JAZZ AT THE nATION'S lIBRARY THE CAROLYN ROYALL JUST FUND iN tHE LIBRARY oF CONGRESS THE REVA & DAVID LOGAN FOUNDATION MARIA SCHNEIDER rESIDENCY APRIL 12 - APRIL 16, 2016 LIBRARY OF CONGRESS WASHINGTON, DC The CAROLYN ROYALL JUST FUND in the Library of Congress, established in 1993 through a bequest of the distinguished attorney and symphony musician Carolyn Royall Just, supports the presentation and broadcasting of classical chamber music concerts. Made possible by The Reva and David Logan Foundation is a Chicago-based family foundation that provides strategic grants to support the arts, investigative journalism, scholarship and social justice. ***** Concerts from the Library of Congress has joined forces with the Logan Foundation to showcase some of the greatest figures and musicians in contemporary jazz. Bandleader and composer Maria Schneider, pianist and composer Abdullah Ibrahim, and scholar Dan Morgenstern will explore the Library's jazz collections and incorporate new discoveries into their perfor- mance and writing activities. Join us for an unprecedented focus on jazz at the nation's library. A live recording of the world premiere performance of Maria Schneider's Library of Congress commission will be available at q2music.org/libraryofcongress, as part of the ongoing collaboration between the Library of Congress and Q2 Music. Maria Schneider Residency Events Tuesday, April 12, 7 pm | Panel Discussion Artists' Rights and the Digital Marketplace Maria Schneider | John L. Simson | Spree Wilson | Jennifer Cutting Montpelier Room (Tickets Required) See page 4 Friday, April 15, 6:30 pm | Pre-Concert Conversation Maria Schneider & Larry Appelbaum Whittall Pavilion (No Tickets Required) See page 9 Friday, April 15, 8 pm | Concert Maria Schneider Orchestra Featuring the world premiere of Maria Schneider's Data Lords Coolidge Auditorium (Tickets Required) See page 10 Saturday, April 16, 2 pm | Workshop Maria Schneider Workshop Bohemian Caverns Jazz Orchestra & Levine Premier Music Combo Coolidge Auditorium (Tickets Required) See page 12 Residency Website loc.gov/concerts/mariaschneider.html 1 Please request ASL and ADA accommodations five days in advance of programs at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each program. Children must be at least seven years old for admittance to performances. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the events. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the program. 2 About Maria Schneider Maria Schneider’s music has been hailed by critics as “evocative, majestic, magical, heart-stoppingly gorgeous, and beyond categorization.” She and her orchestra became widely known starting in 1994 when they released their first recording,Evanescence . There, Schneider began to develop her personal way of writing for what would become her 18-member collective, made up of many of the finest musicians in jazz today, tailoring her compositions to distinctly highlight the uniquely creative voices of the group. The Maria Schneider Orchestra has performed at festivals and concert halls worldwide. She herself has received numerous commissions and guest-conducting invites, working with over 85 groups from over 30 countries. Schneider’s music blurs the lines between genres, making her long list of commissioners quite varied, stretching from Jazz at Lincoln Center, to the Saint Paul Chamber Orchestra, to a collaboration with David Bowie. She is among a small few to have received GRAMMYs in multiple genres, including jazz and classical categories, as well as for her work with David Bowie. Schneider and her orchestra have a distinguished recording career with twelve GRAMMY nominations and five GRAMMY awards. Unique funding of projects has become a hallmark for Schneider through the trend-setting company, ArtistShare. Her album, Concert in the Garden (2004) was the first recording to win a GRAMMY with internet-only sales. Even more significantly, it blazed the "crowd-funding" trail as ArtistShare’s first release. Schneider has been awarded many honors by the Jazz Journalists Association and Downbeat and Jazz Times critics and readers polls. In 2012, her alma mater, the University of Minnesota, presented Schneider with an honorary doctorate, and in 2014, ASCAP awarded her their esteemed Concert Music Award. Schneider has become a strong voice for music advocacy and in 2014, testified before the U.S. House of Representatives House Committee on the Judiciary, Subcommittee on Courts, Intellectual Property and the Internet, about digital rights. She has also appeared on CNN, and has been quoted in numerous publications for her views on Spotify, Pandora, digital rights, and music piracy. Most recently, she and concerned colleagues in New York have launched a widespread campaign on behalf of music- makers, MusicAnswers.org. Schneider's recent collaboration with her orchestra and David Bowie resulted in his single entitled, "Sue (Or In A Season of Crime),” and brought her a 2016 GRAMMY (Best Arrangement, Instruments and Vocals). Schneider and her orchestra also received a 2016 GRAMMY for their latest work, The Thompson Fields (Best Large Jazz Ensemble Album). 