DOCSLIB.ORG

National Endowment for the Arts Newsletter (Feat. Eli

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
National Endowment for the Arts Newsletter (Feat. Eli VOL 1 2008 A GREAT NATION DESERVES GREAT ART A Ho t Time Up North 20 08 NEA Jazz Masters Awards 11 Bringing Jazz to a 13 Tuning In: NEA’s 14 NEA Receives 14 New Lifetime New Generation: Jazz Moments Historic Budget Achievement Award: NEA Jazz Hit the Airwaves Increase NEA Opera Honors in the Schools NEA ARTS NEA Jazz Masters Celebrating the Nation’s Highest Honor in Jazz The National Endowment for the Arts (NEA) has tion, a new award cate - supported the jazz Yeld for almost 40 years. Ve Yrst gory was established: the grant for jazz was awarded in 1969—a $5,500 com - A.B. Spellman NEA Jazz position grant to composer, arranger, theoretician, Masters Award for Jazz pianist, and drummer George Russell—who would Advocacy. later receive an NEA Jazz Masters Fellowship in To maximize public 1990. By 2007, the NEA’s Ynancial support of jazz awareness of the NEA reached nearly $3 million. Jazz Masters initiative, In 1982, the NEA created the fellowship pro - new radio and television gram to recognize outstanding jazz musicians for programs were launched: artistic excellence and lifelong achievements in the Jazz Moments, a series of Yeld of jazz. With the appointment of Chairman radio segments broad - Gioia in 2004, the NEA Jazz Masters initiative was cast Yrst on XM Satellite expanded to foster a higher awareness of America’s jazz Music and Opera Director Wayne Radio, and Legends of legends. Ve number of awards was increased to six and Brown. Photo by Kevin Allen. Jazz, a television series individual fellowship stipends rose to $25,000. In addi - presenting jazz artists. In 2005, an arts education component, NEA Jazz in the c\gadc\b ]dhc]ab dc g`^ \egf Schools, was created in collaboration with Jazz at Lin - Dana Gioia Chairman coln Center. In addition, a nationwide touring program James Ballinger Miguel Campaneria for NEA Jazz Masters was created jointly with Arts Mid - Ben Donenberg Makoto Fujimura west in 2005 and continues. Rounding out the NEA’s Mark Hofflund jazz program is a recent collaboration with the Smith - Joan Israelite Charlotte Kessler sonian Institution focusing on the compilation of oral Bret Lott histories of NEA Jazz Masters. Jerry Pinkney Stephen Porter In 2008, the NEA Jazz Masters initiative celebrates Frank Price Terry Teachout a major milestone: 100 American jazz legends have Karen Wolff been honored with this award over a span of 26 years— ^j-d__a]ad including legends such as trumpet virtuoso and band - Sen. Robert Bennett (R-UT) Sen. Sheldon Whitehouse (D-RI) leader Dizzy Gillespie (1982), tenor saxophonist Sonny Rep. Betty McCollum (D-MN) Rollins (1983), and singer Ella Fitzgerald (1985). Rep. Patrick Tiberi (R-OH) Ve agency’s contribution to the 2008 Jazz Appre- c^\ \egf fg\__ ciation Month (JAM) in April will be a rollout of the Paulette Beete Editor Don Ball Managing Editor enhanced and expanded NEA Jazz Masters Web site Wayne S. Brown, Victoria Hutter, Rebecca Ritzel, Elizabeth Stark Contributors (www.neajazzmasters.org ). Please join us in the contin - Beth Schlenoff Design ued celebration of America’s music—jazz. dc g`^ ]di^e: NEA Jazz Masters Joe Wilder (left) and Paquito D’Rivera perform Wayne S. Brown during the finale of the NEA Jazz Masters awards ceremony and concert at the IAJE annual conference in Toronto, Canada. Photo by Director, Music and Opera Tom Pich. 2 NEA ARTS A Hot Time Up North NEA Jazz Masters Awards Ceremony in Toronto The mild temperatures outside in Toronto, Canada, in January were just an indication of how much the NEA Jazz Masters were heating up the place inside at the annual awards ceremony and concert occur - ring during the International Association of Jazz Education (IAJE) conference. Each year, the NEA Jazz Masters festivities bring together current and past recipients of this lifetime honor, creating an assemblage of some of the United States’ greatest jazz musicians and advocates. Ve NEA Jazz Masters Fellowships are the main component of the Arts Endowment’s Jazz Masters initiative, which since 2004 has grown to include an NEA Jazz Masters tour with performances and edu - NEA Jazz Master David Baker (far left) leading the Smithsonian