479-575-6491 cms@uark.edu

IfCM Jazz and Creative Music Adult Camp 2020: Virtual Edition 

We are excited to offer the 3rd annual CMS adult jazz camp for beginner, intermediate and advanced musicians as a virtual camp! Camp director and drummer Chris Teal brings this opportunity for adults to learn jazz songs, style, and improvisation by ear and from written notation. The core faculty also includes internationally touring jazz musician/educators.  

The virtual camp will include a combination of prerecorded IfCM instructional videos, livestreamed private YouTube sessions, and small group Zoom meetings for individualized feedback. Students will be arranged in small groups based on instrumentation and experience level. Students are coached both on their individual roles and roles within ensembles. Jazz transcription, composition, practice techniques, and basic audio recording are included in all levels. See the detailed schedule below for more information. 

Students will need access to a device that has internet. We are happy to help students navigate the technology needed for this camp. Send an email to cmslsns@uark.edu with any technology questions.  

This Camp is approved for 30 Hours of Arkansas Professional Development.


Open to music students age 18 and older with at least one year of experience on their instrument/voice. 

 Beginning Track (Level 1): No audition or previous jazz experience required. 

Intermediate Track (Level 2): Students should know at least 1 jazz blues or similar song (16-bar or 32-bar sectional form) and be able to perform the melody, chord arpeggios, and improvise 2 or more choruses without external references like sheet music. 

Advanced Track (Level 3): Students should know several jazz songs and be able to perform the structural material as well as improvise on those songs without external references like sheet music.  


June 22 – 26, 2020


See sample schedule below


Online: private YouTube live videos, Zoom meetings, and IfCM prerecorded videos 


We are pleased to offer a tuition reduction this year. Use your best judgement based on your means. Your enrollment payment covers the cost of paying our educators a fair wage.

$350 No tuition reduction If you are on salary or not currently taking financial losses, please consider paying the full fee.
$275 Level 1 reduction Available for those taking some financial losses.
$200 Level 2 reduction Available for those who are losing much of their income at this time.

If you need a payment plan for any of these options, email Nastassja Riley at cms@uark.edu

If you need another option or free enrollment, email: uofacmsjazz@gmail.com

Event Registration

All major credit cards accepted. 

Cancellation / Refund Policy

For cancellations made by May 31, 2020, a refund of the amount paid, less $150 administrative fee, will be issued. Refunds are not available for cancellations made after May 31.

For More Information About Registration     Nastassja Riley – 479-575-6491, cms@uark.edu

For More Information About Curriculum      Chris Teal, Camp Director – uofacmsjazz@gmail.com

Sample Schedule

9:00 am

Listening, Composition, Theory (Based on Experience)


10:00 am 

Song Learning


11:00 am

Small Group Sessions


12:00 pm


1:00 pm

Special Topic Faculty Masterclasses


2:00 pm

Instrument/Voice Masterclasses


3:00 pm



3:30 pm

Song Review with Small Group


4:00 pm

Done for the day

YT = Full camp live streaming sessions immediately archived on YouTube

Z = Small group sessions using Zoom

T = Individual learning, play along, and practice using new “Creative Jazz Fundamentals” courses on Teachable

Meet the Instructors

Chris Teal

Camp Director, Drum Set


Chris Teal teaches drum set, beginning jazz combo, and popular music at the University of Arkansas and the Jazz Workshops for the U of A Community Music School. A graduate of the Eastman School of Music and Whitworth University, Teal is the co-Director of the Institute for Creative Music. Before relocating to Fayetteville, where he plays with the U of A Faculty Jazz Quintet, the Jake Hertzog Trio, the Matt Smith Group, and TheatreSquared, he was one of the most in-demand drummers in western New York, performing with the IfCM Collective, Dave Rivello Ensemble, the Mighty High and Dry, John Nyerges Trio, and Silver Arrow Band. Chris has released three albums with his band Quintopus on ears&eyes Records (Voyage to Ornoc, April Showers, and Prehistoric Beach) and three albums with the Institute for Creative Music Collective on Outside in Music Records (Volume 1, A Tribute to Prince, and A Tribute to Bjork.)

