Monday Evening, January 13, 2014, at 7:30

Wynton Marsalis, Managing and Artistic Director Greg Scholl, Executive Director

2014 NEA Jazz Masters Awards Ceremony and Concert Honoring the 2014 National Endowment for the Arts Jazz Masters

JAMEY AEBERSOLD ANTHONY BRAXTON RICHARD DAVIS KEITH JARRETT

There will be no intermission during the presentation.

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Jazz at Lincoln Center’s Please make certain your cellular phone, The Allen Room pager, or watch alarm is switched off. Frederick P. Rose Hall jalc.org Jazz at Lincoln Center

2014 NEA Jazz Masters Awards Ceremony and Concert with

NEA JAZZ MASTERS KENNY BARRON (2010), Piano JIMMY HEATH (2003), Tenor Saxophone DAVE LIEBMAN (2011), Soprano Saxophone JIMMY OWENS (2012), Trumpet and

Thelonious Monk International Jazz Competition Winners MELISSA ALDANA (2013), Saxophone KRIS BOWERS (2011), Piano JAMISON ROSS (2012), Drums

Special Guests TAYLOR HO BYNUM, Cornet ANN HAMPTON CALLAWAY, Vocals AMINA FIGAROVA, Piano BILL FRISELL, Guitar RUSSELL HALL, Bass MARY HALVORSON, Guitar BRUCE HARRIS, Trumpet INGRID LAUBROCK, Tenor Saxophone JOE LOVANO, Saxophone JASON MORAN, Piano YASUSHI NAKAMURA, Bass CHRIS PATTISHALL, Piano ANNE RHODES, Soprano Vocals VINCE VINCENT, Baritone Vocals MARK WHITFIELD, JR., Drums WARREN WOLF, Vibraphone

Jazz at Lincoln Center and the National Endowment for the Arts gratefully thank 60 Minutes for their participation and production of the 2014 NEA Jazz Masters video biographies directed by Anya Bourg.

Special thanks to Robert J. Appel, Jazz at Lincoln Center Chairman and Lisa Schiff, Jazz at Lincoln Center Chairman Emeritus for their generous support of the NEA Jazz Masters Dinner. Jazz at Lincoln Center

Program

2014 NEA Jazz Masters Awards Ceremony and Concert Hosted by Joan Shigekawa, Senior Deputy Chairman, National Endowment for the Arts, Soledad O’Brien, Journalist and CEO-Starfish Media Group; with Wynton Marsalis (NEA Jazz Master 2011), Managing and Artistic Director, Jazz at Lincoln Center.

Kris Bowers, Yasushi Nakamura, Mark Whitfield, Jr., NEA Jazz Master Dave Liebman (2011), Bruce Harris, and Warren Wolf “Bolivia” Composed by NEA Jazz Master Cedar Walton (2010)

Jamey Aebersold The A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy Award Presenter: NEA Jazz Master Dave Liebman (2011)

NEA Jazz Master Jamey Aebersold (2014), Chris Pattishall, Russell Hall and Jamison Ross “Ornithology” Composed by Charlie Parker

Ann Hampton Callaway, Melissa Aldana, Amina Figarova, Yasushi Nakamura, and Jamison Ross “Wave” Composed by Antonio Carlos Jobim

Anthony Braxton Award Presenter: NEA Jazz Master Muhal Richard Abrams (2010)

Taylor Ho Bynum, Mary Halvorson, Ingrid Laubrock, Anne Rhodes, and Vince Vincent “Trillium J.” Composed by Anthony Braxton

A.B. Spellman Tribute to NEA Jazz Masters who passed in 2013

NEA Jazz Masters Jimmy Owens (2012) and Kenny Barron (2010) “Placitude” Composed by NEA Jazz Master Frank Wess (2007)

Richard Davis Award Presenter: NEA Jazz Masters Jimmy Owens (2012)

Joe Lovano, Warren Wolf, Kris Bowers, Yasushi Nakamura, and Mark Whitfield, Jr. “Blue Bossa” Composed by Kenny Dorham

Keith Jarrett Award Presenter: NEA Jazz Master George Wein (2005)

