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Home , Barb Jungr, Cleo Laine, Gerald Wiggins, Marilyn Horne, Melissa Errico, Nellie McKay

Thursday Evening, January 21, 2016, at 8:30

Is That All There Is? Remembering

Written and hosted by James Gavin Featuring Spencer Day, Barb Jungr, Nellie McKay, Jane Monheit, and Rebecca Parris The The Program

Mike Renzi, Piano Bob Cranshaw, Bass Craig Holiday Haynes, Drums

This evening’s program is approximately 90 minutes long and will be performed without intermission.

Please make certain all your electronic devices are switched off.

Major support for ’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 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 th e National Sponsor of Lincoln Center

UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM:

Friday Evening, January 22, at 8:30 Loudon Wainwright III

Saturday Evening, January 23, at 8:30

Wednesday Evening, February 3, at 8:30 Craig Finn

Thursday Evening, February 4, at 8:30 The Songs of Todd Almond with special guests Courtney Love and Sherie Rene Scott

Friday Evening, February 5, at 8:30 Janis Ian

S aturday Evening, February 6, at 8:30 Jerry Dixon & Mario Cantone

Wednesday Evening, February 17, at 8:30 Foreigner: The Hits Unplugged

Thursday Evening, February 18, at 8:30 A Coffin in Egypt: An -in-Concert featuring

The Appel Room is located in Jazz at Lincoln Center’s Frederick P. Rose Hall.

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 infor- mation.

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

Beneath the Veneer of Cool, a Frail Humanity By James Gavin

Peggy Lee cast a spell when she sang. She hypnotized, even on television. Lee epitomized cool, but her signature song “Fever,” covered by Beyoncé and , sizzles with sexual heat. She never had to shout to make her point; in Lee’s musical language, silence spoke as loudly as sound. Hers was a sweet, husky bed- room voice that beckoned you closer. “When I get very quiet and very intense,” Lee explained, “the power goes right through.” Her jazz sense and swing feel dazzled , , and . Grady Tate, her longtime drum- mer, placed Lee on the pedestal occupied by her idol, . “Peggy had that nasty, laid-back, demented, sultry, incredibly funky sound that Lady Day had,” Tate said. “But it was Lady with another Lady on top of it.”

Recent generations may love her best for her Grammy-winning 1969 classic “Is That All There Is?,” an anthem of existential angst

Note on the Program the on Note by Jerry Leiber and Mike Stoller. Lee’s recording was arranged, at her insistence, by a then-unknown . But her talents went far beyond singing. In 1955 she earned an Oscar nomination for her performance in Pete Kelly’s , in w hich she played an alcoholic torch singer who goes insane. That same year, Walt Disney released its animated classic Lady and the Tramp, to which Lee contributed four character voices and a half-dozen lyrics—a crowning achievement for an artist who was a singer-songwriter before the term existed.

Peggy Lee was born in 1920 as Deloris Egstrom, a name as flat as the Jamestown, , landscape from which she sprang. “I was a weird little child with a tremendous imagina- tion,” she recalled. Her best childhood friend, Artis Conitz, added: “She came up out of nowhere. She made a lot out of nothing.” By 1941, Lee was singing with the King of Swing, . From the late ’40s onward she reigned at the country’s top supper clubs, including Ciro’s, Basin Street East, and the Empire Room fo the Waldorf-Astoria hotel. Audiences saw a blonde seductress with a mermaid’s figure, a vixen’s smile, and the ability to control the stage like a puppeteer. Characters materialized with each song. In “,” she became a barroom vamp on the make. “I’m a Woman” cast her as an indomitable, sexy house- wife. “What Is a Woman?,” “An Empty Glass,” and the Carpenters hit “Superstar” found her evoki ng faded women whose last chances at love had fled. American Songbook I Note on the Program

With time, Lee grew ever stranger and more contradictory. Onstage she epito- mized cool control, but inner turmoil wracked her. She spun a romantic nirvana in her songs, yet couldn’t sustain one in reality. Late in life, a woman plagued by illness and frailty won a two-and-a-half-year battle against Disney in a landmark case over unpaid royalties. By now she looked like a bizarre fallen angel: a shapeless blur of ghostly, gleaming white, from her snowy Cleopatra wig to her feathered silk robe. Lee claimed a special line to God and declared she would never die. She finally did in 2002.

