Wednesday Evening, February 24, 2016, at 8:30 m a r

g Swimming in Dark Waters— o

r Other Voices of the American P

Experience e h

T Featuring , Leyla McCalla & Bhi Bhiman

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.

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 APPEL ROOM:

Thursday Evening, February 25, at 8:30 La Santa Cecilia

Friday Evening, February 26, at 8:30 Charles Busch: The Lady at the Mic A cabaret tribute to Elaine Stritch, Polly Bergen, Mary Cleere Haran, Julie Wilson & Joan Rivers

Saturday Evening, February 27, at 8:30 Terri Lyne Carrington’s Mosaic Project: Love & Soul featuring Valerie Simpson & Oleta Adams

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

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

The Rallying Cry of Protest Songs By James Reed m a There is just one thing r I can’t understand, my friend. g Why some folk think freedom

o Was not designed for all men. r

P When Pops Staples wrote those words in 1965, he could never have known that they would remain relevant some 50 years later. He likely hoped they

e wouldn’t. Recorded by the Staple Singers, live in a church and with the quak -

h ing fervor of a tent revival, “” rang out as a missive shot

t straight from the heart of the civil rights movement.

n The song was inspired by 1965’s freedom marches from Selma to

o Montgomery, Alabama, during which hundreds made the 50-mile trek to rally

for voting rights for African Americans. Enduring deadly clashes with police,

e troopers, and angry mobs, they completed their journey on the third attempt. t “Freedom Highway” has since become not just an anthem of that historic

o moment, but rather a testament to the power of music to document and pre - serve our culture from disparate perspectives. N

Swimming in Dark Waters—Other Voices of the American Experience is firmly aligned with that mission. The performance’s title evokes the notion of survival, of keeping one’s head above water at uncertain times when that seems impossible. It presents songs—of resistance, of uplift, of heartache— that don’t merely advocate for change: They celebrate it.

Bolstered by her acclaimed debut solo album, last year’s Tomorrow Is My Turn , Rhiannon Giddens casts a curatorial eye on slavery narratives and brings them into the 21st century with a fresh perspective. Cellist Leyla McCalla burrows into the history of Louisiana’s musical traditions and, in a direct link to her lineage, Haitian protest songs. And Bhi Bhiman, raised in St. Louis as the son of Sri Lankan immigrants, infuses his topical songs with caustic wit reminiscent of .

Together, this evening’s artists connect the dots across genres and genera - tions, revealing that songs of freedom have deep roots that extend to mod - ern times. Assembled by Giddens, who first made her name with the Carolina Chocolate Drops, the performers are hell-bent on challenging our common assumption of who’s a singer-songwriter and what a protest song should accomplish.

Be honest: Who comes to mind when you think of a singer-songwriter? Is it Bob Dylan and Joni Mitchell, or perhaps James Taylor and Neil Young? Why don’t we consider Bob Marley, Buffy Sainte-Marie, or even Stevie Wonder American Songbook I Note on the Program

as such? They, too, reflected their times, but through the prism of their expe - rience, their own skin color.

“The idea was to put a show together to talk about the American voice—what is it and who represents it,” Giddens says. “Well, it’s everybody in America, but we tend to focus on one slice. So this is an attempt to put the focus on a different slice. There are a lot of great singer-songwriters of color who don’t get thought about as much as they should.”And what about the protest song? It’s Pete Seeger or Joan Baez leading the masses in a chorus of “We Shall Overcome” or Phil Ochs declaring, “I ain’t marching anymore,” right? (Ochs once famously quipped, “A protest song is a song that’s so specific that you cannot mistake it for BS.”)

