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. With 651 's second annual presentation of audience and her musicians on their toes. As a BETIY CARTER: JAZZ AHEAD at the Majestic Theater, bondleoder, she rehearses her musicians relen tlessly Ms. Corter continues to seek out ways of connecting a YA£@!;g~6~ while demanding from them both intense listening younger audience to the meaning and spirit of jazz. Coca-cola Baffling Company of New York and creativity. Due to the improvisational nature of Actors and stage managers ore members of Actors' Equity Association. FLYIN' W EST was originally commissioned and produced by the Alliance Theatre Company, At/onto, Georgia; Kenny Leon, Arlistic Director, Edith H. Love, Managing Director. This ploy wos first presented os port of AT&T: OnStoge. Permission granted by Rosenthof/Wender, 3 East 48th Street, NY, NY I 00 17 The Cast In Her Own Words: Pearl Cleage PEARL CLEAGE KENNY LEON Miss Leah CAROL MITCHELL-LEON Atlanta-based writer Pearl Cleage is Kenny Leon is the artistic director of th e Alliance a black woman , The Homestead Act of 1 860 offered 3 20 acres the author of Mod at Miles. A Block Theatre Company in Atlanta , Georgia, w here his born into slavery, age 73 of "free" land (stolen from the dwindling popula Woman 's Guide to Truth and The Bross Bed productions have included A Streetcar Named of Native Americans) to U.S citizens w ho Desire, The Piano Lesson, A Christmas Carol, Sophie Washington SHARLENE ROSS tions and Other Stories. a black woman , were willing to settle the western states. Although Fences, T Bone N Weasel, joe Turner's born into slavery, age 36 ma ny settlers lived in trad itional fa mily grou ps, by Come and Gone, Miss Evers ' Boys and the 1 890 a quarter of a mi lli on unmarried or wid world premiere of Flyin ' West. He spent nine years Wil Parrish TOM BYRD at the Academy Theatre, also in Atlanta, and has a black man , owed women were running their own farms and born into slavery, age 40 ranches. The farm work was hard and consta nt Her latest book of been been involved with productions at Seven but many of these women were able to survive essays, Deals with the Sta ges, Thea trical Ou~it and j omandi Productions. ELIZABETH VAN DYKE Fann ie Dove due to their own physica l stamina , their determi Devil and Other Reasons He has also directed at the Goodman Thea tre in a black woma n, age 32 nation and the help of th eir ne ighbors. to Riot, was published by Chicago, M ilwaukee Repertory Theatre, New Minnie Dove Charles KIMBERLY HAWTHORNE Ballantine Books last fa ll. Ms. York's INTAR Two and the San j ose Repertory a black woman , age 2 1 Large groups of African American homesteaders Cleage's play, Hospice, was Theatre. His TV work includes episodes of "In the Heat of the Night," "In the Line of Duty: Streetwar" Frank Charles PETER JAY FERNANDEZ left the South following the Civil War to settle in the recipient of five A UDELCO a very light-skinned black man , all-black towns. Th e so-called Exodus of 1879 awards for achievement and "Night Man." born into slave ry, age 36 saw twenty to forty thousand African Am eri can off-Broadway and last year, men , women and chi ldren - "Exodusters " two of her one-act plays, Late ABOUT THE ALLIANCE THEATRE COMPANY The Setting reach Kansas under the guidance of a charis Bus to Mecca a nd Chain , were co-prod uced The foremost non-profit theater company in the Time: Fal l 1898 malic leader, Beniamin "Pap" Si ngleton , who o ff-B roadway th e judith Anderson Theatre Southeast, the Alliance Theater Company is Place : Outside the all-black town of at N icodemus, Kansas ha d escaped from slavery and later claimed , by the Women's Proiect & Producti ons and committed to the creation of a variety of thea trical "I am the w hole cause of the Kansas migration !" the New Federal Th eatre. As a performance experiences fo r a cultural ly and socia lly diverse Act I artist, Ms. Cleage's work includes Clearing audience. Under the leadership and guidance of Scene 1 A fall evening After an 1892 lynching and riot, crusadi ng black the Heart, directed by Zaron Burnett, Jr., Artistic Director Kenny Leon, the Company has Scene 2 The same day; evening Scene 3 The next morning iourna list Ida B. Wells' call to her readers to and Love & Trouble , w ritten and performed dedicated itself to the exploration of work which Scene 4 Late that night leave Memphis, Tennessee was heeded by more in collaboration with Burnett and d irected will enrich lives and tear down the arti ficial walls than seven thousand black residents of the city. by Kenny Leon. In addition to writing a nd which separate us as human beings. The Al liance Act II Scene 1 Early the next morning They packed up as many of their belonging as performing, Pearl Cleage is a lso artistic develops and presents new work as wel l as con Scene 2 The same day; evening they could carry and headed west in search of a director of j ust Us Theater Company, editor temporary and classical plays, and has enioyed Scene 3 The next Sunday; early morning life free from racist violence. Unfortunately, their of Catalyst Magazine, a regular columnist for tremendous success with. productions of August Scene 4 Sunday ahernoon d reams