For all her crises and self-destructiveness, Lee is no downtrodden Billie Holiday to the public. Instead she seems tough, sexy, and victorious. The fascination with her has only grown. Lee’s voice keeps turning up like a tenacious ghost in movies, commercials, and television shows. “Is That All There Is?” was featured last spring in the final season of Mad Men. Nearly all of her 50-plus original albums have been reissued. In 2007 record producer Mark Vidler made a mashup of “Fever” and ’s “The Passenger.” Lee’s breakthrough single, “Why Don’t You Do Right?,” recorded in 1942 with Benny Goodman, was sampled in the 2010 No. 1 UK dance hit “Why Don’t You?” by Serbian DJ Gramophonedzie.

Vocally, Lee left her mark on many singers. “I love everything about her,” said . “She is one of the greatest influences in what I do as an artist.” , , k.d. lang, Jane Monheit, and have all acknowledged her influence. “I knew I could nev er sound like her, but I wanted to,” said .

Today, when commercial pop is overrun by a fleet of Auto-Tuned robots, lip- syncing onstage to their own vocal tracks and lost onstage without smoke and mirrors, the achievement of Peggy Lee—who sang unaided by anything but musicians, lighting, and a microphone, and who exposed her heart at every show—seems even grander in its humanity. In to night’s show, five singers, all distinct from one another and from Peggy Lee, will conjure up the many sides of an uncategorizable, eternally haunting American original.

James Gavin is author of Is That All There Is?: The Strange Life of Peggy Lee, now in paperback from Atria Books/Simon & Schuster.

—Copyright © 2016 by James Gavin American Songbook I Meet the Artists © MICHAEL CHILDERS

James Gavin

Meet the Artists the Meet James Gavin is the author of four books and dozens of New York Times features; he is also a worldwide public speaker, a Grammy nominee, and a two-time recipient of ASCAP’s Deems Taylor/Virgil Thomson Award for excellence in music journalism. His most recent book, Is That All There Is?: The Strange Life of Peggy Lee (Atria Books/Simon & Schuster), drew crit- ical praise, as did his previous ones: Intimate Nights: The Golden Age of New York Cabaret, Deep in a Dream: The Long Night of Chet Baker, and Stormy Weather: The Life of . The city that made Horne famous, , honored Mr. Gavin with a proclamation in 2010.

Born in and a graduate of Fordham University, Mr. Gavin is a much-published freelance journalist; his work has appeared in Vanity Fair, Time Out New York, the Daily Beast, and TV Guide, as well as the Times. His subjects have included Annie Lennox, Elizabeth Taylor, , John Legend, John F. Kennedy Jr., Miriam Makeba, Marilyn Monroe, Mae West, Ned Rorem, Edith Piaf, Karen Carpenter, and . He has contributed liner notes to over 400 CDs; his Grammy nomination came for an essay in the box set Ella: The Legendary Decca Recordings, released on GRP.

Mr. Gavin has appeared in several documentaries, including the E! True Story on and Anita O’Day: The Life and Times of a Jazz Singer. He has made hundreds of radio appearances, including multi- ple interviews on NPR, the BBC, and Australia’s ABC Network, and has been seen on the Today show, Good Morning America, and PBS NewsHour. Mr. Gavin is currently touring as narrator, host, and author of Stormy Weather: The Life and Music of Lena Horne, a show that stars for- mer Supreme Mary Wilson. American Songbook I Meet the Artists

Spencer Day

Widely regarded for his original songs that blend compelling melodies, smart lyrics, and lush arrangements, Spencer Day has appeared in places as diverse as Birdland (New York), the , Jazz Alley (Seattle), the Kennedy Center (Washington, D.C.), Tanglewood Music Center, the Pacific Rim Jazz Festival (Manila), and, on television, The Late Late Show with Craig Ferguson. His latest and fifth album, Daybreak, won criti- cal praise.

Raised in the small town of Pinetop, Arizona, by his mother, an accomplished music teacher and soprano, Mr. Day found inspiration in the works of Cole Porter, George Gershwin, , Joni Mitchell, Paul Simon, and many oth- ers. A tipping point came in 2007 when he was asked to perform at the San Francisco Jazz Festival, which led to many requests to headline in music venues including Yoshi’s in San Francisco and Oakland, California; the ; and the Hollywood Bowl. In he has earned rave reviews for performances at Town Hall, Joe’s Pub, and the Canal Room. He has also headlined internationally in England, Japan, Australia, and .

