Cal Performances Presents About the Artists
Saturday, January , , pm Th e Monterey Jazz Festival th Anniversary Monterey Jazz festivals, both in performance and Zellerbach Hall Band refl ects the long history of artistic excel- instruction. lence and sophisticated informality for which the Grammy-winning trumpeter Terence Festival has gained international fame. Blanchard was the MJF’s Artist-in-Residence, All-star bands at Monterey have been part and appeared at the MJF in and with Monterey Jazz Festival of the casual atmosphere of the Monterey Jazz his own groups. Terence is a strong supporter of Festival (MJF). Since , the Festival has as- jazz education and is the Artistic Director of the th Anniversary Tour sembled master musicians under the “Monterey Th elonious Monk Institute of Jazz Performance in All-Stars” moniker. At least all-star bands have New Orleans. graced Festival stages and have included Gil Evans, NEA Jazz Master Recipient James Moody has Gerry Mulligan, Elvin Jones, Dizzy Gillespie, appeared at the MJF six times since , where he Clark Terry, Ray Brown, Sonny Stitt, Max Roach, has performed with Quincy Jones, Dizzy Gillespie, Shelly Manne, Bobby Hutcherson, Hank Jones, the Preservation Bebop Jazz Band, the Terence Milt Jackson and many more. Blanchard Sextet and the MJF th Anniversary Th e MJF th Anniversary all-star band epito- Band, among others. In , he performed a mizes the spirit and history of the MJF’s artistic special free concert to celebrate the MJF’s th legacy. Chosen for their devotion to spreading jazz Anniversary. to the world, outstanding leadership abilities and Vocalist Nnenna Freelon is a six-time Grammy masterful performances, the th Anniversary nominee who the Los Angeles Times placed “in the Band celebrates the Festival’s golden moment as very top echelon” of jazz singers. She has performed the longest-running jazz festival in the world. at the MJF four times since , with her own One of the reasons for the unique relationship groups and with the MJF th Anniversary Band, between the venue, audiences and performers has and was a featured artist at the Next Generation been the empowerment of artists. Jimmy Lyons, Festival in . the founder of the MJF, appointed John Lewis, Pianist and Musical Director Benny Green the pianist of the Modern Jazz Quartet, as Artistic and the MJF go back to , when he performed
John Green Director in —a position he held until the there as a -year-old student. Benny has played early s. Newly commissioned works became at the MJF six times over four decades with the Monterey Jazz Festival th Anniversary Band a defi ning feature of the Festival, with pieces from California High School All-Star Band, Ray Brown, the likes of Dave Brubeck, Jon Hendricks, Gerald the MJF th Anniversary Band and others. Terence Blanchard trumpet Wilson and others taking center stage. When Bassist Derrick Hodge fi rst came to the MJF Nnenna Freelon special guest vocalist Jimmy Lyons retired in , newly appointed with Terence Blanchard in . In , he per- General Manager Tim Jackson reinvented the formed extensively with Terence’s groups and with Benny Green piano, music director Artist-in-Residence program. the MJF/ Band. James Moody tenor saxophone, fl ute Th e Artist-in-Residence initiative had a large Drummer Kendrick Scott fi rst appeared at the Derrick Hodge bass impact on the jazz education programs of the MJF with the Berklee-Monterey Quartet in Festival. Since , the MJF has been presenting and has performed at the MJF seven times, with Kendrick Scott drums the winning bands from its high school competi- such artists as Th e Crusaders, Terence Blanchard, tion and showcasing talented young musicians Eldar and the MJF th Anniversary Band. in an all-star student big band. Alumni include Joshua Redman, Patrice Rushen, Dave Koz, Eric Marya J. Glur, Company Manager Marienthal, Gordon Goodwin, Larry Grenadier Lauren Harton, Lighting Director, Stage Manager Th e program will be announced from the stage. Th ere will be one intermission. and Benny Green, to name a few. For years, Charles Trundy, Sound Engineer Bob Wiescholek, Driver the MJF has continued this tradition through the Produced in association with the Monterey Jazz Festival, Tim Jackson Concert Productions, LLC, and Tim Fox (Columbia Artists Management LLC, Next Generation Festival and the Next Generation Broadway, New York, N.Y. ), Management Bob Kay and Susan Lamborghini. Jazz Orchestra, which now tours internation- Country Coaches, Tour Coaches ally. Artists-in-Residence work with students Th e Wind and Associates, Travel Company Cal Performances’ – season is sponsored by Wells Fargo Bank. during their time at the Next Generation and Big Star Travel, Flights
4 CAL PERFORMANCES CAL PERFORMANCES 5 About the Artists About the Artists