were shattered as ma ny western states the Atlanta Tribune , playwright-in-residence Wilson's The Piano Lesson, the Southeastern pre Scene 5 Su nday evening enacted jim C row laws as cruel as any in the old at Atlanta's Spelman College and a miere of Miss Ever's Boys by David Feldsh uh, Scene 6 Monday morning Scene 7 Seven months later, April 1899 confedera cy and effecti vely destroyed most of the contr ibuting editor to Ms . Magazine. Chekhov' s The Seagull, Robert Bolt's A Man for All black settlements by the early 1900s. Seasons and Athol Fugard 's Ploy/and. • seNice to the Latino community in Brooklyn, Palmieri , Johnny Pacheco, Ray Barretto and tonight's program also celebrates the birthdays of Willie Colon began to firmly establi sh themselves presents salsa kings Willie Colon and Ray Barretto, which in the national consciousness at that time. fall on April 28 and 29, respectively. WILLIE COLON i CELEBRACION! TWO GIANTS OF Trombonist, bandleader, singer, songwriter and featuring NEW YORK SALSA producer, Willie Colon was born in the Bronx to WILLIE COLON & The Latin influence on American music has exerted Puerto Rican parents in 1950. At the age of RAY BARRETTO & IDS ORCHESTRA itself many times and in many ways. The music of twelve, he began playing the trumpet. Two years the United States had developed a Latin tinge as later, he switched to trombone and formed a Saturday, April 30 - 8:00pm early as the mid-nineteenth century. "Mexican music twelve-piece group called the Latin Jazz All-Stars. The Opera House was natura lized, " John Storm Roberts reminds us, A few years later, he formed his first professional when Texas and California ioined the Union." He band, with the two-trombone frontline that had Th is program is presented in collaboration with El Puente. also goes on to say that, "the first real impact of Latin been used so effectively by Eddie Palmieri. The band was an almost immediate success . 651 's presentation of jCELEBRACION! music across the United States entailed the country's El Colon's very first album, was recorded for highlights two giants of the New York dance as well as its music. This wave began in Malo , 1914 when Irene and Vernon Castle's presentation Fania Records in 1967 and sold over 30,000 salsa scene Ray Barretto and Willie Colon the Brazilian maxixe and the Argentinian tango and simultaneously launches the first year of copies. of a partnership between 651 and became a national rage. It was also in 1914, Blessed with the ability to combine experimental El Puente, a youth and community devel incidentally, that W.C. Handy's St. Louis Blues hit the scene, combining a tango section with 12- ism with popular success , Willie Colon was opment organization based in the among the most creative and innovative Latin Williamsburg section of Brooklyn , known bar blues. bandleaders the Seventies. He infused N ew widely for its commitment to nurturing the of spirit of young people through education During the Thirties, the Latin craze widened when York salsa with both a iaunty original sound and and the arts. In addition to collaborative Don Azpiaz6 brought authentic Cuban dance an imaginative mixture of Latin American rhythms music to American audiences for the first time. and influences, among them Jibaro music, the programming, 651 's partnership with El (The Peanut Vendo r) became the Puente will also encompass in-community El Manicero country style of Puerto Rico , as well as elements activities such as master classes, best known Cuban tune in the United States. This from Panama , Colombia and Brazil. To date, lecture/demonstrations , poetry readings trend continued in the Forties w ith the formation of Colon has released thirty-three albums, nine of Machito's Afro-Cubans. Spearheaded by w hich went gold and five of which have gone and technical assistance. Machito and Mario Bauza , this movement led to platinum. Over the years, W illie Colon has jCELEBRACION!, as its name implies, both a U.S. mambo craze and the development received eight Grammy nominations and has sold is all about birthdays, people and of Latin iazz as a a separate Latin idiom. more than eight million records worldwide. A community. Presented in honor of sociopolitical activist who, at times, incorporates El Puente and its 1 2th anniversary of The Sixties proved to be an extremely important scathing political commentaries within his mus ic, formative period for mainstream Latin music . Colon is also a highly sought after producer Many of the current salsa leaders such as Eddie and composer. He has produced material for .. several top recording artists, among them Harlem w here he jammed with bop era musicians and World Beat aficionado David Byrne's Rei like Roy Haynes, Art Blakey, Max Roach, Sonny ~ presen t Momo (Warner, 1989). Stitt and Charlie Parker. During the mi d-F ihies, he turned pro, join ing Eddie Bonnemere's Latin jazz SOUL SISTERS combo. Jose Curbelo then approached him about RAYBARRETIO featuring Ray Barretto- Conga drummer, bandleader, becoming a member of his Latin band. Two years songwriter and arranger - was born in Brooklyn later, Tito Puente came ca ll ing, asking him to MARTHA BOWER' s SHORT STORIES (PREMIERE) to Puerto Rican parents. Growing up in Spanish replace Mongo Santamaria. Aher four successful DIRECTED AND CHOREOGRAPHED BY MARTHA BOWERS Harlem and the Bronx, Barretto listened to his moth years with Puente, Barretto joined Herbie Mann. Music: JOHN LURIE score for Stronger than Paradise; (used with composer's permission) ; er's Machito albums during the day and jazz radio He also began to record with such jazz musicians Internal Sound, TERRY FOX; Who Killed Poor Robin , traditional arrangement programs by night. Stationed in Germany during as Red Garland, Lou Donaldson, Gene Ammons by MARK LERNER, pe~ormed by Flat Old World, NANCY HOWEll, vocals; In the Pines, World War II, he spent all his free time attending and Cannonball Adderly. traditional arrangement by A. LEROY, performed by Last Forever, SONYA COLON, vocals Sound Design: SCOTT LEHRER, Passport Recording jam sessions with black servicemen. Sets & Costumes: G.W. MERCIER In 1961 , Barretto began recording as a leader Performers: USA BlEYER, BARBARA CANNER, Jill ESTERSON, SCOTT WILLINGHAM, Upon his return to New York, Barretto found his and two years later, his rendition of the song , El MICHAEl YASENAK, ROBERT YAHNER way to Minton's Playhouse and the Apollo Bar in Watusi took off and reached th e top of the U.S. PATRICIA HOFFBAUER'S pop charts. Over the years, he has recorded over WHO lU LLED CARMEN? forty albums, eight of th em Grammy nominated. In DIRECTED & CHOREOGRAPHED BY PATRICIA HOFFBAUER 1990, Barretto was the recipient of the Grammy Created & Pe~ormed w ith: JAMES ADLESIC, USA BlEYER, KEllY MUNN, CYNTHIA OliVER, for Best Tropical Latin Performance . DAVID THOMSON, NAMI YAMAMOTO Tape Construction & Original Music: GUY YARDEN Music: Seguedille et Duo: Pres des Ramparts de Seville, sung by MARIA CALLAS and NICOLAI GUEDDA, Over the years, Ray Barretto has won many honors from the Bizet opera, Carmen; La Lupe; MARISA MONTE singing South American Way by and awards including being voted Best Conga CARMEN MIRANDA; It's the Real Thing from Tee Vee Toons: Player 1975-6 by Latin New York and Musician of The Commercials; Camisa Listada by CARMEN MIRANDA the Year 1977. In 1980, he recei ved the Latin Originally Commissioned by Dance Theater Workshop's First Light Program funded by Poll Award for Best Conga Player, Musician of the The Heathcote Art foundation Year and Album of the Year. Barretto toured and JANINE WI LLIAMS' SECRETS (PR EMIERE) recorded with the Fania All-Stars from 1968 well DIRECTED & CHOREOGRAPHED BY JANINE WILLIAMS into the Eighties. Perfo rm ed by: KEILA CORDOVA, AllEGRA ESTREET, SANSAN KWAN, BRITTANY REESE, MARIKO SHIBATA Recorded Music & Composition: NANA VASCONCELOS; Entering his fihh decade as an extraord inary Live Music Composed and Performed by: AHMONDYLLA and AHMED BEST instrumentalist and band leader, Ray Barretto contin Costume Design: FABIO TOBUNI Set Design: MICHAEL BRENNAN ues to be a dominant force in the world of jazz Photographer: STAN WILLIAMS Rehearsal Director: LORI STEWART and Latin music. Wednesday, May 4 - 8:00pm Saturday, May 7 - 8:00pm Lepercq Space Special support for this program has been provided, in port, by The Harkness Foundations for Dance, NYC Deportment of Cultural Affairs, New York Community Trust and Assemblyman Javier Nieves. SOUL SISTERS was originally conceived as material contributed by th e cost, Short Stories Brazilian actress/ singer who left her native Rio JANINE WILLIAMS on annual program showcasin g the active and delves into issues of identity, se lf-esteem and as a cabaret singer to become the highest paid jonine W illiams' Secrets is a passionate study important role played by women in th e arts. personal power that develop when a parent actress in Hollywood. j uxtaposing abstract of women's struggles to come to grips with Launched on May 14, 1993, 65 1 's first pre becomes physica ll y abusive to family members . donee with a mosa ic of specific images and envy and defensiveness. Thi s work for six sentation of this program placed the spotlight references to Mirando's life, th e work tokes a dancers examines the emotional, social and on the contributions of African American Martha Bowers is the artistic director of daring look at the development of the "Hot political boundaries that women secretly uphold women to the distinctly American idiom known Donee/Theatre/Etcetera, a New York-based Latino " stereotype demonstrated by the charac in order to su rvive as individuals in today' s as the blues . Featuring best-selling author, Terri dance company founded in 198 1 . She has ters played by Carmen in early Hollywood films soc iety Thi s donee is not a choreographic McMillon reading from her novel Waiting to created numerous and diverse performance and corresponding images of Latinos as por struggle, it is on expression of the ioy, intellect, Exhale, Obie Award-winning dancer Kim Bears works for a variety of groups among them pro trayed through todoy's media. spirituality, tenderness, and depths of passion and members of Philodonco performing a trib fessional dancers, musicians, actors, karate we feel as we learn to let go.