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Home , Attila Zoller, Benny Green (pianist), Billy Higgins, Bobby Short, Bob Berg, Carl Jefferson

CAL PERFORMANCES PRESENTS

Columbia Artists Management in association with Festival Productions, Inc. – , producer – presents Newport Festival® 50TH ANNIVERSARY TOUR Friday, March 19, 8 pm, 2004 Zellerbach Hall

starring , , , , clarinet Lea DeLaria, vocals , guitar , bass , drums

The program will be announced from the stage. There will be one intermission.

Tour Staff Barry Bergstrom, company manager Fred Stites, audio engineer and lighting designer Doug Lowry, production assistant Terrie Richards Alden, merchandise Tammy Pitsch, driver

Acknowledgements TourWerks, travel company Country Coaches, Inc., bus company

Newport Jazz Festival is a registered trademark of Festival Productions, Inc., and George Wein; all rights reserved. Columbia Artists Management Inc. Tim Fox, 165 West 57th Street, , NY 10019 Produced in association with Productions, LLC – Bob Kay and Susan Lamborghini

Cal Performances thanks the William and Flora Hewlett Foundation, The Wallace Foundation, and the Zellerbach Family Foundation for their generous support.

C AL PERFORMANCES 1 ABOUT THE ARTISTS ABOUT THE ARTISTS

Newport Jazz Festival® through the 1970s. In 1981, it returned to its Down Beat magazine annual critics’ poll awards Jazz label in February 2003, also featured most- 50th Anniversary Tour origins without abandoning its cosmopolitan for “Rising Star on Trumpet,” was selected by ly original compositions—a rarity for such a With the benefit of a half-century’s hindsight, foothold. Today Festival Productions mounts the Jazz Journalist Association as one of the best young musician. Pelt’s latest release, Close To My it seems almost inevitable. Yet as the “First JVC Jazz Festivals both in Newport and in New emerging stars in jazz, and won the ASCAP Heart on the MaxJazz label, followed in American Jazz Festival” came roaring into the York, along with a host of satellite cities. JVC, a Young Composers Award. Critics have been September 2003 and quickly made it’s way up Newport Tennis Casino on a mid-July weekend global leader in audio and video technology and equally impressed with Pelt—“The hot new the jazz charts. Tony Hall reviewed the CD in in 1954, the now-venerable event was anything products, has become the most important spon- trumpeter has musical personality that fits his Jazzwise (October 2003) and called Pelt but a sure bet. A brain child of nightclub sor in jazz history. Since 1984, JVC has spon- instrument: intrepid, convincing, resolute. The “arguably the most important new trumpet tal- owner George Wein with the backing of sored over 200 festivals and throughout modern hard bob that crackles . . . has the kind ent to emerge since and Nicholas Newport socialites Louis and Elaine Lorillard, the US, Europe, and Asia. The 20th anniversary of vehemence and clarity that make people turn Payton came along at the start of the ‘90s.” the Festival gathered a massive and motley of JVC sponsorship in Newport (the “JVC Jazz their heads” (Village Voice). As an educator, Pelt shares his knowledge group of jazz musicians and enthusiasts togeth- Festival, Newport RI”) coincides with the Born in in 1976, Pelt started and experiences with students at The New er in the summer playground of America’s aris- Newport 50th. The Festival salutes JVC for playing trumpet in elementary school. His pri- School University in New York. tocratic class. Its extraordinary debut was both a their longstanding commitment to this great art mary interest was strictly classical music until shot across the bow of high culture and a shot in form. From an event “fashioned out of orange high school, where he joined the school jazz Cedar Walton (piano) the arm of the jazz world. More than a merely crates and baling wire,” as critic Whitney band and was immediately hooked. After grad- has, over the past successful enterprise, the Newport Jazz Festival® Balliett once colorfully recalled, the Newport uation, Pelt moved to the East Coast to attend decades, become a vir- “opened a new era in jazz presentation,” in the Jazz Festival has evolved into an institution of in Boston, where he tuosic instrumentalist prophetic words of Down Beat magazine. immeasurable influence and international reach. studied film scoring during the day and per- with a unique style and Over the next five decades, history was made The musicians assembled for this commem- formed in local clubs at night. After graduating voice, influencing a repeatedly at Newport, in moments great and orative tour perfectly embody the qualities that from Berklee in 1998, Pelt moved to New York growing number of small. revived a flagging career there have kept Newport vital through the years. As and quickly began playing with many distin- today’s young musi- in 1955, as did the following their biographies indicate, they share a guished artists, including , Nancy cians. He has become year. And virtually everyone else in jazz—from depth of artistry and range of stylistic authority. Wilson, , , Louis part of the foundation of jazz. In a February to , to And age is no factor among such players, any Hays, , Bobby “Blue” Bland, Lewis 2000 review in the Times, music —came to grace the Newport stage, more than race, religion, or creed. So although Nash, , Keter Betts, Charlie Persip, critic Don Heckman wrote “Walton’s solos reaching some of the largest and most receptive we’ve come a long way since the Newport , , the Village Vanguard were virtual instant compositions, sponta- audiences of the era. At the heart of it all was a Casino in 1954, the ensemble taking the stage Orchestra, and bands honoring Cannonball neously assembled into coherent musical conviction articulated early on by Wein. “We tonight will prove Wein’s point once again. Jazz Adderly and Duke Ellington. structures, driven with an urgent sense of want to throw modern, swing, and is still “one big happy family.” And “Newport” Pelt can play anything well, from standards swing, and colorfully sprinkled with often together,” he told the New Yorker in 1954, “even still serves as its common ground. to straight-ahead classic jazz to the more con- whimsical quotes from other tunes.” have the guys playing them together. As long as —Nate Chinen temporary and avant-garde, which is why he Born in , , Walton moved to there’s a common beat, every guy can play solo has also been called to play with exploratory New York in 1955 and was soon playing with [in] his own style. One big happy family.” Nate Chinen is co-author of George Wein’s autobiography Myself jazz performers such as , Roy Lou Donaldson, , , Among Others: A Life in Music (Da Capo). He currently works Wein and his company, Festival Pro- as an editor for AOL City Guides in New York, and frequently con- Hargrove, Ralph Peterson, The Skatalites, Ron and J.J. Johnson. He anchored ductions, Inc., have continued to abide by this tributes to JazzTimes. Blake, , , the famous / Jazztet credo—despite a shifting musical terrain, the Rene Marié, , Soulive, and the from 1960 to 1961. From 1961 to 1965, he ebb and tide of festival fortunes, and innumer- Mingus . He also plays regularly with was a member of ’s influential Jazz able reports of jazz’s obsolescence. Their flagship Jeremy Pelt (trumpet) has fellow young rising stars , Messengers, with and Wayne event, founded as a nonprofit venture, incredible technique, great , and . Still Shorter. After a period as accompanist to came under Wein’s sole proprietorship after a riot stage presence, and enor- in his mid-20s, Pelt has already toured the , Walton recorded briefly with outside the gates shut down the 1960 festival. mous talent for composing United States, France, Spain, Amsterdam, and then worked as the house Peaceful and prosperous during the 1960s, and playing. He is one of Switzerland, , the Virgin Islands, Brazil, pianist for . Wein’s institution spawned a counterpart—the those rare young perform- and Great Britain. Walton performed regularly with the emblematic —before ers who seems like he has After performing on over 20 recordings, ensemble in the early encountering marauders once more in 1971. been around a very long Jeremy Pelt released his debut recording as a 1970s. As leader of the group Soundscapes, he That incident prompted Wein to transport the time, because he loves leader in March 2002—Profile on the Fresh experimented with rhythms and electric event to , where an urban, what he is doing and is very comfortable doing Sound New Talent label—commanding atten- piano. During the 1980s, he co-led the multiple-venue festival model was born. With it. Moreover, he is all about being himself. The tion for his stellar performances and high-energy Timeless All Stars with , title sponsorship from KOOL, then JVC, the jazz industry is well aware of this and has recog- playing as well as for his appealing original com- , , , Newport Jazz Festival New York reigned nized Pelt in many ways. He topped the 2003 positions. Insight, released on the Criss Cross and .