Th e trumpeter fi lms include Malcolm X, Crooklyn, Clockers, Get sic-industry insiders and celebrities when she took With her anthem “One Child at a Time,” from and com- on the Bus, Summer of Sam, Bamboozled, She Hate to the stage at the rd annual Grammy Awards her Soulcall album, Freelon took on the task of poser Terence Me, Inside Man and ’s four-hour Hurricane telecast from Los Angeles. fundraising and bringing greater attention to the Blanchard was Katrina documentary for HBO, When the Levees On her Grammy-nominated (for Best Jazz needs of children in education through mentor- born on March Broke: A Requiem in Four Acts. Terence’s trumpet Vocal Performance) release, Blueprint of a Lady: ing and the arts. It has become one of the most , , in can be heard on nearly fi lm scores; bear his Sketches of Billie Holiday, Freelon pays tribute to sought-after songs for its lyrics and music, and has New Orleans. unmistakable compositional style. the quintessential jazz vocalist Billie Holiday. As been used by countless local, regional and national Since emerging In addition to his soundtracks, Terence has inventive as ever, Freelon reinvents these Holiday- groups, including the United Way. on the scene as recorded eight solo albums for the Columbia and associated songs and fulfi lls Billie Holiday’s mes- one of the fi rey Sony Classical labels, including Simply Stated, sage to all artists: “No two people on earth are Born in New York “Young Lions” Romantic Defi ance, Jazz in Film, Let’s Get Lost alike, and it’s got to be that way with music or it in , Benny of the early and Wandering Moon, all of which received criti- isn’t music.” With her own band and with Ronald Green grew s, Terence cal acclaim. Terence released Bounce on Blue Note K. Brown & Evidence, Freelon presents a multi- up in Berkeley,
has been on Nitin Vadukul Records in , following it up with Flow in media music and dance off ering of a kind rarely California, and the cutting edge of the resurgence of hard bop and , which was produced by Herbie Hancock. seen. Freelon is a winner of both the Billie Holiday began classical other modern jazz styles for his entire adult life. Flow is Blanchard’s vision of a future where jazz, Award from the prestigious Academie du Jazz, and piano studies at Terence began to play the trumpet in elemen- world music, funk, aural soundscapes and abstrac- this tribute brings her to a heartfelt source of inspi- the age of seven. tary school, and was coached at home by his opera- tion co-exist. ration for her artistry and dedication to the music Infl uenced by his singing father. In high school, Terence was tutored Lauded for both his soundtracks and small and the power it possesses in education and art. father, a tenor by the legendary New Orleans pianist and jazz group work, Blanchard’s awards for his contribu- On her fi fth and previous Concord Records saxophonist, his patriarch Ellis Marsalis. By , he was attend- tions to fi lm include multiple Emmy and Golden release, Live, Nnenna Freelon brings all of her al- attention soon ing Rutgers University in New Jersey on a music Globe nominations for Mo’ Better Blues, Th e Heart luring talents to bear. Th e result is a beguiling and CAMI turned to jazz. “I scholarship; one of Terence’s professors was so im- Speaks, Th e Promised Land and Th e th Hour, as intimate achievement. Recorded at the Kennedy began trying to improvise on the piano, imitating pressed with his talent that he negotiated a tour- well as instrumental Grammy nominations for Center in Washington, D.C., on February and the records I’d been hearing from my father’s col- ing gig for Terence with vibraphone icon Lionel solos from Wandering Moon and Let’s Get Lost. , , Live marks a decade-long recording ca- lection, which included a lot of Monk and Bird. It Hampton. In , fellow New Orleans native In , Terence won a Grammy for Best Jazz reer for Freelon, as well as -years on the road— was a gradual process of teaching myself.” and trumpeter Wynton Marsalis recommended Instrumental Album for his participation on her fi rst live recording and her second as producer. As a teenager, he worked with Eddie Henderson Blanchard as his replacement in Art Blakey’s Jazz McCoy Tyner’s Illuminations, an award he shared It has certainly been a heady decade for and got some big band experience with a -piece Messengers, the infl uential and volcanic hard-bop with Tyner, Gary Bartz, Christian McBride and Freelon. In addition to fi ve Grammy nominations group led by Chuck Israels. After his graduation, “university” which was a musical proving ground Lewis Nash. while recording for the Concord label, Freelon also Benny freelanced around the Bay Area for a year, for young jazz soloists and composers since the Terence continues to record and tour with both made her feature fi lm debut in the Mel Gibson