· ute to Aretho Franklin entitled Love and Pain experts, children, seniors and community mem A native of Rio de janeiro, Brazil, Patricio and internationally renowned vocalist Cynthia bers. A rec ipient of choreographers' fel lowships · Hoffbouer is a graduate of New York Scott and the Bross Townsend Trio leaving the from the Notional Endowment for the Arts and University. She has worked and collaborated audience gasping for some down and dirty the New j ersey State Council on the Arts, she with many choreographers and directors, blues, the inaugural SOUL SISTERS attracted a has also been commissioned to create new including Sora Rudner , Ron Brown , and janet capacity audience truly appreciative of the works by Dancing in the Streets, the jerome Lilly. Her works hove been produced in New blues as on art form with many facets. Foundation (through Donee Theater Workshop's York City at Donee Theater Workshop, PS This season, the focus of SOUL SISTERS is on First Light program) the Moine Festi va l, Mayfair 122, Dio Center for the Arts, St. Mark's donee and the women who make it happen. and the Dundalk County Council. In New York, Church, lntor II, Dixon Place , Movement Conceived by the Gowonus Arts Exchange, this programs of her work hove been performed at Research at judson Church , Dancing in the even in g's program highlights the work of three Donee Theater Workshop, PS 122, St. Mark's Streets at Wove Hill, the joseph Popp Public emerg in g choreographers of African American, Church, Centra l Pork SummerStoge, the Theater and internationally in Venezuolo, Iri sh and Latin descent-jonine Williams, Prospect Pork Pi cnic House & Bondshell, the Canada, Puerto Ri co and throughout Brazil. Martha Bowers and Patri cio Hoffbouer. Gowonus Arts Exchange and the Dio Art Currently a member of the Movement Research Foundation. This summer, Bowers will be Artist-i n-Residence program, Hoffbouer wos a MARTHA BOWERS teaching at the Bates College Donee Festival recipient of a Notional Endowment for the Arts Choreographer Martha Bowers' Short Stories and Rutgers University. Inter-Arts grant, the Dive rse Forms Artists' was conceived as a response to abusive rela Proiects: Regional Initiative in 1991-92 and tionships that con develop withi n a family expe PATRICIA HOFFBAUER 1994-95 NYSCA grant. This summer, Patricio riencing economic hardship. Inspired by such Patricio Hoffbouer's Who Killed Carmen? will be commissioned by Dancing in the Streets works of literature as Ti lli e Olsen's Yonnondio, examines the ambiguous relationship the Un ited to recreate Who Killed Carmen? with Latino left to right: Martha Bowers,· Patricia Hoffbauer, Studs Terkel' s Hard Times and Russel Boker's States developed with South America's most teens in the South Bronx. Janine Williams Success Stories as well as autobiogra phical famous female entertainer, Carmen M irando, a •
A 1990 graduate of Bard College, Janine ABOUT GOWANUS ARTS EXCHANGE Williams has performed with Bill T. Jones/ Arn ie presents Zane & Co., Doug Elkins and Mary El en Strom The Gowanus Arts Exchange is a non-profit among others. As a choreographer, she has community arts organization that serves as a presented her works at the Gowanus Arts neighborhood home for artists and their audi JAZZ & BLUES LEGACY Exchange, Dance Theater Workshop, Long ences and is an advocate of cultural diversity Island University, Aaron Davis Hall, Judson and inventiveness . The Gowanus offers a wide LOUIS ARMS ~TRONG + Church, Dance Space Inc., The Majestic range of presenting and educational programs Theater, and the Apollo Theater among others. in dance, theater, performance art and music. W.C.HANDY As founder and dance creator of KUUMBA, an Programs of the Gowanus Arts Exchange featuring African American women's choreography show include Gowanus Special Productions (presen Sandra Reaves case which has been presented at Dance tations by emerging and established artists fea Thea ter Workshop for two consecutive seasons, turing works that are new, commissioned spe with she has successfu lly premiered the works of ten cia l interest projects); The Outback Series (a PETER ZAK, piano/ musica l director young, emerging choreographers in New York monthly showcase of dance and performance MARK GROSS, reeds City. Janine Williams would like to thank Dr. work); and The Groundhog Series for Family PATRICK RICKMAN, brass Alexis DeVeaux, Tom Standish, Rachel Audiences (Sunday afternoon performances for PAUL RAMSEY, bass Gonzalez, John & Kathy Engle, Charles & kids and families featuring theater, dance, WALLY GATOR, drums Fanny Tody, Dino Zannini, Dorothy Crane, mus ic, puppetry and more). and David & Wendy Rose Burke, Nancy Luca s, Hans Tobeason, Dr. Medria Williams, Dr. Arvell Shaw & The Louis Armstrong Debra Numaer, Lori Stewart, Chezia Legacy Band Carraway, Ama Zenya for the ir support. The Gowanus Arts Exchange receives support, in part, from the New York State Council on the Arts, the NYC with Deportment of Cultural Affairs, BACA/The Brooklyn Arts Council, The joyce Mertz-Gilmore Foundation, Meet the BYRON STR IPLING, trumpet Composer, the New York Foundation for the Arts , New DENNIS W ILSON, trombone York Community Trust, Assemblyman Javier Nieves and JOEY CAVASINO, reeds Councilperson joan McCabe, the NYC Fund for Public BROSS TOWNSEND, piano Education and the Booth Ferris Foundation. RAY MOSCA, drums ARVELL SHAW, bass/leader
Saturday, May 14 - 8:00pm The Majestic Theater
Special support for this program has been provided, in port, by the Lila Wallace-Reader's Digest Fund ond A&S. REMEMBERING ARMSTRONG & HANDY Armstrong almost singlehandedly remodeled jazz female singers, as he had accompanied about an eye disease, W.C. Handy lost his The turn of the century in the United States was and as a consequence had a critical effect on the twenty during the course of his career, including v1s1on. From then on, he became main ly active one of the most exciting times ever for newly kinds of music that evolved from it. Bessie Smith on her debut. as a music publisher and composer. However, developing American music forms The sounds of he did front bands, occasionally playing cornet, ragtime, syncopated band and orchestral music, Born in New Orleans in 1901, Louis Armstrong WILLIAM CHRISTOPHER 11W.C." HANDY, on several occasions including a brief tour with early jazz, blues and gospel were floating learned to play the cornet in a waifs' home popularly regarded as "Father of the Blues," was Jelly Roll Morton's band. through the air and beginning to combine in where he had been sent for firing his stepfather's born in Florence, Alabama in 1873. Originally a novel and creative ways. The ever popular but gun in the street during a New Year's Eve cele cornetist, he spent a period of time playing w ith A concert commemorating Handy's 65th birthday extremely pejorative minstrelsy period had waned bration . In 1919, he joi ned Kid Ory's band, the Bessemer Brass Band, and then formed a vocal was held at Carnegie Hall in 1938. In 1939, and the artistic approach to the spiritual taken by replacing King Oliver. Later, that same year, he quartet which he took to Chicago for the he recorded on cornet and vocals with JC. the FiskJubilee Singers had undermined popular was playing on the Mississippi riverboats and in Exposi tion of 1893. Beginning in 1896, Handy Higginbotham, Edmond Hall and others. In but stereotypic views of African American perfor various New Orleans clubs . Three years later, he played solo cornet with Mahara's Minstrels, later 1957, the film St. Louis Blues, which was loosely mance practices. was asked by King Oliver to join his famous becoming the troupe's musical director and touring based on Handy's life, with Nat King Cole por Creole Jazz Band in Chicago as second cornet. on and off with them for about seven years traying Handy, was released. One year later, Sitting astride this artistic fence are two of the true In 1924, following his marriage to pianist Lil During this period, as he was playing on the on March 28, 1958, W.C. Handy died in New jazz & blues innovators - Louis Armstrong and Hardin, Armstrong left Oliver to play at the fringes of the newly emerging ragtime and jazz W.C. Handy. At first glance, these two influential Dreamland Ballroom in Chicago, and then joined genres, Handy was listening to the blues in their artists might appear to have little or nothing in Fletcher Henderson in New York. folk form as he travelled th roughout the South . common. Although they both played trumpet and had performed with bands of one type or anoth Armstrong emerged as the first inspirational genius Handy's position as a major figure in American er, the similarities seem to end there. On closer of jazz in the Twenties, astonishing all who heard music was established primarily as a composer, look, however, it becomes clear that nothing him with the effortlessly imaginative and lyrical publisher and documenter of traditional blues could be further from the truth. Armstrong and qualities of his improvisations. His exceptional themes. His first well-known song, originally writ Handy are both central characters in the history solos, with their vocalized line and inherent vibra ten as a 1909 political campaign song in of an emerging musical form; nowhere is the rela to, rapidly became a model for all advanced jazz Memphis for E.H. "Boss" Crump, was published tionship between jazz and blues rendered more musicians including players of other instruments in 191 2 as Memphis Blues. Handy went on to clearly as through the creative products of their such as saxophonist Coleman Hawkins and pianist write many famous tunes including St. Louis Blues, individual compositions and improvisations. Earl Hines . Armstrong was obviously the arche Yellow Dock Blues, and joe Turner Blues among type and most imitated model of vocal jazz. His many others. LOUIS ARMSTRONG -"Satchmo"- first recorded song, Heebie)eebies ( 1926) to millions of fans, he was simply a great entertain acquired legendary stature as the invention of Having visi ted New York with his orchestra, er. To jazz aficionados, however, he was one of scat. This manner of vocalizing by ono Handy and his partner, Harry H. Pace, made the the most important musicians of our time, not only ma topoeia had existed for some time, but decision to move there and establish a music a key figure in the history of jazz, but a formative "Satchmo" developed it into a major art. His publishing house. In the early Twenties, as a influence on all of twentieth century popular music. vocal style was influenced by both male and ..