2 CAL PERFORMANCES C AL PERFORMANCES 3 ABOUT THE ARTISTS ABOUT THE ARTISTS

Cedar Walton has had an extensive career as Lew Tabackin (flute Haden. He also toured Japan frequently with Ken tours the globe 12 months a year appearing a recording artist. In 1967, he released Cedar! and saxophone) is an Akiyoshi and her orchestra as well as with his in the top jazz clubs, performing arts centers, with Kenny Dorham, , Leroy artist of astonishing own trio, which included drummer Joey jazz festivals, and symphony halls. Ken’s most Vinnegar, and Billy Higgins for the Original Jazz vision. His electrifying Baron and bassist . recent compact discs are on Koch Records; All Classics label. This was followed with Cedar flute playing is at once During the 1980s, he began to get some This… Vol I and Heaven Too… Vol II were Walton Plays Cedar Walton in 1969 with the same virtuosic, primordial, overdue recognition as a flutist, winning many recorded live in London and released January group. In 1975, he released Eastern Rebellion on cross-cultural, and pas- Down Beat magazine’s critics’ and readers’ 2001 and January 2002. Timeless with , , and sionate. His distinctive polls. In 1982, Tabackin and Akiyoshi moved In addition to his great musicianship, Ken is Billy Higgins, and Eastern Rebellion 2 with Bob tenor sax style includes to New York, which brought him back to the regarded as an extremely entertaining performer. Berg replacing Coleman. That same grouping the use of wide intervals, abrupt changes of Manhattan jazz scene. Since then, he has His warmth, wit, and humor delight audiences. turned out , , and on mood and tempo, and purposeful fervor, all in solidified his position as a major tenor saxo- “When you grow up in Cleveland playing in a the Steeplechase label in 1977. the service of showing the full range of possi- phone and flute artist, both in live concerts Polish polka band, you learn to think fast on The year 1983 saw Cedar Walton – Ron bilities of his instrument—melodically, rhyth- and on recordings. In 1990, Tabackin released your feet,” said Peplowski. Born on May 23, Carter – Jack DeJonette on the Limetree label, as mically, and dynamically. Without copying or his first disc for Concord, Desert Lady, featur- 1959, in Cleveland, Ken first played the clarinet well as Eastern Rebellion 4 on Timeless with emulating jazz greats of the past, Tabackin has ing , , and Victor when he was seven years old. He made local Alfredo Chocolate Armenteros, Curtis Fuller, absorbed elements into his style, ultimately Lewis, followed by the acclaimed I’ll Be Seeing radio and television appearances and played , David Williams, and Billy Higgins. creating his own sound and aura. You with , Peter Washington, and orchestral and jazz before joining In 1985, Walton recorded Cedar for Timeless, Tabackin’s interest in music began in his . In 1994, the same group record- the Tommy Dorsey Band under the direction of and three volumes of The Trio on the Red label birthplace, Philadelphia, where he first studied ed What a Little Moonlight Can Do. Tabackin Buddy Morrow in 1978. While on the road with David Williams and Billy Higgins. Red flute and then tenor saxophone in high school. has also been associated with several all-star with the Dorsey band, he met saxophonist also released another solo album, for He majored in flute at the Philadelphia bands, including George Wein’s Newport All- . “He told me, ‘You can learn from Myself, in 1986. With and Billy Conservatory of Music, receiving a bachelor of Star Band, the New York Jazz Giants, and the everybody, even bad musicians.’ He was right. Higgins, Walton recorded My Funny Valentine music degree in 1962, and studied privately Jazz Band. You learn what to do and what not to do. Even for Sweet Basil in 1991. with composer Vincent Persichetti. After his Tabackin continues to tour the world as a with some of the worst Dixieland bands, I had In 1996 and 1997, the Astor Place label US Army service from 1962 to 1965, Tabackin soloist, playing clubs and jazz festivals with his to learn—or sometimes fake—songs I’d never released Composer and Roots, two CDs on which moved to New Jersey and then to New York, own groups and as a featured soloist with the heard before. Everything can be a positive expe- all the compositions are by Walton. On these where he played first with and Don Jazz Orchestra. In 1996, rience,” says Ken. recordings, Cedar continued to develop his own Friedman and later in the big bands led by Cab Concord released Tenority, the first recording In 1980, Ken moved to New York and was distinctive arranging style. His warm, airy charts Calloway, Les and Larry Elgart, Maynard on which Tabackin concentrates solely on soon playing in diverse musical settings with and the way he contrasts and alternates his Ferguson, , , tenor sax. avant-garde jazz ensembles and symphony piano with the horns is at once unique and and Mel Lewis, , and orchestras. He also began making movie sound- accessible. . During the late 1960s, Ken Peplowski (clar- tracks and commercial recordings. During the In 2001, Cedar signed an exclusive contract Tabackin led a trio at a club called La Boheme inet) has been praised by 1980s, he began recording and performing with with New York-based HighNote Records. His in Philadelphia, in addition to playing in musicians as diverse as Mel Tormé, Charlie first recording for his newfound home, The smaller groups with , Roland music critic John S. Byrd, , , , Promise Land (HighNote Records HCD 7081), Hanna, , and Attila Zoller. In those Wilson as “a clarinetist Hank Jones, Leon Redbone, , features young alto man and a early years, he worked with with a , and Rosemary Clooney. stellar playing standards and and the studio band for Dick Cavett’s televi- tone and a Buddy De- Then, in 1984, Benny Goodman put Walton originals. His second recording, Latin sion show. He also spent some time in Europe, Franco style.” As Ken together a new band to do some touring. Benny Tinge (HighNote Records HCD 7099), features where he was a soloist with various orchestras, was a member of Good- personally auditioned Ken and hired him as a the heavy-duty rhythm section of Cucho including the Danish Radio Orchestra and the man’s working orchestra, the comparison is not tenor saxophonist. “Benny was very demanding Martinez and Ray Matilla and finds Cedar dis- Hamburg Jazz Workshop. surprising. The late Mel Tormé said, “Since the on the musicians and on himself. Generally, if playing a complete command of the Latin In 1968, Tabackin met Toshiko Akiyoshi advent of Benny Goodman, there have been too you respected him and were there to play his idiom—not only with great Latin standards but when the two played together in a quartet. few clarinetists to fill the voice that Goodman music for him, he respected you back. I liked also with a handful of originals. They eventually married and moved to Los left. Ken Peplowski is most certainly one of him a lot, and we got pretty close. Part of the Cedar Walton continues to grow as a musi- Angeles, where they formed the award- those few. The man is magic.” key to unlocking the enigma of Goodman is cian. He could rest on his laurels, but then he winning big band known as the Toshiko Though barely into his 40s, Ken already that he thought about music 24 hours a day…. wouldn’t be the timeless artist that he is. After Akiyoshi Jazz Orchestra. While in Los casts a long shadow in the music world. He has I think he was as great a figure to the clarinet as all, in jazz, there’s no such thing as too much Angeles, Tabackin also played with Shelley 16 solo albums with the prestigious Concord was to the trumpet. He was an exposure. It is only rightly due, and Cedar Manne and with various trios of his own with Jazz recording label. Always a top contender in astounding virtuoso with incredible technique Walton has much more coming. Billy Higgins, , and Charlie Down Beat magazine’s critics’ and readers’ polls, and a thorough knowledge of chords and

4 CAL PERFORMANCES C AL PERFORMANCES 5 ABOUT THE ARTISTS ABOUT THE ARTISTS rhythm; he did a lot of things harmonically that Delightful, It’s Delicious, It’s DeLaria, and As You hear me sing more than talk,” she says. If jazz Peplowski, and the stunning interplay between were way ahead of their time.” Like It for the Williamstown Theatre Festival. lovers get their way, that may well be the rule Alden and special guest on Your In 1988, , the founder and She just finished co-starring in the new Michael from now on. Story – The Music of Bill Evans. Alden also president of , tapped Ken to John LaChiusa production of Little Fish at the teamed up with fellow guitarists record his first solo album, Double Exposure. The Second State Theatre in New York. Howard Alden (guitar) and to record a three-guitar out- title calls attention to his proficiency on both Lea’s film credits include Edge of Seventeen “may be the best of his ing entitled The Concord Collective, clarinet and tenor saxophone. Fifteen albums fol- and The First Wives Club. On television, she has generation,” wrote Owen which was quickly called “an instant classic” by lowed, including The Natural Touch in 1992, for appeared on Friends, The Job, The Drew Carey Cordle in JazzTimes. various critics. which he won Best Jazz Record of the Year at the Show, Further Tales of the City, The Sandra George Kanzler of the Alden’s 1996 recording Take Your Pick, with Prises Der Deutschen Schallplatten Kritick, the Bernhard Show, The Rosie O’Donnell Show, Newark Star Ledger pro- Michael Moor, Bill Goodwin, Lew Tabackin, German equivalent of the Grammys. Politically Incorrect, and the WB’s animated claimed that he is “the and , serves to underline Howard’s Ken resides in New York and has two sons, series The Oblongs. most impressive and cre- wide scope of knowledge of jazz literature. Also Jeffrey and Martin. Lea has performed in concert around the ative member of a new released was a duo recording with Jimmy Bruno world in a variety of venues. At Carnegie Hall, generation of jazz guitarists.” And Chip Deffaa in honor of Concord’s 25th anniversary, and the Lea DeLaria (vocals) she performed a Tribute to Judy Garland, Jazz of the New York Post observed that he is “one of very first Concord recording featuring Herb made her solo album All Stars Salute Sondheim, and in Broadway the very finest young guitarists working today.” Ellis and . Howard can be heard on the debut in May 2001 with Favorites: The Leading Ladies. She has also per- Howard has already won several critics’ poll soundtrack to the 1999 Woody Allen movie Play It Cool for the formed at the Hollywood Bowl and the honors from publications including JazzTimes Sweet and Low Down, starring Sean Penn as a Warner Bros. Jazz label. Newport Jazz Festival. Lea toured Europe per- and Down Beat magazine. legendary jazz guitarist in the 1930s. Howard On it, DeLaria contin- forming at the Montreux and London jazz festi- Born in Newport Beach, California, in played all the guitar solos in the movie and ued to prove herself vals, and was the master of ceremonies for Just 1958, Howard began playing at age 10, and coached Penn on playing the guitar for his role “every inch and ounce for Laughs in the Montreal Comedy Festival. soon he was working professionally around Los in the film. the star,” which is how of DeLaria’s love of music go back Angeles. In 1979, he went east for a summer in The London Observer has this to say about Vincent Canby of The New York Times to her childhood, growing up in St. Louis. “My Atlantic City with , and he contin- Alden’s new solo CD, My Shining Hour: “If described her debut Broadway performance as father made his living as a jazz pianist, so jazz ued to perform with Norvo frequently for sever- there is such a thing as a complete jazz guitarist, Hildy in On The Town. Added Canby, “She can was always playing in our house,” she relates. al years. Upon moving to New York City in then Alden is it. Only a real virtuoso can sustain sing sweetly, she can scat, and she can belt . . . . “He got early on that I was a ham, so he encour- 1982, Alden’s skills, both as soloist and accom- a whole CD of solo guitar with the aplomb he She came close to arresting the show and left the aged me to sing. As a teenager, I sang with him panist, were quickly recognized and sought out displays here.” Howard’s latest CD is a duo audience numb with pleasure.” Meanwhile, the in the clubs in East St. Louis. My dad taught me for appearances and recordings with such artists recording with , In A Mellow New Yorker labeled DeLaria’s voice “lovely,” that, if I was going to be a vocalist, I had to not as , , Joe Williams, Tone, on Concord Records, released in 2003. “knowing” and “transporting,” while Enter- just listen to other singers and the words to the Warren Vaché, and . He has Howard Alden uses Polytone guitar amplifiers. tainment Weekly summed up her arrival with songs, but to the language of music. He made continued to win accolades from critics and the simple words, “A star is born with Lea me listen to Coltrane, Bird, and Miles Davis, musicians alike, adding , Flip Peter Washington (bass) DeLaria.” With the release of Play It Cool, an and he always said, ‘be a musician—never be a Phillips, , , Kenny has staked out a high album as radiantly soulful as it is exquisitely real- chick singer.’ It goes back to the old joke: ‘How Davern, Clark Terry, , and point in the sparsely ized, Lea DeLaria can now easily be described as do you know when a jazz chick singer is knock- , as well as notable contempo- populated territory of “one of the most talked about jazz singers in ing at your door? She doesn’t know when to raries such as Scott Hamilton and Ken master bassists. His years.” DeLaria’s newest recording, Double come in and she doesn’t have her key.’” Peplowski, to his list of impressive credits. strong, imaginative play- Standards, was released last summer, and has For DeLaria, who counts among her musi- Howard Alden has been a ing provides a solid been praised by audiences and critics alike. cal heroes , , and Anita recording artist since the late 1980s. One of the pulse, unique phrasing, In 1998, DeLaria received an Obie Award, O’Day, it was only after she started punctuating many highlights in his fruitful association with and intelligent accompa- a Theatre World Award, and a Drama Desk her stand-up routines with musical interludes Concord Jazz came in 1991 when, at the urging niment, which keeps him in constant demand nomination, and was a Drama League honoree that her career as a vocalist really began to blos- of Concord president Carl Jefferson, Alden for ensemble work. One of the most widely for her portrayal of Hildy in The Public Theater som. “My act was kind of crazy and loud, so recorded with one of his all-time heroes, seven- recorded bassists of his generation, Washington production of On the Town. Other theater cred- what I would do is to give people a break by string guitar master George Van Eps on the is also one of the most traveled, appearing its include starring in The Rocky Horror Show on singing a jazz tune,” she recalls. “What eventu- album Thirteen Strings. As a result of his associ- constantly at clubs, concerts, and the leading Broadway, The Most Fabulous Story Ever Told, ally ended up happening was that my shows not ation with Van Eps, Alden has been playing the jazz festivals across the United States, Europe, L’il Abner for City Center Encores!, the national only reflected whatever was going on in the seven-string guitar exclusively since 1992, evi- and Japan. tour of , Boys from Syracuse for the world at the time, but whatever song I was try- denced on three remarkable follow-up albums Peter was born in Los Angeles in 1964. He Reprise Series (for which she received an ing to learn.” By 1997, the year DeLaria made with Van Eps, his critically acclaimed duo attended the University of California, Berkeley, Ovation nomination), her one-woman show It’s her Broadway debut, “people really wanted to recordings with saxophonist/clarinetist Ken where he majored in English literature and

6 CAL PERFORMANCES C AL PERFORMANCES 7 ABOUT THE ARTISTS ABOUT THE ARTISTS played in both the Youth September Songs: The Music of Wilder, Weill, and On his last tour with Roy Hargrove, thing that has happened with institutional jazz, Orchestra and the University of California Warren with Wesla Whitfield. Karriem performed at The Chicago Jazz including the well-known orchestras at the Symphony. It was at UC Berkeley where he Showcase, where the soulful rap artist Common Smithsonian Institution and first developed an interest in listening to and Karriem Riggins (drums) inspired him to move his musical talents into and The Carnegie Hall Jazz Band, which Wein playing jazz. He was soon freelancing in and was born and raised in the Hip Hop arena. Soon after that meeting, also founded. around the San Francisco Bay Area with John , , where Karriem and Common worked together on sev- Foreseeing the growth of the music indus- Handy, Bobby Hutcherson, Lorez Alexandria, he grew up listening to a eral of Common’s projects. try, Wein pioneered the association of sponsors , Harold Land, , wide variety of musical In spare moments during his intense tour- with music events. Sponsored events began in , , Chris styles, from classical jazz ing schedule, Karriem built a music studio in the 1970s and now include the JVC Jazz Connor, and others. to funk to soul. His Detroit, and began to develop his own style as a Festivals, Mellon Jazz Festival in Pittsburgh and Recruited by Art Blakey to join his leg- love for music—especially music producer. His records as producer include Philadelphia, and Newport Jazz Festival in endary Jazz Messengers in 1988, Washington jazz—was inspired from on Ropeadope Records; Madarao, Japan, to name a few, as well as other moved to New York City and has remained an early age by his parents. Hardly four years Electric Circus, Like Water for Chocolate, and One extravaganzas sponsored by a variety of compa- there ever since. He has been kept busy by a old, he joined his father in the studios for jam Day It’ll All Make Sense with Common on nies from American Express to Playboy. Wein “Who’s Who” of jazz greats, including Bobby sessions, rehearsals, and even recordings. From various labels; Roots’ Phrenology for MCA/ also founded and produces the magnificent Hutcherson, Freddy Hubbard, Benny Golson, these early influences, Riggins created a unique Universal; Trinity with on Capitol Jazz & Heritage Festival. and . Washington spent nine years style and sound as a professional drummer. Records; and Welcome 2 Detroit with Jay Dee for In honor of his diverse and outstanding con- with The Trio, considered by After studying music in Southfield, Michi- BBE (on which he also played drums). Karriem tributions to jazz and world culture, Wein has many to have been one of the classic jazz ensem- gan, Karriem decided to pursue his career as a is creating a major buzz in the industry, and is received numerous awards and commendations bles of the 1990s. professional musician and moved to New York fast becoming one of the hottest and most from heads of state, educational institutions, and Peter Washington has appeared on nearly in 1994. Having just arrived, the 19-year-old sought-after producers around. leading publications. In 1978, 1993, and 1994, 300 recordings. A partial list would include artist joined the band of the legendary Grammy Wein was honored at the White House—first by works by Dizzy Gillespie, Donald Byrd, Tommy Award-winning singer , a.k.a. George Wein (producer) President , on the 25th Anni- Flanagan, Art Blakey, The Carnegie Hall Jazz “Betty Be-Bop.” Then in 1995, trumpeter Roy is the founder and chief versary of the world-renowned Newport Jazz Band, Frank Wess, , Mulgrew Hargrove asked Karriem to join his quintet, operating officer of Festival, and then by President , on Miller, Benny Golson, , Toshiko where he performed for three-and-a-half years. Festival Productions, the 40th anniversary of the Festival. France dec- Akiyoshi, Tom Harrell, , Lew The summer of 1998 saw the beginning of a Inc. Founded in 1962, orated Wein with the Legion d’Honneur and Tabackin, Bobby Hutcherson, , new era in the career of Karriem Riggins, when the company staffs inducted him as a Commandeur de L’Ordre des , , David Sanchez, Regina he joined the trio of bass legend . offices in seven cities and Arts et Lettres. Wein received the 1999 Lifetime Carter, Renee Rosnes, Lewis Nash, , Karriem’s knowledge, humbleness, and uncanny annually produces more Achievement Award for Cultural Innovation as a , and . talent are what Brown saw as his secret to eternal than 1,000 music events part of the annual United Nations International Washington’s 2003 releases included youth. Vibraphonists Bobby Hutcherson and around the world. Wein began his musical Day for Tolerance. Other accolades include hon- Concord Records 30th Anniversary, : The Milt Jackson; pianists , Hank career by studying classical piano at age eight; ors from Urban League, the Essential Album, Playboy Jazz After Dark, Jones, Cedar Walton, and ; and but by the time he turned 15, he had become Institute of Jazz, The Studio Museum in Human Spirit with Mike DiRubbo, State of guitarist Kenny Burrell are just a few of the other dedicated to jazz. Today, the jazz impresario is Harlem, the Rhode Island Heritage Hall of Mind with Dave Ellis, Manhattan Autumn with brilliant artists Karriem has worked with. literally a living repository of the history of jazz Fame, Down Beat magazine, the New School Dave Hazeltine, Second Encounter with Steve Karriem’s recordings as a drummer include from 1948 to the present, and his own group, University in New York, the Berklee College of Hobbs, Music of Thelonious Monk with The The Band and Some of My Best Friends the Newport All-Stars, has toured the United Music, and Rhode Island College. Trio and Joe Temperly, Wide are Trumpet Players with Ray Brown, Family States, Europe, and Japan for decades. George Wein published his memoirs in Horizons with One for All, One4J: Paying with Roy Hargrove, Musicale with , In the 1950s, Wein owned and operated 2003—Myself Among Others—a poignant and Homage to J.J. Johnson with Steve Turre, and and Getting to Know You with Mulgrew Miller. Storyville in Boston, one of the three most rich story of his passionate devotion to jazz for important jazz clubs in the country. He went on over five decades. Anecdotes of George’s person- to create the famous Newport Jazz Festival in al relationships with musical icons like Duke Visit Cal Performances on the Internet 1954. It was the world’s first annual jazz festival, Ellington, Thelonious Monk, Miles Davis, for a sneak preview of the program notes! and it had an immense influence on the presen- Louis Armstrong, and countless others who tation and performance of artists and their have influenced the very definition of an art Complete program descriptions, biographies, and notes music from then on. form punctuate the story of Wein’s creation of are available on-line one week prior to each event. In the late 1960s, Wein founded the New an empire that includes three of the largest and York Jazz Repertory Company, sponsored by longest standing music events in the United www.calperfs.berkeley.edu Carnegie Hall and the State Council on the States and gave birth to the marriage of corpo- Arts. The orchestra was the forerunner for every- rate sponsorship and music festivals.

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