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Cal Performances Presents Program Saturday, March , , pm SFJAZZ Collective Repertoire † Zellerbach Hall Music of Wayne Shorter SFJAZZ Collective Armageddon () arr. Miguel Zenón Aung San Suu Kyi () arr. Dave Douglas Black Nile () arr. Robin Eubanks Diana () arr. Renee Rosnes Footprints () arr. Renee Rosnes El Gaucho () arr. Matt Penman Go () arr. Stefon Harris Infant Eyes () arr. Joe Lovano Yes or No () arr. Eric Harland Original Compositions Th e Angel’s Share Matt Penman Aurora Borealis Renee Rosnes Frontline Miguel Zenón Road to Dharma Stefon Harris Secrets of the Code Dave Douglas Th is, Th at and the Other Joe Lovano Untitled Robin Eubanks Th e Year Eric Harland John Abbott † Th e Collective’s repertoire spans the length of multiple concerts. Th e ensemble’s set list changes nightly, and the evening’s selections will be announced from the stage. Joe Lovano tenor saxophone Dave Douglas trumpet Stefon Harris vibraphone Miguel Zenón alto saxophone Robin Eubanks trombone Renee Rosnes piano Matt Penman bass Eric Harland drums Th e SFJAZZ Collective is supported in part by Th e James Irvine Foundation, National Endowment for the Arts, Herb Alpert Foundation and the Members of SFJAZZ. Th is performance is made possible, in part, through the generosity of Ivan, Maris and Harry Meyerson. Cal Performances’ – season is sponsored by Wells Fargo Bank. 6 CAL PERFORMANCES CAL PERFORMANCES 7 Program Notes Program Notes The Concept tions by a modern jazz master—to date, Ornette Eric Harland, famed for his work with Charles point where he can synthesize all the history of jazz Coleman (), John Coltrane (), Herbie Lloyd, McCoy Tyner and other jazz legends. into a very special, very alive musical expression.”† Given the extraordinary talent assembled in the Hancock (), Th elonious Monk () and Now in its fi fth season, the Collective has Shorter has made a profound impact on that history SFJAZZ Collective—eight of the most accom- Wayne Shorter (). Th e ensemble would be an become one of the leading ensembles on today’s over the past half-century, from his late-s days plished and acclaimed performer/composers in jazz octet, enjoying both the fl exibility of a small group international jazz scene, appearing in prestigious with Horace Silver and Art Blakey and his classic today—it is tempting, on fi rst glance, to think of and some of the expanded palette of a big band. concert halls and festivals throughout the United s roles as a bandleader and a pivotal member this ensemble as an “all-star band,” pure and sim- In keeping with the “Collective” name, the group’s States and in Europe and Asia, earning “ Rising of Miles Davis’s second great quintet, through his ple. But as the “Collective” portion of the group’s members would take turns sharing the spotlight as Star Jazz Group” honors in Down Beat’s s excursions with fusion pioneers Weather name suggests, these exceptional artists have come “leader” from song to song. And crucially, in or- Critics’ Poll, and placing high in ’s year-end Report, and up to his present-day work with his together in pursuit of a larger purpose—namely, der to give this work its full artistic due, the group “best albums” lists from the likes of National celebrated new acoustic quartet. Th e Collective the celebration of jazz not only as a great art form, would rehearse its annual repertoire in a multiweek Public Radio ( album) and JazzTimes (). To covers an expansive range of Shorter’s oeuvre, from but as a constantly evolving, ever-relevant, quintes- San Francisco residency before going on tour—a date, the group has released four limited-edition such signature s pieces as “Footprints” and sentially modern art form. In Th e New York Times’s rare opportunity in today’s jazz world, and one CD sets documenting its complete annual reper- “Infant Eyes” to ’s “Diana” and ’s “Aung emphatic words: “Modernity is the mantra of the that would arguably be impossible without institu- toire in concert plus a newly released concert DVD San Suu Kyi,” Shorter’s tribute to the Burmese SFJAZZ Collective.” tional backing. During the residency, in the inter- recorded at ’s Jazz à Vienne festival in France Nobel Peace Prize-winner. Th is conception of the music is shared by est of jazz’s ongoing development, the Collective (all available exclusively from sfj azz.org), plus two “I consider Shorter one of my most important SFJAZZ, the San Francisco-based non-profi t insti- members would also mentor promising young concert highlights discs in wide distribution on the musical infl uences,” says Renee Rosnes. “In , tution that is the group’s namesake and producer. musicians, including the -strong SFJAZZ High Nonesuch label. I was a member of his band, and that experience Th e idea for the Collective arose from turn-of-the- School All-Stars ensemble. changed me forever. Th rough his music, he taught millennium discussions