3 The Library of Congress Montpelier Room Tuesday, April 12, 2016 — 7 pm PANEL DISCUSSION ARTISTS' rIGHTS AND THE dIGITAL mARKETPLACE MARIA SCHNEIDER, COMPOSER & BANDLEADER JOHN L. SIMSON, EXECUTIVE-IN-RESIDENCE, KOGOD SCHOOL OF BUSINESS, AMERICAN UNIVERSITY SPREE WILSON, SINGER-SONGWRITER JENNIFER CUTTING, FOLKLIFE SPECIALIST, AMERICAN FOLKLIFE CENTER • About the Speakers Maria Schneider | see page 3 for Maria Schneider's biography • John L. Simson has been involved in the music industry since his 1971 signing as a recording artist. His career has included stints as a manager: managing GRAMMY- winning artists; an entertainment lawyer: currently of-counsel to the firm Lommen Abdo; an executive: assisting in the creation, branding and launch of SoundExchange, which he ran from 2001-2010, and as a special consultant for artist and business development for Kobalt Music (2012-2013); a creative: Simson received an Emmy nomination in 2001 for his music supervision of American Roots Music, and he was the executive producer of a number of audio-visual programs; and an advocate: Simson testified and prepared testimony for other artists who testified before Congress on artists' rights issues. Simson is currently executive-in-residence and program director of the business and entertainment major at the Kogod School of Business 4 Business at American University. He has participated in projects which have secured 15 GRAMMY nominations and won 5 GRAMMYs. In 2013, Simson received the in- augural Future of Music Coalition “Voices of Advocacy” award for his work on artists' rights. Simson is a past President of the Washington, DC Recording Academy chapter, past Chairman of the Board of the National Recording Preservation Foundation, past Chairman of the DC Bar Association’s Art, Entertainment, Media & Sports Law Steering Committee and serves on the National Recording Preservation Board of the Library of Congress. He also serves on the boards of CINE, Video Culture, the Musicianship, and the Music Managers Forum U.S. and the Advisory Boards of the New Music Seminar and Musician’s On Call. Simson was named the Outstanding Volunteer Attorney by Washington Area Lawyers for the Arts on their 10th Anniversary celebra- tion and is a graduate of Leadership Music ('94). Simson has been featured on CNN, NBC, PBS, and BBC, as well as in The New York Times, Wall Street Journal, Los Angeles Times, and other news outlets on issues affecting artist’s rights and compensation. He is a frequent lecturer at music industry programs around the world. • Spree Wilson’s approach to music has always been driven by his boundless creativity and vision. Born in Nashville, Tennessee, the singer-songwriter began his musical journey at home with a father who sang and toured in a doo-wop group called The Blue Shirts, and a mother who kept artists like Elton John, Fleetwood Mac, Minnie Ripperton, and Whitney Houston in constant rotation in her music listening. Those early influences would become his musical foundation, the bedrock for a career that would lead to him meeting and working with two giants of popular music: his mentor Dallas Austin and legendary rapper/producer Q-Tip. While attending Clark University in Atlanta, Georgia, Wilson met Austin, who was immediately impressed by the young man’s guitar skills and offered him an internship at his famous studio, Dart. Wilson’s hard work and dedication to learning the music industry served notice that there was more to the young artist than just raw talent—there was the focus and drive to maximize his potential and realize his ambitions. Austin would soon offer him a recording contract, which Wilson turned down in order to pursue his career in New York City. After selling his car and purchasing a one-way ticket to the "City of Lights," Wilson arrived in NYC with just his suitcase and guitar; and he found himself homeless and living in Penn Station for several weeks. A mutual friend eventually introduced him to Q-Tip, who was impressed by Wilson’s songwriting. Q-Tip would ultimately help land the upstart a major label deal with Jive Records. During his time with Jive, Wilson began working on his album—writing songs constantly and ultimately landing a publishing deal with Universal Music Group. 5 Since then, Wilson co-wrote Afrojack’s single “The Spark,” on which he is also fea- tured as an artist. “The Spark” has been A-listed on BBC Radio 1. In addition, he co-wrote “Sin City” on the Good Music compilation album Cruel Summer with Teyana Taylor.