hit, and then moved to New York in the spring of mid-s. By , Terence was ready to graduate “Young Lions” and legends of the jazz world, and What Women Want, and sang a remake of Sinatra’s . Back in the Big Apple, he met veteran pianist from Blakey’s group; he and fellow Messenger sax- is the Artistic Director of the Th elonious Monk classic “Fly Me to the Moon” for Th e Visit, star- Walter Bishop Jr. “I began studying with him, and ophonist Donald Harrison split off to form a new Institute of Jazz Performance in New Orleans. ring Billy Dee Williams. She is also a winner of the he helped point me in the direction of developing project which would last through the end of the Eubie Blake Award, and has twice been nominated my own sound, and he also encouraged me to check decade. Th e Blanchard/Harrison group recorded Six-time Grammy for the “Lady of Soul” Soul Train Award. out and study the whole scope of jazz piano history, albums for the Concord, Evidence and Columbia Award-nominee An accomplished singer, composer, producer so I could get a sense of how I was to fi t in.” After labels, including the Grand Prix du Disque Nnenna Freelon and arranger (as well as budding actress), Freelon a short stint with Bobby Watson, Benny worked winner, New York Second Line. has earned a has dedicated herself to educating young people, with Betty Carter between and , the year In , Blanchard began his solo career. His well-deserved both musicians and non-musicians. She toured he joined Art Blakey’s band. He remained a Jazz burgeoning output as a composer came to fruition reputation as a the United States for four years as the National Messenger through late , at which point he be- through an association with fi lm director and ac- compelling and Spokesperson for Partners in Education. Her mas- gan working with Freddie Hubbard’s quintet. tor Spike Lee, who had recognized Blanchard’s captivating live ter classes and workshops, from “Sound Sculpture” In , Oscar Peterson chose Benny as the immense talents in the late s, when he was performer. In to the groundbreaking “Babysong,” teach adults fi rst recipient of the City of Toronto’s Glenn Gould a soloist on Lee’s soundtracks to School Days, Do , she inspired and children that, “You too can change the International Protégé Prize in Music. Th at year, the Right Th ing and Mo’ Better Blues. Starting an enthusiastic world—even one person at a time—but it takes Benny replaced Gene Harris in Ray Brown’s Trio, with ’s Jungle Fever, some of Terence’s com- standing ovation dedication and perseverance”—the substance of working with the veteran bass player until . positional work for Lee’s screen and television from , mu- Nnenna’s educational activities. From on, Benny resumed his freelance career, 6 CAL PERFORMANCES CAL PERFORMANCES 7 About the Artists About the Artists leading his own trios, accompanying singers like Whether he’s playing Gillespie performing in the trumpeter’s quintet for orchestra. In junior high, he was introduced to the Diana Krall and concentrating in his solo piano tenor sax, the alto, so- the remainder of the decade. upright contrabass. At the time, there were no bass performances. His recording career includes over prano or fl ute, James Moody’s career received a boost in the mid- instructors, so Derrick learned the instrument by sessions with a virtual Who’s Who of jazz. Moody does so with s with a Grammy Award nomination for this using his electric bass technique and by watching As a leader of his own groups, Benny’s record- the fl uidity, deep res- solo on Manhattan Transfer’s Vocalese album. the violins sitting across from him. For jazz band, ing career began with two albums for the Dutch onance and wit that Moody also recorded Something Special, Moving he just played the upright bass as if it were an elec- label Criss Cross, Prelude () and In Th is have made him one of Forward, Sweet and Lovely and Honey during that tric bass, not allowing the lack of instructional Direction (). In , Green started recording the most consistently decade, for the Novus/RCA label. In the s, resources to hinder him. He considers himself for Blue Note, producing Lineage (), Greens expressive and endur- he teamed up again with his lifelong friend Dizzy a product of a hotbed of talent from the greater (), Testifi yin’ (), Th at’s Right! (), Th e ing fi gures in mod- Gillespie to tour Europe and the United States as a Philadelphia region, which had a thriving gospel, Place to Be (), Kaleidoscope () and Th ese ern jazz. Moody has member of the famous United Nations Orchestra, jazz, classical, R&B and emerging hip-hop scene. Are Soulful Days (). He has also recorded for been inducted into whose live recording at the Royal Festival Hall in He also credits mentors such as James Poyser and
Toshiba (Funky, ) and for Telarc with Oscar Tom Ehrlich the International Jazz London received a Grammy Award for Best Jazz Jethaniel Nixon, with whom he studied through- Peterson (Oscar & Benny, ). Hall of Fame, received the prestigious Jazz Big Band Release. out his teenage years. In , his debut Telarc Jazz recording, Masters Fellowship Award granted by the National In , Telarc released Moody’s Party, a live Derrick received his bachelor’s degree in mu- Naturally, was released, featuring bassist Christian Endowment for the Arts, and an Honorary recording of his th birthday celebration at sic from Temple University Ester Boyer College McBride and guitarist Russell Malone, musicians Doctorate of Music from the Berklee College of the Blue Note in New York City. In April , of Music, where he studied jazz composition and who have both inspired and challenged him to Music on July , . In , Moody turned Moody released his fi rst album for Warner Bros., performance. He studied acoustic and electric bass explore new territory. It was recorded just days , and he was honored around the world with a Young at Heart, followed in by the release of privately with Vince Fay. He was also involved after an acclaimed performance at the IAJE series of concerts. Moody Plays Mancini. Th at same year, he appeared in the Temple University Jazz Band and Small Conference in New Orleans. With the release of Born in Savannah, Georgia, on March , in Clint Eastwood’s fi lm Midnight in the Garden Ensemble, conducted by Terell Staff ord, and was ’s Green’s Blues, Benny returned to his roots , and raised in Newark, New Jersey, James of Good and Evil. Moody’s latest recording on the the fi rst jazz major to participate in the Temple and updated the tradition with an exciting solo Moody took up the alto saxophone at the age of , Savoy label, Homage to Moody, was released in University Symphony Orchestra, conducted by collection of jazz standards by Fats Waller, Duke later switching to tenor. Following his discharge early ; artists such as Herbie Hancock, Chick Luis Biava, and New Music Chamber Orchestra. Ellington, Erroll Garner and George Gershwin, from the United States Air Force in , Moody Corea, Joe Zawinul, Kenny Barron and Horace He was also a student at the Jazz Aspen Snowmass among others, with his highly personal style. Since joined the infl uential bebop big band of Dizzy Silver contributed tunes to the album. Summer Academy, under the instruction of then, he has released two recordings as a duo with Gillespie. A year later, he made his recording debut James Moody remains one of the most sought- Christian McBride and Loren Schoenberg. Along the guitarist Russell Malone, including the live as a leader, James Moody and His Bebop Men, using after artists for master classes, workshops and with formal collegiate training and experience, Jazz at the Bistro () and Bluebird (), where players from the Gillespie band. During that time, lectures, inspiring young talent through his high he performed with the Temple University Gospel they explore classic jazz compositions, standards, he also recorded with trumpeter Howard McGhee standard of musicianship, his positive outlook on Choir, among others. pop songs and originals. and vibraphonist Milt Jackson for Dial Records. life, and his ability to communicate his experiences Derrick has performed and/or recorded with A perpetual student of the history of jazz pia- In , Moody recorded the masterpiece in and around the jazz world. Terell Staff ord, Donald Byrd, Bootsie Barnes, Kirk no, Benny mentions Erroll Garner, Ahmad Jamal, for which he is best known, “Moody’s Mood for Franklin, Donnie McClurkin, John P. Kee and the Phineas Newborn, Bud Powell and Oscar Peterson Love.” Th e song became a huge instrumental hit Derrick Hodge New Life Community Choir, Kenny Lattimore, as some of his main infl uences. His approach to in the United States and was later recorded with began studying elec- Q-Tip, Mos Def, Timbaland, Jill Scott, Musiq jazz can be refl ected in his own words: “For myself lyrics. Th e s saw Moody working with Gene tric guitar at the age Soulchild, Gerald Levert, Common, Kanye West, and a lot of musicians I admire, the main focus is Ammons and Sonny Stitt and recording several of seven, inspired Andre , Sade, Terence Blanchard, Mulgrew to just swing and have fun, and share those feelings albums as a fl utist. (Moody was one of the fi rst by the playing of Miller, Clark Terry and others. with the audience—and, if I’m able to convey that, bebop saxophonists to embrace the fl ute.) It was West Philadelphia’s In addition to performing, Derrick has always then I feel like I’m doing something positive.” during this time that Dinah Washington toured Beulah Baptist had a passion for music composition. Having the with the infl uential James Moody Septet. Church choir’s bass- opportunity