Bill Frisell and Jason Moran “Memories of Tomorrow” Composed by Keith Jarrett

NEA Jazz Master Jimmy Heath (2003), Melissa Aldana, Chris Pattishall, Russell Hall, and Jamison Ross “New Picture” Composed by Jimmy Heath Jazz at Lincoln Center

NEA Jazz Masters (1982 –2013)

Muhal Richard Abrams Benny Golson Marsalis Family Toshiko Akiyoshi Dexter Gordon (Ellis, Jr., Branford, Wynton, Mose Allison Lorraine Gordon Delfeayo, Jason) George Avakian Charlie Haden Tom McIntosh David Baker Jim Hall Jackie McLean Danny Barker Chico Hamilton Marian McPartland Ray Barretto Lionel Hampton Carmen McRae Kenny Barron Slide Hampton Jay McShann Count Basie Herbie Hancock James Moody Louie Bellson Barry Harris Dan Morgenstern Tony Bennett Roy Haynes Anita O’Day George Benson Jimmy Heath Jimmy Owens Art Blakey Percy Heath Eddie Palmieri Bob Brookmeyer Joe Henderson Max Roach Cleo Brown Luther Henderson Sonny Rollins Ray Brown Jon Hendricks Annie Ross Dave Brubeck Nat Hentoff George Russell Kenny Burrell Billy Higgins Gunther Schuller Donald Byrd Andrew Hill Jimmy Scott Candido Camero Milt Hinton Artie Shaw Benny Carter Bill Holman Wayne Shorter Betty Carter Shirley Horn Horace Silver Ron Carter Freddie Hubbard Jimmy Smith Kenny Clarke Bobby Hutcherson Sun Ra Buck Clayton Milt Jackson Billy Taylor Jimmy Cobb Ahmad Jamal Cecil Taylor Ornette Coleman J. J. Johnson Clark Terry Chick Corea Elvin Jones Toots Thielemans Miles Davis Hank Jones McCoy Tyner Buddy DeFranco Jo Jones Rudy Van Gelder Jack DeJohnette Quincy Jones Sarah Vaughan Lou Donaldson Sheila Jordan Cedar Walton Dorothy Donegan Orrin Keepnews George Wein Paquito D’Rivera Andy Kirk Frank Wess Sweets Edison Lee Konitz Randy Weston Roy Eldridge Yusef Lateef Joe Wilder Gil Evans Hubert Laws Joe Williams Art Farmer John Levy Gerald Wilson Ella Fitzgerald John Lewis Nancy Wilson Tommy Flanagan Ramsey Lewis Teddy Wilson Frank Foster Dave Liebman Phil Woods Von Freeman Abbey Lincoln Snooky Young Curtis Fuller Melba Liston Dizzy Gillespie Johnny Mandel Jazz at Lincoln Center

Meet the Artists years have provided intensive training in jazz improvisation for musicians at all levels. The Summer Jazz Workshops have Jamey Aebersold been held in eight countries and feature an “There is not a second that goes by that a element of jazz education that Aebersold person is not practicing with a Jamey has trumpeted—the value of small group Aebersold Play-A-Long record,” Aebersold combos. These workshops attract people noted in a 2009 interview. These Play-A- from more than 20 countries each year to Long recordings have made it possible for the University of Louisville campus. jazz players young and old to create an inter - active jazz environment in a classroom, their In 1989 Aebersold was inducted into the living room, on a street corner, or in a International Association for Jazz Education subway station. With the production of his Hall of Fame and in 2004 the Jazz Midwest first jazz “Play-A-Long” recording in 1967, a Clinic honored him with the Medal of new form of jazz education began, one that Honor in jazz education. Aebersold has allowed novice or professional students to taught at three colleges and universities in practice improvisational skills alongside pro - the Louisville, Kentucky area and in 1992 fessionals and noted jazz musicians without received an honorary doctorate of music a classroom or a teacher—one that made from Indiana University. He continues to practicing fun. For close to 50 years, teach, conduct jazz clinics around the Aebersold has produced 133 volumes of country, and perform as leader of the jazz recordings and books, along with var - Jamey Aebersold Quartet, in addition to ious supplemental items, carving out a new running Jamey Aebersold Jazz. avenue for jazz education.