In addition to his active career as a performer, Teal strives to build new opportunities for students to experience the arts by teaching improvisation, aural learning, and composition through the Institute for Creative Music.  The IfCM recently launched “Creative Jazz Fundamentals,” an online school for learning jazz. Along with other Teaching Artists from the Institute for Creative Music, Teal has presented workshops and performances at schools throughout the United States and spoken at the 2017 NYU Impact Conference and 2015 TEDxFlourCity conference.

Lauren Lee

Piano, Voice


Lauren Lee is a forward-thinking vocalist, pianist, and composer based in New York City. A native of the St. Louis (MO) metropolitan area, her foray into creative music began as a teenager in the St. Louis Symphony Chorus, an experience that lead her on a wild goose chase of sorts to find her own sound in the adventurous music scene as a young innovator. Likened to female jazz pioneers that came before her like Carla Bley and Jen Shyu, Lee’s music has been described as, “equal parts hip jazz, avant adventure, and… something completely different” (John Pietaro, Dissident Arts). Her work intentionally inhabits this place of “between”, and in Lee’s case, the “between” is nestled between where jazz has been and where jazz is going. Her work is praised for her virtuosic improvisational abilities on both piano and voice, as well as her emotional and harmonic prowess as a composer. Check out her new album, “Windowsill” (10/2019 on Ears and Eyes records, ​www.laurenleejazz.bandcamp.com​) She maintains a private studio teaching jazz piano and voice and runs a clinic series called Sing Like a Horn, a comprehensive approach to playing your voice like an instrument. She has previously been on faculty at New York University.

“Lee- in her voice and at the keyboard- is, in a very balanced way, presenting a unique approach, but one grounded enough to support the contrasting moods and musics, which really is what makes ‘Windowsill’ so engrossing” – Anthony Dean- Harris, DOWNBEAT Mag

Doug Stone



“The first half of the concert closed with my “Nasty Dance”, a Joe Lovano feature from Mel Lewis days. I am starting there because of the tenor playing of Doug Stone. To even play this piece is hard enough but Doug took it to places I had not imagined—it was virtuoso playing on the highest plane and I frankly don’t know how he managed it. When you “show your ass” to the world, it better be blemish- free—his shone like a baby. His other solo offerings were good too, but this was a performance I won’t forget. I wouldn’t hire him, I’d kidnap him.

Bob Brookmeyer 12/9/2009

Doug Stone’s career has involved work as a touring musician, primarily with jazz trumpet legend Maynard Ferguson and his band, the Big Bop Nouveau, as well as with the “world-jazz” group Panoramic, and with a number of ensembles from Chicago, Illinois. His time on the road has taken him to virtually every corner of the United States as well as Asia, Europe, the Caribbean, and Canada. As a member of groups at Northern Illinois University, Stone had the opportunity to perform with Frank Foster, Benny Golson, Frank Wess, Jimmy Heath, Rufus Reid, Larry Ridley, and Carl Allen. As a member of the Birch Creek Academy Band he has performed with jazz luminaries Dennis Mackrel, Harold Jones, Derrick Gardner, Tanya Darby, Reggie Thomas, and Clay Jenkins. He spent six years working full-time as a freelance saxophonist and woodwind player, teacher, composer, and arranger in the rich musical environment of Chicago.

Mr. Stone can be heard on recordings from the Sam Craine Quartet, the Dave Hoffman Sextet, the NIU Jazz Ensemble and Jazztet, the Jazz Arranging Syndicate, Birch Creek Academy Big Band, the Ed Breazeale Group, the Ji Young Lee Quartet, the Stuart Mindeman Group, the Ian Torres Big Band, the John Burnett Orchestra, Panoramic, Quintopus, the Rick Holland Little Big Band, the Rich Thompson Quartet and Trio, the Westview Project, the John Nyerges Quintet, the Bob DiBaudo ensemble, the Eric Schmitz Sextet, and the Tom Marko ensemble. Stone has four recordings to his credit as a co-bandleader: Doug Stone/Josiah Williams “The Early Riser”, Stone/Ziemba Duo “In the Zone”, Nick Fryer/Doug Stone “Quartet”, and The Stone/Bratt Big Band “SBBB”. Stone is also a published arranger and composer (Kendor Music). His compositions and arrangements have been performed by professional, university, and high school level jazz ensembles throughout the United States.