between SFJAZZ’s found- me about courage, passion, vulnerability and free- er and executive director, Randall Kline, and saxo- dom. Virtually all of Wayne’s compositions are in- phonist and founding Collective member Joshua The Repertoire herently full of these qualities.” Redman. While deeply respectful of jazz’s origins The Ensemble “As has been the case with all the composers and early traditions, SFJAZZ, as a concert present- As Variety aptly wrote: “We know they can play— we’ve worked on with the band,” Miguel Zenón er (of the internationally renowned San Francisco Th e Collective is distinguished not just by the de- that’s a given. What’s special is the progressive rep- notes, “the biggest challenge is to try keep the spirit Jazz Festival, among other year-round programs), gree, but by the diversity of its talent: each member ertoire they have chosen to champion.” Divided of the original versions of the compositions, while was concerned that the modern side of jazz, from is not only a celebrated instrumentalist, but also roughly in half between original compositions at the same time refl ecting the personality of the roughly the mid-th century to the present day, an outstanding composer and arranger, and many and new arrangements of works by a modern jazz Collective. I really feel we get better and better at was often overlooked in the public eye in compari- are among today’s most lauded bandleaders. Th e master—with each Collective member contribut- doing this every time we get together.” son with the music of jazz’s so-called “Golden Age.” Collective’s current line-up also strikes a perfect ing one of each—this repertoire, entirely new each Both Kline and Redman were eager to showcase, balance among founding members, other multi- season, off ers a unique window on jazz’s recent his- in a manner that would resonate with jazz afi cio- year veterans and exciting newcomers. Th e front tory and on its wealth of present-day expressions. nados and newcomers alike, the artistic continuum line of horns includes two past Down Beat “Artist As in past seasons, the Collective’s original Notes by Rob Tocalino and Matthew Campbell from modern masters like John Coltrane, Ornette of the Year” honorees, saxophonist Joe Lovano compositions for highlight the state of the art Coleman and Herbie Hancock to today’s new gen- and trumpeter Dave Douglas, both members in jazz composition, exploring new, often extended eration of touring and recording artists. since ; three-time Down Beat “ Rising Star approaches to song form and reveling in the rhyth- † Quoted in Footprints: Th e Life and Work of Wayne Shorter by And so, with an inaugural line-up of modern Alto Saxophonist” and founding member Miguel mic, harmonic and textural possibilities of the oc- Michelle Mercer. jazz luminaries and the institutional support of Zenón; and newcomer trombonist Robin tet. Th e song titles themselves suggest the variety SFJAZZ, the SFJAZZ Collective was unveiled in Eubanks, a two-time Down Beat “Trombonist of of inspiration at work, from the hints of mystery , with an approach that was (and is) unique the Year.” On vibraphone since , Stefon Harris in Stefon Harris’s “Road to Dharma” and Dave in the jazz world. For multiple weeks each year, has earned top Down Beat “Rising Star” honors on Douglas’s “Secrets of the Code” to the more forth- eight of the most in-demand artists in jazz would his instrument and is widely considered the fi nest right “Th is, Th at and the Other” by Joe Lovano set aside their numerous other high-profi le proj- vibist of his generation. Th e incendiary Collective and “Th e Year ” by Eric Harland. ects and devote all their time and energy to the rhythm section boasts founding member and ac- Artistic breadth also infuses the balance of Collective. Th e group would annually divide its claimed Blue Note recording artist Renee Rosnes the repertoire—the music of saxophonist repertoire between new works written by and for on piano plus two four-year Collective veterans: and composer extraordinaire Wayne Shorter. In the Collective’s members (and commissioned by bassist Matt Penman, one of the most in-demand the words of fellow jazz icon Herbie Hancock: SFJAZZ) and new octet arrangements of composi- sidemen on the international scene; and drummer “Wayne Shorter has evolved as a human being to a 8 CAL PERFORMANCES CAL PERFORMANCES 9 About the Artists About the Artists SFJAZZ Collective Orchestra and Steve Coleman, among others. A leading drummer on the national scene, Texas- Zenón has released three CDs as a leader: Looking born Eric Harland has performed with such jazz Grammy Award-winning saxophonist and com- Forward, on the Fresh Sound New Talent label, luminaries as Betty Carter, Joe Henderson and poser Joe Lovano stands alone at the vanguard of and two discs on Marsalis Music, Ceremonial and McCoy Tyner, and has played on more than large and small group jazz.