In 1962 Aebersold graduated from Indiana Anthony Braxton University with a master’s degree in saxo - “My music occupies a space in between phone, one of several instruments he plays defined idioms.” So stated Anthony (he also plays the piano, bass, and banjo). Braxton, succinctly capturing the nature of Aebersold’s inspiration to create the first his compositions, as complex and enig - Play-A-Long recording came in 1966 while matic as the diagrams he creates for their assisting at a workshop in Connecticut. A titles. While he might not consider the student requested a recording of his piano music he currently makes as “jazz,” cer - accompaniment, with which he could then tainly the improvised and rhythmic nature rehearse and improvise at home. That first of the music he began playing 50 or more volume, titled How to Play Jazz and years ago still influences him, and his per - Improvise , has since been translated into formances on his “In the Tradition” record - six languages and is sold all over the ings demonstrate his ability to play the world. The Play-A-Longs feature such well- standards beautifully. known musicians as Kenny Barron, Randy Brecker, Dave Brubeck, Ron Carter, David Braxton began playing music as a youth Liebman, Mulgrew Miller, Jimmy Raney, growing up in Chicago. He then attended and Cedar Walton. the Chicago School of Music from 1959 –63 and went on to Roosevelt University to Aebersold is also the director of the study philosophy and composition. Braxton Summer Jazz Workshops—held annually joined the U.S. Army in 1963 and played since 1977 at the University of Louisville in saxophone in an Army band. Upon his dis - Kentucky, where he served on the faculty charge in 1966 he returned to Chicago, for many years—which for more than 40 where he joined the newly formed Jazz at Lincoln Center

Association for the Advancement of and was honored with the Doris Duke Creative Musicians (AACM). In 1968 he Performing Artist Award for his lifetime recorded For Alto , a double-album of unac - achievements in jazz in 2013. companied saxophone, which is considered a landmark jazz solo instrumental recording. Richard Davis One of the premier jazz bassists in history, In 1970—after a short stint with Barry Richard Davis is widely recorded, not only in Altschul, Chick Corea, and Dave Holland in jazz settings but also in the pop, rock, and the avant-garde group Circle—Braxton classical genres as well. In addition to his began leading his own bands in New York prowess on bass, Davis is a noted educator, City, recording in a variety of settings, from having been a professor at the University of duos of saxophone and Moog synthesizer Wisconsin –Madison since 1977. Part of the to full orchestras. His music was moving Chicago generation of musicians that away from even traditional jazz avant-garde included Johnny Griffin and Clifford Jordan, and moving toward its own idiosyncratic Davis studied bass in high school under the voice. In the 1980s and 1990s, Braxton’s direction of Walter Dyett. He then attended regular performing quartet included Chicago’s VanderCook College of Music Marilyn Crispell, Mark Dresser, and Gerry while playing with both classical orchestras Hemingway, although he continued to and jazz combos at night, including gigs record and perform with a variety of musi - with Ahmad Jamal and Sun Ra . cians both in and out of the jazz genre. In 1954 he moved to New York City For the past 20 years, Braxton has been commencing a now six-decade-long focusing on large-scale musical projects, performing and recording career. Davis such as the Ghost Trance Music he began toured with Sarah Vaughan from 1957 –60, working on in the mid-1990s to create a including a tour of Europe, and worked as a “melody that doesn’t end” with per - sideman on numerous recordings in the formers determining what parts to play. His 1960s, but was in special demand by Jaki Falling River Music uses large, colorful Byard, Eric Dolphy, Booker Ervin, Andrew drawings to direct the musicians, but again, Hill , Elvin Jones, and Roland Kirk, with lets the performers determine their own whom he cut several albums each. He was way through the compositions. Diamond a member of the Thad Jones/Mel Lewis Curtain Wall Music takes the Falling River Orchestra from 1966 –72. Music further using interactive electronics. Braxton also released an increasing Proficient in any style, Davis was in number of works for large orchestras and demand in pop and rock circles as well, his Trillium opera cycles. playing on albums by Paul Simon, Bruce Springsteen, and Van Morrison (on whose Braxton has taught at Mills College and cur - album Astral Weeks legendary rock critic rently is professor of music at Wesleyan Lester Bangs called Davis’ bass playing University in Middletown, Connecticut, “something that has been touched, that’s teaching music composition, music history, in the realm of the miraculous.”). Davis and improvisation. He also authored mul - was equally at home in the classical world, tiple volumes explaining his theories and performing for some of the music’s finest pieces. In 2010 he revived his dormant conductors: Leonard Bernstein, Pierre nonprofit Tri-Centric Foundation (originally Boulez, Gunther Schuller, Leopold created in 1994) to support the dissemina - Stokowski, Igor Stravinsky, and George tion of his work. Among his awards, he Szell. He is still in demand as a performer, received a MacArthur Fellowship in 1994 often touring internationally. Jazz at Lincoln Center