cational activities, Jazz Moments radio segments on XM Jazz Masterworks Orchestra during the NEA Jazz Masters awards Satellite Radio, a two-CD compilation of NEA Jazz ceremony and concert. Photo by Tom Pich. Masters’ music produced by Verve Music Group, and the NEA Jazz in the Schools program, an educational as the class of 2008 participated in a panel discussion, resource for high school teachers. Each year, members led by jazz writer and advocate A.B. Spellman, formerly of the public are invited to submit nominations for the the NEA Deputy Chairman for Guidelines & Panel NEA Jazz Masters Fellowship, which honors individuals Operations. who have made signiYcant contributions to the develop - Ve common theme throughout the panel discussion ment and performance of jazz, and for the A.B. Spell - was the decades-long relationships among the NEA Jazz man NEA Jazz Masters Award for Jazz Advocacy, given Masters. As Jones said, “I’m so Ylled with emotion today. to an individual who has fostered the appreciation, I’ve known most of these guys since before electricity!” knowledge, and advancement of the American jazz art For his part, McIntosh went around the room, describ - form. For information on how to submit a nomination, ing what he had learned from the other musicians: Roy please visit www.nea.gov/national/jazz/Award.html. Haynes had taught him “don’t play a note if it’s not driven In 2008, the NEA was proud to honor percussionist by a rhythm impulse,” and Jon Hendricks had shown Candido Camero, pianist Andrew Hill (who unfortu - him that in composition, “before you write a note, say it nately passed away before receiving the award), band - in words Yrst. Ve audience will sense a story unfolding.” leader Quincy Jones, composer and arranger Tom And there were stories to unfold. Wilder told of McIntosh, trumpet player Joe Wilder, and writer and touring on a bus with Luther Henderson while Camero composer Gunther Schuller, recipient of the A.B. Spell - described how a misunderstanding with Dizzy Gillespie man NEA Jazz Masters Award for Jazz Advocacy. Vese led to a year and a half contract at the Downbeat Club NEA Jazz Masters—along with eight honorees from in New York City. Schuller shared the reactions he previous years—gathered on Friday, January 11, 2008, caused with his eWorts to compare jazz and classical to commemorate the occasion with a group photo. music, and Jones explained how jazz enabled him to Ve past recipients then took their seats in the audience tour around the world. 3 NEA ARTS For Levy, the path to becoming a jazz advocate was quite diWerent—he entered the jazz world as a musician, playing bass for the George Shearing Quintet. As the group toured, the need for a manager became more evident, and Levy took on the role, eventually becoming one of the Yrst to move from musician to manager of a jazz group. As a manager, he has pro - moted jazz musicians for more than 55 years, including NEA Jazz Masters Herbie Hancock, Shirley Horn, Ahmad Jamal, and Nancy Wilson. Ve 2008 NEA Jazz Masters celebra - tions culminated on the evening of January 11 with the awards concert, featuring guest artists Oliver Jones, Kurt Elling, and the Smithsonian Jazz Masterworks Orchestra, The class of 2008: back row, from left: Chairman Gioia, Joe Wilder, directed by NEA Jazz Master David Baker. In addition Gunther Schuller, Joanne Robinson Hill (widow of Andrew Hill), Music and Opera Director Wayne Brown; front row: Candido Camero, to individually honoring each 2008 NEA Jazz Master, Quincy Jones, Tom McIntosh. Photo by Tom Pich. the NEA partnered with the Canada Council for the Arts to pay special tribute to Canadian jazz pianist and In another panel discussion, the NEA brought composer Dr. Oscar Peterson, who passed away on together three recipients of the A.B. Spellman NEA Jazz December 23, 2007. Canada Council for the Arts Chair - Masters Award for Jazz Advocacy—John Levy, Dan woman Karen Kain and Chairman Gioia jointly recog - Morgenstern, and Gunther Schuller—as well as the man nized Peterson’s immense contribution to jazz, for whom the award is named, A.B. Spellman. Panel describing him as “an artist who works from the calm, moderator NEA Chairman Dana Gioia described the high summit of creativity, and who li[s us up to his advocates’ importance, saying, “[Jazz’s] health and