In 2009 Mr. Stone moved to Rochester, New York to pursue a double master’s degree in jazz performance and music education at the Eastman School of Music. He has performed in Rochester with the Dave Rivello Ensemble, the Westview Project, the Gap Mangione Big Band, Quintopus, the John Nyerges Duo and Quartet, Jeff Campbell, Rich Thompson, and other talented local jazz artists. While in western New York, Stone has worked with several noteworthy musicians including George Caldwell, Bobby Militello, Harold Danko, Gene Bertoncini, Bill Dobbins, Mark Ferber, Ike Sturm, Charles Pillow, Allen Vizzutti, and the Mambo Kings.

Since 2009 Mr. Stone has taught private lessons, ensembles, and classes at the Eastman Community Music School (ECMS). He has also served as chair of the ECMS jazz department and has directed the prestigious Eastman Youth Jazz Orchestra. In 2012 Mr. Stone accepted a position as the director of jazz ensembles at the Rochester School of the Arts (SOTA) in Rochester, New York. He taught several ensembles, classes, and lessons at SOTA. In the summers Mr. Stone teaches at the Eastman Summer Jazz Studies Program, the Tri-Tone Jazz Camp, has previously served as co-director of the Eastman at Keuka College Jazz Camp, and served as assistant to the director at the Birch Creek Jazz Camp.

Mr. Stone has held teaching positions at The State University of New York at Brockport, the Northern Illinois University Community School of the Arts in DeKalb, IL, and he worked as private saxophone, jazz, and small group instructor at St. Charles North High School in St. Charles, IL. Mr. Stone has been Assistant Professor of Jazz Studies at Louisiana State University since August, 2018.

Matthew Golombisky



Matthew Golombisky is a USA-born, Buenos Aires-living acoustic & electric bassist, composer, improviser, conductor, and educator who also wears many hats like the director/founder of independent record label ears&eyes Records, (past) conductor & artistic director of youth orchestra, Orquesta Creer Es Crear, in Avellaneda, Argentina, curriculum developer, teaching artist and board member of 501(C)3 non-profit Institute for Creative Music and in the past has taught in schools such as SPACE, Mynah Music, Hilldale, Asheville Music schools, stage managed for Pitchfork Music Festival, Hideout Block Party, The Swell Season, Peter, Bjørn & John, DJ-ed/produced radio for WNUR 89.3FM, curated an annual ears&eyes Festivals, ideated for Clorox, and wrote, composed and directed musical theatre forBizzo!.

Matthew has lived and been active in music, festival, and film scenes in the San Francisco Bay Area, Chicago, New Orleans, Buenos Aires Argentina, upstate New York, and Asheville NC, as well as toured the USA and Europe with bands such as IfCM, NOMO, Zing!, Jhelisa, Golombisky-Kirchner duo, WATIV, QMRplus, & more.

AllAboutJazz and writer Jakob Baekgaard recently called Matthew a modern “renaissance man” (the article has more than 26,000 views/reads). He is a forward moving, fast acting, and busy artist. Between his acoustic/electric bass performing, commissioned compositions (including his work on Australian singer/songwriter Via Tania’s latest album, featuring his Tomorrow Music Orchestra, his film scoring contributions to Argentine director Alejo Domínguez’s feature film, La Soñada, or creating improvisation teaching supplements for the Institute for Creative Music), directing, filming and editing music videos and/or release trailers (ie. Cuentos, Chad Taylor, Nate Lepine, TMO, Quintopus, Matija Dedic, blink.), creating layout design work and/or photography for websites and albums (e&e.com, Matija Dedic, Hood Smoke, Pedway, Quintopus), conducting, directing and composing for at-risk youth orchestra, Orquesta Creer Es Crear in Argentina where they performed in the tango-famed Teatro Roma, founding/directing Chicago-based indie label, ears&eyes Records (2018 marks eleven years), and now releasing his newest double EP cassette, Cuentos Vol. 1 & 2, just maybe he can back AllAboutJazz’s forceful claim.

