Two Wings: the Music of Black America in Migration

EISENHOWER THEATER April 14, 2019 The John F. Kennedy Center for the Performing Arts presents

Two Wings: The Music of Black America in Migration

Jason Moran and Alicia Hall Moran, producers

Jason Moran, piano Alicia Hall Moran, mezzo-soprano

Lawrence Brownlee, tenor Kinshasha Holman Conwill, speaker Farah Jasmine Griffin, speaker Tarus Mateen, bass Pastor Smokie Norful, vocals with Imani Winds Brandon Patrick George, flute | Toyin Spellman-Diaz, oboe Mark Dover, clarinet | Jeff Scott, French horn Monica Ellis, bassoon and the Sweet Heaven Kings

Part of The Human Journey Exploration. Jason Moran is the Kennedy Center Artistic Director for Jazz. This project is supported in part by the National Endowment for the Arts.

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. THE PROGRAM

Two Wings: The Music of Black America in Migration

FLORENCE PRICE / Sympathy PAUL LAURENCE DUNBAR Alicia Hall Moran, Mezzo-Soprano Jason Moran, Piano

JASON MORAN Cane I. Togo to Natchitoches II. Coincoin’s Narrative III. Gens Libre de Couleur IV. Natchitoches to New York Imani Winds Jason Moran, Piano

JAMES P. JOHNSON Carolina Shout Jason Moran, Piano

BILLIE HOLIDAY / God Bless the Child ARTHUR HERZOG JR. Alicia Hall Moran, Mezzo-Soprano Tarus Mateen, Bass Jason Moran, Piano

SPIRITUAL There’s a Man Going ’Round Taking Names Lawrence Brownlee, Tenor Jason Moran, Piano

PASTOR SMOKIE NORFUL Dear God Pastor Smokie Norful, Vocals & Piano

Intermission THE PROGRAM

JUAN TIZOL / MILLS IRVING / Caravan DUKE ELLINGTON Alicia Hall Moran, Mezzo-Soprano Tarus Mateen, Bass Sweet Heaven Kings Jason Moran, Piano

Migration Tribute Sweet Heaven Kings

ANTHONY NEWLEY / Feeling Good, from The Roar of the LESLIE BRICUSSE Greasepaint—The Smell of the Crowd Alicia Hall Moran, Mezzo-Soprano Tarus Mateen, Bass Jason Moran, Piano

SPIRITUAL The Purest Kind of Guy Lawrence Brownlee, Tenor Jason Moran, Piano

GEORGE GERSHWIN / Summertime, from Porgy and Bess DUBOSE HEYWARD / Alicia Hall Moran, Mezzo-Soprano IRA GERSHWIN Jason Moran, Piano

WALTER DONALDSON / How Ya Gonna Keep ’em Down on the JOE YOUNG / SAM M. LEWIS Farm (After They’ve Seen Paree?) Alicia Hall Moran, Mezzo-Soprano Jason Moran, Piano

ALICIA HALL MORAN Believe Me Alicia Hall Moran, Mezzo-Soprano Tarus Mateen, Bass Jason Moran, Piano

SPIRITUAL He’s Got the Whole World in His Hands (arr. Margaret Bonds) Alicia Hall Moran, Mezzo-Soprano Imani Winds Jason Moran, Piano

SPIRITUAL Two Wings Alicia Hall Moran, Mezzo-Soprano Tarus Mateen, Bass Jason Moran, Piano NOTES ON THE PROGRAM

Tonight we are gathering to recognize the epic movement of people—American people, Black people—from the Southern United States and those lands where generations toiled in unremunerated labor to all points North and West. Together, we explore a rough chapter in American history—a long chapter, roughly 1910– 1970: the Great Migration. Six million African Americans left the South during this period. Through Two Wings, we settle into the musical worlds defined by this mass movement of people, and we give thanks for the opportunities our great- grandparents and grandparents and parents struggled to deliver to us.

