Saturday Evening, February 27, 2016, at 8:30 m a r Terri Lyne Carrington’s g

o Mosaic Project: Love and Soul r

P Featuring Valerie Simpson & Oleta Adams

e

h Elena Ayodele Pinderhughes , Flute T Tia Fuller , Saxophone Arnetta Johnson , Trumpet Amy Bellamy , Keyboards Nêgah Santos , Percussion Matt Stevens , Guitar Josh Hari , Bass

This evening’s program is approximately 75 minutes long and will be performed without intermission.

Please make certain all your electronic devices are switched off.

Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook

Additional support for Lincoln Center’s American Songbook is provided by The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Jill and Irwin B. Cohen, The G & A Foundation, Inc., Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts. Artist catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center

UPCOMING AMERICAN SONGBOOK EVENTS IN THE STANLEY H. KAPLAN PENTHOUSE:

Wednesday Evening, March 16, at 8:00 Luluc

Thursday Evening, March 17, at 8:00 Anaïs Mitchell

Friday Evening, March 18, at 8:00 The Cooper Clan All Together

Wednesday Evening, March 30, at 8:00 Liz Callaway sings Maltby & Shire

Thursday Evening, March 31, at 8:00 Imani Uzuri

Friday Evening, April 1, at 8:00 Grace McLean

The Stanley H. Kaplan Penthouse is located in the Samuel B. and David Rose Building at 165 West 65th Street, 10th floor.

For tickets, call (212) 721-6500 or visit AmericanSongbook.org. Call the Lincoln Center Info Request Line at (212) 875-5766 or visit AmericanSongbook.org for complete program information.

Join the conversation: #LCSongbook

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces . Flash photography and the use of recording equipment are not allowed in the building. American Songbook I Note on the Program

Creating New Music the Mosaic Way

m By Sherrie Tucker

a Mosaic—an artistic work composed of many distinct components, each r selected and placed in dynamic relation to the others, with no piece, or g tessera, obscured by another. The same pieces might be rearranged, or

o combined with others, to create different works. Each piece, and each

r assemblage, retains its own integrity. P

This evening’s program emerged from an extended set of works conceived

e as The Mosaic Project by Terri Lyne Carrington. It’s easy to assume that “mosaic” here refers to the artistic and cultural diversity of the 21 women h

t who appeared on the Grammy-winning first release by that name (2011).

The album’s artwork featured a photo collage of the project’s artists, includ -

n ing pianists Geri Allen and Patrice Rushen; reeds players Anat Cohen and Tineke Postma; trumpeter Ingrid Jensen, percussionist Sheila E, bassist o

Esperanza Spalding; and vocalists Dee Dee Bridgewater, Nona Hendryx, Dianne Reeves, Cassandra Wilson, and many more. Carrington’s presenta - e

t tion of personnel was refreshing in a world where women jazz musicians always contributed to the music, but were long ignored or forgotten, tok - o enized as exceptions, or perceived as novelties. In emphasizing mutual

N respect among distinguished and well-respected players, Carrington loos - ened the grout around stuck notions of “women’s place” in (and mostly out of) jazz, and emphasized a vision of mature collaboration that usually gets reserved for ensembles of men.

In listening further, it appears that Carrington’s decision to make The Mosaic Project with other outstanding women artists was not the only, or even primary, concept driving the project. In the first album, as well as in the more R&B and soul-inflected follow-up, Mosaic Project: Love and Soul (this one with over 40 women musicians), she adopts the mosaic artist’s approach of pulling apart and artistically resetting components into new works. As a jazz drummer, Carrington had already been reworking patterns to say something new for many decades. Each arrangement, each perfor - mance, each juxtaposition comprises a mosaic in a larger project. Along the way, she shakes loose familiar performance tropes, genre silos, and song styles. Freed from old patterns, the elements float, and soar, and interact in surprising new ways. Love songs sit next to freedom songs, songs of mourning edge on songs of celebration. The aesthetic is one of welcome contrasts that invite active and joyful listening.

The Mosaic Project offers new patterns for presenting and understanding jazz. Old routines of linear torch-passing and all-star jams give way to musical exchanges among many great artists that emphasize interconnec - tions of listening and sounding differently together. American Songbook I Note on the Program

A hallmark of The Mosaic Project is its respectful inclusion of many strong women singers, giving lie to the sexist and racist stereotypes unfairly hurled primarily at black women singers as divas unwilling to share the mic. Of the 60-plus artists on the two albums, over 22 sing (some, like Carrington and Spalding, are both instrumentalists and vocalists); Valerie Simpson and Oleta Adams are two of the 12 featured vocalists on Love and Soul . Another of Carrington’s skills is to program a set of arrangements with different vocalists in a way that sounds like a larger whole, not a showcase or mixtape.

What does The Mosaic Project contribute to American song? For one thing, Carrington is a masterful arranger with many musical influences spanning straight-ahead jazz, R&B, soul, pop, hip-hop, and beyond. For another, Carrington contributes new songs; she wrote or co-wrote half of the 12 songs on the Love and Soul album. And she treats already great songs in surprising new ways that maintain the integrity of both versions. I find myself re-loving what I loved before in Duke Ellington’s wistful “Come Sunday,” while at the same time delighting in the energy and joy brought forth by Carrington’s mosaic of rapid rhythm changes and shimmering guitars, the soulful alto sax invocation by Tia Fuller, and the lush, soaring voice of the late Natalie Cole.

The greatest praise for Carrington’s arrangements comes from songwriter Simpson, who said of the new arrangement of “Somebody Told a Lie” (a song she co-authored with the late Nick Ashford), “She gave it another treatment— and that’s what a songwriter wants. It already exists in its old form, so why do that again? She took it to a whole new place.”

Sherrie Tucker is the author of Dance Floor Democracy: The Social Geography of Memory at the Hollywood Canteen (Duke University Press, 2014) and Swing Shift: “All-Girl” Bands of the 1940s (2000), and co-editor with Nichole T. Rustin of Big Ears: Listening for Gender in Jazz Studies (2008).

—Copyright © 2016 by Lincoln Center for the Performing Arts, Inc. American Songbook I Meet the Artists

Terri Lyne Carrington s

t Terri Lyne Carrington is a Grammy s Award–winning drummer, com - i

t poser, and bandleader. After a

r touring career of over 20 years with luminaries like Herbie A

Hancock, Wayne Shorter, Al

e Jarreau, Stan Getz, David Sanborn, and Cassandra Wilson, she was h

t appointed professor at her alma

mater, Berklee College of Music, E V t O L from which she also received an Y C e A

R honorary doctorate. T e In 1983 Ms. Carrington moved to New York, where she worked with artists

M including James Moody, Lester Bowie, and Pharoah Sanders. She then relo - cated to Los Angeles, where she gained recognition as the house drummer for the Arsenio Hall Show . Her Grammy-nominated debut CD, Real Life Story (1989), featured Carlos Santana, Grover Washington Jr., Patrice Rushen, and more. Other solo CDs include Jazz Is a Spirit (2002), featuring Hancock, Gary Thomas, Wallace Roney, and Terence Blanchard, and Structure (2004). Ms. Carrington’s production and songwriting collabora - tions with artists such as Gino Vannelli, Dianne Reeves, Siedah Garrett, and Marilyn Scott have produced notable works, including her production of the Reeves’s Grammy-nominated That Day and the Grammy-winning Beautiful Life in 2014.

Ms. Carrington’s The Mosaic Project (2011, Concord Jazz) won a Grammy Award for Best Jazz Vocal Album. She produced the 14-song set that included some of the most prominent female jazz artists. Money Jungle: Provocative in Blue , her homage to Duke Ellington, Charles Mingus, and Max Roach, followed in 2013. Ms. Carrington made history when she became the first woman to win a Grammy for Best Jazz Instrumental Album.

The Mosaic Project: Love and Soul was released in 2015. Like its predeces - sor, the album presents Ms. Carrington leading a rotating cast of superb female artists. She also pays homage to various male artists who have influ - enced her professionally and/or informed her musicality, such as Ellington, Nick Ashford, George Duke, Frank Sinatra, Luther Vandross, and Bill Withers, with spoken interludes by Billy Dee Williams. American Songbook I Meet the Artists

Valerie Simpson

With her late husband Nickolas Ashford, Valerie Simpson became one of the most prolific and versatile musical couples in recording history. Combining skills as performers, song - writers, and producers, they created I D

L an unprecedented catalog of chart- A B A

B topping hit singles and albums, col -

D N A

lecting 22 gold and platinum records I C C

A and more than 50 ASCAP Awards. B

O I Z I R U A

M The couple met in 1964 at the White Rock Baptist Church in New York City. Ashford had come to New York to pursue a dance career; Ms. Simpson was playing piano and singing with the church’s choir. He joined the choir and the two began writing pop songs for fun.

As staff songwriters for Scepter Records, Ashford & Simpson wrote Ray Charles’s classic “Let’s Go Get Stoned” in 1964, which brought them to the attention of Motown, where the duo wrote their second smash, “Ain’t No Mountain High Enough,” for Marvin Gaye and Tammi Terrell. Other Gaye/ Terrell hits followed, including “Your Precious Love,” “Ain’t Nothing Like the Real Thing,” and “You’re All I Need to Get By.”

Ashford & Simpson signed with Warner Brothers in 1973 as recording artists and recorded eight albums, four of which went gold. Their numerous hit sin - gles include “Send It,” “Found a Cure,” “Don’t Cost You Nothing,” “It Seems to Hang On,” and “Love Don’t Make It Right.” In addition to their own grow - ing catalog of songs, Ashford & Simpson wrote and produced for Ben E. King, Chaka Khan, Gladys Knight and the Pips, and Quincy Jones. They rewrote a version of “Ain’t No Mountain High Enough” for Diana Ross that became a No. 1 single. In the ’80s, Ashford & Simpson signed with Capitol Records, and their hit “Solid as a Rock” became a signature song. They also wrote the smash hit “I’m Every Woman,” recorded by Whitney Houston. American Songbook I Meet the Artists

Oleta Adams

Since the runaway success of her 1990 debut album, Circle of One , which went platinum, and the impassioned hit single “Get Here,” Oleta Adams has inspired a growing legion of fans with songs that draw deeply from her roots in gospel, while crossing into the realms of soul, R&B, urban, and popu - lar music. Her success, nurtured by worldwide tours with Tears for Fears, Phil Collins, Michael Bolton, and Luther Vandross, has been solidified by four Grammy nominations.

This April Ms. Adams will release a new album, Let’s Stay Here , for which she wrote most of the songs and produced. She has released seven other CDs, with over two-and-a-half million albums sold.

A long-time resident of Kansas City, Kansas, Ms. Adams spent her formative years in Seattle before moving to Yakima, Washington, where she sang in the Baptist church where her father served as minister. By age 11, she was direct - ing and accompanying four choirs on the piano. After some time in Los Angeles in the early 1970s, Ms. Adams quickly became a local institution in Kansas City, performing in piano bars, hotel lounges, and showrooms. Celebrities from Eartha Kitt and Cab Calloway to Air Supply and Billy Joel caught her regular act at the Hyatt Regency Hotel. Finally serendipity came when Roland Orzabal and Curt Smith, frontmen for the band Tears for Fears, asked her to appear on their 1989 album, The Seeds of Love , as well as on their European tour.

Elena Ayodele Pinderhughes

Elena Ayodele Pinderhughes (flute) is a vocalist and flutist. She has won numer - ous awards for best soloist at festivals, and was a YoungArts Gold Award recip - ient and U.S. Presidential Scholar in the Arts. She has performed in festivals throughout the U.S., Europe, and Japan, as well as at Carnegie Hall, the White House, Kennedy Center, Davies Symphony Hall, and the Village Vanguard. Ms. Pinderhughes has performed with Herbie Hancock, Hubert Laws, Kenny Barron, Vijay Iyer, Carlos Santana, Josh Groban, and others. She recorded on Ambrose Akinmusire’s latest album, The Imagined Savior Is Far Easier to Paint , and was featured on Christian Scott’s newest album, Stretch Music (Introducing Elena Pinderhughes) . Last year she signed with SRP Music Group, and is currently working on her debut project, which will be released this spring. American Songbook I Meet the Artists

Tia Fuller

Tia Fuller (saxophone) is an accomplished educator, performer, and recording artist. She received a bachelor of arts degree in music from Spelman College and a master’s degree in music from the University of Colorado at Boulder. She has been the featured saxophonist with pop diva Beyoncé, performing on the album I Am…Sasha Fierce and two worldwide tours. She also toured with Esperanza Spalding’s Radio Music Society tour. Ms. Fuller has recorded four albums ( Healing Space , Decisive Steps , Angelic Warrior , and the self-pro - duced Pillar of Strength ), three of which are on the Mack Avenue Records label. She also recorded on Grammy-winning Terri Lyne Carrington’s Mosaic Project , and recorded and toured with Dianne Reeves’s A Beautiful Life tour. As a devoted educator, Ms. Fuller holds a full professorship at Berklee School of Music, while continuing to perform as a side-woman with Reeves, Rufus Reid, Geri Allen, Ralph Peterson, and others. Currently she is on tour with the Mack Avenue All-Stars: Christian McBride, Gary Burton, and Sean Jones. She also facilitates master classes, clinics, and lectures worldwide.

Arnetta Johnson

Arnetta Johnson (trumpet) is a trumpeter on the rise from Camden, New Jersey. She began playing at the age of 13, and now attends Berklee College of Music. She has performed with Tia Fuller, Ralph Peterson, Buster Williams, Sheila E, Shamie Royston, Eric Roberson, Ledisi, Terri Lyne Carrington, Janelle Monáe, and more. Ms. Johnson was also featured on the Steve Harvey Show along with Jill Scott.

Amy Bellamy

Amy Bellamy (keyboards) received her master of music degree from the University of North Carolina at Greensboro. After relocating to Boston in 2002, Ms. Bellamy joined the Sam Kininger Band, which toured extensively through - out the U.S. and the Caribbean, culminating with its 2010 BMG Japan CD release, Anthem . In 2005 she began regular performances at Boston’s renowned Wally’s Café, and now leads a well-established funk/fusion resi - dency with her husband, bassist Aaron Bellamy. Known as the A-Beez, the duo recently released their debut album Never Going Back . Over the last decade, Ms. Bellamy has performed with Chaka Khan for President Bill Clinton, and with Cody Chesnutt, Terri Lyne Carrington, the Harlem Gospel Choir, Martin Luther, Fusion guitarists Tomo Fujita and Bruce Bartlett, and Akrobatik. She has shared countless bills with major artists such as Parliament Funkadelic, Morris Day and the Time, and many more. As an educator she has taught classical and jazz piano for over 15 years, and she currently teaches at the Milton Academy in Massachusetts. American Songbook I Meet the Artists

Nêga h San tos

Born and raised in São Paulo, Brazil, Nêgah Santos (percussion) has a unique sound that is influenced by Brazilian, Afro-Cuban, fusion, R&B, jazz, pop, African, and world music. Performing professionally since her teens and a recent graduate of Berklee College of Music, Ms. Santos has performed with her own project, ChoroBop, and with artists such as Joe Lovano, Miguel Zenón, Danilo Pérez, Alejandro Sanz, Clinton Cerejo, Nona Hendryx, Terri Lyne Carrington, Riverdance, and others. She has also participated in several festi - vals in Brazil and as part of the Berklee Global Jazz Ambassadors in the Dominican Republic, Panama, and U.S.

Matt Stevens

Born in Toronto, Matt Stevens (guitar) studied piano and guitar at a young age. Since graduating from Berklee College of Music in 2004, he has established himself in the contemporary jazz scene, performing and recording with numer - ous artists, including Christian Scott, Terri Lyne Carrington, and Esperanza Spalding. His performances have been widely praised by the press, and his debut album as a leader, Woodwork , received stellar reviews for its blend of modern jazz and neo-fusion elements. Mr. Stevens has toured extensively in the U.S., Canada, Europe, Asia, South Africa, and South America. He is also a member of the adjunct faculty at the New School, and has taught workshops at Maryland Summer Jazz, University of Southern California, and Berklee College of Music. He currently resides in New York City.

Josh Hari

Josh Hari (bass) is a bassist and producer from Oakland, California, via Guadalajara, Mexico. Influenced heavily by the rich musical tradition of the Bay area, his deep groove and stylistic versatility have made him an in-demand sideman and musical director. His original musical projects have received acclaim from the press, and he has toured as a cultural diplomat for the U.S. State Department. Mr. Hari has worked with diverse artists including Herbie Hancock, Dianne Reeves, Phife Dawg (A Tribe Called Quest), Kool Keith, Amel Larrieux, Goapele, Lalah Hathaway, Kurupt, Michael Kiwanuka, and many more. He has performed at venues in over 34 countries, including the White House, Carnegie Hall, Blue Note, Vienna’s Theatre Antique, and the Royal Library of Alexandria in Egypt. He currently resides in Brooklyn.

American Songbook

In 1998, Lincoln Center launched American Songbook, dedicated to the cele - bration of popular American song. Designed to highlight and affirm the cre - ative mastery of America’s songwriters from their emergence at the turn of American Songbook

the 19th century up through the present, American Songbook spans all styles and genres, from the form’s early roots in Tin Pan Alley and Broadway to the eclecticism of today’s singer-songwriters. American Songbook also show - cases the outstanding interpreters of popular song, including established and emerging concert, cabaret, theater, and songwriter performers.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: pre - senter of artistic programming, national leader in arts and education and com - munity relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educa - tional activities annually, LCPA offers 15 programs, series, and festivals includ - ing American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012.

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Regina Grande, Associate Producer Amber Shavers, Associate Producer, Public Programming Luna Shyr, Senior Editor Nick Kleist, Company Manager Olivia Fortunato, House Seat Coordinator

For American Songbook Rocky Noel, Lighting Design Scott Stauffer, Sound Design Amy Page, Wardrobe Assistant

Rocky Noel

Lighting designer Rocky Noel returns to Lincoln Center’s American Songbook after a world tour with Kristin Chenoweth that culminated at the Sydney Opera American Songbook

House, as well as a 15-city tour with Elaine Paige. Mr. Noel calls New York City home and has worked extensively with artists such as Liza Minnelli, Barbra Streisand, Alan Cumming, Chita Rivera, Christine Ebersole, Stephanie J. Block, and Joel Grey, among countless others.

Scott Stauffer

Scott Stauffer has been the sound designer for Lincoln Center’s American Songbook since 1999; the Actors Fund concerts of Frank Loesser , Broadway 101 , Hair, and On the Twentieth Century ; and Brian Stokes Mitchell at Carnegie Hall. His Broadway credits include A Free Man of Color , The Rivals , Contact (also in London and Tokyo), Marie Christine , Twelfth Night , and Jekyll & Hyde . Off-Broadway Mr. Stauffer has worked on Promises, Hereafter , A Minister’s Wife , Bernarda Alba , Third , Belle Epoque , Big Bill , Elegies , Hello Again , The Spitfire Grill , Pageant , and Hedwig and the Angry Inch . His regional credits include productions at the Capitol Repertory Theatre, University of Michigan, Hanger Theatre, Berkshire Theatre Festival, Chicago Shakespeare Theater, and Alley Theatre. As a sound engineer, Mr. Stauffer has worked on The Lion King , Juan Darién , Chronicle of a Death Foretold , Carousel , Once on This Island , and Little Shop of Horrors (Off-Broadway). UPCOMING EVENTS Jazz at Lincoln Center’s Frederick P. Rose Hall March 2016 April 2016