Matthew’s undergraduate studies at the University of North Carolina at Asheville led to a B.A. in Jazz Studies/Bass Performance with an emphasis on 20th Century Classical music & theory, while earning the Distinction in Music Award, and masters studies to a M.M. in (classical) Composition from the University of New Orleans after a brief stint at Northwestern University after Hurricane Katrina swept through New Orleans in August 2005.

Matthew’s discography includes over 50 recordings featuring his performance, compositions, conducting, film scoring, artwork/design, photography, recording/mixing, and/or production.

He has taught performance, improvisation, composition, theory, recording techniques, and music marketing to children and adults for 20 years in schools and colleges across the nation. He joined the IfCM Collective to travel the USA, teaching clinics to high school and college students his methods of composing, improvising and conducting. In 2013, he teamed up with like-minded musicians/educators John Nash, Patrick Liddell and Elisabeth Johnson and founded a not-your-typical music-school school in Oakland CA to promote experiencing/learning music as a whole art form, as something relevant and exciting, called Mynah Music. Most recently, he became the Music Director and conductor of a youth orchestra in Buenos Aires, Argentina in a government funded program inspired by Venezuela’s El Sistema.

His composition style is wide ranging, steeped in modern classical, experimental, experiential, thoughtful, jazz, rock and pop genres, but never limits himself to anything and absorbs all music listened to. He creates moods and aural images that captivate, intrigue, invigorate, confuse and/or excite his audience.

Dr. Kimberly Hannon Teal

Listening Labs


Kimberly Hannon Teal joined the Music Department at the University of Arkansas in the fall of 2016. Her research addresses contemporary jazz, and she is interested in how live performance contexts contribute to musical experiences and meaning. Her dissertation, “Living Traditions: Embodying Heritage in Contemporary Jazz Performance,” was supported by the Elsa T. Johnson Fellowship and the Glenn Watkins Fellowship, and her research has appeared in American Music and Jazz Perspectives.

Previously, she served as the Director of Graduate Advising and Services at the Eastman School of Music and taught music history at both Eastman and the Rochester Institute of Technology. She holds a PhD and MA in historical musicology from Eastman, where she was also a trumpet student of James Thompson and Clay Jenkins, and a BM in trumpet performance from the University of Oregon, where she studied with George Recker.

Nick Finzer



Nick Finzer is one of the most dynamic musicians of the millennial generation. An award-winning composer, arranger, producer, educator and trombonist, Finzer is bringing the joy and power of Jazz to traditional fans and the most modern 21st century audiences. He’s on a mission to be a passionate voice defining the sound of Jazz in this age while also bringing street cred to the trombone with a bold, tight sound. 

Born into the musical world (Mom Sherry Finzer is an international flutist), Finzer developed a fascination for the music of Duke Ellington and found himself, in high school, performing at the annual Essentially Ellington competition of Jazz at Lincoln Center. It was then that he decided to pursue a life in music himself. His budding talent was recognized by Wycliffe Gordon who began a mentorship by writing four pieces for the young Finzer while he attended the Eastman School of Music. Nick went on to get his masters at Juilliard’s prestigious Jazz program where he was mentored by trombone legend Steve Turre

In 2011 Nick was the winner of the Eastern Trombone Workshop’s National Jazz Trombone Competition and was a finalist in the 2010 International Trombone Association’s Carl Fontana Jazz Trombone Competition

Two tracks appearing on Nick’s debut album “Exposition” (Outside in Music) garnered Finzer a pair of accolades: The prestigious American Society of Composers and Performers (ASCAP)’s Herb Alpert Award for young composers (2013 & 2015)

Famed trombonist and mentor Wycliffe Gordon called Finzer “a new voice [in] the pantheon of upcoming trombone greats in the making” and added “Nick’s CD is a glowing example of things to come.” 

