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Home , Billy Drummond, Frank Strozier, George Coleman, Gerald Clayton, Harold Mabern, Helen Sung

04-20 NEA_GP 4/13/15 12:19 PM Page 1

Monday Evening, April 20, 2015, at 7:30

Wynton Marsalis, Managing and Artistic Director Greg Scholl, Executive Director

2015 NEA Masters Awards Ceremony and Concert Honoring the 2015 National Endowment for the Arts Jazz Masters

CARLA BLEY CHARLES LLOYD JOE SEGAL

There will be no intermission during this presentation.

Jazz at thanks its season sponsors: Amtrak, Bloomberg Philanthropies, Brooks Brothers, The Coca-Cola Company, Con Edison, Entergy, HSBC Premier, The Shops at Columbus Circle at Time Warner Center, and SiriusXM.

Jazz at Lincoln Center’s Please make certain your cellular phone, Rose Theater pager, or watch alarm is switched off. Frederick P. Rose Hall jazz.org 04-20 NEA_GP 4/13/15 12:19 PM Page 2

Jazz at Lincoln Center

2015 NEA Jazz Masters Awards Ceremony and Concert

with

NEA JAZZ MASTERS (2015), Keyboards (2009), Drums GEORGE COLEMAN (2015), Saxophone (2003), Saxophone CHARLES LLOYD (2015), Saxophone, Flute

Special Guests CÉCILE McLORIN SALVANT, Vocals , Trumpet IRVIN MAYFIELD, Trumpet IRA SULLIVAN, Trumpet ERIC ALEXANDER, Saxophone RUDRESH MAHANTHAPPA, Saxophone TONY MALABY, Saxophone SOKRATIS SINOPOULOS, Lyra MIKLÓS LUKÁCS, Cimbalom GERALD CLAYTON, Piano HAROLD MAB ERN, Piano STU KATZ, Piano HELEN SUNG, Piano , Bass HANS GLAWISCHNIG, Bass JOE SANDERS, Bass , Bass , Bass , Drums , Drums , Drums RUDY ROYSTON, Drums

Special thanks to Helen and Robert J. Appel, Chairman of Jazz at Lincoln Center’s Board, for their generous support of the NEA Jazz Masters Reception. 04-20 NEA_GP 4/13/15 12:19 PM Page 3

Jazz at Lincoln Center

2015 NEA Jazz Masters Awards Ceremony and Concert

Hosted by Christian McBride

Pre-Concert Music “Serenade to a Bus Seat” (NEA Jazz Master, 1991) Hans Glawischnig, Ingrid Jensen, Rudresh Mahanthappa, Rudy Royston, and Helen Sung

“Filthy McNasty” (NEA Jazz Master, 1995) Hans Glawischnig, Ingrid Jensen, Rudresh Mahanthappa, Rudy Royston, and Helen Sung

Program Welcome from the NEA Jane Chu, Chairman, National Endowment for the Arts

The NEA Jazz Masters Fellowships Irvin Mayfield, Member, National Council on the Arts

“Hello My Lovely” (NEA Jazz Master, 2012) Hans Glawischnig, Rudresh Mahanthappa, Irvin Mayfield, Rudy Royston, and Helen Sung

Welcome from Jazz at Lincoln Center (NEA Jazz Master, 2011), Managing and Artistic Director, Jazz at Lincoln Center

Award Presentation to Carla Bley Presented by Eddie Palmieri (NEA Jazz Master, 2013)

“Ups and Downs” Carla Bley (NEA Jazz Master, 2015) Carla Bley, Billy Drummond, Tony Malaby, and Steve Swallow

(program continued) 04-20 NEA_GP 4/13/15 12:19 PM Page 4

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Award Presentation to George Coleman Presented by (NEA Jazz Master, 2013)

“Lo-Joe” George Coleman (NEA Jazz Master, 2015) Eric Alexander, George Coleman, Joe Farnsworth, , and John Webber

Tribute to NEA Jazz Masters by A.B. Spellman In memory of Buddy DeFranco (1923 –2014), Charlie Haden (1937 –2014), (1923 –2015), (1925 –2014), Horace Silver (1928 –2014), Clark Terry (1920 –2015), (1922 –2014), and (1918 –2014).

“Motherless Child” Traditional Hans Glawischnig, Cécile McLorin Salvant, and Helen Sung

Award Presentation to Charles Lloyd Presented by (NEA Jazz Master, 2010)

“Part 5: Ruminations” Charles Lloyd (NEA Jazz Master, 2015) Gerald Clayton, Eric Harland, Charles Lloyd, Miklós Lukács, Joe Sanders, and Sokratis Sinopoulos

The Role of Jazz Advocates Aaron Dworkin, Member, National Council on the Arts

Award Presentation to Joe Segal Presented by Jimmy Heath (NEA Jazz Master, 2003)

“Dewey Square” Jimmy Cobb (NEA Jazz Master, 2009), Ray Drummond, Jimmy Heath (NEA Jazz Master, 2003), Stu Katz, and Ira Sullivan

Closing Remarks Jane Chu and Christian McBride 04-20 NEA_GP 4/13/15 12:19 PM Page 5

Jazz at Lincoln Center

NEA Jazz Masters (1982 –2014)

Muhal Richard Abrams Jamey Aebersold Charles Lloyd The Marsalis Family (Ellis Jr., Wynton, Delfeayo, Jason, Lorraine Gordon Branford) Charlie Haden Tom McIntosh Kenny Barron Jackie McLean Marian McPartland Carmen McRae Jay McShann James Moody Dan Morgenstern Carla Bley Anita O’Day Jimmy Heath Bob Eddie Palmieri Cleo Patra Brown George Russell Andrew Hill Jimmy Scott Joe Segal Artie Shaw Kenneth Clarke Buck Clayton Horace Silver Jimmy Cobb George Coleman J.J. Johnson Clark Terry McCoy Tyner Buddy DeFranco Jonathan “Jo” Jones Jack DeJohnette Lou Donaldson George Wein Orrin Keepnews Paquito D’Rivera Andy Kirk Harry “Sweets” Edison Joe Wilder Joe Williams Gerald Wilson Nancy Wilson David Liebman 04-20 NEA_GP 4/13/15 12:19 PM Page 6

Jazz at Lincoln Center

Meet the Artists ensembles, including her longtime partner, Steve Swallow. Carla Bley George Coleman One of the premier composers of the last The spectrum of George Coleman’s musical 50-plus years, Carla Bley has written music career extends from playing blues in the for big bands, choirs, chamber orchestras, Beale Street clubs of Memphis to blowing and small combos. Bley’s skills have been in modern jazz on the New York stages. He is demand even outside of jazz, including per - known for a deeply soulful tone in his per - forming and recording with , formances and throughout the fabric of his , and Pink Floyd’s drummer own compositions. He grew up in . Bley’s father, Emil Borg, a Memphis. Intrigued by the music of Charlie church organist and piano teacher, first intro - Parker, Coleman taught himself to play the duced her to music when she was three, alto saxophone. In 1952, at age 17, he got and she first heard jazz when she was 12. his first big break with blues guitarist (and She moved to New York at age 17, working NEA National Heritage Fellow) B.B. King, as a cigarette girl at the jazz club Birdland, touring and recording with him for several where she met pianist , whom she years. Coleman switched to tenor sax when married in 1957. She began writing compo - King needed a tenor man in his band. sitions, which Paul Bley and a number of other musicians began to record. In 1956 Coleman moved to and joined Walter Perkins’ group MJT+3. In In 1964, with her second husband, trum - 1958 he attracted the attention of drummer peter Michael Mantler, she formed the Jazz Max Roach and relocated to Composer’s Orchestra and subsequently to play in his band. In 1959 he joined trom - founded the Jazz Composer’s Orchestra bonist Slide Hampton’s octet, touring Association, an independent record label Europe for the first time and developing his focusing on more avant-garde forms of composing and arranging skills. In 1963 jazz. Bley’s compositions and arrange - Coleman became a part of Miles Davis’ ments reached wider audiences through groundbreaking quintet that included Herbie such recordings as Charlie Haden’s The Hancock, Ron Carter, and . Liberation Music Orchestra . After leaving Davis’ group in 1964, In 1972 Bley and Mantler started a new Coleman freelanced as a composer and record label, Watt. She also began experi - arranger for various musicians, such as menting outside of jazz, joining Jack , , Elvin Jones, and Bruce’s band in 1975, writing all the com - Cedar Walton. He then began to focus on positions for and performing on Nick his own groups, also adding the soprano Mason’s 1981 album Nick Mason’s saxophone to his instrument repertoire. Fictitious Sports , and recording the sound - Coleman continues to perform, usually track to the 1985 film Mortelle Randonnée . with his son George, Jr. on drums. Cole - In 1997 a live production of Escalator over man is also a jazz educator, teaching at the Hill was staged in Germany, then toured Mannes College The New School for Europe the following year. Bley is a recipi - Music, Long Island University, and New ent of a Guggenheim Fellowship for music York University, and conducting master composition (1972) and the German Jazz classes at universities nationwide. In 1997 Trophy “A Life for Jazz” (2009). Bley has he received the Jazz Foundation of toured all over the world and continues to America’s Lifetime Achievement Award, perform and record frequently, both with and in 2012, he was inducted into the her own big band and a number of smaller Memphis Music Hall of Fame. 04-20 NEA_GP 4/13/15 12:19 PM Page 7

Jazz at Lincoln Center

Charles Lloyd Joe Segal Charles Lloyd’s fierce improvisational skills Since 1947, Joe Segal has been pursuing and interest in fusing jazz with non-Western his great love: presenting jazz musicians in musical styles established him as one of performance in Chicago, Illinois. He carries the key figures in the expansion and fur - the distinction of being the city’s longest- thering of the art form. Lloyd began playing tenured jazz presenter, in addition of being saxophone at age nine, mentored by pianist one of the founders of one of Chicago’s Phineas Newborn. His interest in jazz was preeminent jazz organizations, the Jazz cultivated by listening to jazz radio broad - Institute of Chicago, which promotes casts and as a teenager, he immersed him - Chicago’s place in jazz history and endeav - self in the local Memphis music scene, ors to create new audiences for the music. playing with George Coleman, , Harold Mabern, and , Growing up in Philadelphia, Segal listened to and as a sideman for Johnny Ace, Bobby jazz on the radio, which introduced him to “Blue” Bland, Howlin’ Wolf, and B.B. King. the likes of , Fats Waller, and Sidney Bechet. His first live jazz concert In 1956 Lloyd moved to Los Angeles and experiences were big band performances at graduated from the University of Southern the city’s Earl Theater. After high school, California. During this period Lloyd played Segal was drafted into the Air Force and, in Gerald Wilson’s big band while also play - while stationed in Champaign, Illinois, he ing in local clubs with some of the main frequently hopped on the train to Chicago to West Coast jazz musicians Lloyd joined catch live jazz on Randolph Street. After Chico Hamilton’s band in 1960 as the leaving the military, Segal relocated to ensemble’s music director and main com - Chicago to attend Roosevelt University on poser. In 1964 Lloyd left Hamilton’s group the GI Bill. At Roosevelt, Segal joined the to join alto saxophonist Cannonball university’s jazz club in 1947—soon running Adderley, while also securing a deal at afternoon live jazz sessions that featured Columbia to record his own work. By 1965 musicians he had met working at commer - he formed his own quartet, featuring Keith cial jazz venues. The popularity of Segal’s Jarrett, Jack DeJohnette, and Cecil events grew quickly, and big band musi - McBee. Their recording Forest Flower: cians would perform solo on their off-nights, Live at Monterey became one of the first along with other local and visiting artists jazz recordings to sell a million copies. including the legendary Charlie Parker, , and Sonny Rollins. In 1969, at the peak of his career, Lloyd disbanded the quartet and moved back to In 1957, the sessions at Roosevelt ended, Big Sur, California, to focus on his inner life and shortly thereafter Segal began show - and spiritual quest. From 1981 –88, Lloyd casing music at other venues. In the early performed intermittently, until he resumed 1970s Segal opened a spot on Rush Street, touring activities and began recording with the first official Jazz Showcase (its current the ECM label in 1989. He continues to residence is inside the Landmark Dearborn experiment with his music in terms of Station). Engagements usually encom - instruments, musical sources, and collabo - passed five evening performances and a rations. Awards bestowed on the artist special Sunday matinee for kids, a include a “Brass Note” on Beale Street in Showcase tradition that continues to this Memphis in 2012, the Miles Davis Award day. For many musicians, the Jazz from the Festival International de Jazz de Showcase served as a launch pad for their Montreal, Canada, in 2013, and the Alfa individual careers. In 2013 Segal received Jazz Fest International Music Award in an honorary doctorate from his alma mater, 2014. Roosevelt University. 04-20 NEA_GP 4/13/15 12:19 PM Page 8

Jazz at Lincoln Center

National Endowment for the Arts and Jazz

The National Endowment for the Arts was established by Congress in 1965 as an inde - pendent agency of the federal government. To date, the NEA has awarded more than $5 billion to strengthen the creative capacity of our communities by providing all Americans with diverse opportunities for arts participation. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector.

From its earliest days, the National Endowment for the Arts has funded countless jazz organizations across the country, making significant investments in support of jazz con - certs, festivals, education activities, and other programs.

Initiated in 1982, the NEA Jazz Masters Fellowship is the nation’s highest honor given to those who have devoted their lives and careers to jazz, an art form uniquely rooted in American history and culture. Described by The New York Times as a “rare public acco - lade for jazz”, the recipients represent a wide variety of musical distinction, from singers and percussionists, to vibraphonists and saxophonists—all of whom have shaped and advanced the jazz art form through their lifelong commitment. In 2004 the NEA inaugu - rated the A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy, given to an indi - vidual who has made major contributions to the appreciation, knowledge, and advance - ment of the American jazz art form.

The NEA recognizes up to four individuals a year, each receiving a one-time fellowship award of $25,000, and being honored at a public awards ceremony and concert. Fellowships are awarded to living individuals on the basis of nominations from the public. The NEA encourages nominations of a broad range of men and women who have been significant to the field of jazz, through vocal and instrumental performance, creative lead - ership, and education.

The NEA has numerous resources as part of the NEA Jazz Masters program, including:

• Bios and photos of NEA Jazz Masters

• Video interviews with the artists

• Video from past NEA Jazz Masters Awards Concerts

• Podcasts with NEA Jazz Masters and other jazz musicians and writers

• Jazz Moments—1-2 minute audio clips consisting of musical excerpts and short interviews with NEA Jazz Masters and other artists about the Masters’ music and influence on the field.

The podcasts and Jazz Moments are available for radio stations to use free of charge via iTunesU and PRX.

For more information on the NEA Jazz Masters and to make a nomination, visit arts.gov/honors/jazz. 04-20 NEA_GP 4/13/15 12:19 PM Page 9

Jazz at Lincoln Center

The National Endowment for the Arts wishes to thank Jazz at Lincoln Center for its host role with the presentation of the NEA Jazz Masters Awards Ceremony and Concert:

For the National Endowment for the Arts Jane Chu, Chairman Ann Meier Baker, Director of Music & Opera Elizabeth Auclair, Public Affairs Specialist Don Ball, Assistant Director of Public Affairs – Publications Paulette Beete, Social Media Manager Natalie Donovan, Assistant Grants Management Specialist Rebecca Gross, Writer/Editor Latonca Harris, Contracting Officer Victoria Hutter, Assistant Director of Public Affairs – Press Adam Kampe, Media Specialist Jennifer Kareliusson, Division Coordinator David Low, Web Manager Michael Orlove, Artist Communities and Presenting Director Katie Patterson, Division Specialist India Pinkney, General Counsel Josephine Reed, Media Producer Katja von Schuttenbach, Jazz Specialist

Production Credits Michael Leslie, Production Manager Zak Al-Alami, Lighting Director Billy Banks, Production Stage Manager Eugenia Han, Senior Manager, Content Development James Sapione, Video Producer, Iconoscope Productions John Uhl, FOH Engineer Worldstage, Inc., Video Projection Mark Ruffin, Sirius XM, Program Director

Video Tributes 1504 Pictures Tyler Jones, Director and Editor Nicholas Michael, Editor Mark Slagle, Editor Olivia Merrion , Camera Collin James Diederich, Camera Eric Chapman, Sound 04-20 NEA_GP 4/13/15 12:19 PM Page 10

Jazz at Lincoln Center

Jazz at Lincoln Center Robert J. Appel, Chairman of the Board Wynton Marsalis, Managing and Artistic Director Greg Scholl, Executive Director Dwayne Ashley, VP , Development Cat Henry, VP, Concerts and Touring Jason Olaine, Director, Programming and Touring Eric D. Wright, Senior Producer Paul Allen, Director, Foundation and Government Relations Stacie Middleton Crawford, Exec. Producer, Director, Special Events Justin Bias, Assistant Director, Audio and Video Capture Georgina Javor, Manager , DCCC Programming Raynel Frazier, Assistant , Concerts and Touring Tracy Grant, Jazz Masters Artist Coordinator

