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Arvell Shaw & the Louis Armstrong Legacy Band

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Arvell Shaw & the Louis Armstrong Legacy Band Free to choose Free to dream Free to remember Free to discover 1994 SEASON Free to choose Free to dream Free to remember Free to discover MIKKI SHEPARD/LEONARD GOINES Authors, MIKKI SHEPARD & LEONARD GOINES except where noted Executive Producers Editor, ruDE-LAURE DENIS Program Booklet Design, LOIS PYANOWSKI 1 994 BETTY CARTER: JAZZ AHEAD "95 SEASON The Majestic Thea ter Sat, April 9 - 8:00pm L ~ AND THE Dear Friend: Su n, Apri l 10- 3:00pm r'\ """) MAJESTIC ATA \J I THEATER FLYIN' WEST J In living life, the choices you make, the dreams you dream and the GLANCE (New York Premiere): The Majestic Theater history you remember all join together to make you who you are. 65 1 is a producer and presenter of Tu es, April 19 - 7:00pm arts, education and humanities Wed-Sat, Apri l 20-23- 8:00pm programs which reflect and cele­ Sat-Sun , April 23-24 - 3:00pm It is the fusion of those choices, dreams and memories that resonate in brate YOU - and your cultural our minds as we look forward to future seasons and programming that iCELEBRACION! heritages and traditions. Home is Downtown Brooklyn's award-win­ continues to reflect the different faces of you. WILLIE COLON. RAY BARRETIO & HIS ORCHESTRA ning Majestic Theater. Once one of Opera Hou se the borough's great Legitimate the­ Saturday, April 30- 8:00pm aters and later a popular movie Come and share in all the excitement at 651 this season - from the house, the Majestic is now one of tumultuous Dance of choreographer Donald Byrd; the humor and insight SOUL SISTERS: Brooklyn's finest centers for the of Pearl Cleage's Theater celebrating black women pioneers in America's MARTHA BOWERS performing arts. PATRICIA HOFFBAUER old west; to Betty Carter's Jazz Ahead, Willie Colon's fiery Salsa and much & JANINE WILLIAMS 651 not only presents most of its m uch more .. Lepercq Space programs at the Majestic but, as of Wed, May 4- 8:00pm this past summer, we now do all Sat, May 7- 8:00pm the behind-the-scenes work there The time is now. Take advantage of it and discover new artists, revisit JAZZ & BLUES LEGACY - as well. With the renovation of those long-time favorites and experience the importance of all our stories. LOUIS ARMSTRONG our second floor office space, we're W.C. HANDY: never more than a short walk away from what's happening on stage SANDRA REAVES and Sincerely, and in the seats. ARVELL SHAW & THE LOUIS ARMSTRONG LEGACY BAND As you enjoy this season's perfor­ The Majestic Theater mances, remember it's SIX FIFTY­ Saturday, May 14 - 8:00pm ONE! Mikki Shepard • Leonard Goines BRISTLE: Executive Producers (New York Prem iere): DONALD BYRD/THE GROUP The Majestic Theater Wed , june 1 & Fri-Sat, june 3-4- 8:00pm 65 1 's second annual presentation of BETIY Commenting on her approach to jazz performance presents CARTER: JAZZ AHEAD- a program showcasing and her concept for JAZZ AHEAD, Betty Corter says, the talen ts of a new generation of young, emerging "That's the evolving th ing about music. There is no BETTY CARTER: jazz musicians from around the country under the way I con approach a song now and not change it. guidance and leadership of Ms. Corter- continues It's port of me . I think that's why it is accepted. It's to be a catalyst for introducing new approaches and not forced. People understand that it's rea lly hap­ JAZZ AHEAD '95 new directions for jazz performance. pening at that moment. It tokes some getting used to featuring for a listener my age. But the young kids w ho hove Betty Carter & Her Trio In 1993, the inaugural season of JAZZ AHEAD not been over-exposed to a .melody accept it for attracted near-capacity audiences. Reviewing lost what it is . It's only when they get interested in that year's program for Down Beat magazine, critic melody's true source, that they will reflect and under­ JACKY TE RRASON, piano (age 27) Howard Mandel captured the very essence of this stand what I did with the piece of music. They may ERIC REVI S, bass (age 26) innovative program. His review explored all aspects like it, they may not. It just turns them on to different WILL TERRILL, drums (age 20) of the performance, commenting that "drummers Brion ways of doing things. " Blade and Greg Hutchinson prodded not too loudly With the Jazz Ahead '95 Ensemble but very smartly the steady, fast rhythm held by bassist THE REED SISTERS: Christopher Thomas to open the first of planned annu­ BRITTANY (age 12), TANYA (age 13), BRANDl (age 16), vocals al concerts featuring vocal artist Betty Corter's picks of ANAND BENNETT, violin (age 17) jazz stars of tomorrow. As the singer/jazz educator­ KARR IEM RIGGINS, drums (age 17) in-action prowled the stage's edge snapping her fin­ PEVEN EVERETT, trumpet (age 18) gers, the young stickmen ... traded polyrhythms and MARK ZUBEK, compositi on (age 19) bucked up against each other with ultimately collobcr ANDRE HAYWARD, trombone (age 20) rotive energy, setting the tone for a twcrhour concert MATT HUGHES, boss (age 20) jam in which spontaneity triumphed ... Some twenty ERIC LEWIS, piano (age 20) musicians under age twenty-five waited beyond the JOHN ALLEN, tenor sox (age 21) bond spotlight, ready to step forth and form new com­ AARON GOLDBERG, piano (age 21) bos at the diva's demand. Though the many trum­ XAVIER DAVIS, piano (age 22) peters, single 'bonist, several saxmen, more drum­ TASSILI BOND, boss (age 23) mers, bassists -including electric stylist Matthew J MELVIN BUTLER, tenor sox (age 24) Garrison, the late Jimmy Garrison's son - and ALEXANDER POPE NORRIS, trumpet (age 26) pianists (kudos to Cyrus Chestnut, the dependably RODNEY LANCASTER, trpmbone (age 30) first-class keyboard accompanist from Corter's [then current] trio) were at her beck and call, Betty urged Sat, April 9 · 8:00pm them to be themselves." And, "each one played Sun, April 10 • 3:00pm music and ideas, rather than scales or exercises - a The Majestic Theater distinction at the root of jazz. " BETTY CARTER has been spoken of for years her approach, no two performances ore ever alike. as a "singer's singer," a "musician's musician" She calls each set spontaneously from the stage, tune by tune, and the bock-up crew never knows and a jazz talent scout, similar in outlook and presents approach to the late bondleoder Art Blakey. Her what's coming next. trio, like Blakey's Jazz Messengers, has earned a reputation for being the ultimate training ground Born in Flint, Michigan, Betty Corter grew up in Detroit FLYIN' WEST for aspiring artists. - a city noted worldwide for its musical contributions in areas from rhythm-n-blues and jazz to gospel and pop. An Alliance Theater Company From this special academy, she has graduated on Ms. Corter studied at the Detroit Conservatory of Music and Indiana Repertory Theater impressive list of alumni. Thi s stellar group of young and, at the age of 16, entered and won an amateur Production and early mid-career players include: Winord talent contest at Detroit's Paradise Theatre. Harper, Jock DeJohnette, Buster Williams, Dove WRITIEN BY PEARL CLEAGE Holland, John Hicks, Cecil McBee, Wolter Booker, Ms. Carter later sat in with Dizzy Gillespie's big band. DIRECTED BY KENNY LEON Billy Hart, Louis Hayes, Curtis Lundy, Mulgrew By the age of 18, she had performed with Charlie Miller, Louis Nosh, Kenny Washington, Troy Davis, Porker, Miles Davis, Max Roach and Duke Jordan, Set Design Costume Design Benny Green, Torus MoTeen, More Cory, Stephen without ever leaving Detroit. Soon aher graduating from DEX EDWARDS JEFF CONE Scott, Cyrus Chestnut and Gregory Hutchinson. high school in 1948, she joined Lionel Hampton's band Lighting Design Composer for her first job and spent two and a half years w ith the ASHLEY YORK KENNEDY DWIGHT ANDREWS While some singers concentrate on phrasing, and group. While w ith Hampton, she perfected her improvi­ Assistant Director Stage Manager others on improvising on the chord changes, Betty sational skills and learned the basics of band manage­ CONNIE OATES DAVID DREYFOOS Corter completely transforms a song in every sense ment, composition and arrangement. "When lleh the Costing of the word. Tempo, texture, timbre, melody, band, " she says, "I was able to write and arrange my STUART HOWARD AND AMY SCHECTER, C.S .A harmony and mood ore all up for grabs as she music. That's how I got to play with so many great weaves her creation. This makes her trio on inte­ musicians, because I had great arrangements and they lues, April 19 · 7:00pm gral port of the final product, and she ploys the wanted to play them. I still do the arranging." Wed-Sat, April 20·23 · 8:00pm group as if it were a single instrument, with a simple Sat-Sun, April 23-24 · 3:00pm nod of her head, a hand gesture or a slight change Betty Carter's interest in education, audience develop­ The Maiestic Theater in facial expression. She conducts while pacing ment and the general development of jazz as an art 65 I 's presentation of FLY/N' WEST is sponsored by across the stage, creating subtle nuances, unusual form , over the years has been all-encompassing. During sounds and pure emotion. Ms. Corter is constantly the Seventies, when she became a staple on the college searching for new ways to do old things and circuit, she ventured in search of a new audience - the delights in coming up with surprises that keep the young.
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