When away from NYC, Finzer can be found touring the globe not only with his own projects, but as part of  Anat Cohen’s Tentet, teaching workshops and masterclasses, and appearing with YouTube sensation Postmodern Jukebox. Finzer has joined the group on television, in viral videos with millions of views, and on tours across North America, Australia, New Zealand and Europe.  

Finzer has performed at top jazz clubs, festivals and concert halls with Wynton Marsalis’ Jazz at Lincoln Center Orchestra, the Newport Jazz Festival with Anat CohenLucas Pino’s No Net NonetRyan Truesdell’s Gil Evans Project, the Grammy Award Winning Dafnis Prieto Big Band, Bob Stewart’s Double QuartetFrank WessTerrell StaffordLewis Nash, the Tommy Dorsey OrchestraWalt WeiskopfSlide Hampton, Frank Kimbrough, Carl Allen, Steve Turre and many more. 

While not performing, Nick can be found on his YouTube channel sharing weekly videos on topics ranging from live performances, to new arrangements, and educational videos. Nick’s media company and jazz record label Outside in Music is poised to take the jazz recording industry firmly into the next century. Outside in Music produces audio and video content for some of jazz’s rising stars from around the globe; as well as connecting brands to the jazz artist’s passionate fan-bases. 

Nick also has a firm commitment to education and developing the next generation of musicians and music lovers. 2018 saw Nick’s appointment as the inaugural Assistant Professor of Jazz Trombone at the legendary University of North Texas (home of the very first degree in jazz studies).  Finzer serves as the Artistic Director and co-founder of the Institute for Creative Music; a non-profit dedicated to exploring improvisation and creativity for musicians and audiences of all levels. From 2014-2016, Nick served as the Visiting Professor of Jazz Trombone at Florida State University. Nick published his first book in 2013 Get Ahead (A Practical Guide for the Developing Jazz Trombonist) and relaunched that book as an interactive online course in June of 2017. Nick also curates an online Virtual Studio where students can engage with weekly video content to bring their playing to the next level. 



Frequently Asked Questions

What should I expect at a summer jazz camp?
The camp is designed for musicians who want to immerse themselves in playing, learning about, listening to, and talking about jazz and creative music. We do a lot of learning by ear in addition to written notation and provide you with access to the song, style, and improvisation course “Creative Jazz Fundamentals” so you can keep learning after you leave the camp.

What instruments are appropriate for jazz?
We are very open-minded about the types of instruments and voices that should be included in the jazz environment—in addition to saxophone, trumpet, voice, and other instruments you’d commonly find in jazz we’ve worked with just about everything else as well. If you’re unsure feel free to ask (the answer is probably yes).

How do I know if I’m good enough?
The camp is open to any musician age 18 and older and we recommend that you are comfortable (at bare minimum) playing all of the notes on your instrument in a couple octaves. If you’ve never played jazz but have played your instrument for at least a year, we definitely have a place for you in the beginning track. More experienced players familiar with reading music, some jazz songs, and some improvising or composing would likely want to join the advanced track. If you’ve played jazz in the past or currently play in a group and want to take your playing to the next level, we also have ensembles that will motivate you.

Where should I stay if I’m coming in from out-of-town?
The U of A camps offer private dorms – just choose the overnight package when you register for camp. There are also several nearby hotels and Air BnB sites in close proximity.

What should I bring?
Your instrument(s), staff paper/notebook, writing utensil, clothing and personal items. Recording devices, iPads and other technology can be useful but are not required. For rhythm section players we provide drum sets and cymbals (you bring sticks/brushes), bass and guitar amps, and of course, pianos. We also have vibraphones and hand percussion available.

What if I have more questions?
Email Chris Teal at uofacmsjazz@gmail.com. You can set up a time to chat over the phone or Skype as well.

In Collaboration with: