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04-04 NEA 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

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 , 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: , , , piano

SPECIAL GUESTS , trumpeter , saxophonist , saxophonist , vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist , percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, , drummer and DJ , trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 3

NEA JAZZ MASTERS 1982-2016

Muhal Richard Abrams Charles Lloyd Jamey Aebersold The Marsalis Family (Ellis Jr., Wynton, Delfeayo, Jason, Branford) Lorraine Gordon Tom McIntosh Jackie McLean Barretto Marian McPartland Chico Carmen McRae Jay McShann James Moody Anita O'Day Jimmy Heath Wendy Oxenhorn Bob Cleo Patra Brown George Russell Andrew Hill Pharoah Sanders Joe Segal Archie Shepp Kenneth Clarke J.J. Johnson Chick Corea Jonathan "Jo" Jones McCoy Tyner Buddy DeFranco Jack DeJohnette Paquito D'Rivera Randy Weston Harry "Sweets" Edison Joe Williams Nancy Wilson David Liebman 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 4

Meet the 2016 Jazz Masters

Vibraphonist, band - became the institution’s dean of curriculum. leader, and educator In 1989, he received an honorary doctorate Gary Burton ’s of music from Berklee and, in 1996, he was -mallet tech - appointed executive vice president, a posi - nique on the vibra - tion he held until his retirement in 2004. phone gave the After his retirement from Berklee, Mr.

Y instrument a new Burton formed several new bands and R E

L musical vocabulary expanded his collaborations with Chick L A

G in jazz and a fuller, Corea, , and other musicians.

L L

I more piano-like His Generations band in the early 2000s B sound than the tra - featured young musicians, and in 2012 he ditional two-mallet approach. He was one of assembled the New Gary Burton Quartet the progenitors of in the late (with , Antonio Sánchez, and , and had a decades-long educational ) with which he records and career at the . Mr. performs. Mr. Burton has received 22 Burton taught himself to play the vibra - Grammy nominations and won seven phone and, at the age 17, made his first Grammy Awards. recording in Nashville, Tennessee, with leg - endary guitarist . With the Wendy Oxenhorn help of , another leading is the executive Nashville guitarist, Mr. Burton secured a director and vice record deal with RCA and released his chairman of the debut , New Vibe Man in Town , in Jazz Foundation of 1961 while studying at Berklee. At 19, on a America (JFA), I N

recommendation from Marian McPartland, I which is committed P

Mr. Burton joined pianist George O to “providing jazz C S Shearing’s group, and then worked from E and musicians C N

1964 to 1966 with . As a member A with financial, med - R of Getz’s quartet, he was recognized by F ical, housing, and DownBeat magazine as “Talent Deserving legal assistance as well as performance of Wider Recognition” (1965). In 1967, he opportunities, with a special focus on the formed a quartet featuring electric guitarist, elderly and veterans who have paid their , as one of the soloists. The dues and find themselves in crisis due to ill - quartet’s first two in 1967— ness, age, and/or circumstance.” She has Duster and Lofty Fake Anagram —changed held the position at JFA, headquartered in the jazz landscape by adding rock elements City, since 2000. At age 14, Ms. to the music. In 1968, he won DownBeat’ s Oxenhorn attended the School of American “Jazzman of the Year” award. During the Ballet and danced with late 1960s, , and 1980s, Mr. Burton Ballet. At 17, she suffered a career-ending continued to experiment with his sound, knee injury that catapulted her into depres - recording Carla Bley’s album-long piece A sion, leading to her calling a suicide hotline. Genuine Tong Funeral ; performing in vari - She ended up consoling the counselor on ous configurations, such as solo, duos, quar - the line, who herself was depressed. Ms. tets, and with chamber orchestras; and con - Oxenhorn began working at the suicide tinuing to work in other genres such as hotline three days later, prompting her to country, rock, tango, and classical. At the make helping others her professional focus. same time, Mr. Burton continued to mentor In 1990, she co-founded Street News , a pub - notable guitarists in his bands, including Pat lication that provided employment and Metheny, , , income for homeless individuals. In 1994, and Julian Lage. In 1971, Mr. Burton she launched Children of Substance, a pub - embarked on an education career at the lic school program that created support Berklee College of Music as a teacher of per - groups for female middle school students cussion and improvisation. In 1985, he with drug-addicted parents. Six years later, 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 5

Meet the 2016 Jazz Masters

she moved on to JFA, which was founded in Ferrell “Pharoah” 1989 by Billy Taylor, Herb Storfer, Ann Sanders is a Ruckert, and Phoebe Jacobs, with Grammy Award- a local focus on New York City. By 2005, winning jazz saxo -

due to the work of Ms. Oxenhorn, the foun - R phonist who has E H

dation expanded to nationwide operations C shown a remarkable U

with a full-time staff. Since 2001, she has O facility performing B E L

raised more than $25 million through events in a variety of styles, N I

like the now annual “A Great Night in T from free to main - N .” Her fundraising efforts enabled E stream, displaying U the JFA to increase the organization’s capac - Q what has been called ity to provide emergency assistance from 35 “hard-edged lyricism.” Emerging from John to more than 5,000 cases annually. The JFA Coltrane’s groups of the mid-1960s, Mr. participated on multiple levels in the 2005 Sanders is known for his distinctive sound relief: finding new hous - marked by overblowing, harmonic, and mul - ing; creating employment opportunities for tiphonic techniques. Mr. Sanders was born more than 1,000 displaced into a musical family, and he took up the musicians and their children; and acquiring as a child. In high school, he was new musical instruments to replace those first exposed to jazz by his band director. He lost in the flood waters. In late 2005, Ms. switched to the and soon Oxenhorn created the Agnes Varis Jazz in played blues gigs around Little Rock. After the Schools Program. The program’s goals high school, Mr. Sanders moved to Oakland, are to create dignified work opportunities , studying art and music at the for ill as well as unemployed and underem - Oakland Junior College. Known in the San ployed musicians of retirement age and Francisco Bay Area as “Little Rock,” Mr. introduce the music to new audiences. This Sanders expanded his repertoire to include program has enabled hundreds of musicians , , classical, and free to participate in blues and jazz performances jazz, performing with musicians such as Ed for more than 80,000 public school students Kelly and Smiley Winters. In 1961, he across approximately 15 states each year. Ms. moved to New York City, where he first Oxenhorn was honored for her humanitari - began to use the name “Pharoah.” Mr. an efforts on behalf of jazz and blues musi - Sanders formed his first group in 1963 with cians at the 2004 Grammy Lunch by the pianist , bassist , and Artist Empowerment Coalition (AEC), a drummer Billy Higgins. However, he came nonprofit coalition of artists, musicians, and to greater prominence playing and recording performers. She was also honored by with ’s band, first on the SESAC, WBGO FM radio, the Jazz album Ascension and then on their dual- Journalists Association, and HBO. In 2015, tenor recording Meditations (both 1965). Jazz at honored her with the Mr. Sanders was strongly influenced by Ashley Schiff Ramos Community Coltrane, including spiritual elements such Development in Jazz Award. She also serves as the chanting in his release Om . In 1968, on the board of directors of the Montreux he participated in and Carla Jazz Festival in Switzerland and is a blues Bley’s Jazz ’s Orchestra harmonica player. Association album, The Jazz Composer’s Orchestra . A year later, Mr. Sanders recorded one of his most commercially successful albums, Karma , featuring the 32-minute track, “The Creator has a Master Plan,” with pianist and vocal - ist ’s unique . In the 1970s, Mr. Sanders began experimenting with African rhythms, such as on his 1971 album with bassist Stanley 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 6