THE APPEL ROOM ROSE THEATER

Moonglow: The Magic of Benny Goodman Spaces by Wynton Marsalis March 4–5 at 7pm & 9:30pm April 1–2 at 8pm The story of jazz’s first popular integrated band is Composed with the concept of an “animal ballet” told by scriptwriter and seven-time Emmy Award- in mind, Wynton Marsalis’ Spaces will attempt to winner Geoffrey Ward (Ken Burns’ Jazz ), narrated recapture the natural fascination we have with the live by host Wendell Pierce (HBO’s Treme and sounds and movements of animals. Movement is The Wire ), and performed by an ensemble of an essential aspect of both jazz music and natural pianist and music director Christian Sands (in the life itself, and two extraordinary dance geniuses role of Teddy Wilson), drummer Sammy Miller represent this connection in their work: Lil Buck, (Gene Krupa), 20-year-old vibraphone sensation a groundbreaking young artist recently seen with Joel Ross (Lionel Hampton), and a host of special Yo-Yo Ma, Madonna, and Cirque du Soleil; and guest clarinetists. Peter Anderson, Will Anderson, Jared Grimes, a quadruple-threat tap dancer who Patrick Bartley, and Janelle Reichman each take a in 2014 won the Astaire Award and choreo - turn representing the unparalleled voice of Benny graphed on Broadway for After Midnight and Goodman. These unique and informative perfor - Holler If Ya Hear Me . They join the Jazz at Lincoln mances will channel the “King of Swing” and tell Center Orchestra with Wynton Marsalis in the the story of his groundbreaking band. world-premiere of this visually captivating perfor - mance. Aaron Diehl: The Real Deal Free pre-concert discussion, nightly, at 7pm. March 18–19 at 7pm & 9:30pm Pianist Aaron Diehl has been a Jazz at Lincoln Steve Miller: Out of This World Center favorite since he was named “Out- with Jimmie Vaughan standing Soloist” in the Essentially Ellington com - Ma Rainey Meets Miles Davis petition in 2002. He has since toured the world in April 6 at 7:30pm in Rose Theater the bands of Cécile McLorin Salvant, Wycliffe April 9 at 7pm & 9:30pm in The Appel Room Gordon, and more. Now a respected leader and Renowned blues-rock guitarist, multi platinum prolific sideman, the prestigious winner of the selling singer/songwriter, 2016 Rock and Roll Hall 2011 Cole Porter Fellow of the American Pianists of Fame inductee, and life-long jazz fan, Steve Miller hosts a wide-ranging musical-and-beyond Association makes his Appel Room debut as a revue. From his stylized guitar and vocals— leader. These concerts will feature vibraphonist backed by an all-star jazz quintet—to comedy, Warren Wolf, trumpeter Dominick Farinacci, saxo - high energy boogie-woogie, and much more, the phonist Stephen Riley, bassist Paul Sikivie, drum - evening promises a dizzying number of surprises mer Lawrence Leathers, and Jazz at Lincoln and high-level performances. Miller will be joined Center Orchestra saxophonist Joe Temperley. by guitarist Jimmie Vaughan, pianist Shelly Berg, Free pre-concert discussion, nightly, at 6pm & drummer Eric Harland, bassist Yasushi Nakamura, 8:30pm. alto saxophonist Patrick Bartley, and tenor saxo - phonist Craig Handy.

Except where noted, all venues are located in Jazz at Lincoln Center’s Frederick P. Rose Hall, Time Warner Center, 5th floor. Tickets starting at $10. To purchase tickets: Visit jazz.org or call CenterCharge: 212-721-6500. The Jazz at Lincoln Center Box Office is located on Broadway at 60th Street, Ground Floor. Hours: Monday-Saturday, 10am-6pm; Sunday, 12pm-6pm. For groups of 15 or more: 212-258-9875 or jazz.org/groups. For more information about our education programs, visit academy.jazz.org. For Swing University and WeBop enrollment: 212-258-9922. Find us on Facebook (jazzatlincolncenter), Twitter (@jazzdotorg), YouTube (jazzatlincolncenter), and Instagram (jazzdotorg). UPCOMING EVENTS

Jazz at Lincoln Center’s Frederick P. Rose Hall

Christie Dashiell Quartet February 2016 Flip Side Sessions with Allyn Johnson and CV Dashiell The Music of Dexter Gordon: A Celebration March 8 Dexter Gordon Legacy Ensemble 7:30pm with Dezron Douglas, Victor Lewis, Joe Locke, Abraham Burton, and Craig Handy Shenel Johns Quartet February 25–28 Flip Side Sessions 7:30pm & 9:30pm March 8 9:30pm Gerald Clayton Trio featuring Robert Hurst and Jeff “Tain” Watts Helen Sung Quartet Monday Night with WBGO (February 29 only) with John Ellis, Reuben Rogers, and McClenty February 29 – March 1 Hunter 7:30pm & 9:30pm March 9–10 7:30pm & 9:30pm

March 2016 The Linda Oh 5 with Ben Wendel, Dayna Stephens, Fabian Almazan, Tia Fuller Quartet and Justin Brown March 2 March 11 7:30pm & 9:30pm 7:30pm & 9:30pm