Barb Jungr

Renowned for her unique vocal style, probing song interpretations, and radical approach to arrange- ments, Barb Jungr has won rave reviews for her live performances and recordings such as Every Grain of Sand: Barb Jungr Sings (Linn Records). In 2014 her album Hard Rain—The Songs of Bob Dylan and (Kristalyn Records) won the BroadwayWorld

STEVE ULLATHORNE Cabaret Award for Best CD Release. She has also received two presti- gious New York awards: the 2008 Nightlife Award for Outstanding Cabaret Vocalis t and the Best International Artist 2003 Backstage Award.

In 2015 Ms. Jungr appeared as a guest artist at the Cabaret & Performance Conference at the Eugene O’Neill Theater Center in Connecticut. She also per- formed with Grammy and Emmy winner John McDaniel at the Edinburgh American Songbook I Meet the Artists

Festival, and recorded her eighth release for Linn Records in collaboration with Grammy-winning pianist .

Ms. Jungr’s credits as a writer and lyricist include The Jungle Book (Birmingham Stage Company), The Fabulous Flutterbys (Little Angel Theatre), and Cinderella, Beauty and the Beast, and Dick Whittington for the Corn Exchange, Newbury. Currently ba sed in London, she is artistic director of the Deep Roots Tall Trees project in Corby, England. In 2013 she co-adapted the bestselling book We’re Going on a Bear Hunt with Peter Glanville, writing the songs and music for the show that premiered at London’s Little Angel Theatre and toured the UK that autumn. Ms. Jungr also performed a sellout season at London’s Crazy Coqs cabaret. She was a featured voc alist in the highly praised recording of Robb Johnson’s Gentle Men, and was a patron of the first-ever London Festival of Cabaret. Ms. Jungr has toured Australia and performed regularly across the U.S., including several engagements at Café Carlyle and Joe’s Pub in New York, Catalina’s in Los Angeles, and the Rrazz Room in San Francisco.

Nellie McKay

For her 2015 album, My Weekly Reader, singer-songwriter Nellie McKay collaborated with famed Beatles engineer Geoff Emerick, with whom she had also worked on her 2004 Columbia debut, . Ms. McKay has appeared in the award-winning Off-Broadway hit Old Hats and written and per- formed three critically praised musi- cal biography shows: I Want to Live!,

RICK GONZALEZ the story of convicted murderer Barbara Graham; Silent Spring— It’s Not Nice to Fool Mother Nature, an exploration of environmental pio- neer Rachel Carson; and her latest, A Girl Named Bill: The Life and Times of Billy Tipton.

Ms. McKay’s other albums include Pretty Little Head, Obligatory Villagers, and Normal as Blueberry Pie. She won a Theatre World Award for her portrayal of Polly Peachum in the Broadway production of and appeared in the films P.S. I Love You and Downtown Express. She wrote music for the Rob Reiner film Rumor Has It and contributed to the Emmy- winning documentary Gasland. Ms. McKay’s music has also been heard on television shows such as Mad Men, Boardwalk Empire, Weeds, and Grey’s Anatomy. Her writing has appeared in Interview and Book Review. American Songbook I Meet the Artists

A recipient of a People for the Ethical Treatment of Animals Humanitarian Award in recognition of her dedication to animal rights, Ms. McKay is also a vocal advocate for feminism and civil rights.

Jane Monheit

Grammy-nominated vocalist Jane Monheit has been a leading light in both the jazz and cabaret worlds since emerging as a finalist in the Institute of Jazz’s 1998 vocal competition. In addition to her own recordings, she has worked alongside the likes of Terence Blanchard, , and Ivan Lins. Her acclaimed 2013 album, The Heart of the Matter, was

MATTHEW HOLLER the result of an especially satisfying collaboration with Grammy-winning producer Gil Goldstein, who had previously worked with such giants as , Gil Evans, and Pat Metheny. He and Ms. Monheit first joined forces on her 2009 album, The Lo vers, the Dreamers and Me.

Ms. Monheit’s for Brazilian music colors a wide swath of The Heart of the Matter, her ninth studio album, particularly in the two selections written by Lins and sung in Portuguese. The diverse and very personal set of songs also includes familiar standards and compositions by and Paul McCartney, Randy Newman, and, for the first time, Ms. Monheit herself.

Rebecca Parris

Bo rn in Massachusetts to a family of musicians and educators, Rebecca Parris has performed since the age of six, mostly in musical theater. She attended the Boston Conservatory and started her professional career in music by working with various Top 40 bands in the Northeast. When she discovered that she preferred singing jazz, Ms. Parris embarked upon a career in the jazz world. She

SUSAN WILSON has performed all over the world with her own groups, as well as with jazz legends like , , , Terry Gibbs, American Songbook I Meet the Artists

David “Fathead” Newman, Norman Simmons, Harold Jones, , Gerald Wiggins, Bill Cunliffe, Buster Cooper, and Nat Pierce.