The Great Migration shaped my family—and continues to shape my family—just as it transformed the entire nation and continues to echo in the present. I asked my mother, Carole F. Hall—the family historian—about our Southern roots:

Our family’s Southern history is rooted in Athens, Georgia. My father’s great-great- grandparents, Hannah and William Hall, were sold at auction in Augusta as children and taken to Athens in bondage to Dr. Edward Ware and his wife, Margaret. William and Hannah eventually married and had four children: Edward, Rebecca, Rachel, and Mary, my father’s great-grandmother. Mary’s daughter, Alice Virginia Sansom, was my father’s grandmother. She was eight years old when all three Hall generations in Athens—never sold or separated by the Wares—were emancipated in 1865.

In Athens, site of the University of Georgia, educational opportunities for newly freed African Americans flourished. Alice attended the secondary Knox Institute and Industrial School, built on land donated by three wealthy African Americans, and Atlanta University, the first Black graduate school. In 1878, she married Rev. William D. Johnson (1842–1908), an African Methodist Episcopal Church administrator and orator. Born free in Calvert County, Maryland, he earned two degrees from Lincoln University before settling in Athens. In 1880, he completed his doctorate in divinity.

Their children—Mamie, Decker, Hall, Susan, and Alice Irene (my grandmother)— also graduated from the Knox Institute and spread their wings. Mamie raised a family in Chicago. Susie became a beautician in Philadelphia. After Decker graduated from Tuskegee University, he became a Pullman porter and then a Postal Service clerk in New York City. In 1904, Rev. Johnson was appointed president of Allen University in Columbia, South Carolina—the first Black college in that state. Hall, who was a gifted violinist, entered Allen University as a freshman and graduated in 1909. He went on to attend the University of Pennsylvania and the Hahn School of Music in Philadelphia. By 1921, Hall Johnson had become a force in the Harlem Renaissance and had toured with stars such as James Reese Europe. He played in the pit in Eubie Blake and Noble Sissle’s Broadway hit Shuffle Along. After a year (1924–1925) at the Institute of Musical Art (later part of The Juilliard School), he organized the Hall Johnson Choir to honor the traditional spirituals sung by his grandmother, Mary Hall.

Meanwhile my grandmother, Alice Irene Johnson (1890–1983), had married Robert Foster of Athens. On the eve of the Great Depression, widowed with their five children—William Robert, Mary Ellen, Alfred (my father), Marcus, and Celeste— she became the last of her siblings to leave the South. She migrated to Philadelphia, before eventually leaving for Pasadena, California, in the 1940s. Pasadena had a civic NOTES ON THE PROGRAM

culture comparable to Athens. It was Hall Johnson who recommended the move. Just as he had been the first of his siblings to relocate to Philadelphia and then to New York, he was the first to discover Southern California. He traveled to Los Angeles and lived there periodically, scoring films, producing plays, and directing performances of the Hall Johnson Choir.

Alfred Foster (1922–2009) discovered California when the Navy shipped him from Philadelphia to San Diego towards the end of WWII. He met your grandmother, Constance Barrick (1923–2009), at Cheyney State Teacher’s College near Philadelphia. His grandfather, Rev. William D. Johnson, and her grandfather, George Barrick, were both born in Maryland two years apart. But George was enslaved, and when freedom came—with neither opportunities nor education—he headed North, passed Philadelphia, and kept walking until he found steady employment as a gardener on a Main Line estate. It was there that he married Elizabeth Long.

Three of their children survived: Edward, Herbert, and Clara. Edward married Vaunita Allen, your great-grandmother, and created a family business that sent all 10 of their children to college. Your Grandma Connie left Cheyney to join the war effort at Sun Shipyard. She became the first—and for decades the only—one in her family to leave the Northeast. She and Alfred bought a home in Pasadena in 1951, and he went on to become a psychologist in the Los Angeles public schools.

Likewise, I grew up hearing detailed sagas from the Civil Rights Movement that my father’s parents, Ira D. Hall, Sr. and Rubye Mae Hibler Hall, worked tirelessly to uphold in the state of Oklahoma. They faced obstruction at every level and still managed to earn degrees from Langston University and the University of Oklahoma (my grandmother going on to earn a master’s degree as well as sitting as the first African American appointee to the board of the Oklahoma State Regents for Higher Education), raise six children, and fight all forms of discrimination.

The boldness of those who were part of the Great Migration amazes me. Looking closely at every person who pursued a better life, each becomes heroic—every one. Tonight, Jason and I present a kaleidoscope that examines the output of artists from our jukebox on the subject. Gospel, folk, rock ‘n’ roll, opera, Broadway, jazz, orchestral, and chamber music are all represented here because in all of them is the Black musical imagination that continues to shape the cultural and political landscape of this country.

We express our overwhelming gratitude for the lives of the many brilliant artists (hundreds of them) whose music brought our people through the storms—the music that paved the sound waves our spirits ride on, and the music that fortifies each of us on the journeys we take every day. We recognize our music in the work and fascination of other artists, just as we use our freedom to explore the ways in which we gather and build with tools we’ve found along our way in the New World. We trace a narrative written in these songs—they tell their own story about the movement of people, about great artists who sought a community and found a home in Black music.

—Alicia Hall Moran NOTES ON THE PROGRAM

There are moments in jazz history that burn brightly. When pianist James P. Johnson recorded his “Carolina Shout” in 1921, the father of the “Harlem Stride” piano style was here to stay. Any pianists uptown would challenge each other with “Carolina Shout,” from Duke Ellington to Johnson’s own pupil, Fats Waller. When trumpeter Louis Armstrong’s intro and cadenza to “West End Blues” were heard, the performance became a testament to Armstrong’s precision and inventiveness. His solo has been learned by legions of trumpeters for generations. Lionel Hampton’s recording of “Flying Home” featured the rousing “Texas Tenor” Illinois Jacquet. His solo became a hit, becoming a standard in the saxophone repertoire. Each of these pieces reflects a place. ‘hood and the air, the cause and the effect—effectively the call and the response.

Cane (named for Cane River, Louisiana) examines my ancestry leading back to a matriarch in the mid–18th century, Maria Therese Coincoin. She birthed 10 children by her slave master’s son and upon his deathbed, he granted freedom to her and a few of the children. She in turn began the Melrose Plantation, eventually purchasing the freedom of her remaining children and becoming a powerful businesswoman. That plantation is a historical landmark. The tension in the land is felt in every sway of the moss that hangs from the pecan trees. Louisiana and Texas are not passive landscapes. These are not passive songs.

I grew up in Houston’s Third Ward, a neighborhood rich in African American cultural memory and scholarship. Most of my family lived in the zip code, understanding the power and necessity of neighborhoods like this. From Houston to Harlem is not an easy transition, but music solved the puzzle. For fear of being alone, I began telling all of my musician friends in Houston that they, too, should come to New York, bringing the brisket and the blues, and helping to shape the sound of the city.

Today, Alicia and I stand here with a group of thinkers that help form the constellation in the same way that marks down the history. Artists are always there to “mark it down.” The art becomes the record keeper.

—Jason Moran NOTES ON THE PROGRAM

Two Wings: The Music of Black America in Migration is dedicated in loving memory to ...

Bennie Ruth Chester (1919–2003) Joseph P. Chester (1919–1976) Constance Barrick Foster (1923–2009) Alfred Harold Foster (1922–2009) Ira DeVoyd Hall, Sr. (1905–1989) Rubye Mae Hibler Hall (1912–2003) Francis Hall Johnson (1888–1970) “Mama Clay” Claudia Llorens Moran (1930–2017) Mary Lou Chester Moran (1949–2004)

... and our teachers ...

Muhal Richard Abrams (1930–2017) Betty Allen (1927–2009) Jaki Byard (1922–1999) Andrew Hill (1931–2007) Shirley Verrett (1931–2010) Warren George Rock Wilson (1934–2011) MEET THE ARTISTS

Jason Moran In 2018, Moran had his first solo museum Kennedy Center Artistic Director for exhibition at the Walker Art Center in Jazz, pianist, and composer, Jason Moran Minneapolis, which will travel to the was born in Houston in 1975 and earned Whitney Museum of American Art in a degree from the Manhattan School of September. Moran currently programs Music, where he studied with Jaki Byard. concerts for Park Avenue Armory, and Upon graduation, he studied with Andrew teaches at New England Conservatory. Hill and Muhal Richard Abrams. He began an 18-year relationship with Blue Note Alicia Hall Moran Records, producing nine highly acclaimed Mezzo-soprano and composer Ali- recordings. His groundbreaking trio, cia Hall Moran conjures a sonic world The Bandwagon (with Tarus Mateen and wherein classical and African American Nasheet Waits) is currently celebrating cultures meet. Praised by The New York its 20th anniversary. Times for her “imaginative recontextu- alization of classical singing,” Moran Moran’s performances with Cassandra is a trained vocalist “who never tries to Wilson, Charles Lloyd, and the late Sam sound like anything else, despite the Rivers reveal the scope of his musical part- diverse artistic company she keeps.” nerships. His work with visual artists is extensive, including projects with Adrian Her productions include Black Wall Piper, Joan Jonas, Glenn Ligon, Adam Street (2016), inspired by the Wall Street Pendleton, Lorna Simpson, and Kara career of her father, a native Oklahoman, Walker. He has been awarded fellowships and the Tulsa race riot of 1921 (River to from the MacArthur Foundation, United River Festival, Opera Southwest, SITE States Artists, Doris Duke Charitable Santa Fe, Tulsa Performing Arts Center, Foundation, and Ford Foundation. Schomburg Center for Research in Black Culture / NYPL, and National Sawdust); Moran frequently collaborates with and Breaking Ice (MASS MoCA and PRO- his wife, Alicia Hall Moran, including TOTYPE). their residency at the 2012 Whitney Biennial, where they together curated Moran made her Broadway debut in the BLEED, a five-day series of live- per Tony-winning revival of The Gershwins’ formances. They also premiered Work Porgy and Bess, before starring as Bess Songs at the 2015 Venice Biennial. They in the celebrated 20-city American tour. currently produce recordings on their The Los Angeles Times praised her per- own label, Yes Records. Since his first formance, writing that she found “the album, Moran has produced 14 addi- truth of the character in her magnificent tional albums, and composed scores for voice.” Her latest album, Here Today, Ava DuVernay’s films Selma and 13th, was released to high praise in 2017. She and Ta-Nehisi Coates’s stage version of also recently recorded Gabriel Kahane’s Between the World and Me. oratorio emergency shelter intake form with the Oregon Symphony and joined History is an ongoing theme for Moran, Bryce Dessner’s Triptych, which will be who has created monumental pieces about performed at the Brooklyn Academy of Thelonious Monk (In My Mind: Monk at Music this spring. Town Hall, 1959), Fats Waller (Fats Waller Dance Party), and James Reese Europe Moran has received solo commissions (James Reese Europe and the Absence of Ruin). from Art Public / Art Basel Miami, MoMA, MEET THE ARTISTS