A longtime educator, Davis’ students have Jarrett began playing the piano at age three, included David Ephross, William Parker, and studied classical music throughout his and Hans Sturm, among others. In 1993 he youth. Moving to New York City in 1964 created the Richard Davis Foundation for after a short time in Boston, Jarrett hooked Young Bassists, which annually assembles up with Art Blakey’s Jazz Messengers, and a team of master instructors/performers to then joined the Charles Lloyd Quartet from work with emerging talent to expand “the 1966 –68, becoming part of a stellar cast horizon of the student in terms of how they with Cecil McBee on bass and Jack perceive their own potential and that of the DeJohnette on drums. Playing electric piano bass itself.” In 1998 Davis created the with Miles Davis’ fusion band in 1970 –71, Retention Action Project (R.A.P.) on the Jarrett then went on to lead his own UW –Madison Campus to discuss multicul - group—assembling a dynamic quartet with tural differences by bringing together uni - Charlie Haden on bass, Paul Motian on versity representatives and social change drums, and Dewey Redman on saxo - activists. Additionally, he founded the phone—which released 13 albums together. Madison, Wisconsin Institutes for the Healing of Racism in 2000 to raise con - In 1971 Jarrett began a relationship with sciousness about and address the history the record label ECM that continues to this and pathology of racism. day, producing more than 60 recordings ranging in diversity from solo piano to full Davis has received many honors and orchestras. Perhaps Jarrett’s best known awards, including DownBeat magazine’s work is 1975’s The Köln Concert , a medita - Critics Poll, which named Davis Best tive, lyrical solo piano performance that Bassist from 1967 –74. He also has captivated audiences, making it the best - received two honorary doctorate degrees; selling solo piano recording in history. ECM a Hilldale Award for distinguished teaching, celebrated the artist’s four decades with research, and service from the University the label with its 2011 release Rio , an hour- of Wisconsin –Madison; the Wisconsin and-a-half solo piano performance demon - Governor’s Arts Award (2001); the strating Jarrett’s continuing exploration of Reverend Dr. Martin Luther King, Jr. new musical directions. In 1983 Jarrett Humanitarian Award, bestowed by the City invited bassist Gary Peacock and DeJohnette of Madison, Wisconsin (2003); and the to record an album of jazz standards. The Spencer Tracy Award for Distinction in the session ended up producing three albums Performing Arts, presented by the and marked the beginning of a fruitful col - Wisconsin Historical Society. laboration that has lasted 30 years; an anniversary world tour in 2013 that included Keith Jarrett Japan, Korea, Europe, and the U.S. Keith Jarrett’s talent for playing both abstractly and lyrically, sometimes during Jarrett has released numerous classical the same song, continues to astound and recordings as well, including Bach’s delight audiences around the world. His Goldberg Variations; Shostakovich’s 24 ability to work in both the jazz and classical Preludes and Fugues, Op. 87; Handel’s fields as a performer and composer Suites for Keyboard; and two volumes of demonstrates the breadth of his creativity. Mozart piano concertos. A master of many instruments, Jarrett also plays harpsichord, clavichord, organ, Jarrett’s numerous honors include a soprano saxophone, and drums. However, Guggenheim Fellowship, the Prix du during the last 20 years, he has performed President de la Republique and Grand Prix and recorded mainly on the acoustic piano. du Disque awards from the Academie Jazz at Lincoln Center

