2015 NEA Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS

2015 Fellows 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 and guitarist perform 2014 NEA Jazz Master ’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 and advocates who had, and continue to have, a significant impact on one of the great artistic inventions of the 20th century. Although jazz was created in this country, its popularity and influence have spread throughout the world, one of America’s most influential and distinguished exports. And the influence of other cultures on jazz has been crucial to its development as well—from African to European to Latin American. Even people coming to the U.S. are seeking out jazz—our recent 2012 Survey of Public Participation in the Arts showed that “jazz attendance was…buoyed by an increase in the share of U.S. immigrants who attended [live performances].” Photo by Strauss Peyton Studios This year, we honor composer, arranger, bandleader, and keyboardist Carla Bley; saxophonist, composer, and educator George Coleman; saxophonist, flutist, composer, and arranger Charles Lloyd; and recipient of the 2015 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy, Joe Segal, jazz presenter and longtime owner of Chicago’s Jazz Showcase. The NEA has steadily supported jazz, from our first jazz grant in 1969, which went to future NEA Jazz Master George Russell, to a 2015 grant to Alcorn State University in Lorman, , for a jazz festival featuring NEA Jazz Master . The NEA is committed to preserving the legacy of jazz not just for this generation, but for future generations as well. I would like to thank our partner Jazz at (JALC) for bringing the NEA Jazz Masters awards ceremony and concert to you. The awards ceremony and concert will be webcast live by JALC (jazz.org) and the NEA (arts.gov) to communities throughout the country. The webcast will be archived for later viewing. Please join me in honoring the 2015 NEA Jazz Masters for their work in the jazz field and their contributions to the nation’s cultural heritage.

Jane Chu Chairman National Endowment for the Arts

NEA Jazz Masters 2015 1 A Brief History of the Program

NEA Jazz Masters (from left) , , and at the 1991 ceremony. Photo by Michael Wilderman

2 NEA Jazz Masters 2015

A MELDING of African and improvisation and rhythm. It was market has not been kind. Despite European music and cultures, moving in a new artistic direction, their unparalleled contributions jazz was born in the United and, if this high quality were to be to American art, many jazz greats States, a new musical form that maintained, it would need some worked for years just barely used rhythm, improvisation, and assistance. scraping by. The monetary award instruments in unique and exciting NEA support for the jazz field often has provided a much-needed ways. Jazz came to prominence began in 1969, and by 2013 it had infusion of income. in the early 20th century on the risen to more than $2.5 million. That such recognition was dance floors of major cultural Activities supported by the NEA long overdue is exemplified by centers such as Kansas City and include jazz festivals and concert Thelonious Sphere Monk, one of . With the advent of seasons, special projects such the great American composers and sound recording techniques, the as Dr. ’s Jazzmobile musicians. Monk was nominated increased availability of affordable in New York and the Thelonious gramophones, and the rise of Monk Institute of Jazz’s Jazz radio as popular entertainment, Sports program, educational jazz jazz quickly conquered the country. programming on National Public By the 1930s and 1940s, jazz had Radio, artists-in-schools programs, become America’s dance music, and research. selling and performance While the NEA recognized tickets at dizzying rates and and acted on the need for public sweeping millions of fans in foreign funding for jazz, the pioneers of countries off their feet. the field were rapidly aging, and By the , however, with the many died without the appropriate advent of rock and roll and the tilt recognition of their contribution to in jazz toward rather than the this great American art form. Louis more popular swing, jazz began a Armstrong and , two decline in its popularity. It was still of the giants of jazz in terms of both seen as an important and exciting musicianship and composition, both art form, but by an increasingly died in the early 1970s without the smaller audience. Jazz was still importance of their contributions being exported overseas, though, being fully acknowledged and especially by Voice of America radio appreciated. broadcasts and U.S. Department of In an effort to nationally State goodwill tours that featured recognize outstanding jazz such musicians as , musicians for their lifelong , and . achievements and mastery of By the 1960s, when the National jazz, the Arts Endowment in 1982 Endowment for the Arts (NEA) created the American Jazz Masters was created by Congress, jazz Fellowships—now the NEA Jazz sales were down and jazz Masters Fellowships. Thse awards performances were becoming are given to musicians who have more difficult to find. Large dance reached an exceptionally high orchestras disbanded for lack standard of achievement in this of work, and musicians found very specialized art form. Chilean saxophonist themselves in stiff competition In addition to the recognition, the performs with NEA Jazz Master Jimmy for fewer and fewer gigs. The NEA included a monetary award of Heath at the 2014 awards concert. music, starting with bebop and into $20,000 for each fellowship. The Photo by Michael G. Stewart and , became rigors of making a living in the jazz more cerebral and less dance- field are well documented. Jazz oriented, focusing on freeing up is an art form to which the free