The National Endowment for the Arts acknowledges the support of Broadcast Music, Inc.® (“BMI®”) in sponsoring the NEA Jazz Masters Reunion Luncheon BMI President & CEO : Mike O’Neill Vice President of Writer-Publisher and Industry Relations: Charlie Feldman BMI Foundation President: Deirdre Chadwick 04-20 NEA_GP 4/13/15 12:19 PM Page 11

Jazz at Lincoln Center’s annual artistic, educational, and archival programs are supported by the following generous contributors:

LEADERS Shahara Ahmad-Llewellyn Dalio Foundation Adam R. Rose and Peter The Jack and Susan The Ammon Foundation Diana and Joe DiMenna R. McQuillan Rudin Educational and Helen and Robert J. Gail and Al Engelberg The Andrew W. Mellon Scholarship Fund Appel Mica Ertegun Foundation Rebecca and Arthur Anonymous Melanie A. Shorin and National Endowment for Samberg The Arnhold Family Greg S. Feldman the Arts Lisa and David T. Schiff Jody and John Arnhold The Ford Foundation Jennifer and Michael Burwell and Chip Schorr Siris Capital, LLC / Robin The Hearst Foundations Price Barry F. Schwartz and Peter Berger Joan and George Hornig Karen Pritzker/ Seedlings Dianne and David J. Stern Jessica and Natan Mady Hornig Foundation Steward Family Bibliowicz The Kresge Foundation Rockefeller Foundation Foundation Lisa and Dick Cashin Ann Tenenbaum and Lisa Roumell and Mark Marlene Hess and James The City of New York Thomas H. Lee Rosenthal D. Zirin

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As of February 16, 2015

Essentially Ellington 20th Anniversary Exhibit On View Now Free and open to the public during scheduled performances

In celebration of the 20th anniversary of Jazz at Lincoln Center’s high school jazz band program, Essentially Ellington (EE), our current exhibit tells the story of the program’s inception and evolution into one of the most innovative jazz education events in the world. In 1995, Jazz at Lincoln Center made a commitment to bring ’s music, in its original form, to high school musicians for study and performance. Twenty years later, Essentially Ellington has served over 3,300 member schools, reaching 566,280 students and distributing over 154,000 scores to schools around the world. The exhibit, located on the fifth floor of Frederick P. Rose Hall, features the photography of Frank Stewart and Lawrence Sumulong and rare video footage from the festival and competition. Please stop by the free exhibit to learn more! 04-20 NEA_GP 4/13/15 12:19 PM Page 15