York City. In 1969, a commemorative postage in 'Round Midnight and as Mrs. Powers in Leon in association with stamp honoring Handy, was issued by the U.S. On Me, for which she also sa ng th e title song. The Donald Byrd Foundation Inc. Post Office. N ominated for two Helen Hayes Awards and the NAACP Image Award, Sandra Reaves is presents SANDRA REAVES currently touring throughout North America and Acclaimed jazz & blues singer/Broadway New Yo rk with two shows of her own creation - actress Sandra Reaves has come a long way to Bold & Brassy Blues and The Late Great Ladies DONALD BYRD! stardom- from a flatbed truck of migrant workers of Blues and jazz- recreating six legendary to the renowned theaters of the world. Born in characters of the jazz, blues and gospel arenas. THE GROUP Mullins, South Carolina, she labored long hours in the New York Premiere of in the field with her grandmother, sang in church ARVELL SHAW Bristle and later entered local ta len t contests in New Born in St. Louis on September 15, 1923, Arvell York City. Her success in singing paved the way Shaw played side by side with Loui s Armstrong CHOREOGRAPHY BY DONALD BYRD to a career in show business. As a result of per for over a quarter of a century. As "Satchmo's" forming in small clubs around New York, she bass player in both the sma ll group and the big Music Composition landed a contract with Epic Records and began band, he recorded numerous albums with MIO MORALES to appear off-Broadway. Reaves' big break Armstrong during this time , also appearing with MAURICE RAVEL came with a riveting portrayal of Mama Younger him in the film High Society. Shaw also worked Lighting Design in the Tony Award-winning Broadway musical the riverboats w ith Fate Marable and performed DAVID H. ROSENBURG Raisin . She co-starred in the original production with many prominent leaders over the years, of Black and Blue. including Russ Case, Teddy W ilson, Sidney Costume Des ign Bechet and Benny Goodman. KASIA WAUCKA-MAIMONE She has appeared in numerous stage produc tions , including Mo Rainey's Block Bottom, One Arvell Shaw and his Louis Armstrong Legacy The Company Mo' Time, Miss Moffat with Bette Davis, and Best Band have presented many tributes to the leg MICHA EL BLAKE , FRIEDRIC H BUHRER, STEPHANIE GUILAND, TERRANCE JONES, Little Whorehouse in Texas . Club appearances endary "Satchmo," including the one recorded on KIP MARTIN, ALDAWNA MOR RISON have included, in the U.S. , the Cotton Club, the N ovember 7, 1991 at Pace University during a DIANE SALES, LEONORA STAPLETON , Village Gate, Dangerfield's, Sweetwaters, and in Highlights in jazz concert. In a review of the con LAURA ROSSINI, APRIL WANSTALL cert critic joe Klee w rote that "Arvell Shaw's Europe, the Canteen, Casino in Luzerne and Stage Manager Armstrong Legacy came so close to sound ing like jaylins in Switzerland. Reaves has made many BETSY HERST festival appearances, among them , the Montreal the Louis Armstrong All-Stars that it was almost jazz Festival , Holland's North Sea jazz Festival , scary." Klee went on to exclaim that "it was one Wed, June 1 - 8:00pm Bern , Switzerland's International j azz Festival and of the best jazz programs I've heard in recent Fri-Sat, June 3-4 - 8:00pm numerous other festivals throughout Europe and memory. It was a wonderful concert for the musi The Majestic Theater Africa. On fi lm, she has performed as Buttercup cians, for the audience and for jazz in general." Special support for this program has been provided, in part, by The Harkness Foundations for Dance.
Donald Byrd/ The Group's performances of BRISTLE are made possible, in part, by the New York State Council on the Arts, the joyce Mertz-Gilmore Foundation , the National Endowment for the Arts and through the continued generosity of Andrea and Rita Reese. Act I "Seduction then changes its meaning from DONALD BYRD presents works which articulate such universal an immoral and libertine enterprise exercised at the Artistic director Donald Byrd has created over concerns as isolation and community and also Sentimental Cannibalism/The Company expense of virtue, from a cynical dupery for sexual 30 new dance works sin ce 1976, frequently ta ckle issues of disease, drugs, and racial and -intermission- ends (which is without great interest}, it becomes collaborating with video artists, writers and gender relations. mythical and takes on the dimensions of a sacrifice. composers. His choreography has included Act II Which is why it achieves so easily the assent of the works for the Alvin Ailey American Dance Donald Byrd/The Group has toured extensive Theater, the Alvin Ailey Repertory Ensemble, ly, presenting provocative dance works crafted La Valse/The Company "victim," who obeys, as it were, through her surren der to the order of a divinity which wills all forces to Dance Theater of Harlem , Nieuwe DansGroep with astonishing speed, rhythm and grace to -intermission- be reversible and sacrificed, whether it be that of of Holland and has been presented in the w idespread acclaim throughout Europe, japan power or the natural force of seduction. " Soviet Union, Hungary, Yugoslavia, Holland, and the United States. The company is the Act Ill -Louise Church ill, Male Order: France, England and across the United States. rec ipient of a Metropolitan Life Foundation Quartet/Dancers TBD Unwrapping Masculinity analysis of Baudri llard's De "Em erging Dance Award," a Meet the La Seduction DONALD BYRD/THE GROUP Composer "Composer/Choreographer CHOREOGRAPHER'S NOTES Since its inception in 