuring young DACA artists, won three Grammy awards for Best Large Jazz Ensemble, Best Arrangement Instrumental, and Best Improvised Solo. Daversa’s more recent project, All Without Words: Variations Inspired By Loren (release April 30, 2021) is a lush orchestral trumpet concerto played by the John Daversa Jazz Orchestra, composed by Daversa’s friend Justin Morell, and dedicated to Morell’s autistic son Loren. Celebrating the bond between a parent and child, the album is a paean to the trials, tribulations, successes and heart-warming moments of raising a non-verbal son. Daversa is dedicated to creating meaningful, honest music with positive intention.

A native of Erie, Pennsylvania, Alex McLaughlin began study of double bass at the age of 19 while completing an undergraduate degree in Music Therapy and Psychology (Mercyhurst University, 2015) and continued study of double bass at Cincinnati Conservatory (CCM, MM, 2018). Afterward, Alex served as a teaching assistant in both double bass and jazz studies at The Pennsylvania State University (PSU) (MMus 2022). While a teaching assistant, Alex directed Outer Dimensions Big Band (including a workshop residency with the Jazz at Lincoln Center Orchestra), coached jazz combos, co-taught courses in improvisation and jazz theory, assisted students with proficiencies in jazz piano, and maintained a studio of undergraduate bassists. His study also includes the Chautauqua Institution’s Music School Festival Orchestra (CHQ) (2018, 2019), James VanDemark’s Double Bass Intensive (2020, 2021), and Brevard Music Center’s Jazz Institute (2019, 2022) where he recently fulfilled the role of assistant under Rodney Whitaker and Michael Dease.

Marshall Hawkins (bass/ rhythm section) was fortunate to know from an early age that he was meant to be a musician. In 1964, Marshall decided to pick up the bass – and the rest is history. His first professional performance was with Betty Gray, the great Blues singer and pianist. In his mid-20s, Shirley Horn, the amazing Jazz vocalist, chose Marshall as her bassist – her youngest ever. He played with Shirley for almost five years, and then another life-changing opportunity presented itself.

In the late 60s, Marshall joined the Miles Davis quintet (with Wayne Shorter, Herbie Hancock, and Tony Williams) and toured throughout the United States. In 1971, Marshall organized the Marshall Hawkins Quintet and played in the Washington D.C. area until the late 70s when another opportunity appeared. Eddie Jefferson (the innovator of “vocalese”) invited Marshall to come to California to be his bassist. From this gig, Marshall was chosen to tour internationally with saxophonist Richie Cole. In the 90s, Marshall’s musical collaborators included Joe Henderson, Freddie Hubbard, Pharaoh Sanders, the Manhattan Transfer, and other Jazz greats. In 1978, Marshall moved to Idyllwild, California, home of the internationally famous high school for the arts. In 1986, he founded the Jazz program at the ����ֱ��, serving as the head of the Jazz Department until his retirement. In addition to teaching Jazz as an art form, Marshall has mentored hundreds of talented young people who he still consider to be “his kids.”

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