Sure, but it’s also Billie Holiday startling audiences with “Strange Fruit”: “Black bodies swingin’ in the Southern breeze/Strange fruit hangin’ from the poplar trees.” It’s also Sam Cooke promising that “A Change Is Gonna Come” in 1964, and Marvin Gaye offering proof with “What’s Going On?” that, in fact, hadn’t come by the early 1970s. We’re living in a fertile time for protest music. Last year alone ignited a wave of artists dissecting bitter truths learned in places such as Ferguson, Missouri, Baltimore, and Charleston, South Carolina. With jarring frequency, headlines tell of grim realities across the country: police brutality (almost always against black Americans), mass shootings, the rise of a presidential candidate who openly calls for banning Muslims from entering the U.S.

Musicians responded the only way they could—in song. Taken from his widely praised album “To Pimp a Butterfly,” rapper Kendrick Lamar’s “Alright” became a battle cry of the Black Lives Matter movement. “We gon’ be alright,” he assured us, and we believed him. In “Hell You Talmbout,” it took R&B superstar Janelle Monáe more than six harrowing minutes to recite the names and thereby honor all the African Americans who were killed or wounded by police last year.

Heartsick about a racially motivated shooting at a South Carolina church, singer-songwriter Peter Mulvey wrote “Take Down Your Flag,” urging the state to lower the Confederate flag flying at its capitol building; it eventually did. Giddens was so devastated in the wake of that same massacre that she also composed a call to action. With just a hand drum, her resonant voice, and a choir echoing her words, “Cry No More” rattled the rafters of the church where she filmed the video. “I think we all have something to say,” Giddens says, “and it’s our responsibility to say it.”

James Reed, a former music critic at the Boston Globe, writes about the arts and lives in Boston.

—Copyright © 2016 by Lincoln Center for the Performing Arts, Inc. American Songbook I Meet the Artists s t s i t r A

e B O R T N h I E t W

L

E A H t C I M e

e Rhiannon Giddens

M Best known as a member of the Grammy-winning Carolina Chocolate Drops (CCDs), Rhiannon Giddens stole the show at a 2013 concert curated by T Bone Burnett at New York’s Town Hall. Afterward, Burnett produced her 2015 solo debut record, Tomorrow Is My Turn , which deftly incorporates folk, jazz, gospel, and the .

Reviving, interpreting, and recasting traditional material from a variety of sources has been central to Ms. Giddens’s career, especially in her groundbreaking work with the CCDs. With their two Nonesuch albums, (2010, Grammy winner) and Leaving Eden (2012), the CCDs have shared the role African-American performers and songwriters played in U.S. folk-music history, while making recordings that are vital, contemporary, and exuberant. Iconic choreographer Twyla Tharp was so entranced by their work that she created Cornbread Duet , a dance piece set to a suite of songs by the CCDs that had its world premiere at the Brooklyn Academy of Music.

Ms. Giddens’s journey, in a larger sense, began in the Piedmont region of North Carolina, where she was raised—an area with a rich legacy of old- time music, black and white, that she would explore in depth after college. While studying opera at Oberlin Conservatory of Music, Ms. Giddens began to do contra-dance calling on the weekends. At first a playful musi - cal detour, it prefigured the unique course her career would take. She met her original CCDs bandmates at 2005’s Black Banjo Gathering in Boone, North Carolina, and got schooled in the Piedmont’s traditional music by Joe Thompson, an elderly African-American fiddle player who passed on to Ms. Giddens and her cohorts many of the songs that would make up their early repertoire. American Songbook I Meet the Artists

Leyla McCalla

Leyla McCalla finds inspiration from a variety of sources, whether it is her Haitian heritage, living in New Orleans, or dancing at Cajun Mardi Gras. A multi-instrumentalist, Ms. McCalla is a cellist and singer whose distinctive sound is impossible to replicate. Her music reflects her eclectic and diverse

life experiences. Born in T

T to Haitian emigrant parents, she was

O

R

A raised in suburban New Jersey, then

N

E L

E relocated as a teenager to Accra, , for two years. Upon her return, Ms. McCalla attended Smith College before transferring to , where she studied cello performance and chamber music. She moved to New Orleans to play cello on the streets of the French Quarter.