1978, Donald Byrd/The Award" and grants from the AT&T Foundation, "Set in some vague courtly context with the Group has developed a reputation for boldly NYSCA, Arts International, the Harkness "What (is) dominant here (is} not the prin ambiance of a mid-eighteenth century French episto inventive and physically irresistible choreogra Foundations for Dance, the Commun ity Arts cipals of love and happiness, but that of the lary novel, where a man is trying to seduce a phy. Under the guidance of artistic director Fund, the NEA, and the Jerome Foundation . (deadly) game of seduction and counter-seduction, woman . She asks 'which part of me do you find and choreographer Donald Byrd , the company at that level of appearance. " most seductive?' He replies, 'your eyes. ' Next day, -Mike Gone, he receives an envelope. Inside, instead of the let analysis of Jean Baudrillard 's L'Echange ter, he finds a bloody eye. Analyzing his own fable, Symbolique ella Mort Baudrillard points out that in the obviousness, the lit eralness of her gesture, the woman has purloined JEAN BAUDRILLARD: It's the feminine as appear the place of her seducer. STAFF ance that defeats the profund ity of the masculine . The man is the banal seducer. She, the Woman instead of rising up against this 'insulting ' fatal seducer, sets him a trap ...a banal theory Artistic Director formula would do well to let themselves be assumes, like the platitudinous seducer, that the sub DONALD BYRD seduced by this truth . iect is more powerful than the obiecl. A fatal theory JANE GALLOP: A lie if I ever heard one. knows, like the woman, that the obiect is always Administrative Director JEAN BAUDRILLARD: Imagine a woman who worse than the subiect. " W.L. "DEE " WARFIELD faints: nothing is more beautiful, since it is always -Meaghan Morris, Development Director at one and at the same lime to be overwhelmed summarizing jean Baudri llard's BRAD SMITH by pleasure and to escape pleasure, to seduce Forget Foucault and escape seduction. Please follow me. SUZANNE MOORE: No thank you . • •
BEHIND THE SCENES AT 651: Byrd/The Group, an innovative donee com The Community Development Initiative pony led by Donald Byrd , one of the coun 65 1 is a producer and presenter of arts, educa Donald Byrd/The Group's Drastic Cuts and try's strongest mid-career choreographers, tion and humanities programs serving New York Crossroad Theater's Sheila's Day; the landmark 65 1 's activities during the course of each and Opera Ebony, one of the country's only City's culturally diverse popula ti on, under the 1992 festival, I 00 Years ofJazz & Blues, tracing year consists of much more than the pro professional African American opera/music leadership of Executive Producers Mikki Shepard the evolution of all the styles, contexts and perfor grams that you see on the stage. In prepa theater companies. and Leonard Goines. Based in the heart of mance practices of these two genres from their ration for our upcoming, multi-year World Downtown Brooklyn at the award-winning origins through today, with performances by Arts Festival, 651 is currently developing In addition, 651 has joined forces with the Majestic Theater, 651 celebrates a variety of rich some of the greatest jazz and blues artists of our and implementing a Community Brooklyn Academy of Music to establish the cu ltural heritages and trad itions while fostering time including Randy Weston, Arch ie Shepp, Tito Development Initiative. This in itiative will Community Arts Partnership Project (CAPP), new artistic talent that reflects America's evolving Puente, Abdullah Ibrahim, Ruth Brown , Max help expand the organization's achieve a program geared at making space at the cul ture. By forg ing creative alliances with artists, Roach and the Count Bosie O rchestra; On Fulton ments in community-based arts presenting, !V'iajestic Theatre and other BAM venues audiences, fellow cultu ral institutions and commu Street: A Tribute to Audre Lorde; Blue Lights In The forming the basis for 651 's long-ter-m plans more accessible to Brooklyn-based mid nity organizations, 651 seeks to promote a Basement: A Tribute to Morvin Goye which as on arts institution committed t9 the various career artists and developing community uniquely open environment for artistic presentation included such performers as The Commodores communities it serves. See} ir:g to actively bqseCl arts ongon izotions. Admin istered by and community partnerships. and choreographer Donald Byrd; and Azucor Po' connect Brooklyn's culturoiJ{ specific \=Ommu 651 of\d joi ~ tl y produced by 651 and Til with Eddie Palmieri and Tito Nieves, two of nities, artists, scholars and educators in a BI'V\/!., GAPP 'is designed to give artists and Affiliated with the Brooklyn Academy of Music, the biggest names in salsa. larger, multicu ltural dialogue, the Commun ity arts organizations the financial and techni 651 is part of an emerging cu ltural district in Development Initiative will also establish cal assistance necessary to advance to a Downtown Brooklyn that includes BAM, the UPCOMING 651 EVENTS: new institutional paradigms and explore new level by performing in a professional Brooklyn Ph ilharmonic, The Fund for the Borough of The World Arts Festival new approaches to collaboration belwe~n theater, where they con bui ld new audi Brooklyn and the New York Experimental Glass professional arts presenters and the commu ences, attract new funding sources from the Workshop. In just six seasons, 651 's programs 651 will begin a major World Arts Festival in the nities