Her latest release, You Don’t Know Me (on the Saying It with Jazz label), fea- tures standards performed with her longtime trio: pianist Brad Hatfield, bassist Peter Kontrimas, and drummer Matt Gordy. Ms. Parris’s previous releases include her all-ballad CD My Foolish Heart, The Secret of Christmas, A Beautiful Friendship with the Kenny Hadley , Double Rainbow with pianist Eddie Higgins and saxophonist Michael Monaghan, and Love Comes and Goes.

Ms. Parris’s other passion is teaching. Her lessons and workshops focus on technique, performance, and the business side of music, as well as lyric deliv- ery and scat/improvisation.

Mike Renzi

A heavily in-demand accompanist in pop-jazz since the 1970s, Mike Renzi (piano) is currently musical director for . He has played the same role for Peggy Lee, Mel Tormé, Lena Horne, Cleo Laine, Maureen McGovern, Jack Jones, Alan Bergman, and Sylvia Syms, among many others. Born in Providence, Rhode Island, Mr. Renzi studied piano at the Boston Conservatory and composition at the Berkle e College of Music. Encouraged by composer —who had heard him in concert with Syms at New York’s Town Hall—Mr. Renzi moved to Manhattan in 1976. In 1983 he played for Peggy Lee in Peg, her short-lived one-woman Broadway autobiographical show. Mr. Renzi continued on as her accompanist and musical director until Lee’s final New York appearance, a 1995 JVC Jazz Festival concert at . They collaborated on three CDs: Miss Peggy Lee Sings the Blues, The Peggy Lee Songbook: There’ll Be Another Spring, and Moments Like This. Mr. Renzi has served as musical director for several gala tribute shows at Carnegie Hall, including salutes to (1995), Ella Fitzgerald (1996), Marilyn and Alan Bergman (1997), (1997), Alan Jay Lerner (2000), and Peggy Lee (2003). He did t he same for an 80th-birthday salute to Lena Horne at Avery Fisher Hall (1997). He is a seven-time Daytime Emmy–winning composer of soundtrack music for such shows as Sesame Street and All My Children.

Bob Cranshaw

For over five decades, Bob Cranshaw (bass) has been the bassist of choice for saxophonist . His career also encompasses extensive recorded work on the Blue Note, Prestige, and Impulse! record labels during the and collaborations with Dexter Gordon, Milt Jackson, Jimmy Heath, Wes Montgomery, Lee Morgan, , Stanley Turrentine, McRae, and countless other modern jazz greats. He plays on three tracks of Paul Simon’s top-ranked album There Goes Rhymin’ Simon. American Songbook I Meet the Artists

Craig Holiday Haynes

A 35-year member of the Sun Ra Arkestra, Craig Holiday Haynes (drums) has also played with Barry Harris, Chief Bey, George Benson, Jimmy Heath, Stanley Jordan, Geri Allen, John Hicks, Gloria Lynne, , , and Gladys Knight. He is part of a musical family that includes two other drummers: his father, bebop pioneer , and his nephew, Marcus Gilmore.

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 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 including 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 , 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. American Songbook

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 Kate Monaghan, Associate Director, Programming Charles Cermele, Producer, Contemporary Programming Mauricio Lomelin, Producer, Contemporary Programming Reg ina Grande, Associate Producer Luna Shyr, Programming Publications Editor Nick Kleist, Company Manager Olivia Fortunato, House Seat Coordinator

For American Songbook Matt Berman, Lighting Design Scott Stauffer, Sound Design Amy Page, Wardrobe Assistant

Matt Berman

Matt Berman is the resident lighting designer for Lincoln Center’s American Songbook. He continues his design work for Kristin Chenoweth, Liza Minnelli, , Brian Stokes Mitchell, Lea Salonga, and Elaine Paige on the road. Through his work with ASCAP and several U.S.-based charities, Mr. Berman has designed for a starry roster that includes Bernadette Peters, , Reba McEntire, Melissa Errico, Deborah Voigt, Michael Urie, , India Arie, Garth Brooks, Billy Joel, and . His international touring schedule ha s allowed him to design for iconic venues such as , the Paris Opera, the Olympia theater in Paris, Royal Theatre Carré in Amsterdam, the Sporting Club in Monte Carlo, the Acropolis, the famed amphitheater in Taormina, Sicily, Luna Park in Buenos Aires, and the Sydney Opera House. Closer to home, he has done work for the Hollywood Bowl, Alice Tully Hall, and Carnegie Hall. Mr. Berman’s television work includes Chenoweth’s recently released special, Coming Home, as well as seven Live From Lincoln Center broadcasts, and the Tony Award–winning Liza’s at the Palace, which he also designed for Broadway. Other Broadway credits include on Broadway, Nancy LaMott’s Just in Time for Christmas, and Kathy Griffin Wants a Tony at the Belasco Theater.