UPCOMING EVENTS Jazz at Lincoln Center’s Frederick P. Rose Hall April 2015 Wayne Shorter Festival and Dave Douglas Quintet: Sound Prints ROSE THEATER May 15–16 at 7pm & 9:30pm & Taj Mahal Saxophonist Joe Lovano and trumpeter Dave Celebrate Muddy Waters Douglas, prominent bandleaders with highly suc - April 24–25 at 8pm cessful recording careers and distinguished honors, Masters of their instrument and architects of dis - are two leading voices in jazz today. As part of our tinctive styles, guitarist John Scofield and vocal - Wayne Shorter Festival , they will perform with ist/multi-instrumentalist Taj Mahal are each leg - Sound Prints, their Shorter-inspired quintet, concep - ends in their own right. They will collaborate for tualized after their shared time in the SFJAZZ the first time in a centennial celebration of the Collective in 2008. Joined by pianist Lawrence Fields, indelible influence of blues giant Muddy Waters bassist Linda Oh, and drummer Joey Baron, they (1915 –1983), who changed the genre forever and have formed a unique, generationally-vast ensemble permanently impacted rock ‘n roll. Over the span in direct collaboration with Shorter himself. A rare of their prolific recording careers—a combined 80 treat, this homage is a continuum of Shorter’s legacy years—each has garnered the highest honors and as a vanguard of modern jazz, showcasing both new awards. From Mahal’s “World Blues,” which repertoire and Shorter compositions. incorporates influences from New Orleans, the Free pre-concert discussion nightly, 6pm & Caribbean, and Africa, to Scofield’s jazz, rock, and 8:30pm. funk hybrid, this performance is sure to convey the spirit of Waters’ inerasable footprint in history. ROSE THEATER Free pre-concert discussion nightly, 7pm. Wayne Shorter Festival May 2015 Wayne Shorter May 14 –16 at 8pm THE APPEL ROOM At 81 years old, NEA Jazz Master Wayne Shorter is ever-present, remaining one of the most transfor - Michael Feinstein’s Blue Eyed Saloon Songs mative figures in music. Shorter will join the Jazz at May 13 at 7pm / May 14 at 7pm & 9pm Lincoln Center Orchestra with Wynton Marsalis in Songs like “One For My Baby” and “Angel Eyes” celebration of his unique and definitive composi - have become synonymous with quintessential tions, which have placed him heir to modern jazz crooner Frank Sinatra, who possessed an incom - architect as the poet laureate of parable personalization of American popular song. jazz. From bebop to fusion, Shorter’s perpetually Sinatra coined the phrase “Saloon Songs,” which explorative music played pivotal roles in three referred to those songs of unrequited love, sad - essential ensembles: Art Blakey’s Jazz ness, and heartbreak. Jazz and Popular Song series Messengers, Miles Davis’ Second Great Quintet, director Michael Feinstein curates and performs and Weather Report. A nine-time Grammy Award classics meant to be experienced, “with a cigarette winner, Shorter also has one of the most cherished in one hand and a drink in the other,” along with bodies of recorded work, and his broad-spectrum vocalists , Denzal Sinclaire, Kate artistry has resulted in collaborations with artists Davis, and Madelyn Baillio. Like his idols Billie from Milton Nascimento to Joni Mitchell. Now, Holiday and Mabel Mercer, Sinatra is among a with the Jazz at Lincoln Center Orchestra with choice few legendary vocalists whose storytelling Wynton Marsalis, audiences will experience a rare is conveyed through song with vulnerability, ten - reinterpretation of some of Shorter’s most master - derness, and authenticity. ful material, including “E.S.P.,” “Endangered Species,” and “Lost,” to name a few selections.

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 call CenterCharge: 212-721-6500 or visit: jazz.org. 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, Twitter, YouTube, and Instagram. 04-20 NEA_GP 4/13/15 12:19 PM Page 16

UPCOMING EVENTS

Jazz at Lincoln Center’s Frederick P. Rose Hall

MONDAY NIGHTS WITH WBGO April 2015 and the Temple University Jazz Purchase Jazz Orchestra with Band featuring Wycliffe Gordon April 27 special guest 7:30 & 9:30pm Under the Direction of April 20 Gerald Clayton Trio 7:30 & 9:30pm with John Patitucci and April 28 Jackie McLean Institute Student Ensemble 7:30 & 9:30pm led by In Tribute to Closed for Jazz at Lincoln Center’s Annual Gala with Leonardo Catricala, Corey Garcia, Anthony April 29 Davis, Charles Savage, Mike Casey, Nathan Davis, and John Hasselback Joey Alexander Trio April 21 My Favorite Things Album Release 7:30 & 9:30pm with Russell Hall and Sammy Miller April 30 Tito Puente Jr. Band: Tribute to My Father 7:30 & 9:30pm with Willy Rodriguez, Steven Oquendo, Waldo Chavez, Sergio Ramos, Junior Valdez, and Javier May 2015 Fernandez April 22 Joe Temperley and Wess Anderson 7:30 & 9:30pm with Richard Johnson, Willie Jones III, and Yasushi Nakamura Jorge Luis Pacheco Campos Quartet May 1–3 with David Faya Cordova, Otto Santana Selis, and 7:30pm & 9:30pm Reinier Guerra April 23 Dan Nimmer Trio 7:30 & 9:30pm with David Wong and Pete Van Nostrand May 4–5 Luis Salinas: Music of the Americas 7:30pm & 9:30pm with Axel Laugart, John Benitez, and Archie Peña April 24–26 Juilliard Jazz Orchestra: The Music of Duke 7:30 & 9:30pm Ellington May 6–9 7:30 & 9:30pm (7:30 & 10pm on May 6)

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, Twitter, YouTube, and Instagram.