Meet the 2016 Jazz Masters

Clarke, which continues to influence his Shepp’s bands in the mid-1960s featured music. In 1994, he traveled to to musicians including Roswell Rudd, Bobby record The Trance of Seven Colors with Hutcherson, , and Grachan Gnawa musician Mahmoud Guinia. Towards Moncur III. In 1965, Mr. Shepp was a side - the end of the decade and into the 1980s, he man on John Coltrane’s Ascension recording continued to explore other styles of jazz, and was featured—along with John such as modal and , and ventured Coltrane—on New Thing at Newport, a live into rhythm and blues. In 1988, Mr. Sanders album with two sets from the 1965 Newport received a Grammy Award (along with McCoy Jazz Festival. At this time, Mr. Shepp began Tyner, Roy Haynes, Cecil McBee, and David looking to African cultural and music tradi - Murray) for the album Blues for Coltrane: A tions for inspiration, as shown on such Tribute to John Coltrane . Mr. Sanders contin - recordings as The Magic of Ju-Ju (1967), a ues to tour nationally and appear at major recording featuring an African percussion international festivals. ensemble. Before the end of the decade, he added teaching to his activities, first at the Archie Shepp is a University at Buffalo, New York, and in jazz saxophonist 1971 at the University of , best known for his where he spent the next 30 years as a profes -

R Afrocentric music of sor in the Afro-American Studies depart - E I

M the late 1960s, a ment. Mr. Shepp’s musical explorations M

O unique style of free- included spoken word and poetry compo - H T

R form avant-garde nents to his albums; occasionally stepping E B jazz blended with forth as a vocalist; and ballads, blues, rhythm E T

T African rhythms, and blues, spirituals, and tributes to other E N

O and for his collabo - jazz musicians, such as and M rations with John . His 1972 albums show dis - Coltrane, , Cecil Taylor, and tinct political messages: Attica Blues was a the New York Contemporary Five ensemble. response to the Attica Prison riots, while The His long career as an educator has focused Cry of My People addressed civil rights. Mr. on , looking at the history Shepp began touring extensively in of African-American music from its origins and started a continuing tradition of record - in to today. Mr. Shepp was born in ing with European musicians, while at the Florida but grew up in , study - same time pursuing his musical interest in ing piano, clarinet, and African music, such as his concert with the before switching to the tenor. He studied Moroccan group Dar Gnawa in Paris in 2003. drama at Goddard College from 1955 to In 2004, Mr. Shepp co-founded the French 1959, but chose music as his main profes - ArchieBall to release his albums. sion. Mr. Shepp’s first recording under his The 2013 release by the label, I Hear the own name, Archie Shepp - Sound by the Archie Shepp Attica Blues Quartet , was released in 1962. Four for Orchestra, was nominated for a Grammy Trane , an album featuring four John Award. The artist is featured in the 1981 doc - Coltrane compositions (and one of his own) umentary film Imagine the Sound , produced followed in 1964, taking Coltrane’s compo - by Ron Mann, and in Archie Shepp: je suis jazz sitions into a more avant-garde direction c’est ma vie , a 2007 documentary by Frank that Coltrane himself would follow. Mr. Cassenti. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 7