they serve . Five to six community community, and gain important expertise in have developed from a single-discipline mainstoge spring of 1995 celebrating and analyzing cultural based "hub" organizations from various the areas of marketing, production, and series directed at one segment of Brooklyn's popula similarities and differences in communities around Brooklyn neighborhoods will be identified to general management. Post CAPP presenta tion to a broader, multi-d isciplinary and multicultural the world. This multi-year festival will seek to participate in the program. tions hove included the Charles Moore vision that combines mainstage presentations, held encourage audiences to explore new, unfamiliar Donee Company's Traces: An American primarily in the Majestic Theater at 65 1 Fulton cu ltural territory and make connections between Through this initiative, 651 will also begin a Suite; Thelma Hill Performing Arts Center's Street as well as other BAM venues, w ith on-site their own experience and other cul tures. Placing a series of partnerships with producing arts Women Doncemakers VI and Brooklyn and in-community humanities and educational pro special emphasis on art forms from societies that organizations designed to stabilize emerg Dances! presented by the Brooklyn Donee grams, such as exhibitions, publications, lecture hove on important relationship to contemporary ing and "mid-career" companies and help Consortium, Spoke the Hub Dancing and demonstrations, master classes, workshops, and American culture, the festival will consist of perfor them advance to the next level of artistic and Doncewove Inc. panel discussions . Through all its activities, 651 mance events, panel discussions, a program book institutional growth. With the 1994 season, seeks to foster a sense of community ownership for let with commissioned articles, on interactive exhibit, 651 has begun partnerships with Donald the institution. lecture demonstrations, master classes, workshops, and other activities in the performance hall and in Past 65 1 programs include 1993's presentation diverse cul tura l commun ities in Brooklyn and New of An na Deovere Smith's Fires In The Mirror, York City. • Betty Carter Jazz Ahead J94 Performance & Opening Night Gala April 17, 1993
Members of the Jazz Ahead '94 ensemble performing. Left to right: Gregory Hutchinson, Chris Thomas, and Ted Bennett, Chairman of 651 's Board of Brian Blade Directors, with City Councilwoman Mary Pinkett. Brooklyn Borough President Howard Golden proclaiming Jazz Ahead Day, Betty Carter (far left), Robert Cotter of NYNEX and 651 Co-Executive Producer Mikki Shepard. Betty Carter and Jazz Ahead '94 ensemble member Reuben Rogers on bass. ·
651 Co-Executive Producer Leonard Goines 651 Board Member Cecile Springer (center) with Bob and Leon Denmark, Executive Director of Crane of the Joyce Mertz-Gilmore Foundation and wife the Apollo Theatre Foundation . Shirley Munoz. • Betty Carter and jazz scholar Stanley Crouch. Betty Carter and actress Ruby Dee and family. A~l • \JJ I STAFF A~l MIKKI SHEPARD + LEONARD GOINES \JJ I SEASON SPONSORS Executive Producers
651 BOARD OF STEVEN PARKEY JUDE-LAURE DENIS Lila Wallace- Reader 's Digest Fu nd has provided leadersh ip support for 65 1. DIRECTORS Director, Program Manager Development & Fina nce THEODORE BENNETT 651 's 1994 Season is sponsored by Chairman LINDA WALTON MARINA VICARI-LYNK Special Events Coordinator Office M anager NYNEX. MIKKI SHEPARD President LYNN MOFFAT JONATHAN SECOR Maior support for 65 1 has been provided by N ew York City Department of MEMBERS General Management Production Management Cultural Affairs, j oyce Mertz-Gilmore Foundation, National Endowment for the Arts, The Coca-Colo Company, Coca-Colo Bottli ng Company of New York, JACQUES BRUNSWICK Robert Sterling Clark Foundation, Booth Ferris Foundation, AT&T, the RONALD FEINER, ESQ VERA MICHAELSON BEVERLY BROWN Rockefeller Foundation, Brooklyn Union Gas, New York Community Trust, Community Development Consul tant CHARLES INNISS Press Representative A&S,* MetroTech Downtown Fund ,* and New York State Council on the Arts. GIL KARSON, ESQ. MICHAEL HOWELL GERI TURNER DAVID KLEISER Institutional Marketing Consultant Group Sales Coordinator Additional support has been provided by Starrett at Spring Creek, managed HARVEY LICHTENSTEIN by Grenadier Realty Corp. ,* Merrill Lynch & Co. Foundation , Inc. , J.P. FRANCES LUCERNA YVONNE BUCHANAN EVE SANDLER Morgan & Company, The Chase Manhattan Bonk,* Con Edison , New York EDWARD McDOUGAL Brochure Desig ner Brochure Designer Times Company Foundation, Phi lip Morris Companies, Inc., The Harkness NANETTE RAINONE Foundations for Donee, IBM Corporation,* Metropolitan Life Foundation,* CECILE SPRINGER and Shade Magazine. RAYMOND KENNEDY PAMELA BOOKER EVELYN WILLIAMS World Arts Festival Research Scholar World Arts Festi va l Proiect Research Special Thanks to Brooklyn Borough President Howard Golden, State EX-OFFICIO Assemblyman Roger Green, and the Brooklyn Delegation of the New York RAYMOND CYR MONA HEINZE City Council and the New York State Legislature. HONORABLE HOWARD GOLDEN Marketing Intern Development Intern HONORABLE ROGER GREEN ANNETTE SANJURJO * BAM sponsors for 651 . HONORABLE SCHUYLER CHAPIN Community Development Intern
BARRY JACKSON, EILEEN RATHAN, RAWLE SCOTI Building Security a nd Services
Many thanks to BAM's Finance, General Management and Marketing Departments for their generous assistance throughout the season. Special thanks to Lewis Resnick , • Majestic Theater Crew Chief .