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The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians -
National Endowment for the Arts Announces 2022 NEA Jazz Masters
July 20, 2021 Contacts: Liz Auclair (NEA), [email protected], 202-682-5744 Marshall Lamm (SFJAZZ), [email protected], 510-928-1410 National Endowment for the Arts Announces 2022 NEA Jazz Masters Recipients to be Honored on March 31, 2022, at SFJAZZ Center in San Francisco Washington, DC—For 40 years, the National Endowment for the Arts has honored individuals for their lifetime contributions to jazz, an art form that continues to expand and find new audiences through the contributions of individuals such as the 2022 NEA Jazz Masters honorees—Stanley Clarke, Billy Hart, Cassandra Wilson, and Donald Harrison Jr., recipient of the 2022 A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy. In addition to receiving a $25,000 award, the recipients will be honored in a concert on Thursday, March 31, 2022, held in collaboration with and produced by SFJAZZ. The 2022 tribute concert will take place at the SFJAZZ Center in San Francisco, California, with free tickets available for the public to reserve in February 2022. The concert will also be live streamed. More details will be available in early 2022. This will be the third year the NEA and SFJAZZ have collaborated on the tribute concert, which in 2020 and 2021 took place virtually due to the COVID-19 pandemic. “The National Endowment for the Arts is proud to celebrate the 40th anniversary of honoring exceptional individuals in jazz with the NEA Jazz Masters class of 2022,” said Ann Eilers, acting chairman for the National Endowment of the Arts. “Jazz continues to play a significant role in American culture thanks to the dedication and artistry of individuals such as these and we look forward to working with SFJAZZ on a concert that will share their music and stories with a wide audience next spring.” Stanley Clarke (Topanga, CA)—Bassist, composer, arranger, producer Clarke’s bass-playing, showing exceptional skill on both acoustic and electric bass, has made him one of the most influential players in modern jazz history. -
Bird's Bebop Brother Goes Home
gram JAZZ PROMOTING AND NURTURING JAZZ IN CHICAGO SEPTEMBER 2020 WWW.JAZZINCHICAGO.ORG BIRD’S BEBOP BROTHER GOES HOME JOE SEGAL, JIC CO-FOUNDER, 2015 NEA JAZZ MASTER, REMEMBERED BY MUSICIANS AND MUSIC LOVERS BY COREY HALL While our current reality resembles Orson Welles’ War of the Worlds on steroids, let us escape and celebrate Joe Segal -- April 24, 1926-August 10, 2020 -- who brought jazz to Chicago for more than seven decades. Imagine… Scene: August 10, 2020. Place: Tadd’s Hot House. Charlie Parker, firm, fit, and poison-free since March 12, 1955, is sheddin’ “Just Friends” when in walks Joe. “Hey, man! It’s about time!” Bird exclaims, embracing his brother in bop. “What were you up to? Reading the list of upcoming cats?” “I was busy saving the youth,” Joe replies, while readjusting his Cubs cap. “Keeping them safe from the ‘Yookey Dukes!’” Both brothers laugh, embrace again, and then cast their sights down at this page, now a stage, where dudes and dudettes carrying voices, horns and guitars gather to take on this thought prompter: “What song sums up your experience with and/or appreciation of Joe Segal?” (The tunes designated with an asterisk are accompanied by a video available by clicking on the link or thumbnail). Solitaire Anna Miles, vocalist: (*) “I did every gig at the Jazz Showcase with Willie Pickens. We always opened with “Exactly Like You," and if Joe was there, he would sing it with me from the audience, so I think he liked the tune…or at least the way Willie and I did it. -
JUDI SILVANO Vocalist, Composer, Lyricist
Website: judisilvano.com Booking: [email protected] Email: [email protected] Tel: 914 213-2992 JUDI SILVANO Vocalist, Composer, Lyricist JUDI SILVANO’S WOMEN’S WORK By Lynn Jordan, March 2009 Judi Silvano is a traditional Jazz singer, whose release “Woman’s Work” showcases her bright voice against a simple backdrop of piano, drums and bass in an intimate live performance. Rosemary Clooney, Peggy Lee with a pinch of Ella Fitzgerald are good points of reference for her vocal style. Silvano is not afraid to be playful and light on such songs as “Not To Worry” and “New Dance” where she scats convincingly, and she can also handle a song with more depth such as “Inside A Silent Tear” and the lovely “Why Do I Still Dream of You”, which is the standout track and her best vocal performance. The backing band’s musicianship is excellent, and they exercise restraint where other musicians may have gone overboard with solos. This CD is pleasant listen, and perfect for those who can appreciate a singer with a clean, unfussy voice that is not afraid to take some chances for her craft. Judi Silvano: Women’s Work - 4 STARS DOWN BEAT MAGAZINE Caught live at New York’s Sweet Rhythm in March 2006, JSilvano gives a masterful performance. The album title nods not only to the bold, vibrant all-female ensemble, but to the repertoire, which was penned exclusively by women. Far more than a concept album, Women’s Work finds the singer at the peak of her creative game. Silvano displays a firm knowledge of jazz history and vocal technique, subtly coloring the songs with a well-placed shere, a cheery squeak there. -