The move signaled a journey of musical and cultural discovery, with New Orleans becoming home for Ms. McCalla. Most recently, she has been explor - ing on cello the fiddling styles of the late Louisiana Creole fiddlers Canray Fontenot and Bébé Carrière. Ms. McCalla’s move to New Orleans also signaled a new stage in her career. It was while playing on the street that she caught the attention of Tim Duffy, the founder and director of the Relief Foundation. He introduced her to the Carolina Chocolate Drops, a renowned African-American string band. After appearing on the band’s Grammy- nominated album Leaving Eden and touring extensively with the group, Ms. McCalla shifted focus to her solo career. Her debut album, Vari-Colored Songs: A Tribute to Langston Hughes , comprises works she composed to Hughes’s poetry, Haitian folk songs, and original pieces.

Bhi Bhiman

Bhi Bhiman is an American singer- songwriter. His musical style has drawn a diverse range of comparisons from Rodriguez and to and . An A N E

P accomplished guitarist and lyricist, it is

A L

E Mr. Bhiman’s unique voice that truly D

S

E sets him apart. Since the release of his L A Z

N debut album in 2012, he has toured O G

O extensively with artists ranging from R D N

A to the Carolina Chocolate J E L

A Drops. He has performed at Bonnaroo American Songbook I Meet the Artists

Music Festival and Outside Lands, as well as . Mr. Bhiman has also written for other artists such as William Bell and the hip-hop group the Coup. In May Mr. Bhiman will release his follow-up LP, Rhythm & Reason , produced by Sam Kassirer (Lake Street Dive, ). The 10-song album reveals more of his soul and R&B influences.

American Songbook

In 1998, Lincoln Center launched American Songbook, dedicated to the celebra - tion of popular American song. Designed to highlight and affirm the creative 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 gen - res, from the form’s early roots in Tin Pan Alley and Broadway to the eclecticism of today’s singer-songwriters. American Songbook also showcases the out - standing interpreters of popular song, including established and emerging con - cert, 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 educational 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 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. 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 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 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, Alan Cumming, 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, Barbra Streisand, Reba McEntire, Melissa Errico, Deborah Voigt, Michael Urie, Stevie Wonder, India Arie, Garth Brooks, Billy Joel, and Sting. His international touring schedule has allowed him to design for iconic venues such as Royal Albert Hall, 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 Bea Arthur 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 , American Songbook

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 February 2016 March 2016

ROSE THEATER THE APPEL ROOM

Christian McBride/Henry Butler, Steven Moonglow: The Magic of Benny Goodman Bernstein & The Hot 9 March 4–5 at 7pm & 9:30pm February 26–27, 2016 at 8pm The story of jazz’s first popular integrated band is Two world-class bands explore the relationship told by scriptwriter and seven-time Emmy Award- between jazz and American popular song. The winner Geoffrey Ward (Ken Burns’ Jazz ), narrated double bill is headlined by Christian McBride. The live by host Wendell Pierce (HBO’s Treme and master musician has appeared on over 300 record - The Wire ), and performed by an ensemble of ings and is considered one of the most accom - pianist Christian Sands (in the role of Teddy plished bassists alive. Now a leader of his own Wilson), drummer Sammy Miller (Gene Krupa), Grammy Award-winning Big Band, featuring a 20-year-old vibraphone sensation Joel Ross staggering and diverse lineup of top musicians, (Lionel Hampton), and a host of special guest clar - McBride simultaneously shows off his composi - inetists. Peter Anderson, Will Anderson, Patrick tional talent and unmatched ability to drive a band Bartley, and Janelle Reichman each take a turn from behind the bass. The other portion of the representing the unparalleled voice of Benny concert features Henry Butler, Steven Bernstein & Goodman. These unique and informative perfor - The Hot 9, featuring New Orleans piano virtuoso mances will channel the “King of Swing” and tell Henry Butler. Described by the story of his groundbreaking band. as “both historically aware and fully prepared to cut loose,” this exhilarating group introduces the Aaron Diehl: The Real Deal hot jazz of years past to the endless possibilities of March 18–19 at 7pm & 9:30pm the modern jazz landscape. Pianist Aaron Diehl has been a Jazz at Lincoln Free pre-concert discussion nightly at 7pm. Center favorite since he was named “Out- standing Soloist” in the Essentially Ellington com - THE APPEL ROOM petition in 2002. He has since toured the world in the bands of Cécile McLorin Salvant, Wycliffe Cécile McLorin Salvant Gordon, and more. Now a respected leader and February 12–14 at 7pm & 9:30pm prolific sideman, the prestigious winner of the It doesn’t get more perfect than singer Cécile 2011 Cole Porter Fellow of the American Pianists McLorin Salvant for a Valentine’s Day –inspired Association makes his Appel Room debut as a performance. An innovative singer with extraordi - leader. These concerts will feature vibraphonist nary soul, intuition, and deep character, Salvant is Warren Wolf, trumpeter Dominick Farinacci, sax - the next great jazz vocalist in the lineage of Ella Fitzgerald, Betty Carter, and Dianne Reeves. The ophonist Stephen Riley, bassist Paul Sikivie, 2010 Thelonious Monk International Vocal drummer Lawrence Leathers, and Jazz at Competition winner and 2014 and 2016 Grammy Lincoln Center Orchestra saxophonist Joe Award nominee has become a Jazz at Lincoln Temperley. Center regular, and her growing reputation for Free pre-concert discussion, nightly, at 6pm & having an exceptional command of diverse and 8:30pm. challenging repertoire will serve audiences well for this romance-laden occasion.