to write for artists in the past has en- A culmination of incidents, including a dev- ist, Joel Ruffi n. A abled him to be identifi ed as a composer of various astating fi re at the Blue Note in , led Moody year later, Derrick genres of music ranging from jazz and orchestral to check himself into the wing for alcoholism at switched to electric chamber music to pop and R&B. Over the past Overbrook Hospital in Cedar Grove, New Jersey. bass guitar and be- few years, Derrick has been developing his writ- After six months of rest, he headed for Chicago and gan playing in the ing skills for extended music scoring and fi lm mu- recorded the spectacular and inspirational album, elementary school sic. Studying with Grammy-nominated composer Last Train from Overbrook. In , he rejoined concert band and Terence Blanchard, Derrick has been aff orded the 8 CAL PERFORMANCES CAL PERFORMANCES 9 About the Artists opportunity to learn about the fi lm industry and the Arts. He also was a member of the Berklee- writing process. He has also received on-the-job Monterey Quartet, performing at the MJF in training while working as an instrumentalist on , and . many of Blanchard’s fi lms, including She Hate Me, As a drummer, Kendrick easily shifts tem- Waist Deep and Inside Man. peraments to reveal an abundance of color, emo- Derrick’s most recent projects have includ- tion and thought. And while the Houston native ed production work and orchestrations with is clearly steeped in the tradition of Roy Haynes, Common and Kanye West for Common’s recent Tony Williams and Elvin Jones, Kendrick dis- album, Finding Forever, which reached Billboard’s plays his own distinctive style with a keen use of . He is currently writing music for two fi lms, Th e space, contour and dynamics. “In my drumming, Army Recruiter and Uneasy Listening. Other recent I aim for continuous forward motion while paying projects include When the Levees Broke: A Requiem tribute to the infl uences that have guided me and in Four Acts, for which he did additional writing shaped who I am as a musician today.” and scoring, as well as Who the @ Is Jackson Upon graduation from high school in , Pollock? and Faubourg Treme: A Story of Black New Kendrick was awarded a scholarship to attend the Orleans, for which he composed the music. Berklee College of Music in Boston, where he ma- jored in music education. “Going to Berklee was Kendrick A.D. pivotal for my growth as a musician. I met so many Scott was born great amazing musicians and friends,” Kendrick and raised in says. As an undergraduate, he gigged with Pat Houston, Texas. Metheny, Gary Burton and Kenny Garrett. His initial in- Life after Berklee has been equally success- spiration and ful. Kendrick has enjoyed stints with Joe Sample, appreciation for Th e Crusaders, Stefon Harris, Lizz Wright, Maria music came from Schneider, Terence Blanchard, David Sanborn growing up in a and Dianne Reeves, to name a few. “Playing with household of mu- these great artists has opened my eyes to playing sicians. Th e fi rst the moment; not the past. It has been a revelation encounters Kendrick had with the drums were in in my music and in my daily life.” Kendrick was a church, where his parents and older brother were member of the band that accompanied Blanchard involved in the music ministry. His parents rec- to the MJF’s th Anniversary in , perform- ognized his interest at age six in the drums and ing with Blanchard’s Quintet and on the debut of purchased him a drum pad and lessons. “As a kid, A Tale of God’s Will: A Requiem for Katrina with I remember listening to the music at church and the MJF Symphony Orchestra and the MJF th feeling chills in my body. I knew then that music Anniversary Band. was my calling.” Kendrick Scott’s unique balance of freedom Kendrick was infl uenced greatly by many and control proves his position as part of an elite drummers early on, including hometown up-and- group of young New York-based improvisers and comers Eric Harland and Chris Dave, as well as composers. He penned all but one composition on such masters as Tony Williams, Papa Jo Jones and his solo debut album Th e Source, which fea- Max Roach. He was later accepted to Houston’s tures his collective band, Kendrick Scott Oracle. famed High School for the Performing and Visual “One of my goals is to create a body of original Arts, where his high school career culminated music as players who infl uenced me have done,” in many awards—the most notable being the says Kendrick. “Th e most rewarding thing for me Cliff ord Brown/Stan Getz Fellowship, given by the is to know this is the beginning and that I have so International Association for Jazz Education and many lessons to learn and grow from.” the National Foundation for the Advancement of
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