Prominent Jazz Celebrations Are a Beautiful Thing by Jon W
United States Source: Columbia Daily Tribune Retrieved from https://www.columbiatribune.com/story/entertainment/2021/04/17/prominent-jazz- celebrations-beautiful-thinG/7244183002/ on 21 June, 2021 Prominent jazz celebrations are a beautiful thing By Jon W. Poses [Editor’s note: This is the second of a two-part series on Jazz Appreciation Month. Part One ran April 4.] Writing in this space January 24, I suggested Doug Emhoff, “The Second Gentleman,” surely must be a jazz fan. After all, he and his first wife, Kerstin Emhoff, named their son Cole after John Coltrane and their daughter Ella after Ella Fitzgerald. I proposed that, all things being equal, there might be a good chance jazz would return to the White House, having a presence during the Obama Administration before completely disappearing during the following one. Lo and behold, less than three months later, it seems such a development has come to fruition. Emhoff will “provide opening remarks” as part of the upcoming NEA Jazz Masters Tribute Concert, according to a National Endowment for the Arts press release. The concert takes place Thursday, April 22 at 7 p.m. Missouri time in San Francisco, and will air virtually on multiple websites including the NEA’s own arts.gov, where it will also be archived for future viewing. For those of us who appreciate when jazz enjoys enhanced visibility, having Emhoff involved — even if it will likely be briefly — with the prestigious annual NEA Jazz Masters presentation should be taken as a positive. His participation bodes well for the White House, on some level, to be involved in future jazz-related activities. -
Blues in the Blood a M U E S L B M L E O O R D
March 2011 | No. 107 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com J blues in the blood a m u e s l b m l e o o r d Johnny Mandel • Elliott Sharp • CAP Records • Event Calendar In his play Romeo and Juliet, William Shakespeare wrote, “A rose by any other name would smell as sweet.” It is a lovely sentiment but one with which we agree only partially. So with that introduction, we are pleased to announce that as of this issue, the gazette formerly known as AllAboutJazz-New York will now be called The New York City Jazz Record. It is a change that comes on the heels of our separation New York@Night last summer from the AllAboutJazz.com website. To emphasize that split, we felt 4 it was time to come out, as it were, with our own unique identity. So in that sense, a name is very important. But, echoing Shakespeare’s idea, the change in name Interview: Johnny Mandel will have no impact whatsoever on our continuing mission to explore new worlds 6 by Marcia Hillman and new civilizations...oh wait, wrong mission...to support the New York City and international jazz communities. If anything, the new name will afford us new Artist Feature: Elliott Sharp opportunities to accomplish that goal, whether it be in print or in a soon-to-be- 7 by Martin Longley expanded online presence. We are very excited for our next chapter and appreciate your continued interest and support. On The Cover: James Blood Ulmer But back to the business of jazz. -
SFJAZZ Announces 2019-2020 Season Programming September 5, 2019 – May 31, 2020
FOR IMMEDIATE RELEASE SFJAZZ Announces 2019-2020 Season Programming September 5, 2019 – May 31, 2020 Tickets on Sale to SFJAZZ Members, Friday, June 28 at 11:00amPST Tickets on Sale to Public, Thursday, July 12 at 11:00amPST SFJAZZ.ORG (SAN FRANCISCO, CA, June 6, 2019) -- SFJAZZ announces artist programming for the 2019-20 season running September 5, 2019 to May 31, 2020 presenting concerts at the SFJAZZ Center’s Robert N. Miner Auditorium and Joe Henderson Lab, Herbst Theatre, Grace Cathedral, and Paramount Theatre in Oakland. Tickets on sale to SFJAZZ Members, Friday, June 28 at 11:00amPST and on sale to public on Thursday, July 12 at 11:00amPST. For more information, visit sfjazz.org. “This is our 8th Season in the Center: we opened in January of 2013. And it is SFJAZZ’s 37th year: we debuted in 1983 as Jazz in the City,” says SFJAZZ Founder and Artistic Director Randall Kline. “At the time of our founding, neither I, nor anyone who was a part of it, could have imagined that here at the corner of Franklin Street and Fell Street, in one of the world’s greatest cities, a dedicated community center built expressly for the appreciation and development of jazz would be thriving. The key elements of this vitality are the intersection of our dedicated audiences, our superb artists, and the Center itself—we work together to create this community.” The SFJAZZ Resident Artistic Director program was established to give today’s most innovative and influential artists the chance to curate exclusive programming at the SFJAZZ Center often featuring unprecedented collaborations and world premiere projects between world-renowned artists. -