Willie Jones III Quintet Dr. Michael White Quartet with Eddie Henderson, Ralph Moore, Eric Reed, and with Seva Venet and Gregg Stafford Buster Williams March 12–13 March 3–6 7:30pm & 9:30pm 7:30pm & 9:30pm New York Youth Symphony: Dedicated to Diz William Paterson University Jazz Orchestra and with special guest Jon Faddis Ensembles with special guest Randy Brecker March 14 March 7 7:30pm & 9:30pm 7:30pm & 9:30pm Sinne Eeg March 15 7:30pm & 9:30pm In deference to the artists, patrons of Dizzy’s Club Coca-Cola are encouraged to keep conversations to a whisper during the performance. Artists and schedule subject to change.

Dizzy’s Club Coca-Cola is located in Jazz at Lincoln Center’s Frederick P. Rose Hall, Time Warner Center, 5th floor New York. Reservations: 212-258-9595 or jazz.org/dizzys; Group Reservations: 212-258-9595 or jazz.org/dizzys-reservations Nightly Artist sets at 7:30pm & 9:30pm. Late Night Session sets Tuesday through Saturday; doors open at 11:15pm Cover Charge: $20 –45. Special rates for students with valid student ID. Full dinner available at each artist set. Rose Theater and The Appel Room concert attendees, present your ticket stub to get 50% off the late-night cover charge at Dizzy’s Club Coca-Cola Fridays and Saturdays. Jazz at Lincoln Center merchandise is now available at the concession stands during performances in Rose Theater and The Appel Room. Items also available in Dizzy’s Club Coca-Cola during evening operating hours. Dizzy’s Club Coca-Cola gift cards now available. Find us on Facebook (DizzysClubCocaCola), Twitter (@jazzdotorg), YouTube (jazzatlincolncenter), and Instagram (jazzdotorg). jazz at lincoln center february family concert: who is frank sinatra? FEB  • PM & PM | ROSE THEATER | JAZZ FOR YOUNG PEOPLE With vocalist Kenny Washington, storyteller Allan Harris, and Andy Farber & His Orchestra

The Jazz for Young People Family Concert is funded through the generosity of Mica and Ahmet Ertegun. cécile mclorin salvant FEB – • PM & :PM | THE APPEL ROOM Vocalist Cécile McLorin Salvant performs for Valentine’s Day weekend monty alexander & friends: frank sinatra at 100 FEB – • PM | ROSE THEATER Pianist Monty Alexander and special guest vocalist Kurt Elling christian mcbride/henry butler, steven bernstein & the hot 9 FEB – • PM | ROSE THEATER An outstanding double bill of two of today’s most exciting and energetic jazz ensembles

Frederick P. Rose Hall Broadway at 60th Street Box O ce: Ground Floor CenterCharge: 212-721-6500 jazz.org jazz at lincoln center march moonglow: the magic of benny goodman MAR – • PM & :PM | THE APPEL ROOM With narrator Wendell Pierce, pianist Christian Sands, drummer Sammy Miller, vibraphonist Joel Ross, plus clarinetists Peter Anderson, Will Anderson, Patrick Bartley, and Janelle Reichman webop family jazz party: sophisticated ladies MAR  • PM & PM | VARIS LEICHTMAN STUDIO Join Ms. Patrice and our WeBop all-star band as we celebrate the sophisticated ladies of jazz. You’ll enjoy WeBop-friendly renditions of the music of Ella Fitzgerald, Billie Holiday, Sarah Vaughan and more with your wee-boppers, including “All of Me” and “Stormy Weather” aaron diehl: the real deal MAR – • PM & :PM | THE APPEL ROOM Pianist Aaron Diehl with vibraphonist Warren Wolf, trumpeter Dominick Farinacci, tenor saxophonist Stephen Riley, bassist Paul Sikivie, drummer Lawrence Leathers, and Jazz at Lincoln Center Orchestra baritone saxophonist Joe Temperley

Frederick P. Rose Hall Broadway at 60th Street Box O ce: Ground Floor CenterCharge: 212-721-6500 jazz.org jazz at lincoln center

Create your own season with any three concerts and save on the best seats today. jazz.org/subs 212-258-9999