Jazz at Lincoln Center Orchestra with Wynton Marsalis
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Jazz at Lincoln Center Orchestra with Wynton Marsalis
Thursday, September 29, 2016, 8pm Paramount Theatre, Oakland Jazz at Lincoln Center Orchestra with Wynton Marsalis Wynton Marsalis, music director, trumpet Ryan Kisor, trumpet Kenny Rampton, trumpet Marcus Printup, trumpet Vincent Gardner, trombone Chris Crenshaw, trombone Elliot Mason, trombone Sherman Irby, alto and soprano saxophones, flute, clarinet Ted Nash, alto and soprano saxophones, flute, clarinet Victor Goines, tenor and soprano saxophones, clarinet, bass clarinet Walter Blanding, tenor and soprano saxophones, clarinet Paul Nedzela, baritone and soprano saxophones, bass clarinet Dan Nimmer, piano Carlos Henriquez, bass Ali Jackson, drums Tonight’s program will be announced from the stage and performed without an intermission. Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis. For more information, please visit jazz.org. Facebook: facebook.com/jazzatlincolncenter Twitter: twitter.com/jazzdotorg YouTube: youtube.com/jazzatlincolncenter Cal Performances' presentations in Oakland are generously underwritten by Signature Development Group. Jazz residency and education activities are generously underwritten by the Thatcher Meyerson Family. ABOUT THE ARTISTS he mission of Jazz at Lincoln Center is country, woven with the colorful stories of the to entertain, enrich, and expand a global artists behind them. Jazz Night in America and Tcommunity for jazz through perform- Jazz at Lincoln Center’s radio archive can be ance, education, and advocacy. With the found at jazz.org/radio. world-renowned Jazz at Lincoln Center Orch - Under music director Wynton Marsalis, the estra and guest artists spanning genres and JLCO spends over a third of the year on tour. generations, Jazz at Lincoln Center produces The big band performs a vast repertoire, from thousands of performance, education, and rare historic compositions to Jazz at Lincoln broadcast events each season in its home in Center-commissioned works, including com- New York City (Frederick P. -
Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances
FOR IMMEDIATE RELEASE: May 11, 2021 Contact: Gabrielle Gainor (206) 295-0998, [email protected] Press images: https://seattleopera.smugmug.com/2122 Password: “press” Seattle Opera announces 2021/22 season— a return to live, in-person performances La bohème Orpheus and Eurydice Blue The Marriage of Figaro Plus a special recital by Lawrence Brownlee McCaw Hall and The Opera Center Subscriptions begin at $240 (BRAVO! Club, senior, and student pricing is also available). Single tickets will go on sale closer to each production. seattleopera.org SEATTLE—After more than a year without live, in-person performances due to COVID-19, Seattle Opera will officially return to the theater this fall with its 2021/22 Season. Offerings include immortal favorites (La bohème, The Marriage of Figaro), historic works with a modern twist (Orpheus and Eurydice), plus an award-winning piece speaking to racial injustice in America (Blue). It will take years for Seattle Opera—and the arts sector as a whole—to recover from the pandemic’s economic impact. Feeling the presence and excitement of live performance again is one way that the healing can begin, said General Director Christina Scheppelmann. “The theater, where music, storytelling, lights, performers, and audiences meet, is a space of magic and impact,” Scheppelmann said. “This past year has been difficult and challenging on so many levels. As we process all that we’ve been through, we can come here to enjoy ourselves. We can rediscover the positive moment and outlook we are seeking. Through opera, we can reconnect with our deepest emotions and our shared humanity.” In addition to mainstage productions, the company will offer a special, one-night- only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall) with pianist John Keene. -
Fact Sheet 2009
Wynton Marsalis FACT SHEET 2009 Wynton Marsalis, is the Artistic Director of Jazz at Lincoln Center since its inception in 1987, in addition to performing as Music Director of the Jazz at Lincoln Center Orchestra since it began in 1988, has: Early Life . Born on October 18, 1961, in New Orleans, Louisiana, the second of six sons to Ellis and Dolores Marsalis . At age 8, performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker . At age 12, began studying the trumpet seriously and gained experience as a young musician in local marching, jazz and funk bands and classical youth orchestras . At age 14, was invited to perform the Haydn Trumpet Concerto with the New Orleans Philharmonic . At age 17 became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center and was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student . 1979 Entered The Juilliard School in New York City to study classical trumpet . 1979 Sat in with Art Blakey and the Jazz Messengers to pursue his true love, jazz music. 1980 Joined the band led by acclaimed master drummer Art Blakey . In the years to follow, performed with Sarah Vaughan, Dizzy Gillespie, Gerry Mulligan, John Lewis, Sweets Edison, Clark Terry, Sonny Rollins and countless other jazz legends Acclaimed Musician, Composer, Bandleader . 1982 Recording debut as a leader . 1983 Became the first and only artist to win both classical and jazz GRAMMY® Awards in one year . 1984 Won classical and jazz GRAMMY® Awards for a second year . -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Lynching Ballad to Be Sung by Racially Mixed Chorus