The Kitchen, Histories Remixed/Art gie Hall, and Lyric Opera of Chicago, the Institute Chicago, and the Brooklyn song cycle centers on what it means to be Youth Chorus. Her list of collaborators an African American man living in Amer- includes guitarist Bill Frisell, Bill T. Jones/ ica today, composed by Tyshawn Sorey Arnie Zane Dance Company, pianist Lara with lyrics by Terrance Hayes. Downes, and visual artists Carrie Mae Weems, Ragnar Kjartansson, Suzanne One of the most in-demand sing- Bocanegra, and Adam Pendleton. Moran ers around the world, Brownlee has and her husband, Jason Moran—both appeared on the stages of every major Ford Foundation Art of Change Fel- opera house, including the Metropol- lows—have jointly created works for itan Opera, Teatro alla Scala, Vienna the Venice Biennale, Whitney Biennial, State Opera, Opéra national de Paris, Walker Art Center, and Philadelphia Barcelona’s Gran Teatre del Liceu, and Museum of Art. Madrid’s Teatro Real, as well as the festi- vals of Salzburg and Baden-Baden. Moran earned a bachelor’s degree in music from Barnard College (with a Brownlee’s latest album, Allegro io son, minor in anthropology), and a bache- was recognized as a Critic’s Choice lor’s degree in vocal performance from by Opera News, and followed Virtuoso the Manhattan School of Music. Rossini Arias, his Grammy-nominated release on the Delos label. Lawrence Brownlee Named Male Singer of the Year in 2017 Kinshasha Holman Conwill, Deputy by the International Opera Awards, Director of the National Museum of tenor Lawrence Brownlee has been African American History and Culture, hailed by The Guardian as “one of the has more than 35 years of experience world’s leading bel canto stars.” His in arts and museum management. 2018–2019 season began with two eve- Since 2005, she has served as deputy nings of duets with bass-baritone Eric director of the National Museum of Owens at the Cliburn, followed by a African American History and Culture, night of arias at Amsterdam’s Concert- engaged in fulfilling the museum’s gebouw. Operatic engagements this vision by cultivating fundraising season include two role debuts, sing- and membership campaign efforts, ing Nadir in Bizet’s Les pêcheurs de per- fostering external partnerships, les (Houston Grand Opera) and Ilo in expanding the museum’s collection, Rossini’s Zelmira (Washington Concert developing exhibitions and public Opera), and returns to Opéra national programs, and administering the de Paris, Opernhaus Zürich, and Deut- museum’s daily operations. sche Oper Berlin. His season also fea- tures a 12-stop duo recital tour across After serving as executive producer of the U.S. with Eric Owens. the museum’s 2012 groundbreaking ceremony, featuring remarks by Highlights from last season included President Barack Obama and former returns to the Royal Opera House (Cov- First Lady Laura Bush, she led the ent Garden), Opernhaus Zürich, and Lyric planning for the museum’s September Opera of Chicago, as well as the world 2016 grand-opening activities. A widely premiere of Cycles of My Being. Co-com- published author, she supervises the missioned by Opera Philadelphia, Carne- museum’s publishing activities, serving MEET THE ARTISTS as lead editor for projects ranging from Politics During World War II, published by exhibition catalogs to books on the Basic Booksin 2013. museum’s collections. Griffin collaborated with composer, Before joining the Smithsonian, Conwill pianist, Geri Allen and director, actor served as a senior policy advisor for the S. Epatha Merkerson on two theatrical Museums and Community Initiative of projects, for which she wrote the the American Association of Museums book: The first, “Geri Allen and Friends and project director for the New York Celebrate the Great Jazz Women of City Creative Communities Leveraging the Apollo,” with Lizz Wright, Dianne Investments in Creativity program. Reeves, Teri Lyne Carrington and others, premiered on the main stage of the Apollo Farah Jasmine Griffin Theater in May of 2013. The second, “A Farah Jasmine Griffin is the inaugural Conversation with Mary Lou” featuring chair of the African American and vocalist Carmen Lundy, premiered at African Diaspora Studies Department Harlem Stage in March 2014 and was at Columbia University and the William performed at The John F. Kennedy Center B. Ransford Professor of English and in May of 2016. Griffin’s essays and articles Comparative Literature. She is also have appeared in Essence, The New York Affiliate Faculty of the Center for Jazz Times, The Washington Post, The Nation, Studies. Professor Griffin received her The Guardian, Harper’s Bazaar, Art Forum, B.A. from Harvard, where she majored and numerous other publications. She is in American History and Literature and also a frequent radio commentator on her Ph.D. in American Studies from Yale. political and cultural issues. Her major fields of interest are American and African American literature, music, Tarus Mateen and history. She has published widely on Tarus Mateen’s creative genius and issues of race and gender, feminism, jazz mastery of acoustic bass, electric bass, and cultural politics. Griffin is the author rhythm guitar, and piano make him of Who Set You Flowin?: The African one of the most sought-after musician/ American Migration Narrative(Oxford, producers in Hip Hop, house, blues, 1995), Beloved Sisters and Loving rock, reggae, soul, and straight ahead Friends: Letters from Rebecca Primus of jazz. Mateen began his journey as a Royal Oak, Maryland, and Addie Brown of professional musician with his two Hartford Connecticut, 1854-1868 (Alfred older brothers Roy (drums) and Radji A. Knopf, 1999), If You Can’t Be Free, Be (sax) who toured Jamaica with their a Mystery: In Search of Billie Holiday(Free group, opening for Freddie McGregor, Press, 2001), “When Malindy Sings: A as well as Judy Mowatt, formally with Meditation on Black Woman’s Vocality,” the I Three backup for Bob Marley. By in Uptown Conversations: The New Jazz the time Mateen was a teenager, he was a Studies, with co-authors Robert G. studio musician for some of California’s O’Meally and Brent Hayes Edwards, early rappers and had toured nationally and co-author, with Salim Washington, with his brothers. of Clawing At the Limits of Cool: Miles Davis, John Coltrane, and the Greatest In 1985 Mateen moved to Atlanta, Jazz Collaboration Ever (Thomas Dunne, Georgia, to attend Morehouse College, 2008). Her most recent book is Harlem majoring in music. Setting the local club Nocturne: Women Artists and Progressive circuit on fire, Mateen sharpened his MEET THE ARTISTS