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 American Songbook

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 pro- ductions at the Capitol Repertory Theatre, University of Michigan, Hanger Theatre, Berkshire Theatre Festival, 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). jazz at lincoln center january fred hersch & friends: intimate moments JAN ˆ‰–ˆ‹ • ŽPM & ’:“”PM | THE APPEL ROOM Pianist Fred Hersch joined by pianist Sullivan Fortner, clarinetist Anat Cohen, guitarist Julian Lage, and vibraphonist Stefon Harris jazz in the key of life JAN ˆ‰–ˆ‹ • ™PM | ROSE THEATER Jazz at Lincoln Center Orchestra with and music director Vincent Gardner plays the music of Stevie Wonder, , and more our love is here to stay: the george gershwin songbook JAN œ™–“” • ™PM | ROSE THEATER Jazz at Lincoln Center Orchestra with Wynton Marsalis charles lloyd & the marvels featuring bill frisell JAN œ’–“” • ŽPM & ’:“”PM | THE APPEL ROOM NEA Jazz Master saxophonist Charles Lloyd with guitarist Bill Frisell, drummer Eric Harland, pedal steel guitarist Greg Leisz, and bassist Reuben Rogers

Frederick P. Rose Hall Broadway at 60th Street Box Oce: Ground Floor CenterCharge: 212-721-6500 jazz.org UPCOMING EVENTS

Coca-Cola Generations in Jazz Festival Jazz at Lincoln Center’s Frederick P. Rose Hall

René Marie January 2016 with John Chin, Elias Bailey, and Quentin Baxter January 21–24 Joey Alexander Trio 7:30pm & 9:30pm with Dan Chmielinski and Ulysses Owens, Jr. January 15–17 Ramón Valle Trio 7pm & 9pm with Omar Rodriguez Calvo and Liber Torriente January 25 New Century Jazz Quintet 7:30pm & 9:30pm with Benny Benack, Tim Green, Takeshi Ohbayashi, Yasushi Nakamura, and Ulysses Owens, Jr. Emilio Solla & La Inestable de Brooklyn January 18 with John Ellis, Tim Armacost, Alex Norris, Ryan 7:30pm & 9:30pm Keberle, Meg Okura, Julien Labro, Jorge Roeder, and Eric Doob Eric Legnini Trio January 26–27 Co-presented by French Quarter 2016 7:30pm & 9:30pm with Thomas Bramerie January 19 Quintet 7:30pm The Great American Songbook Part 1: Honoring (Jan 28) Hugh Coltman: Part 2: Honoring (Jan 29) “Shadows—Songs of Nat King Cole” Part 3: The New Standards (Jan 30) Co-presented by French Quarter 2016 Part 4: Audience Pick! (Jan 31) with Thomas Naim, Gael Rakotondrabe, Christophe With Ehud Asherie, David Wong, Aaron Kimmel, Mink, and Raphael Chassin Terell Stafford (Jan 28–29 & 31), and Houston January 19 Person (Jan 30) 9:30pm January 29–31 7:30pm & 9:30pm Trio The Conduct of Jazz Album Release Party with Michael Bisio and Newman Taylor Baker January 20 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 † • ˆPM & ‹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 ˆ”–ˆ– • —PM & ˜:‹™PM | THE APPEL ROOM Vocalist Cécile McLorin Salvant performs for Valentine’s Day weekend monty alexander & friends: frank sinatra at 100 FEB ˆ”–ˆ‹ • ›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 Oce: Ground Floor CenterCharge: 212-721-6500 jazz.org winter 2016 swingg university Sign up now for jazz courses curated by legendary instructor Phil SchaapS , including Jazz 101, Horace Silv ver, and Ragtime. Enroll today! Save 15% with promo code SWINGU15W 212-258-9922 jazz.orgg/swingu

Jazz at Lincoln Center gratefully acknowledges The Fund for its leadership support of programming in the Irene Diamond Education Center.