NEA Jazz Masters 2015 3 for an NEA Jazz Master Fellowship former NEA deputy chairman, who more than 200,000 people, increased international recognition in the first year of the program, but has dedicated much of his life to including 13,000 youth. of the NEA Jazz Masters awards unfortunately passed away before bringing the joy and artistry of New broadcast programming as the nation’s highest honor for the announcement was made jazz to all Americans. Additionally, was developed, such as Jazz outstanding musicianship in the (the fellowship is not awarded the amount of the fellowship was Moments radio shorts and podcast field of jazz. The recipients of the posthumously). The three who increased to $25,000. interviews with NEA Jazz Masters NEA Jazz Masters award cover were chosen certainly lived up to In 2005, the NEA Jazz Masters (both Jazz Moments and podcasts all aspects of the music: from the criteria of artistic excellence initiative expanded to include can be downloaded for free at the boogie-woogie (Cleo Brown) to and significance to the art form: several new programs in addition NEA site on iTunes U). swing (, , , Dizzy Gillespie, and to the fellowships. A two-CD The NEA has also supported Jay McShann); from bebop (Dizzy . The panel in that first year anthology of NEA Jazz Masters’ the Smithsonian Jazz Oral Gillespie, ) to included stellar jazz musicians music was produced by Verve History Program to document (Danny Barker); from free jazz themselves, including some future Music Group. the lives and careers of NEA (, ) to NEA Jazz Masters: trumpeter NEA Jazz Masters on Jazz Masters (go to (, , and saxophonists Tour, sponsored by Verizon, www.smithsonianjazz.org ); and everywhere in , Chico Freeman, Jackie brought jazz musicians to all 50 and click on “Oral Histories”). In between. What ties all these styles McLean, and . In states throughout 2005-07 for addition to transcriptions of the together is a foundation in the addition, legendary Riverside record performances, community events, hours-long interviews, the website , a reliance on group interplay, company co-owner and producer and educational programs. That also includes audio clips that and unpredictable improvisation. (now an NEA Jazz program was followed by NEA provide unique views on everything Throughout the years, and in all the Master) was on the panel. Jazz Masters Live, which from from their early years to their first different styles, these musicians From that auspicious beginning, 2008 to 2014 brought 51 NEA introduction to music to the have demonstrated the talent, the program has continued to grow Jazz Masters to 33 venues working life of a jazz musician in creativity, and dedication that make and provide increased awareness nationwide, with performances the artists’ voices. them NEA Jazz Masters. of America’s rich jazz heritage. In and educational activities reaching Each passing year brings The award offers a solid platform 2004, a new award was created for raising worldwide awareness for those individuals who helped to of America’s rich jazz heritage advance the appreciation of jazz. In by not only honoring those who 2005, the award was designated have dedicated their lives to the the A.B. Spellman NEA Jazz music, but also by leading the Masters Award for Jazz Advocacy way in efforts encouraging the in honor of A.B. Spellman, a preservation and nourishing of jazz jazz writer, accomplished poet, as an important musical form for innovative arts administrator, and generations to come.

NEA Jazz Master David Liebman performs at the 2014 NEA Jazz Masters Award Ceremony and Concert at Jazz at Lincoln Center in . Photo by Michael G. Stewart

