Due to developing COVID-19 concerns, this event may be canceled. We are monitoring the situation closely for the safety of all faculty, staff, and guests. We will not accept payment until we are confident the program will run. You will be notified the program status by email on May 4. 

Please register for camp so we know you are interested in attending this summer! We love our summer campers, and we look forward to seeing you! Camp director Chris Teal and the rest of the camp faculty are currently working on online alternatives in case the in-person programs are cancelled.

Adult Jazz Camp 2020

We are excited to offer the 3rd annual CMS Adult Jazz Camp for both beginner and advanced musicians! 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. Students will have the opportunity to play in large and small ensembles organized by ability and interest. Students are coached both on their individual roles and roles within ensembles. Jazz transcription, composition, practice techniques, and basic audio recording are included in both levels. The camp meets during the day for workshops and rehearsals and in the evenings for performances by the faculty and student groups.

This Camp is approved for 16.5 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: No audition or previous jazz experience required

Advanced Track: Submit a letter of interest that includes past experience with jazz to cms director Chris Teal at uofacmsjazz@gmail.com 


June 25 – 28, 2020


See sample schedule below


Music Building, U of A Campus, Fayetteville

Click here for maps, directions and parking information.


$462 by May 1   /   $497 after May 1

Fee includes instruction, materials and daily lunches.

Lodging/Meal Package (for those staying overnight at dorm): $175

Event Registration

All major credit cards accepted. 

Cancellation / Refund Policy

Before April 1: Full Refund

April 2 – May 15: refund less $100 administrative fee

After May 16: no refunds available

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

Tentative Schedule

Thursday, June 25

7:00 P.M.

Student and faculty meet & greet/jam session

Friday, June 26

5:00 P.M.

Camp Orientation

5:30 P.M.

Song learning in small groups, listening lab

7:00 P.M.


7:30 P.M.

Improv class, composition class, playing together

9:00 P.M.

End of workshop day

Saturday, June 27

10:00 A.M.

Camp Orientation

10:30 A.M.

Song learning in small groups, listening lab

1:00 P.M.


2:00 P.M.

Improv class, composition class, playing together

4:00 P.M.

End of afternoon session

7:00 P.M.

Faculty concert/open jam session

Sunday, June 28

10:00 A.M.

Playing together as small groups, all group concert rehearsal concert

1:00 P.M.


2:00 P.M.

Sound check

2:30 P.M.

Concert hall opens for seating

3:00 P.M.

Final student concert

4:00 P.M.

Camp ends

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.

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. The camp hours will be packed with opportunities to play in small combos, large ensembles, and jam sessions, as well as time to get acquainted with the faculty and other students. 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 21 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.

What is Fayetteville like?
The camp is held on the gorgeous University of Arkansas campus that’s close to dining and other amenities. The classrooms and dorms are all air-conditioned and the performance and jam sites are ideal for experiencing jazz with your new friends. Local visitors also enjoy other attractions in Northwest Arkansas like the Crystal Bridges Museum of American Art and the Buffalo National River.

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: