Thursday –Saturday Evening, October 24–26, 2013, at 8:00 Wynton Marsalis, Managing and Artistic Director Greg Scholl, Executive Director Abyssinian: A Gospel Celebration Jazz at Lincoln Center Orchestra WYNTON MARSALIS, Music Director, Trumpet RYAN KISOR, Trumpet KENNY RAMPTON, Trumpet MARCUS PRINTUP, Trumpet VINCENT GARDNER, Trombone, Tuba CHRIS CRENSHAW, Trombone ELLIOT MASON, Trombone SHERMAN IRBY, Alto and Soprano Saxophones, Flute, Clarinet TED NASH, Alto and Soprano Saxophones, Flute, Piccolo, Clarinet VICTOR GOINES, Tenor and Soprano Saxophones, B b and Bass Clarinets WALTER BLANDING, Tenor and Soprano Saxophones, Clarinet PAUL NEDZELA, Baritone Saxophone, B b and Bass Clarinets DAN NIMMER, Piano CARLOS HENRIQUEZ, Bass ALI JACKSON, Drums and Chorale Le Chateau DAMIEN L eCHATEAU SNEED, Conductor with REV. DR. CALVIN O BUTTS, III, Sermon There will be a 20-minute intermission during this performance. Please turn off your cell phones and other electronic devices. Jazz at Lincoln Center acknowledges the generous underwriters of the Abyssinian: A Gospel Celebration tour, The Steward Family Foundation and Ray & Barbara Dalio. Jazz at Lincoln Center thanks its season sponsors: Bloomberg, Brooks Brothers, The Coca-Cola Company, Con Edison, Entergy, HSBC Bank, Qatar Airways, The Shops at Columbus Circle at Time Warner Center, and SiriusXM. MasterCard ® is the Preferred Card of Jazz at Lincoln Center. Jazz at Lincoln Center’s Please make certain your cellular phone, Rose Theater pager, or watch alarm is switched off. Frederick P. Rose Hall jalc.org Jazz at Lincoln Center Chorale Le Chateau Damien LeChateau Sneed, Conductor Rasul A-Salaam Maryvel Gonzalez John Rawlins III Justin Michael Austin Jamal Green Brittany Robinson Martin Bakari Amber Harris Cameron James Ross Derrick Baskin Kaleb Alexander Hopkins Timothy Springs Jeanette Blakeney Candice Hoyes Quiana Smith Clayton Brown Clinton Ingram Travis Smith Quinn Brown Arielle Jacobs Karyn Stevenson Chenee Campbell Michael Jahlil Sharol Stone Joe Caruncho Jr. Edward Jordan Gabrielle Stravelli Rafael Clark Jonathan Kirkland Elaine Sturkey Lauren Michelle Criddle Tesia Kwarteng Brandie Sutton Emily Dankworth Latoya Lewis Laina Sweetney Tynan Davis Marvin Lowe Jennalyn Thomas Josh Adam Dawson Maria Marsalis Nathaniel Thompson Lauren Dawson Ann McCormack Tonya Thompson George Dowdy Richard McMichael Bobby W. Walker Sequina Dubose Lynette Rhett McNeil Joanna Wallfisch Patrice Eaton Jamal Moore Matia Washington Patricia Pates Eaton Belinda Munro Montavius Wells Stephanie Estep Djore Nance Kortland Whalum Christine Fanuel Darnell Norman Kali Wilder Eustacia Foster Jonathan Owens Jorell Williams Shani Foster Nicole Phifer Allyson Wilson Ayana George Marquita Raley Jazz at Lincoln Center Program WYNTON MARSALIS The Abyssinian Mass I. Devotional II. Call to Worship III. The Lord’s Prayer IV. Processional “We Are On Our Way” V. Invocation and Chant VI. Responsive Reading Matthew 5:3-12 The Beatitudes VII. Gloria Patri VIII. Prayer “Pastoral Prayer” IX. Choral Response “Through Him I’ve Come to See” X. Anthem “Glory to God in the Highest” Intermission XI. Scripture Isaiah 56:7 XII. Meditation “Lord Have Mercy” XIII. Sermon “The Unifying Power of Prayer” Part I. “This House is God’s House” Part II. “The Power of Prayer” Part III. “Everyone Has a Place” XIV. Invitation “Come and Join the Army” XV. Offertory a. The Father b. The Son c. The Holy Ghost XVI. Doxology XVII. Recessional “The Glory Train” XVIII. Benediction XIX. Amen Jazz at Lincoln Center Notes on the Program contemporary gospel songs. In addition to his stellar musical credentials, Mr. by Greg Thomas © 2013 Sneed also possesses a sterling heart. Coming off a nine-state tour, Wynton He is an ambassador for classical and Marsalis and the Jazz at Lincoln Center gospel music who brings positivity, Orchestra are joined in the House of Swing optimism, and thoroughness to every by the 70-member choir Chorale Le occasion. His talent stretches across Chateau, led by conductor Damien Sneed. traditional divisions. In the realest Marsalis and Sneed have been collabo - sense, he uses his artistry to make our rating since Marsalis first composed this world a better place. work, a compositional re-enactment based on the order of service of the Abyssinian Sneed and Marsalis harmonized their Baptist Church, in honor of the historic visions to refine the orchestration for the Harlem church’s 200th anniversary in 2008. tour and tonight’s show, which will be recorded for possible release. Sneed The Abyssinian Mass continues Marsalis’ describes the Abyssinian Mass as “inge - aesthetic investigation of the power of spir - nious” and emphasizes Marsalis’ years of itual optimism to confront or transcend the study of Jewish and Christian religious his - blues, as first presented on the smaller tory and culture to write the Mass libretto ensemble work, In This House, On This with integrity. Going beyond press Morning (1992). This theme also inspirited accounts in 2008 that aptly recalled the the large-scale All Rise , featuring jazz big integration of idiomatic big band tech - band, symphony orchestra, and choir. niques with gospel shouts and plaintive moans, call and response vocalizations, Tonight’s choir, says Sneed, is comprised and prayerful moments of quiet solitude, of top-flight artists from The Metropolitan Sneed relates other qualities that make Opera and Broadway, as well as standout tonight’s rendition special. jazz and gospel singers. Having grown up performing in the church, I formed the choir back in January 2009 Sneed marvels at the keen manner in which for President Obama’s first inaugura - Marsalis devised each movement to cap - tion. Jazz at Lincoln Center wanted me ture the emotional timbre and communal to get a group of singers to go there intent of a church service while stylizing the with them to sing in the Celebration of orchestration with his own fingerprint. The America program. So, I hand-selected “Devotional” begins the Mass with open people that I’ve worked with over the choir voicing and harmony recalling early years, from going to high school in music in Western history, coupled with a Augusta, Georgia to D.C. for grad downward modulation as the vocal regis - school, and people I’ve met while ters ascend. “Lord’s Prayer” is eclectic, working at The Juilliard School or for synthesizing European choral approaches other professional engagements. with jazz styling similar to Singers Unlimited and Lambert, Hendricks, and Ross. The Marsalis was drawn to Sneed’s musical “Processional” features Basie-like swing depth: with primal choir stomps and hand claps, marching “down the streets of Glory land,” Damien works well under pressure and followed by “Invocation and Chant,” where is capable of performing a startling a member of the trombone section sings range of music from baroque and clas - and improvises as the choir holds a hum in sical pieces to romantic warhorses to the fashion of Ladysmith Black Mambazo. Jazz at Lincoln Center “The effect is very ethereal and transcen - “Recessional,” exhibiting not only mastery dent and uplifting. It really makes you feel of train onomatopoeia, but relating Old and that it’s a chant taking you to a higher New Testament history via a roll call of bib - place of existence within the service,” lical characters set to the chords of Antonio Sneed says. Carlos Jobim’s “Waters of March” and Scott Joplin’s “A Real Slow Drag” from the “Responsive Reading” is plaintive, soft, opera Treemonisha as they “ride up to with a feeling akin to Lester “Pres” Young. heaven on the Glory train.” “Gloria Patri” features familiar choral call and response juxtaposed with intricate sax - Such catholic diversity is a musical reflec - ophone section passages. After intermis - tion of the meaning of tonight’s service: sion, one of the many highlights is the everyone has a place in the House of God. Libretto THE LORD’S PRAYER Our Father, Who art in heaven The Abyssinian Mass Hallowed be Thy name. WYNTON MARSALIS Thy Kingdom come. Thy will be done, On Earth as it is in Heaven. DEVOTIONAL Lord, give us this day our daily bread. Hmm, hmm, hmm And forgive us our trespasses, I didn’t hear nobody prayin’ As we forgive those who trespass against us. I didn’t hear nobody sayin’ I didn’t hear nobody And lead us not into temptation, Calling on the Lord But deliver us from evil Thank you, Lord Yes, Yes, Yes I didn’t hear nobody prayin’ For Thine is the Kingdom, I didn’t hear nobody sayin’ For Thine is the Kingdom, I didn’t hear nobody For Thine is the Kingdom, Calling on the Lord The power, the glory, Forever and ever and ever I didn’t hear nobody prayin’ I didn’t hear nobody sayin’ In thy Holy name. I didn’t hear nobody Calling on the Lord PROCESSIONAL Lord, Lord, Lord If you need Him, Yes, Lord. Raise your voice and tell Him so. Yes, Lord. If you seek Him, Yes, my Lord. Raise your hand and let Him know. CALL TO WORSHIP When you praise Him, Lift your head up to the sky. God is great! And greatly to be praised! When you find Him, Worship the Lord in the beauty of Holiness. Bare your soul and testify. Fear before Him all, all, all, all the Earth! Oh! Hallelujah We are on our way Jazz at Lincoln Center To the house of the Lord INVOCATION AND CHANT To the house of the Lord Father, please come sit with us now We march onward Father, please come teach us just how Down the streets of the Glory land Father, how to live by your plan Steady walkin’ Father, hold our souls in Your hand Right to the house of the Son of Man Father, please be with us always He will greet us on the shores of Galilee With us please, through dark painful days There’s no stopping this almighty Jubilee With us now Lord, we sing in praise Looyah RESPONSIVE READING Glory Hallelujah Glory Hallelujah Blessed are the humble of spirit.