Steve Swallow with Robert Creeley So There
ECM Steve Swallow with Robert Creeley So There Robert Creeley: voice; Steve Kuhn: piano; Steve Swallow: bass; The Cikada String Quartet: Henrik Hannisdal: violin; Odd Hannisdal: violin; Marek Konstantynowicz: viola; Morten Hannisdal; violoncello XtraWATT 12 CD 6025 170 0494 (8) Release: November 2006 “Writing is the same as music. It’s in how you phrase it, how you hold back the note, bend it, shape it, and then release it. And what you don’t play is as important as what you do say.”- Robert Creeley Steve Swallow’s “So There” is a recording that began as a collaboration with Robert Creeley and became an hommage to the great American poet, who died in 2005 - before the project’s completion. It is more than a “jazz and poetry” disc. The structure of Swallow’s music derives from the structure of Creeley’s verse, and its rhythms are related to Creeley’s readings of his work. “I tried to get inside Bob’s breathing as he spoke the lines. Paradoxically, I think this has resulted in my most heartfelt and personal music.” A finely-focused amalgamation of words and music, with exceptional writing for string quartet, it also leaves expressive freedom for Swallow himself as soloist and for pianist Steve Kuhn, who gives one of the most comprehensive performances of his career. Both words and music trigger powerful associations, new layers of meanings opening with each listening. Steve Swallow was immediately taken with Robert Creeley’s writing in the late 50s on encountering it in Donald Allen’s anthology ‘The New American Poetry’ , a book which examined the work of young poets then challenging literary orthodoxy, the new line taking its impetus from the innovations of Ezra Pound and William Carlos Williams and Louis Zukofsky. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ELLIS MARSALIS NEA Jazz Master (2011) Interviewee: Ellis Marsalis (November 14, 1934 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: November 8-9, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 79 pp. Brown: Today is November 8, 2010. This is the Smithsonian NEA Jazz Oral History interview with Ellis Marsalis, conducted by Anthony Brown, in his home at 3818 Hickory Street in New Orleans, Louisiana. Good evening, Ellis Marsalis. Marsalis: Good evening. Brown: It is truly a pleasure of mine to be able to conduct this interview with you. I have admired your work for a long time. This is, for me, a dream come true, to be able to talk to you face to face, as one music educator to another, as a jazz musician to another, as a father to another, to bring your contributions and your vision to light and have it documented for the American musical culture record. If we could start by you stating your full name at birth, and your birth date and place of birth please. Marsalis: My names Ellis Louis Marsalis, Jr. I was born in New Orleans, November 14, 1934. Brown: Your birthday’s coming up in a few days. Marsalis: Right. Brown: Wonderful. 1934. Could you give us the names of your parents, please? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Marsalis: Ellis Louis Marsalis, Sr. -
Innovation Through Generations of Jazz Vibraphonists: Jackson
INNOVATION THROUGH GENERATIONS OF JAZZ VIBRAPHONISTS: JACKSON, HUTCHERSON, BURTON AND LOCKES’ IMPROVISATIONS ON “BAGS’ GROOVE” 爵士鐵琴的世代變革:傑克森、赫卻森、柏頓和拉克在「袋之律動」上之即興 YU CHIH CHERRY CHEN 陳玉至 1 BIOGRAPHIES Milt Jackson Milt Jackson (1923-1999, MI) is recognized as the bebop innovator of the vibraphone. Following in the steps of two of the previous masters of the vibraphone Lionel Hampton and Red Norvo, Jackson succeeded in transferring the bebop idiom to his instrument, becoming one of the greatest vibraphonists in the bop style. Jackson used two mallets, almost treating the vibraphone as a single-line instrument. His playing is marked by his adept skills, but also laced with blues phrases that refer to his musical upbringing in the church.1 He is universally recognized as a definitive interpreter of the blues. As a member of the Modern Jazz Quartet (MJQ), he was required to read and memorize the arrangements written by John Lewis. These arrangements incorporated many classical materials with jazz, which is known as third stream. Playing these arrangements inspired Jackson to find a voice beyond the bebop idiom.2 Some of his significant works are “Bags and Trane”, “Sunflower” and “The Prophet Speaks.” Bobby Hutcherson Studying piano briefly with his mother at an early age provided Bobby Hutcherson (1941-2016, LA) with a foundation in harmony. In his teens he heard Milt Jackson playing the vibraphone on a 1Dick Sisto, The Jazz Vibraphone Book (U.S.A: Meredith Music Publication, 2005), 27-36. 2Ted Gioia, The history of Jazz (2nd ed. New York: Oxford University Press. 2011), 258-259.