skills on both the upright and electric Pastor Smokie Norful bass. While playing in Savannah, In addition to being an award-winning Georgia, Art Blakey encouraged Mateen recording artist, Pastor Smokie Norful is to move to New York and join his band a world-renowned educator, author, and at the recommendation of front liners visionary. Since his solo debut in 2002, Javon Jackson and Philip Harper. Upon I Need You Now, he has sold more than arriving in New York in 1988, Mateen three million albums worldwide. Norful landed a new artist’s dream gig—a one has been named Billboard’s Gospel Artist and a half-year stint with legendary of the Year several times. He has earned jazz master Betty Carter, with whom two Grammy Awards, eight Stellar he recorded a Grammy–nominated CD. Awards, five Dove Awards, one Soul Train Touring in Europe and Asia with Carter Music Award, two NAACP Image Award afforded him an incredible experience, nominations, and three BET Award nom- as well as lifelong lessons. inations. In his home state of Arkansas, he was inducted into the Black Hall of Known in the jazz world as a genius Fame. He has also been inducted into the on bass, his first instrument was Oklahoma Music Hall of Fame. actually the piano. A consummate artist, Mateen is not afraid to explore Norful has contributed to five plati- any musical genre. His repertoire says it num-selling compilations and has written all. Two of Hip Hop’s shining southern songs for numerous major-label record- stars, groups OutKast and Goodie ing artists. He starred alongside Kirk Mob, can credit their critical acclaim, Franklin, Donnie McClurkin, and Yolanda and platinum commercial success Adams on the history-making Hopeville with Mateen’s contributions to their tour, and he has headlined the McDon- albums. He is consistently requested ald’s Inspiration Celebration Gospel Tour for performances and studio sessions three times since its inception. with R&B and Hip Hop artists including Q-Tip, Lauryn Hill, Ghostface, Ice Norful is an educator at heart. Having Cube, and The Roots. Mateen was the received his degree in history from the bassist of choice for Lauryn Hill in 2002 University of Arkansas at Pine Bluff, he to jumpstart her studio performances. went on to teach junior and senior high school for several years. He attended both He has also made his mark on film Garrett-Evangelical Theological Semi- with trumpeter/composer Terence nary and Trinity International Seminary, Blanchard on the scores for Sugar Hill, where he received his master’s degree and and for the Spike Lee film Malcolm X, also served on the Board of Regents. Last as well as the Grammy–nominated May, he received a degree in leadership Malcolm X Jazz Suite. Mateen performs from Trinity International University. and records most regularly with pianist Norful recently released his first book, Jason Moran. He has also worked with Take the Lid Off, a compilation of his per- vibraphonist Stefon Harris as well as the sonal life stories, as well as biblical and New Directions band, which includes practical insights to help every individual Greg Osby and Mark Shim. maximize their potential. MEET THE ARTISTS