4 NEA Jazz Masters 2015 Program Overview

THE NATIONAL ENDOWMENT while making the awards. There Nominations submitted to the NEA Jazz Masters for the Arts recognizes the is also a special award, the Arts Endowment by the deadline and play ’ importance of jazz as one of A.B. Spellman NEA Jazz Master are reviewed by an advisory “Placitude” during the 2014 ceremony the great American art forms of Award for Jazz Advocacy, which panel of jazz experts and at least in honor of the awardees who had the 20th and 21st centuries. As is given to an individual who has one knowledgeable layperson. passed away during 2013. part of its efforts to honor those made major contributions to the Panel recommendations are Photo by Michael G. Stewart distinguished artists whose appreciation, knowledge, and forwarded to the National Council excellence, impact, and significant advancement of jazz. on the Arts, which then makes contributions in jazz have helped Fellowships are awarded to recommendations to the chairman keep this important art form alive, living artists on the basis of of the National Endowment for the the Arts Endowment annually nominations from the general Arts. Nominations remain active awards NEA Jazz Masters public and the jazz community. for five years, being reconsidered Fellowships, the highest honor Nominees must be citizens or annually during this period. that our nation bestows upon jazz permanent residents of the Posthumous nominations will musicians. Each fellowship award United States. An individual may not be considered. Individuals who is $25,000. submit one nomination each have previously received an NEA The NEA Jazz Masters year. Nominations are made by lifetime honor award (National Fellowship is a lifetime submitting a one-page letter Heritage Fellowship, Jazz Masters achievement award. The criteria detailing the reasons that the Fellowship, or an Opera Honor) for the fellowships are musical nominated artist should receive an are not eligible. excellence and significance of the NEA Jazz Masters Fellowship and Information on the NEA Jazz nominees’ contributions to the a resume or biography (maximum: Masters award is available on the art of jazz. The Arts Endowment two pages) that outlines NEA website: arts.gov. honors a wide range of styles the career of the nominee.

NEA Jazz Masters 2015 5 CL_ZH_Copenhagen: 2015 NEA Jazz Master Charles Lloyd (right) performing with NEA National Heritage Fellow Zakir Hussain. Photo by Dorothy Darr

6 NEA Jazz Masters 2015 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal

2015 NEA Jazz Master Charles Lloyd (right) performing with NEA National Heritage Fellow Zakir Hussain at the 2013 NOTES: Jazz Festival. Photo by D. Darr Names in bold in biographies denote NEA Jazz Masters awardees. All recordings listed in Selected Discography are under the artist’s name unless otherwise noted. Years listed under recordings in Selected Discography denote the years the recordings were made.

NEA Jazz Masters 2015 7 COMPOSER ARRANGER BANDLEADER Carla Bley KEYBOARDIST Born May 11, 1936 in Oakland, CA

SELECTED Carla Bley/, One of the premier composers of Funeral, an album dedicated to DISCOGRAPHY the last 50+ years, Carla Bley has Bley’s first extended composition, (JCOA, 1968-71) written music for big bands, choirs, and ’s The Fleur Carnivore chamber orchestras, and small Liberation Music Orchestra. (WATT, 1989) combos. Her work demonstrates In 1972, Bley and Mantler The Carla Bley a wide compositional range as started a new , Watt, Goes to Church (WATT, 1996) well as a healthy sense of humor. on which she has since issued Bley’s skills have been in demand recordings of her work. She also Find even outside of jazz, including began experimenting outside of (WATT, 1996) performing and recording with jazz, joining ’s band in 1975, writing all the compositions Trios Jack Bruce, , and Pink (ECM, 2012) Floyd’s drummer . for and performing on Nick Bley’s father, Emil Borg, was Mason’s 1981 album Nick Mason’s a church organist and piano Fictitious Sports, and recording teacher—he first introduced her the soundtrack to the 1985 film to music when she was three, and Mortelle Randonnée. In 1997, a live she first heard jazz when she was production of Escalator over the 12. She moved to New York at Hill was staged in Germany, then age 17, working as a cigarette girl toured Europe the following year. at the jazz club Birdland, where Among the awards bestowed she met pianist , whom upon Bley are a Guggenheim she married in 1957. Immersed in Fellowship for music composition the city’s jazz scene, she began (1972), the Trophy “A to write compositions, which Life for Jazz” (2009), and honorary Paul Bley and a number of other doctorates from l’Université de musicians, such as , Toulouse-Le Mirail (2012) and the , George Russell, New England Conservatory (2014). and , began to Bley has toured all over the record. world, including Brazil, Japan, In 1964, with her second South Korea, and just about husband, trumpeter Michael everywhere in Europe. She Mantler, she formed the Jazz continues to perform and record Composer’s Orchestra and frequently, both with her own big subsequently founded the and a number of smaller Composer’s Orchestra Association, ensembles, notably the Lost Chords an independent record label (including bassist , focusing on more avant-garde saxophonist , and forms of jazz, such as Bley’s drummer ). collaboration with poet Paul Haines on the groundbreaking work Escalator over the Hill. Bley’s compositions and arrangements reached wider audiences through such recordings as ’s A Genuine Tong Photo by Elena Carminati