vital - level.” Peterson’s former student, Oliver Jones, performed ity depends on the people who champion it.” a musical salute to his mentor and Peterson’s wife and For writers Morgenstern and Schuller, jazz was a daughter accepted the honor on Peterson’s behalf. discovery and obsession that began at a young age. In As David Baker led the band in a grand Ynale, 2005 Denmark, Morgenstern’s mother introduced him to jazz NEA Jazz Master Paquito D’Rivera and 2008 NEA Jazz by taking him to a Fats Waller concert. Although he Masters Joe Wilder and Candido Camero all took the was only eight, Morgenstern said he was amazed by the stage. In the middle of performing a dynamic solo on “vitality” of the art form. Schuller, who was already the conga drums, the 87-year-old Camero yelled to the studying classical music, heard jazz on the radio as a audience, “You want more?” Ve answer was a resound - high school student and immediately began his career ing “Yes.” as an advocate.
Load more

Recommended publications
  • Download the Vocal of Frank Foster
    1 The TENORSAX of FRANK BENJAMIN FOSTER Solographer: Jan Evensmo Last update: Oct. 7, 2020 2 Born: Cincinnati, Ohio, Sept. 23, 1928 Died: Chesapeake, Virginia, July 26, 2011 Introduction: Oslo Jazz Circle always loved the Count Basie orchestra, no matter what time, and of course we became familiar with Frank Foster’s fine tenorsax playing! Early history: Learned to play saxes and clarinet while in high school. Went to Wilberforce University and left for Detroit in 1949. Played with Wardell Gray until he joined the army in 1951. After his discharge he got a job in Count Basie's orchestra July 1953 after recommendation by Ernie Wilkins. Stayed until 1964. 3 FRANK FOSTER SOLOGRAPHY COUNT BASIE AND HIS ORCHESTRA LA. Aug. 13, 1953 Paul Campbell, Wendell Cully, Reunald Jones, Joe Newman (tp), Johnny Mandel (btp), Henry Coker, Benny Powell (tb), Marshal Royal (cl, as), Ernie Wilkins (as, ts), Frank Wess (fl, ts), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Gus Johnson (dm). Three titles were recorded for Clef, two issued, one has FF: 1257-5 Blues Go Away Solo with orch 24 bars. (SM) Frank Foster’s first recorded solo appears when he just has joined the Count Basie organization, of which he should be such an important member for years to come. It is relaxed and highly competent. Hollywood, Aug. 15, 1953 Same personnel. NBC-TV "Hoagy Carmichael Show", three titles, no solo info. Hoagy Carmichael (vo). Pasadena, Sept. 16, 1953 Same personnel. Concert at the Civic Auditorium. Billy Eckstine (vo).
    [Show full text]
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • 94 DOWNBEAT JUNE 2019 42Nd ANNUAL
    94 DOWNBEAT JUNE 2019 42nd ANNUAL JUNE 2019 DOWNBEAT 95 JeJenna McLean, from the University of Northern Colorado in Greeley, is the Graduate College Wininner in the Vocal Jazz Soloist category. She is also the recipient of an Outstanding Arrangement honor. 42nd Student Music Awards WELCOME TO THE 42nd ANNUAL DOWNBEAT STUDENT MUSIC AWARDS The UNT Jazz Singers from the University of North Texas in Denton are a winner in the Graduate College division of the Large Vocal Jazz Ensemble category. WELCOME TO THE FUTURE. WE’RE PROUD after year. (The same is true for certain junior to present the results of the 42nd Annual high schools, high schools and after-school DownBeat Student Music Awards (SMAs). In programs.) Such sustained success cannot be this section of the magazine, you will read the attributed to the work of one visionary pro- 102 | JAZZ INSTRUMENTAL SOLOIST names and see the photos of some of the finest gram director or one great teacher. Ongoing young musicians on the planet. success on this scale results from the collec- 108 | LARGE JAZZ ENSEMBLE Some of these youngsters are on the path tive efforts of faculty members who perpetu- to becoming the jazz stars and/or jazz edu- ally nurture a culture of excellence. 116 | VOCAL JAZZ SOLOIST cators of tomorrow. (New music I’m cur- DownBeat reached out to Dana Landry, rently enjoying includes the 2019 albums by director of jazz studies at the University of 124 | BLUES/POP/ROCK GROUP Norah Jones, Brad Mehldau, Chris Potter and Northern Colorado, to inquire about the keys 132 | JAZZ ARRANGEMENT Kendrick Scott—all former SMA competitors.) to building an atmosphere of excellence.
    [Show full text]
  • Cedille Records CDR 90000 066 DDD Absolutely Digital™ CDR 90000 066 AFRICAN HERITAGE SYMPHONIC SERIES • VOLUME III WORLD PREMIERE RECORDINGS 1 MICHAEL ABELS (B
    Cedille Records CDR 90000 066 DDD Absolutely Digital™ CDR 90000 066 AFRICAN HERITAGE SYMPHONIC SERIES • VOLUME III WORLD PREMIERE RECORDINGS 1 MICHAEL ABELS (b. 1962): Global Warming (1990) (8:18) DAVID BAKER (b. 1931): Cello Concerto (1975) (19:56) 2 I. Fast (6:22) 3 II. Slow à la recitative (7:17) 4 III. Fast (6:09) Katinka Kleijn, cello soloist 5 WILLIAM BANFIELD (b. 1961): Essay for Orchestra (1994) (10:33) COLERIDGE-TAYLOR PERKINSON (b. 1932) Generations: Sinfonietta No. 2 for Strings (1996) (19:31) 6 I. Misterioso — Allegro (6:13) 8 III. Alla Burletta (2:04) 7 II. Alla sarabande (5:35) 9 IV. Allegro vivace (5:28) CHICAGO SINFONIETTA / PAUL FREEMAN, CONDUCTOR TT: (58:45) Sara Lee Foundation is the exclusive corporate sponsor for African Heritage Symphonic Series, Volume III This recording is also made possible in part by grants from the National Endowment for the Arts & The Aaron Copland Fund for Music Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alpha- wood Foundation, the Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. DDD Absolutely Digital™ CDR 90000 066 PROGRAM NOTES by dominique-rené de lerma The quartet of composers represented here have a par- cultures, and decided to write a piece that celebrates ticular distinction in common: Each displays remarkable these common threads as well as the sudden improve- stylistic versatility, working not just in concert idioms, but ment in international relations that was occurring.” The also in film music, gospel music, and jazz.
    [Show full text]
  • Powell, His Trombone Student Bradley Cooper, Weeks
    Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated.
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 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 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. 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. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • Eric Dolphy Collection [Finding Aid]. Library of Congress
    Eric Dolphy Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2014 Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu014006 LC Online Catalog record: http://lccn.loc.gov/2014565637 Processed by the Music Division of the Library of Congress Collection Summary Title: Eric Dolphy Collection Span Dates: 1939-1964 Bulk Dates: (bulk 1960-1964) Call No.: ML31.D67 Creator: Dolphy, Eric Extent: Approximately 250 items ; 6 containers ; 5.0 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Eric Dolphy was an American jazz alto saxophonist, flautist, and bass clarinetist. The collection consists of manuscript scores, sketches, parts, and lead sheets for works composed by Dolphy and others. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Dolphy, Eric--Manuscripts. Dolphy, Eric. Dolphy, Eric. Dolphy, Eric. Works. Selections. Mingus, Charles, 1922-1979. Works. Selections. Schuller, Gunther. Works. Selections. Subjects Composers--United States. Jazz musicians--United States. Jazz--Lead sheets. Jazz. Music--Manuscripts--United States. Saxophonists--United States. Form/Genre Scores. Administrative Information Provenance Gift, James Newton, 2014. Accruals No further accruals are expected. Processing History The Eric Dolphy Collection was processed by Thomas Barrick in 2014. Thomas Barrick coded the finding aid for EAD format in October 2014.
