Primary Instrument: Keyboard
Glik performs as a single (keyboards/piano and vocals) as well as with his own group - Chris Glik Band all over Southern California. In addition, Glik works with many vocalists as musical director/accompanist.
Chris Glik has performed and/or recorded with acts such as the Okaysions, Platters, Inkspots, Coasters, Brook Benton, Frank Gorshin, Jimmy Dorsey Orchestra, Glenn Miller Orchestra, and many more.
Glik has arranged and/or composed music for Leonard Reed, Henry Nemo, Chester Whitmore, Lula Washington Dance Group, Helen Reddy, Chris Calloway, Nicholas Brothers, Warner Brothers, Columbia Talent Management, Paul Kennedy Dance Studio, Viewpoint School, and many others.
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Glik has also perfomed in and/and or arranged music for many musical theater productions - As You Like It, West Side Story, Pippin, Into The Woods, Barry Moses' Bar Mitzvah, You're A Good Man Charlie Brown, Lady Day At Emerson's Bar And Grill, and more.
In 2007, one of Glik's collaborations, As They Like It, was produced at the Barnsdell Theater in Hollywood. In addition, Glik has been Musical Director for various productions by Lehman Engel Music Theater Group, Mulholland Tennis Club, and more.
Glik has a diploma from Peabody Institute of Music (1967) and studied with the late Louis Shub (piano), Gunther Schuller, the late Louis Cheslock, and others. Glik also lists Henry Nemo and Leonard Reed as mentors.
“Pianist Chris Glik’s Tropical Jazz For The Soul, Vol. 2 is a fine example of easy listening jazz. The music grooves nicely, the improvising is melodic and the tones by the various players, especially tenor-saxophonist Dave Victorino (who hints a bit at Stan Getz), are West Coast cool and pleasing. Three standards are performed by Glik in a trio with bassist Larry Muradian and drummer Steve Sykes while his eight originals are interpreted in a quintet also including bassist Mike Flick, drummer Kenny Park, guitarist Lenny Coltun and Victorino on tenor and flute. The music ranges from hard bop to light fusion and, while no new paths are blazed, the results are quite accessible and very easy-to-take. It is available from www.glikmusic.com.”
Beverly Hills, CA
I teach privately. The material I teach includes Jazz Improvisation (keyboard/piano), Jazz Theory, Accompaniment/Self Accompaniment on piano/keyboard, how to be a keyboardist in an ensemble. I also offer services such as Charts, Tracks, Production, Arranging, Composing, Rehearsing, Show development and Recording.
CHRIS GLIK 111 North La Cienega, Suite 8 Beverly Hills, CA 90211 www.glikmusic.com firstname.lastname@example.org 310-854-0857, 213-705-0162 I believe that the arts should be a part of the basic curriculum in the schools, and that, where possible, the arts should be available and accessible in the community at large. I believe that the arts are the most basic and natural way that people communicate with one-another, and that even if verbal communication were removed, people would communicate through art and music. Most of all, in a complex world, music and art help children to communicate and express themselves – helping them to understand and cope with life. I am a working, performing musician and have done this for the better part of my life. Music has taken me all over the world as pianist, keyboardist and music director in groups such as The Platters, Jimmy Dorsey Band, Glen Miller Band, The Inkspots, Brook Benton and The Okaysions, to name a few. Currently, I perform as leader of my own group, The Chris Glik Band, as well as many other groups and ensembles. I am easy to get along with and am extremely flexible when doing residencies. I offer a program which is geared to enhance the musical experience of and stimulate the process of creativity in children. UNDERSTANDING AND CREATING THE MUSIC OF AMERICA This program is designed for school children of all ages. The degree of difficulty and complexity is flexible depending on the age and ability of the students. Depending on time and budget requirements, this program is presented as a 1-3 day workshop, a weekly program on a per-term basis, or other formats. Each residency will conclude with a presentation demonstrating what the children have learned. Prior to the residency, the children will listen to a recording of a well known American song. In the past, I have used Duke Ellington’s “Take The A-Train”, and will cite this below. I. Introduction of the equipment I use: 3 or more synthesizers, Laptop computer, microphones, PA system, and various hand percussion instruments from throughout the world. A. Discussion of what each component does and how it is used in performance and composition of music. B. Turn on the equipment and briefly discuss this process. C. Discussion of what I do – what musicians do, etc. D. Ask questions to the class such as: 1. Does anybody like Rap Music? 