In 2005, Norful officially launched his Imani Winds has released six albums, church, Victory Cathedral Worship Cen- including the Grammy-nominated ter, in Bolingbrook, Illinois, where he The Classical Underground. In 2016, Imani serves as senior pastor. A second campus Winds received its greatest accolade to on the south side of Chicago opened its date—being on permanent display in doors in 2007. The ministry encourages the classical music section of the Smith- its members to live to be missed and not sonian’s National Museum of African just remembered by adopting a heart of American History and Culture. volunteerism, charity, and philanthropy. Sweet Heaven Kings Imani Winds Sweet Heaven Kings is the premier brass Over the course of its more than 20-year band at the United House of Prayer in career, the Grammy-nominated quin- Anacostia. The gospel brass band tra- tet Imani Winds has discovered what dition is unique to this denomination. audiences value most: a sense of con- It was introduced into services by char- nection with the music, the perform- ismatic church founder Bishop Charles ers, the composers, the artistry, and M. “Sweet Daddy” Grace. Grace estab- beyond. Extolled by The Philadelphia lished his first congregation in 1919 Inquirer as “what triumph sounds in West Wareham, Massachusetts, like,” Imani Winds has created a dis- with an emphasis on the direct, phys- tinct presence in the classical music ical experience of the Spirit. From the world through the members’ dynamic 1920s onward, as the church spread playing, culturally relevant programming, rapidly throughout the South, Grace commissioning, virtuosic collaborations, began using brass instruments as the and inspirational outreach programs. centerpiece of his all-day, all-night services. By the 1960s, trombones became From Mendelssohn, Ligeti, and Stravin- the instrument of choice for House of sky, to Piazzolla, Carter, and John Har- Prayer bands, and groups were expand- bison, to 21st-century greats like Fred- ed to create a fuller, more multi-layered eric Rzewski, Jason Moran, and Valerie sound in the vein of large gospel choirs. Coleman, Imani Winds actively seeks to The Kings of Harmony was formed in engage new voices in the modern classi- Washington, D.C., during this period and cal idiom. Norvus Miller emerged as the group’s leader. Norvus “Butch Littlejohn” Miller Imani Winds’ touring schedule has taken Sr., who died May 1, 1994, described this the quintet around the globe. At home, music as “inspirational gospel whose the group has performed in major con- purpose is to edify and glorify the Lord.” cert venues, including Carnegie Hall, Lincoln Center, the Kennedy Center, Sweet Heaven Kings is comprised of six- and Walt Disney Concert Hall, as well teen musicians, including two of Miller’s as virtually every major university per- sons, one of whom now leads the band. forming arts series and summer festival. The brothers play first and second lead In recent seasons, the group has traveled trombones. Instruments include three extensively, with tours in China, Singa- lead trombones (with two playing at pore, Brazil, Australia, New Zealand, and a time), two sets of “run” horns (two across Europe. trombones playing harmony parts), background trombones that simulate MEET THE ARTISTS the body of the choir, sousaphone, bari- the lead horns playing on top of the run tone horn, and a percussion section with horns. The music builds slowly through bass drum, snare drum, and cymbals. songs to a sustained crescendo known as The instrumental “voices” are arranged “thundering,” with lead players impro- in three- and four-part harmonies with vising and blowing with great intensity.

ABOUT THE HUMAN JOURNEY

The Human Journey is a collaboration between the Kennedy Center, National Geographic Society, and the National Gallery of Art, which invites audiences to investigate the powerful experiences of migration, exploration, identity, and resil- ience through the lenses of the performing arts, science, and visual art. ABOUT JAZZ AT THE KENNEDY CENTER

Kennedy Center Jazz, under the leadership of Artistic Director Jason Moran, presents legendary artists who have helped shape the art form, artists who are emerging on the jazz scene, and innovative multidisciplinary projects in hundreds of performances a year. The KC Jazz Club, launched in 2002 and dubbed “the future of the jazz nightclub” by JazzTimes, hosts many of these artists in an intimate setting. Annual Kennedy Center jazz events include the professional development residency program for young artists, Betty Carter’s Jazz Ahead; NPR’s A Jazz Piano Christmas, the Kennedy Center holiday tradition shared by millions around the country via broadcast on NPR; and the Mary Lou Williams Jazz Festival, created in 1996 by the late Dr. Billy Taylor (Kennedy Center Artistic Director for Jazz, 1994–2010). The Center’s jazz concerts are frequently recorded for future broadcast on NPR.

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