Charles Cros (France), seven Deutscher formance, education, and broadcast Schallplattenpreis awards (Germany) and events for audiences of all ages. These two of the world’s most prestigious music productions include concerts, national and awards: the Polar Music Prize (Sweden) international tours, residencies, weekly and the Leonie Sonning Prize (Denmark). In national radio programs, television broad - 2008 he was inducted into the DownBeat casts, recordings, publications, an annual Hall of Fame, and in 2010 his recording The high school jazz band competition and fes - Köln Concert was inducted into the tival, a band director academy, jazz appre - Grammy Hall of Fame, a select list of ciation curriculum for students, music recordings of lasting quality and historical publishing, children’s concerts and significance that are at least 25 years old. classes, lectures, adult education courses, student and educator workshops, and Jazz at Lincoln Center interactive websites. Under the leadership Jazz at Lincoln Center is dedicated to of Managing and Artistic Director Wynton inspiring and growing audiences for jazz. Marsalis, Chairman Robert J. Appel, and With the world-renowned Jazz at Lincoln Executive Director Greg Scholl, Jazz at Center Orchestra and a comprehensive Lincoln Center produces thousands of array of guest artists, Jazz at Lincoln events each season in its home in New Center advances a unique vision for the York City, Frederick P. Rose Hall, and continued development of the art of jazz around the world. For more information, by producing a year-round schedule of per - visit jalc.org.

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jazz at lincoln center † broadway at 60th street, 5th fl oor, nyc JOE SAYLOR Photo by Marylene Mey and Whit Lane Jazz at Lincoln Center

National Endowment for the Arts and Jazz

The National Endowment for the Arts was established by Congress in 1965 as an independent agency of the federal government. To date, the NEA has awarded more than $4 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector.

From its earliest days, the National Endowment for the Arts has funded countless jazz organizations across the country, making significant investments in support of jazz concerts, festivals, education activities, and other programs. Since 1982 the NEA has presented the NEA Jazz Masters Fellowships, the nation’s highest honor to those who have devoted their lives and careers to jazz, an art form uniquely rooted in American history and culture. Described by the New York Times as a “rare public accolade for jazz,” the recipients represent a wide variety of musical distinction, from singers and percussionists to vibraphonists and saxophonists, and, since 2004 jazz critics, scholars, and managers—all of whom have shaped and grown the jazz art form through their lifelong commitment.

NEA Jazz Masters are chosen from nominations submitted by the public. The selected musicians receive a one-time grant award of $25,000, are honored at a public awards ceremony and concert, and frequently participate in NEA-sponsored performance and educational activities. Since 2009 the NEA has partnered with Jazz at Lincoln Center to present the annual awards ceremony and concert. With the 2014 class, 132 awards have been given to great figures of jazz in America.

The NEA has created numerous resources as part of the NEA Jazz Masters program, including:

Video tributes , brief video tributes to recent NEA Jazz Masters’ lives and careers in jazz

Jazz Moments , short audio pieces featuring musical excerpts and short interviews with NEA Jazz Masters

Podcasts with NEA Jazz Masters and other jazz figures about the history and current state of jazz

In-depth interviews with more than 45 NEA Jazz Masters

NEA Jazz Masters Live grants to support performance and educational activities featuring NEA Jazz Masters, administered by Art Midwest.

In addition, the NEA supports the Smithsonian Jazz Oral History Program , an effort to document the lives and careers of NEA Jazz Masters. In addition to transcriptions of the hours-long interviews, the website also includes audio clips with interview excerpts of the artists’ early years; their first introduction to music and jazz; as well as their unique personal experiences in world of jazz.

To learn more about the National Endowment for the Arts and its jazz programs, visit arts.gov. Jazz at Lincoln Center

The National Endowment for the Arts wishes to thank Jazz at Lincoln Center for its host role with the presentation of the NEA Jazz Masters Awards Ceremony and Concert:

For the National Endowment for the Arts Elizabeth Auclair, Public Affairs Specialist Jennifer Kareliusson, Division Coordinator Don Ball, Assistant Director of Public Affairs – David Low, Web Manager Publications Michael Orlove, Artist Communities and Paulette Beete, Senior Writer/Editor Presenting Director Wayne Brown, Music and Opera Director India Pinkney, General Counsel Rebecca Gross, Writer/Editor Josephine Reed, Media Producer Victoria Hutter, Assistant Director of Public Affairs – Katja von Schuttenbach, Jazz Specialist Press Joanna White, Division Specialist Adam Kampe, Media Specialist

Production Credits Production Stage Manager: Billy Banks Video Tributes Video Producer: James Sapione Courtesy of 60 Minutes FOH Engineer: John Uhl Director: Anya Bourg Recording Engineer: Rob Macomber Camera: Donald Lee Video Projection: Worldstage, Inc. Sound: Eric Kerchner Program Director, Sirius XM: Mark Ruffin Editors: Tom Honeysett, Richard Koppell

For Jazz at Lincoln Center

Robert J. Appel, Chairman of the Board Cat Henry, VP, Concerts and Touring Lisa Schiff, Chairman Emeritus Jason Olaine, Director, Programming & Touring Wynton Marsalis, Managing and Artistic Director Stacie Middleton Crawford, Executive Producer Greg Scholl, Executive Director Sidra Smith, Gate Pass Entertainment, LLC Dwayne Ashley, VP, Development

The National Endowment for the Arts acknowledges the support of BMI in sponsoring the NEA Jazz Masters Reunion Luncheon BMI President: Del R. Bryant CEO: Michael O’Neill SVP Corporate Strategy, Communications & New Media: Richard Conlon VP Writer/Publisher Relations: Charlie Feldman Director, Jazz/Musical Theatre: Patrick Cook

Thelonious Monk Institute of Jazz The Thelonious Monk Institute of Jazz offers the world’s most promising young musicians college level training by internationally acclaimed jazz masters and presents public school- based jazz education programs for young people around the world. Institute programs include the annual Thelonious Monk International Jazz Competition, intensive jazz performance college program, daily Jazz in the Classroom instrument training sessions in public schools, and thousands of workshops, master classes and other jazz education programs. Jazz at Lincoln Center’s annual artistic, educational, and archival programs are supported by the following generous contributors: LEADERS Shahara Ahmad-Llewellyn Columbus Center LLC Adam R. Rose and Karen Pritzker/ The Ammon Foundation Barbara and Raymond Dalio Peter R. McQuillan Seedlings Foundation Helen and Robert J. Appel The Irene Diamond Fund The Andrew W. Mellon The Rockefeller Foundation Anonymous (2) Diana and Joe DiMenna Foundation The Jack and Susan Rudin Jody and John Arnhold Ford Foundation Jacqueline L. Bradley and Educational and Siris Capital, LLC Robin Mica Ertegun Clarence Otis Scholarship Fund and Peter Berger The Kresge Foundation Jennifer and Michael Price Rebecca and Arthur Samberg Lisa and Dick Cashin MasterCard Steward Family Foundation GUARANTORS Anonymous The Shops at Columbus Kari Gronberg and New York State Council on The Argus Fund Circle at Time Warner Little Johnny Koerber the Arts Blavatnik Family Foundation Center Ann Tenenbaum and The Fan Fox & Leslie R. Patricia Blanchet Gail and Al Engelberg Thomas H. Lee Samuels Foundation, Inc. Bloomberg Finneran Family Foundation Wynton Marsalis Lisa and David Schiff Brooks Brothers Larry Gagosian National Endowment for Burwell and Chip Schorr Valentino C. Carlotti The Hearst Foundation, Inc. the Arts SiriusXM Goldman, Sachs & Co. HSBC Bank New York City Department Marlene Hess and The Coca-Cola Company of Cultural Affairs James D. Zirin BENEFACTORS The Altman Foundation Donna J. Astion and Gwen and Peter Norton Starwood Hotels and Bank of America Michael D. Fricklas Charles and Karen Phillips Resorts Worldwide Centric Susan and Roger Hertog Prudential Finanacial The Harold and Mini Betsy and Alan D. Cohn Sonia and Paul T. Jones Louise and Leonard Riggio Steinberg Charitable Trust ConEdison John S. and James L. Lisa Roumell and Dianne and David J. Stern Sharon and Christopher Knight Foundation Mark Rosenthal Vital Projects Fund, Inc. Davis Carolyn and Ed Lewis Therese S. Rosenblatt and Vosshall Family Melanie A. Shorin and The Ambrose Monell H. Marshall Sonenshine The Walton Family Greg S. Feldman Foundation Katherine Farley and Foundation Cindy and Charles Murphy Jerry Speyer World Stage SUSTAINERS Anonymous Jennifer and Viet Dinh/ Jurate Kazickas Mrs. Frederick P. 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UPCOMING EVENTS Jazz at Lincoln Center’s Frederick P. Rose Hall