2. What is Hip Hop? 3. What is Jazz? That’s American music too. 4. What about Classical? Is it American? II. Briefly discuss the history of music in America A. All the above examples are “American” music. 1. When Christopher Columbus sailed to America in 1492, the only “popular music” performed in the United States was that played by the various Indian tribes. a. In Europe, people were dancing to what we now call “Renaissance” Music. b. In Africa, they danced and listened to music created on drums, kalimba, and flute-like instruments. 2. When Europeans settled in America during the next two centuries, they brought along their music with them. a. It was called “Baroque”, “Classical”, “Romantic”, and “Modern” at various points from the 16th through the 20th centuries. b. Currently, Europeans still refer to their collective music as “Classical”. 3. When Africans were brought to America as slaves, they brought with them their music. 4. Africans were also brought to Central and South America as slaves. What we know as “Latin” Music had its synthesis when the music of Africa met with the music of Europe and the indigenous peoples of these regions. B. I will play various musical examples to illustrate how music has evolved from indigenous music such as African and Indian tribal music to the current state of American music. C. Up until around Abraham Lincoln’s time, there was no true American music. D. As America became populated with people from all over the world, what we now call “American” music began to emerge. E. Around the dawn of the 20th century, American music could now be heard all over the country as “Mountain” Music, “Ragtime”, Work songs and more. 1. “Mountain Music evolved into various forms including Bluegrass, Hillbilly and Country Western. 2. “Ragtime, which combined European Classical music with African Spirituals, later evolved into Dixieland, Jazz, Swing and Bebop jazz, later giving way to Modern Jazz. 3. The origins of “Rock”, Blues, Rap and Hip Hop were in the synthesis of all of these influences. 4. In the 20th century, the influence of music from South and Central America impacted these musical forms giving way to music we now call “Salsa”, Samba and Bossa Nova to name a few. F. As I talk about the different musical styles we call “American “ Music, I talk about the various artists who helped define these styles. There are many more influences than those cited below. 1. Rock – Elvis Pressley, Chuck Berry, Little Richard. 2. Blues – B. B. King, Howlin’ Wolf and Etta James. 3. R&B – Otis Redding, Ray Charles, and Stevie Wonder 4. Pop – The Beatles, The Supremes, The Okaysions 5. Jazz – Louis Armstrong, Billie Holiday, Miles Davis and John Coltrane. 6. Country Western – Roy Rogers, Hank Williams, George Jones and Merle Haggard. III. Creating and Performing Music A. Modern Popular Music of Today 1. Consists of all the music currently loved by Americans. 2. Why do we like Rap, Pop, Hip hop, Jazz, Rock, etc.? a. It sounds good. b. It feels good c. We can express ourselves through the music. d. We can communicate through the music – common language. 1. Hip Hop and Rap are young people’s music of today just as The Beatles was the music of my generation, etc. I elaborate on this. e. The music has a form or a structure – it grounds us. f. Music is played by many different people playing many different instruments. Each person and instrument plays a part. B. Demonstration of various sounds and functions of the keyboards and amplification system including sound effects. C. “Take The A-Train”: a demonstration of what makes a song. 1. First, I will play train sounds. 2. Next, I will play the melody. 3. Third, I will play the harmony (chords). 4. Then, I will play the rhythm pattern. 5. Fifth, I will play the Bass part. 6. Finally, I will play the song with all its parts. D. Creating your own music – Structure and Form components 1. Rhythm 2. Harmony – Background 3. Melody 4. Bass Line E. Creating your own music – Recording 1. How does the equipment work? 2. How to use the equipment F. Hands on use of the keyboards and percussion instruments to create your own original music. 1. I guide children in groups in the creation of original music using the various instruments and components they have learned. 2. Each group will consist of 3-6 children depending on availability of instruments I bring and those made available by the school site. 3. Once each composition is completed, the performance is then recorded digitally and each child is given a cd of the recording.