SATURDAY, JUNE 8, 1949 THE PHOENIX INDEX, PHOENIX, ARIZONA PAGE SEVEN Lynching Ballad To Be Sung By Racially Mixed Chorus Paul Robeson To A PAIR OF KINGS Appear As Soloist NEWS OF THE THEATRES * NEW YORK—(ANP)—The first gan to determine (hemes for it, and 'performance of a unique choral after Miss Chapin traveled to Los composition. “Anri They Lynched Angeles to discuss her poem with Him on a Tree.” the joint creation him. a musical setting begun al- They Plan Calvacade Os Negro Theatre Calvacade Os of William Grant Still and though theme, after theme was dis- ' Katherine Garrison Chapin, whose carded before tne compos tion » Poem the young composer set to reached materialization. Negro Theatre music, will be presented at Tile story is as follows: , Lewisohn Stariuim here June 24 In a with a white and Negro Chorus, a “It is night clearing by among turpentine To Be Staged symphony orchestra, a .soloist and the roadside the by headlights a narrator taking part in the pro- pines, lit the from CHICAGO -<ANP)— What will parked cars, a Negro just been duction . has be the most gigantic Negro stage lynched. The white crowd who spectacle the “Cav- Approaching ever conceived, a state production hanged him and those who watch- alcade of the Negro Theatre”, is * in - ed, now, in its scope, the ballad was are breaking up going i. oil g prepared for presentation at spired by the tragedy of mob law- home. They sing together, get in- ihe American Negro Exposition in lessness and its particular v acial to their cars and drive away. -
NYC Student Discounts
NYC Student Discounts The Chamber Music Society of Lincoln Center Alice Tully Hall (Broadway at 65th Street)/ Daniel and Joanna S. Rose Studio (165 West 65th Street between Broadway and Amsterdam) The Chamber Music Society of Lincoln Center (CMS) presents an annual series of concerts. Students may purchase tickets at a 50% discount in advance at the Alice Tully Hall box Office, pending availability. Student rush tickets are $10 on the day of the performance, pending availability. Present a valid student ID beginning one hour prior to curtain for two $10 tickets. https://www.chambermusicsociety.org/nyc/ticketing-information/student-tickets/ Jazz at Lincoln Center Rose Theater, The Allen Room, Dizzy’s Club Coca-Cola at Frederick P. Rose Hall, Home of Jazz at Lincoln Center (Broadway at 60th Street) Jazz at Lincoln Center is dedicated to inspiring and growing audiences for jazz. Fill out the online registration form and submit a copy of your student ID to [email protected]. Be sure to include your expected month and year of graduation in the email. Please note that for Dizzy's Club Coca-Cola reservations, you will need to create a new account separate from your student account when making your reservation. The student rate varies by performance and will be listed on the specific event page. Once your reservation is made, a student ID is required to be shown upon arrival at the res- ervation desk. http://www.jazz.org/students/ New York City Ballet David H. Koch Theater (Columbus Avenue at 63rd Street) New York City Ballet is one of the foremost dance companies in the world, with a roster of nearly 100 spectacular dancers, a 62-piece orchestra, and a repertory of modern masterpieces. -
Julio Cortázar Y El Jazz. Sincretismo Y América
JULIO CORTÁZAR Y EL JAZZ. SINCRETISMO Y AMÉRICA. ARACELI ABRAS DANERI […] habrá que trasmitir al lector como se trasmiten las cosas fundamentales: de sangre a sangre, de mano a mano, de hombre a hombre (Cortázar, en Alazraki, 1994: 385). 1 Editor: Universidad de Granada. Tesis Doctorales Autor: Araceli Abras Daneri ISBN: 978-84-9163-858-2 URI: http://hdl.handle.net/10481/51136 2 ÍNDICE DEDICATORIA Y AGRADECIMIENTOS. página 5 CAPÍTULO I INTRODUCCIÓN: CAMPO TEÓRICO-METODOLÓGICO. I. CULTURA E IDENTIDAD: CRÍTICA DE LA CULTURA Y CONTRACRÍTICA LATINOAMERICANA. página 6 II. LA COLONIZACIÓN ESPACIO-TEMPORAL DE LA ACADEMIA: LA LETRA, LOS NOMBRES: RELOCALOZACIONES. página 9 III. ILUSTRACIÓN Y SUBALTERNIDAD. página 34 IV. BOOM Y REALISMO MÁGICO. página 39 V. LA RAZÓN COMO CENTRO EJECUTOR. página 44 VI. JULIO CORTÁZAR, CRÍTICO LATINOAMERICANO. página 48 CAPÍTULO II I. RAÍCES Y ORÍGENES. UNA GÉNESIS DE LAS INFLUENCIAS DE PENSAMIENTO EN CORTÁZAR. página 67 II. RECURSOS: SUEÑO, JUEGO, HUMOR. página 83 III. ABSOLUTO Y LENGUAJE ARTÍSTICO. página 93 IV. REVOLUCIÓN DEL LENGUAJE. página 98 V. TERRITORIOS. LO FANTÁSTICO. página 104 VI. ANALOGÍA. página 117 VII. TIEMPO Y TEMPO. página 126 CAPÍTULO III I. SINCRETISMO. ÁFRICA Y LA ORALIDAD: TRADICIONES DEL JAZZ. página 133 II. MESTIZAJE Y UTOPÍA. página 137 III. ACADEMIA Y ORALIDAD. página 141 IV. EL JAZZ. página 146 V. REPRESENTACIONES DEL JAZZ: JAZZ TALKS. página 181 CAPÍTULO IV I. OTREDAD, ORALIDAD COMO SUSTRATO. CORTÁZAR Y EL SINCRETISMO. página 203 3 II. JAZZ Y LITERATURA: EN CORTÁZAR. página 215 III. RAYUELA. página 244 IV. PRESENCIA, "EL PERSEGUIDOR". EL OTRO. EL JAZZ. página 254 CAPÍTULO V I. -