Jazz at Lincoln Center debut with his working trio of January 2014 bassist Stephan Crump and drummer Marcus Gilmore. Iyer's success and acclaim has now landed IRENE DIAMOND EDUCATION CENTER him one of the top honors not only in music but in many disciplines, a 2013 MacArthur "genius" grant. Swing University Winter Term Join us in The Allen Room to hear a pianist consid- January 13–March 19 ered one of the leaders of his generation. Jazz at Lincoln Center’s jazz education program, Swing University, offers students of all ages a chance to learn Presented as part of the Ertegun Jazz Concert Series about jazz from musicians and scholars. JALC curator and WKCR personality Phil Schaap and friends share Billy Childs Jazz Chamber Ensemble insights, expertise, and stories as they lead classes January 24 at 9:30pm through jazz’s storied past and vibrant present. Winter January 25 at 7:00pm ® Term classes include Jazz 101, Jazz 201, Jazz 301, The A three-time GRAMMY winner, Childs makes his Evolution & Development of Big Band Jazz, Albert first Jazz at Lincoln Center appearance since an Ayler, Jelly Roll Morton, and Art Tatum. October 2004 performance celebrating the opening Please visit jalc.org/swingu, call 212-258-9922, or email of Frederick P. Rose Hall. For round two, the pianist- [email protected] for more information. Single tickets composer deploys a sextet with all-stars Scott Colley are available. on bass and Brian Blade on drums, augmented by a string section featuring the award-winning Ying THE ALLEN ROOM Quartet, known for its diverse performance projects. Don't miss this group reunited once again, last heard Bill Frisell: Reflections on the on Childs' album Autumn in Moving Pictures. Bristol Sessions January 17–18 at 7:00pm and 9:30pm ROSE THEATER Bill Frisell partners with singer-guitarist-songwriter Buddy Miller and singer-fiddler-songwriter Carrie JLCO Fresh Sounds: Ted Nash and Rodriguez. Miller is well-known for collaborating with Victor Goines and writing for the likes of Emmylou Harris, Patty January 17–18 at 8pm Griffin, Robert Plant, and many others. Rodriguez, a Jazz at Lincoln Center presents newly-commissioned native of Austin, Texas, worked with Frisell on record- works by reed section members Ted Nash, a key con- ings documenting her partnership with “Wild Thing” tributor since 1999, and Victor Goines, who has been scribe Chip Taylor. Picking up musically at the with the JLCO since the beginning. Following his moment that is thought of as the beginning of acclaimed 2007 JLCO release Portrait in Seven country music—the 1927 recording sessions in Shades, Nash leads the band through his latest piece Bristol, Tennessee, where The Carter Family and The Presidential Suite, comprising six movements Jimmie Rogers recorded for the first time—“things reflecting, he relates, on “important and inspiring will,” as Frisell states, “just go on from there.” speeches by world leaders” that “use the intonation Free pre-concert discussion nightly, 6pm & 8:30pm of the voice to form the thematic material, and the spirit and message to shape the intensity of the Presented as part of the Ertegun Jazz Concert Series arrangements,” which will be orated by special guest Vijay Iyer Trio Wendell Pierce of HBO’s The Wire and Treme. For the January 24 at 7:00pm occasion, Goines presents “Crescent City,” a medita- tion on his hometown of New Orleans. Three-time January 25 at 9:30pm ® A front-runner in numerous critics' polls (2012 GRAMMY Award–winning saxophonist Branford DownBeat International Critics Poll, including Jazz Marsalis, a childhood friend of Victor Goines, will be Artist of the Year, Jazz Album of the Year, Jazz Group featured on this composition. of the Year (for the Vijay Iyer Trio), Pianist of the Year Free pre-concert discussion, nightly, 7pm. and Rising Star Composer), Vijay Iyer undertakes his