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    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
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Johnny Pate
    Finding Aid to The HistoryMakers ® Video Oral History with Johnny Pate Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Pate, Johnny Title: The HistoryMakers® Video Oral History Interview with Johnny Pate, Dates: September 30, 2004 Bulk Dates: 2004 Physical 5 Betacame SP videocasettes (2:29:11). Description: Abstract: Jazz bassist and music arranger Johnny Pate (1923 - ) formed the Johnny Pate Trio and Combo, and was house bassist for Chicago’s The Blue Note. Johnny Pate’s bass solo on “Satin Doll” is featured on the album "Duke Ellington Live at The Blue Note," and he has collaborated with Curtis Mayfield, produced the Impressions’s hits “Amen,” “We’re A Winner” and “Keep On Pushin’.” and arranged for B.B. King, Gene Chandler and Jerry Butler. Pate was interviewed by The HistoryMakers® on September 30, 2004, in Las Vegas, Nevada. This collection is comprised of the original video footage of the interview. Identification: A2004_188 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Jazz bassist, rhythm and blues arranger John W. Pate, Sr., “Johnny Pate,” was born December 5, 1923 in blue collar Chicago Heights, Illinois. Pate took an interest in the family’s upright piano and learned from the church organist who boarded with them. He attended Lincoln Elementary School, Washington Junior High and graduated from Bloom Township High School in 1942. Drafted into the United graduated from Bloom Township High School in 1942. Drafted into the United States Army, Pate joined the 218th AGF Army Band where he took up the tuba and played the upright bass in the jazz orchestra.
    [Show full text]
  • Notre Dame Collegiate Jazz Festival Program, 2005
    Archives of the University of Notre Dame Archives of the University of Notre Dame ro WEDNESDAY, FEB. 23, 2005 Preview Night. LaFortune Ballroom. FREE .-> 8:00 p.m. University of Notre Dame Jazz Band II and Jazz Combo -I-J (J) FRIDAY, FEB. 25, 2005 Evening concert block. Washington Hall. FREE for Students; Non-students $3 for 1 night, $5 for both nights OJ U­ 6:00 p.m. Oberlin College Small Jazz Ensemble N N 6:45 p.m. Western Michigan UniversityCombo ro 7:30 p.m. University of Illinois Concert Jazz Band --, 8: 15 p.m. Oberlin College Jazz Ensemble 9:00 p.m. Western Michigan UniversityJazz Orchestra OJ 9:45 p.m. Judges' Jam ro-I-J :Jro Frank Catalano (saxophone) c·­ Andre Hayward (trombone) cO) Lynne Arriale (piano) <{OJ Jay Anderson (bass) ...c:= Steve Davis (drums) ~O ~U SATURDAY, FEB. 26, 2005 Clinic. Notre Dame Band Building. FREE 2-3:00 p.m. Meet in main rehearsal room. Evening concert block. Washington Hall. Free for Students; Non-students $3 for 1 night, $5 for both nights 6:00 p. m. University of Notre Dame Jazz Band I 6:45 p.m. Middle Tennessee State UniversityJazz Ensemble I 7:30 p.m. Jacksonville State UniversityJazz Ensemble I 8: 15 p.m. Carnegie Mellon University 6:30 Jazz Ensemble 9:00 p.m. University of Notre Dame Brass Band 9:45 p.m. Collegiate Jazz Festival Alumni Combo Archives of the University of Notre Dame Festival Director: Greg Salzler OJ Assistant to the Director: WillSeath OJ ~ Festival Graphic Designer: Melissa Martin ~ Student Union Board Advisor: Erin Byrne ,­ Faculty advisorto the festival: Larry Dwyer E SUB E-Board: Jimmy Flaherty E Patrick Vassel e Lauren Hallemann u - HeatherKimmins ro John McCarthy > Caitlin Burns .- ~ MarkHealy (J) OJ (J) 1 Jazz Festival Committee Special Thanks to: Ourguests L.L.
    [Show full text]
  • 2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
    2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians
    [Show full text]