Classical Jazz
LIVE FROM LINCOLN CENTER May 29, 2003, 8:00 p.m. on PBS Marsalis at the Penthouse In the summer of 1987 a "Classical Jazz" concert series was established at New York City's Lincoln Center for the Performing Arts, under the inspired leadership of trumpet player, Wynton Marsalis. Seven years later this indispensable activity was redefined and became the autonomous jazz division at Lincoln Center--Jazz at Lincoln Center. Thus this essential American musical form took its place at Lincoln Center alongside such other constituents as the New York Philharmonic and the Metropolitan Opera, with Marsalis continuing as the driving force behind it. We have been privileged over the years on Live From Lincoln Center to be able to bring you several performances by this outstanding ensemble, most recently in concert with Kurt Masur and the New York Philharmonic. (Interestingly, during the years of the Masur family's residence in New York, the Maestro's son-- himself an aspiring conductor--became a great jazz enthusiast.) Our next Live From Lincoln Center telecast, on Thursday evening, May 29, will be devoted to yet another live performance by Jazz at Lincoln Center. But with a difference! Our previous sessions with Jazz at Lincoln Center have originated in one of the several concert halls in the Lincoln Center complex and have featured the artistry of the large ensemble. On May 29 the 90-minute performance will take place in the intimate confines of the Kaplan Penthouse high atop the building that houses Lincoln Center's administration offices. The Kaplan Penthouse has served as the locale for three previous Live From Lincoln Center telecasts: two featuring Itzhak Perlman, the other spotlighting Renée Fleming. -
Jason Marsalis ANDJASON the 21ST CENTURYMARSALIS TRAD BAND Melody Reimagined : Book 1
Back Row: (L-R) Austin Johnson, Dave Potter, Will Goble. Front: Jason Marsalis ANDJASON THE 21ST CENTURYMARSALIS TRAD BAND Melody Reimagined : book 1 1. Ratio Man Strikes Again 6:02 JASON MARSALIS vibes 2. Off the Rails 5:08 3. Just as Cool as the Other Side of the Pillow 9:38 AUSTIN JOHNSON piano 4. Soot Sprites 4:42 WILL GOBLE bass 5. A Peaceful Silence 5:52 DAVE POTTER drums 6. Bourbon Street Ain’t Mardi Gras 6:29 7. Passionate Dancer 6:09 ELLIS MARSALIS piano* 8. Never Forget the 23rd Letter 7:11 * * DELFEAYO MARSALIS trombone 9. 80 7:34 All compositions written by Jason Marsalis @BasinStRecords #BSR20 JASON MARSALIS On various shows I’ve done as a leader, original compositions would be mixed with standards for the setlist. Spontaneous arrangements would evolve to spice up the standards. As these standards would evolve into originals, a concept for an album was born: original compositions based on the harmonic structure, or chord changes, from other songs. In previous years, harmonic structures from the standard American songbook would be used to create new melodies. For example, Duke Ellington’s “In a Mellow Tone” is based on the harmony from “Rose Room,” while Charlie Parker’s “Ornithology” is based on the harmony from “How High the Moon.” For this album, harmonies from not only the American songbook are utilized, but jazz standards, traditional jazz, and even 1980’s pop music contains chord changes to inspire these new pieces. We hope that this will be a fresh and familiar experience for the listener. -
Edrgroup.Com Website
The Economic Role & Impact of Lincoln Center Prepared for by 2 Oliver Street, Boston, MA 02109 in association with Mt. Auburn Associates 408 Highland Ave., Somerville, MA 02144 September, 2004 Table of Contents Table of Contents Acknowledgments ................................................................................................. A Executive Summary: The Economic Role & Impact of Lincoln Center........... I Introduction ............................................................................................................1 1.1 Purpose of This Report ......................................................................................1 1.2 Overview of Lincoln Center .............................................................................2 1.3 Methodology .....................................................................................................4 1.4 Organization of the Report .................................................................................8 Economic Impact of Lincoln Center Operations ................................................9 2.1 Overview ............................................................................................................9 2.2 Direct, Indirect, and Induced Effect of Lincoln Center Spending ...................10 2.3 Total Impact of Lincoln Center Operations .....................................................12 Economic Impact of Spending by Lincoln Center Visitors ..............................15 3.1 Overview ..........................................................................................................15