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

Brandee Younger February 2016 “Wax & Wane” Album Release Concert Co- Freddy Cole: Songs for Lovers Presented by Revive Music with Elias Bailey, Quentin Baxter, and Harry Allen with Anne Drummond, Chelsea Baratz, Dezron February 11–12 / 7:30pm & 9:30pm Douglas, and Dana Hawkins February 13* / 7:30pm & 10pm February 17 February 14* / 6:30pm & 9pm 7:30pm & 9:30pm *prix fixe menu – special pricing applies. Visit jazz.org/dizzys for details. Ben Allison Group with Steve Cardenas, Allison Miller, and Jeremy “One for My Baby:” Antoinette Henry Sings Pelt the Great Jazz Standards February 18–21 with Hendrik Helmer, Yasushi Nakamura, Emmet 7:30pm & 9:30pm Cohen, and Jonathan Barber February 15 Akua Allrich 7:30pm & 9:30pm with Warren Wolf, Kris Funn, Carroll Dashiell III, and Braxton Cook Greg Lewis Organ Monk Quintet February 22 Flip Side Sessions 7:30pm & 9:30pm with Ron Jackson, Riley Mullin, Reggie Woods, Joe Chambers Outlaw Band and Jeremy Bean Clemons with Rick Germanson, Ira Coleman, and Bobby February 16 Sanabria 7:30pm February 23–24 7:30pm & 9:30pm Emmet Cohen Organ Quartet Flip Side Sessions The Music of Dexter Gordon: A Celebration with Benny Benack III, Tivon Pennicott, and Dexter Gordon Legacy Ensemble Joe Saylor with Dezron Douglas, Victor Lewis, Joe Locke, February 16 Abraham Burton, and Craig Handy 9:30pm February 25–28 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

        winter 2016 swingg university Sign up now for jazz courses curated by legendary instructor Phil SchaapS , including Jazz 101, Horace Silvver, and Ragtime. Enroll today! Save 15% with promo code SWINGU15W 212-258-9922 jazz.orgg/swingu

Jazz at Lincoln Center gratefully acknowledges The Irene Diamond Fund for its leadership support of programming in the Irene Diamond Education Center. J A Z Z M E I A live jazz nightly H O R N

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S U M swing by tonight jazz.org / dizzys jazz at linncoln center U L O N 7:30pm & 9:30pm 212-258-9595 broadway at 60th st., 5th fl. G