8 NEA Jazz Masters 2015 SAXOPHONIST COMPOSER George Coleman EDUCATOR Born March 8, 1935 in Memphis, TN

The spectrum of George Coleman’s to the group’s four classic albums, musical career extends from Coleman also played on Hancock’s playing blues in the Beale Street landmark Blue Note recording, clubs of Memphis on one end to Maiden Voyage. blowing modern jazz on the New After leaving Davis’ group, from York stages on the other. His 1964-74 Coleman freelanced as a deeply soulful tone continues to composer and arranger for various provide memorable support to the musicians, such as , numerous jazz greats he works , , Lee with and is woven tightly into the Morgan, , Charles fabric of his own compositions. Mingus, and . He Coleman grew up in Memphis then began to focus on his own alongside jazz musicians such as groups, working in quartet, quintet, and . and octet settings, and adding Intrigued by the music of Charlie the soprano to his Parker, Coleman taught himself to instrument repertoire. Coleman play the alto saxophone. In 1952, has played at festivals and in at the age of 17, he got his first prestigious concert halls and top big break with blues guitarist (and clubs around the United States NEA National Heritage Fellow) B.B. and in Europe. He continues to King, touring and recording with perform, usually with his son him for several years. Coleman George, Jr. on drums. switched to tenor sax when During the past 30 years, King needed a tenor man in his Coleman also has made a name for band (and bought Coleman the himself as a jazz educator, holding instrument). teaching positions at Mannes In 1956, Coleman moved to College The New School for Chicago and joined Walter Perkins’ Music, Long Island University, and group MJT+3. In 1958, he attracted , in addition the attention of drummer Max to conducting master classes at Roach and was offered a position universities nationwide. A winner in his band, requiring Coleman of numerous honors and awards, to relocate to New York City. In Coleman has twice been presented Photo by Lena Adasheva 1959, he signed on with trombonist the Key to the City of Memphis. SELECTED , Deeds, ’s octet, which In 1997, he received the Jazz DISCOGRAPHY Not Words afforded Coleman opportunities Foundation of America’s Lifetime (RIVERSIDE, 1958) to tour Europe for the first time Achievement Award, and in 2012, Miles Davis, Four & More and develop his composing and he was inducted into the Memphis (COLUMBIA, 1964) arranging skills. Music Hall of Fame. At Yoshi’s In 1963, Miles Davis came (EVIDENCE, 1987) calling, and Coleman was soon part of the groundbreaking quintet My Horns of Plenty (DREYFUS RECORDS, 1991) that included (piano), Ron Carter (bass), and Four Generations of Tony Williams (drums). In addition Miles (CHESKY, 2002)

NEA Jazz Masters 2015 9 SAXOPHONIST FLUTIST COMPOSER Charles Lloyd ARRANGER Born March 15, 1938 in Memphis, TN