About the National Endowment for the Arts

Established by Congress in 1965, the NEA vibraphonists and saxophonists—all of whom is the independent federal agency whose have advanced the music through their com - funding and support gives Americans the mitment to jazz. In 2004, the NEA inaugu - opportunity to participate in the arts, exer - rated the A.B. Spellman NEA Jazz Masters cise their imaginations, and develop their Fellowship for Jazz Advocacy, given to an creative capacities. Through partnerships individual whose passion for jazz and its with state arts agencies, local leaders, other artists has been demonstrated through major federal agencies, and the philanthropic sec - contributions to the appreciation, knowl - tor, the NEA supports arts learning, affirms edge, and advancement of the music. and celebrates America’s rich and diverse cultural heritage, and extends its work to The NEA recognizes up to four artists annu - promote equal access to the arts in every ally, with each receiving a one-time fellow - community across America. This year marks ship of $25,000. Fellowships are awarded to the 50th anniversary of the National living individuals on the basis of nominations Endowment for the Arts and the agency is from the public including the jazz communi - celebrating this milestone with events and ty. The NEA encourages nominations of a activities – such as this 2016 NEA Jazz broad range of men and women who have Masters Tribute Concert – through been significant to the field of jazz, through September 2016. Go to the 50th section at vocals and instrumental performance, cre - arts.gov to enjoy art stories from around the ative leadership, and education. nation, peruse the Facts & Figures section, and check out the anniversary timeline. The NEA has numerous resources as part of the NEA Jazz Masters program, including: From its earliest days, the National • Bios and photos of NEA Jazz Endowment for the Arts has funded count - Masters less jazz organizations across the country, • Video interviews with the artists making significant investments in support of • Video from past NEA Jazz jazz concerts, festivals, education activities, Masters Tribute Concerts and other programs. Initiated in 1982, the • Podcasts with NEA Jazz Masters NEA Jazz Masters Fellowship is the nation’s and other jazz musicians and writers highest honor given to those who have • Jazz Moments—1-2 minute audio devoted their lives and careers to jazz, an art clips consisting of musical excerpts form uniquely rooted in American history and short interviews with NEA and culture. Described by the Masters and other artists Times as a “rare public accolade for jazz,” the about the Masters’ music and recipients represent a panoply of musical dis - influence on the field. tinction, from vocalists and percussionists to

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

For more information on the NEA Jazz Masters and to make a nomination, visit arts.gov/honors/jazz. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 8

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

The National Endowment for the Arts gratefully acknowledges support for the 2016 NEA Jazz Masters Tribute Concert from the Doris Duke Charitable Foundation in honor of the NEA's 50th anniversary year. The National Endowment for the Arts acknowledges the support of Broadcast Music, Inc.® (“BMI®”) in sponsoring the NEA Jazz Masters Awards Dinner. Mike O’Neill, President & CEO, BMI Charlie Feldman, Vice President of Writer-Publisher and Industry Relations, BMI Deirdre Chadwick, BMI Foundation President About Kennedy Center Jazz Kennedy Center Jazz, under the leadership of the professional development residency pro - Artistic Director Jason Moran, presents leg - gram for young artists, Betty Carter’s Jazz endary artists who have helped shape the art Ahead; NPR’s A Christmas , the form, artists who are emerging on the jazz Kennedy Center holiday tradition shared by scene, and innovative multidisciplinary proj - millions around the country via broadcast on ects in hundreds of performances a year. The NPR; and the Mary Lou Williams Jazz KC Jazz Club, launched in 2002 and dubbed Festival , created in 1996 by the late Dr. Billy “the future of the jazz nightclub” by Taylor (Kennedy Center Artistic Director for JazzTimes , hosts many of these artists in an Jazz, 1994–2010). The Center’s jazz con - intimate setting, while the Crossroads Club, certs are frequently recorded for future launched in 2012, is a nightclub dance venue. broadcast on NPR. Annual Kennedy Center jazz events include

The 2016 NEA Jazz Masters Tribute Concert will be video-streamed live at arts.gov, Kennedy-Center.org, and NPR.org/Music.

————— STAFF FOR THE CONCERT HALL *Mary Jo Ford ...... Theater Manager The technicians at the Deborah Glover...... Box Office Treasurer Kennedy Center are Jerry Cooper...... Head Usher represented by Local #22 Robert P. Tillett, I.A.T.S.E. AFL-CIO-CLC, 22 David Langrell, the professional union of Paul Farabee, Jr., theatrical technicians. Crescenda Ramble, Mike Buchman, William DC Valentine...... Stage Crew Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and , the official pianos *Represented by ATPAM, of of the Kennedy Center. Theatrical Press Agents and Managers