Except where noted, all venues are located in Jazz at Lincoln Center’s Frederick P. Rose Hall, Time Warner Center, 5th floor Tickets starting at $10 To purchase tickets call CenterCharge: 212-721-6500 or visit: jalc.org. The Jazz at Lincoln Center Box Office is located on Broadway at 60th Street, Ground Floor. Hours: Monday-Saturday, 10am-6pm; Sunday, 12pm-6pm. For groups of 15 or more: 212-258-9875 or jalc.org/groups. For more information about our education programs, visit jalc.org/learn. For Swing University and WeBop enrollment: 212-258-9922. Find us on Facebook, Twitter, YouTube, and Foursquare. 1

UPCOMING EVENTS

Jazz at Lincoln Center’s Frederick P. Rose Hall

The Milton Suggs Philosophy January 2014 More Than a Dream: A Celebration of Dr. King With Marquis Hill, Christopher McBride, Willerm Delisfort, Ladies Sing the Blues Ameen Saleem, and Jeremy “Bean” Clemons with Catherine Russell, Brianna Thomas, Charenee January 20 Wade, Mark Shane, Mark Lopeman, Jon-Erik Kellso, 7:30pm & 9:30pm John Allred, Chris Flory, Tal Ronen, and Mark McLean January 13 Vincent Gardner Sextet 7:30pm & 9:30pm with Jimmy Greene, Gary Smulyan, Eric Reed, Dezron Douglas, and Willie Jones III Jazz at Lincoln Center Youth Orchestra January 21–23 January 14 7:30pm & 9:30pm 7:30pm & 9:30pm Benny Golson Quartet Herlin Riley Quintet Stories from the Past with Emmet Cohen and Russell Hall with Mike LeDonne, Buster Williams, and Carl Allen January 15–16 January 24–26 7:30pm & 9:30pm 7:30pm & 9:30pm

Salute to Cedar Walton Monday Nights with WBGO with Michael Mwenso, Evan Sherman, Russell Hall, Simona Premazzi — The Lucid Dreamer Emmet Cohen, and Gerald Clayton (Jan 18 only) Hosted by Rhonda Hamilton January 17–18 with Dayna Stephens, Desmond White, and 7:30pm & 9:30pm Otis Brown III January 27 Tim Hagans Quartet 7:30pm & 9:30pm with Ravi Coltrane, Dave Stryker, Jay Anderson, and Jukkis Uotila Champian Fulton Quartet January 19 with Stephen Fulton and Buster Williams 7:30pm & 9:30pm January 28 7:30pm & 9:30pm Jimmy Cobb’s 85th Birthday Celebration Amina Claudine Myers Trio with Eric Alexander, Harold Mabern, and John Webber with Jerome Harris and Reggie Nicholson January 19 January 29 11:30pm 7:30pm and 9:30pm Matt Wilson Quartet with Special Guest John Medeski with Jeff Lederer, Kirk Knuffke, and Chris Lightcap January 30–February 2 7:30pm & 9:30pm

In deference to the artists, patrons of Dizzy’s Club Coca-Cola are encouraged to keep conversations to a whisper during the performance. Artists and schedule subject to change.

Dizzy’s Club Coca-Cola is located in Jazz at Lincoln Center’s Frederick P. Rose Hall, Time Warner Center, 5th floor New York. Reservations: 212-258-9595 or jalc.org/dizzys; Group Reservations: 212-258-9595 or jalc.org/dizzys/group-sales. Nightly Artist sets at 7:30pm & 9:30pm. Late Night Session sets Tuesday through Saturday at 11:30 pm. Cover Charge: $20–40. Special rates for students with valid student ID. Full dinner available at each artist set. Rose Theater and The Allen Room concert attendees, present your ticket stub to get 50% off the late-night cover charge at Dizzy’s Club Coca-Cola Fridays and Saturdays. Jazz at Lincoln Center merchandise is now available at the concession stands during performances in Rose Theater and The Allen Room. Items also available in Dizzy’s Club Coca-Cola during evening operating hours. Dizzy’s Club Coca-Cola gift cards now available. Find us on Facebook, Twitter, YouTube, and Foursquare.