Charles Lloyd’s fierce improvi- he had left Adderley to form his sational skills and interest in fusing own quartet, featuring pianist jazz with non-Western musical Keith Jarrett, drummer Jack styles established him as one of DeJohnette, and bassist Cecil the key figures in the expansion McBee. Their recording Forest and furthering of the art form. Flower: Live at Monterey in 1966 Whether playing standards, avant- became one of the first jazz garde, or world music, Lloyd’s recordings to sell a million copies, emotional, elegant playing spurs on and popularized the group in the his fellow musicians. rock world as well. Lloyd’s quartet Lloyd began playing saxophone made headlines in 1967 when at the age of nine, mentored by they played in the at pianist Phineas Newborn. He the invitation of a group of Soviet took saxophone lessons from Irvin jazz writers, finally performing Reason and composition studies after several days of bureaucratic with Willie Mitchell. His interest in back-and-forth with government jazz was cultivated by listening to officials. the radio broadcasts featuring the In 1969, at the peak of his likes of , Coleman career, Lloyd disbanded the Hawkins, , and quartet and moved back to Big Sur, Duke Ellington. As a teenager, , to focus on his inner life he immersed himself in the local and spiritual quest. From 1981-88, Memphis music scene, playing Lloyd performed intermittently, with George Coleman, Booker until he resumed touring activities Little, Harold Mabern, and Frank and began recording with the Strozier, and as a sideman for ECM label in 1989. He continues Johnny Ace, Bobby “Blue” Bland, to experiment with his music in Howlin’ Wolf, and B.B. King. terms of instruments, musical In 1956, Lloyd moved to Los sources, and collaborations, such Photo by Michael Wilderman Angeles and graduated from the as his Sangam Trio featuring Zakir University of Southern California. Hussain (an NEA National Heritage SELECTED , Man During this period, Lloyd played in Fellow) and his concert with the DISCOGRAPHY from Two Worlds (IMPULSE!, 1962-63) ’s big band while classical Greek singer Maria also playing in local clubs with Farantouri in 2010. : Charles , Ornette Coleman, Awards bestowed on the artist Lloyd at Monterey (ATLANTIC, 1966) , , Scott include a “Brass Note” on Beale La Faro, and . Street in Memphis in 2012, an Montreux Lloyd joined Chico Hamilton’s Award of Merit from the city of (ELEKTRA, 1982) band in 1960 as the ensemble’s Tallinn, Estonia, and the Miles The Water Is Wide music director and main composer. Davis Award from the Festival (ECM, 1999) In 1964, Lloyd left Hamilton’s International de Jazz de Montreal, Charles Lloyd/Jason group to join alto saxophonist Canada, both in 2013, and the Moran, Hagar’s Song , while also Alfa Jazz Fest International Music (ECM, 2012) securing a deal on Columbia to Award in 2014. record his own work. By 1965

10 NEA Jazz Masters 2015 A.B. SPELLMAN NEA JAZZ MASTERS JAZZ PRESENTER AWARD FOR Joe Segal AND CLUB OWNER JAZZ Born April 24, 1926 in Philadelphia, PA ADVOCACY

Since 1947, Joe Segal has been Bill. At Roosevelt, Segal joined the SELECTED , Live at Joe pursuing his great love: presenting university’s jazz club in 1947— DISCOGRAPHY Segal’s Jazz Showcase (, 1987) jazz musicians in performance in soon running afternoon live jazz Chicago, Illinois. From his early sessions that featured musicians Ahmad Jamal, Chicago days as a college presenter to he had met working at commercial Revisited: Live at Joe Segal’s Jazz Showcase decades spent as impresario of jazz venues. The popularity of (TELARC JAZZ, 1992) his Jazz Showcase club, Segal has Segal’s events grew quickly, been integral to giving jazz greats and big band musicians would Marian McPartland and , Ain’t a platform from which they can perform solo on their off-nights, Misbehavin’: Live at publicly share their art. Despite along with other local and visiting downturns in the popularity of artists including the legendary (CONCORD JAZZ, 2000) jazz, downturns in the economy, Charlie Parker, , and , Live at even downturns in the real estate . the Jazz Showcase market, Segal has prevailed—his In 1957, the sessions at (ARTISTSHARE, 2003) Jazz Showcase is still turning out Roosevelt ended, and shortly Bob Lark/, Live jazz seven days a week, now under thereafter Segal began showcasing at the Jazz Showcase the auspices of his son Wayne. music at other venues (by Segal’s (JAZZED MEDIA, 2006) He carries the distinction of being estimation, he presented jazz the city’s longest-tenured jazz shows at 63 different locations presenter, in addition to being one over the years). In the early of the founders of one of Chicago’s 1970s, Segal opened a on preeminent jazz organizations, the Rush Street, the first official Jazz Jazz Institute of Chicago, which Showcase (its current residence promotes Chicago’s place in jazz is inside the Landmark Dearborn history and endeavors to create Station). Engagements usually new audiences for the music. encompassed five evening From a young age, jazz music performances and a special Sunday was an important part of Segal’s matinee for kids, a Showcase life. Growing up in Philadelphia, tradition that continues to this day. he listened to jazz on the radio, Thousands of music fans have had which introduced him to the likes their first live jazz experience at the of Louis Armstrong, , Jazz Showcase’s various locations, and . His first live and for many musicians, the venue jazz concert experiences were big served as a launch pad for their band performances at the city’s individual careers. Earl Theater. In 2013, Segal received an After high school, Segal was honorary doctorate from his alma drafted into the Air Force and, mater, Roosevelt University. while stationed in Champaign, Illinois, he frequently hopped on the train to Chicago to catch live jazz on Randolph Street. After leaving the military, Segal relocated to Chicago to attend Roosevelt University on the G.I. Photo by Marc PoKempner

