4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 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 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. 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. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 3 NEA JAZZ MASTERS 1982–2018 Muhal Richard Abrams Ira Gitler Tom McIntosh Jamey Aebersold Benny Golson Jackie McLean Toshiko Akiyoshi Dexter Gordon Marian McPartland Mose Allison Lorraine Gordon Carmen McRae George Avakian Charlie Haden Jay McShann David Baker Jim Hall Pat Metheny Todd Barkan Chico Hamilton James Moody Danny Barker Lionel Hampton Dan Morgenstern Ray Barretto Slide Hampton Anita O’Day Kenny Barron Herbie Hancock Jimmy Owens Count Basie Barry Harris Wendy Oxenhorn Louie Bellson Roy Haynes Eddie Palmieri Tony Bennett Jimmy Heath Sun Ra George Benson Percy Heath Dianne Reeves Art Blakey Joe Henderson Max Roach Carla Bley Luther Henderson Sonny Rollins Joanne Brackeen Jon Hendricks Annie Ross Anthony Braxton Nat Hentoff George Russell Dee Dee Bridgewater Billy Higgins Pharoah Sanders Bob Brookmeyer Andrew Hill Gunther Schuller Cleo Brown Milt Hinton Jimmy Scott Ray Brown Dave Holland Joe Segal Dave Brubeck Bill Holman Artie Shaw Kenny Burrell Shirley Horn Archie Shepp Gary Burton Freddie Hubbard Wayne Shorter Donald Byrd Bobby Hutcherson Horace Silver Candido Camero Dick Hyman Jimmy Smith Benny Carter Milt Jackson Dr. Lonnie Smith Betty Carter Ahmad Jamal Billy Taylor Ron Carter Keith Jarrett Cecil Taylor Kenneth Clarke J.J. Johnson Clark Terry Buck Clayton Elvin Jones Toots Thielemans Jimmy Cobb Hank Jones McCoy Tyner George Coleman Jonathan “Jo” Jones Rudy Van Gelder Ornette Coleman Quincy Jones Sarah Vaughan Chick Corea Sheila Jordan Cedar Walton Miles Davis Orrin Keepnews George Wein Richard Davis Andy Kirk Frank Wess Buddy DeFranco Lee Konitz Randy Weston Jack DeJohnette Hubert Laws Joe Wilder Lou Donaldson Yusef Lateef Joe Williams Dorothy Donegan John Levy Gerald Wilson Paquito D’Rivera John Lewis Nancy Wilson Harry “Sweets” Edison Ramsey Lewis Teddy Wilson Roy Eldridge David Liebman Phil Woods Gil Evans Abbey Lincoln Snooky Young Art Farmer Melba Liston Ella Fitzgerald Charles Lloyd Tommy Flanagan Johnny Mandel Frank Foster The Marsalis Family Von Freeman (Ellis Jr., Wynton, Curtis Fuller Delfeayo, Jason, Dizzy Gillespie Branford) 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 4 MEET ThE 2018 JAZZ MASTERS Jazz impresario Todd guest soloists with the choir. In 2001 Barkan Barkan ’s name is inextri - was hired as Jazz at Lincoln Center’s artistic cably associated with one administrator by Wynton Marsalis. He stayed of the nation’s legendary with the organization for more than a decade, T T O jazz clubs: the Keystone serving as programming director and emcee B B Korner, a San Francisco for its Dizzy’s Club Coca-Cola venue from A N venue he had opened in 2004 to 2012. H O J 1972 and then managed for more than a decade. In 2013 Barkan co-produced the Keystone While that alone would make him a significant Korner Concert Series at the Iridium as well as figure in the jazz world, he also worked as a WBGO’s jazz series at 54 Below, both clubs in record producer, for labels such as New York City. In 2014 he helped establish the Fantasy/Milestone, Concord, 32 Records, Sea of Jazz Festival in Pompano Beach, and HighNote. His love of jazz, respect for the Florida. Barkan received a 2015 Grammy music and its practitioners, and knack for Award for Latin Jazz Album of the Year as co- curating exciting live performances served him producer of The Offense of the Drum by well in his subsequent capacity at Jazz at Arturo O’Farrill & the Afro Latin Jazz Lincoln Center. Orchestra. To date Barkan has produced hun - dreds of recordings, including artists such as Barkan was born in Nebraska, but was raised Tommy Flanagan, Freddie Hubbard, Bobby and educated in Columbus, Ohio, where he Hutcherson, Hank Jones, and Jimmy Scott. developed an interest in jazz as a teenager. He Barkan continues to work as a lecturer, record took piano lessons from David Wheeler and producer, and curator of live jazz events. Don Patterson, planning on a career in jazz. He also became friends with jazz legend Whatever the musical Rahsaan Roland Kirk, whom Barkan consid - setting—whether solo, ered his musical mentor. duo, trio, quartet, or N quintet—pianist Joanne A M Barkan first started producing jazz concerts in D Brackeen ’s unique style E I 1964 while attending Oberlin College in Ohio. R of playing commands F By 1968 he had relocated to San Francisco, L attention. In addition to O R working by day as a customs broker and by A her captivating and com - night as pianist for the Latin jazz band Kwane C plex improvisations, she & The Kwan-Ditos. An inquiry to perform at has written intricate, rhythmically daring the bar and live-music venue Keystone Korner compositions in a wide stylistic range. She proved life-changing as Barkan ended up is a full-time professor at Berklee College of buying the place and turning it into what Music in Boston, Massachusetts, and a pianist Mary Lou Williams once hailed as “the Berklee guest professor at the New School Birdland of the 70s.” During that time, Barkan in New York City. presented artists and produced dozens of highly acclaimed live recordings at his club. In Brackeen was a child prodigy who at age addition he worked as a booking agent, set - 11, learned to play the piano in six months ting up West Coast tours for jazz legends Art by transcribing eight Frankie Carle solos. Blakey, Miles Davis, Dexter Gordon, McCoy By 12 she was already performing profes - Tyner, and Phil Woods, among others. sionally. Some of her musical constituents at the time were Art Farmer, Dexter Following the club’s closure in 1983, Barkan Gordon, Charlie Haden, Billy Higgins, relocated to New York City to work as a Bobby Hutcherson, Scott Lafaro, and record producer for labels in the U.S. and Charles Lloyd. Simultaneously the Los Japan. During 1985–1990, he was the man - Angeles Conservatory heard of her musi - ager of the Boys Choir of Harlem, setting up a cianship and offered her a full scholarship. program that showcased jazz musicians as She attended classes less than one week 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 5 MEET ThE 2018 JAZZ MASTERS before deciding the bandstand was more tour internationally, and to date, she has significant. played in 46 different countries. Brackeen married and moved her family, Pat Metheny reinvented including four children, to New York in 1965. the traditional sound of She began her career there with such luminar - jazz guitar, bringing a fresh ies as George Benson, Paul Chambers, Lee sonic potential to the Konitz, Sonny Stitt, and Woody Shaw among N instrument while offering a E D others. She joined Art Blakey’s Jazz E deep reservoir of improvi - P Messengers in 1969, becoming the first and N sational insight and musi - H only female member of the group, staying until O cality. He is one of the few J 1972. Brackeen then performed extensively artists who has achieved with Joe Henderson (1972–1975) and Stan crossover popularity—three of his recordings Getz (1975–1977). After leaving Getz’s quar - achieving gold record status with more than tet, she emerged as a leader. 20 million records sold worldwide—and criti - cal acclaim. While his music resists any easy Traveling and performing mainly with her own description, his compositions cover a wide band was a delightful and enriching experi - range of settings, from modern jazz to rock to ence for both Brackeen and her band mem - country to classical. bers, which included Terence Blanchard, Michael Brecker, Ravi Coltrane, Jack Metheny grew up in a musical family, starting DeJohnette, Eddie Gomez, Billy Hart, Horace on trumpet at the age of eight and switching “El Negro” Hernandez, Branford Marsalis, to guitar a few years later. By age 15 he was Cecil McBee, John Patitucci, Chris Potter, and mentored by and worked regularly with some Greg Osby. She has recorded more than two of the best jazz musicians in Kansas City. dozen recordings as a leader, which include Following his graduation from Lee’s Summit 100 of her 300 original compositions.