NEA Jazz Masters 2015 11 NEA Jazz Masters, 1982-2015

1982 1990 1998 2005 Roy Eldridge* George Russell* Ron Carter Dizzy Gillespie* Cecil Taylor James Moody* Paquito D’Rivera Sun Ra* Gerald Wilson* Slide Hampton * * 1983 1991 1999 * Count Basie* Danny Barker* Dave Brubeck* George Wein Kenny Clarke* Buck Clayton* Art Farmer* Sonny Rollins Andy Kirk* * Clark Terry* 2006 * 1984 2000 Ornette Coleman 1992 Bob * Miles Davis* Betty Carter* Donald Byrd* Max Roach* * Marian McPartland* Buddy DeFranco* Sweets Edison* * 1985 2001 * Gil Evans* 1993 * * Jackie McLean* 2007 * * Joe Williams* 1986 2002 Dan Morgenstern * 1994 Frank Foster* * * Louie Bellson* * Frank Wess* * Ahmad Jamal McCoy Tyner Phil Woods Carmen McRae* 1987 2003 Cleo Brown* 2008 1995 * * Elvin Jones* Andrew Hill* Jay McShann* * * Tom McIntosh 1988 2004 * * 1996 * Lionel Hampton* * Chico Hamilton* Billy Taylor* Herbie Hancock J.J. Johnson* * 2009 Nancy Wilson 1989 1997 * Billy Higgins* * * * Anita O’Day*

* Deceased

12 NEA Jazz Masters 2015 2010 Kenny Barron Bobby Hutcherson * Cedar Walton* 2011 Orrin Keepnews* David Liebman The Marsalis Family 2012 Jack DeJohnette * Charlie Haden* Jimmy Owens 2013 Lorraine Gordon Eddie Palmieri 2014 Jamey Aebersold Keith Jarrett 2015 Carla Bley George Coleman Charles Lloyd 2014 NEA Jazz Master Joe Segal Richard Davis performs. Photo by Michael G. Stewart

NEA Jazz Masters 2015 13 Chico Hamilton NEA Jazz Masters events Photo by Tom Pich include a luncheon for all Awards attending NEA Jazz Masters (sponsored by BMI), a group Ceremony photo, portraits of the new class of honorees, and a special concert and awards ceremony. Randy Weston, Here are a few candid moments Sheila Jordan from the last few years. Photo by Michael G. Stewart

Benny Golson, Jimmy Heath, Percy Heath Photo by Tom Pich

Annie Ross, George Avakian Photo by Tom Pich

Chick Corea, Roy Haynes, Ron Carter Photo by Tom Pich

Hank Jones, Barry Harris, Billy Taylor Photo by Tom Pich

14 NEA Jazz Masters 2015 Frank Foster, Dan Morgenstern David Baker, Freddie Hubbard, James Moody Photo by Tom Pich Photo by Tom Pich

Ornette Coleman Photo by Katja von Schuttenbach

Frank Wess, Gerald Wilson, Jon Hendricks Photo by Tom Pich

George Wein, Louis Bellson Photo by Tom Pich

Quincy Jones, Tom McIntosh Photo by Tom Pich

Jimmy Smith, Kenny Burrell, Slide Hampton, Paquito D’Rivera Photo by Vance Jacobs Nancy Wilson, John Levy, Ahmad Jamal, Ramsey Lewis Photo by Tom Pich

NEA Jazz Masters 2015 15 CREDITS This publication is published by: National Endowment for the Arts Office of Public Affairs

Don Ball, Editor

Thanks to Elizabeth Auclair, Ann Meier Baker, and Katja von Schuttenbach for editorial assitance.

The 2015 NEA Jazz Masters Awards Ceremony and Concert is produced in collaboration with Jazz at Lincoln Center (JALC) in New York City. JALC advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education, and broadcast events for audiences of all ages. For more information, go to jazz.org.

Designed by: Fletcher Design, Inc./Washington, DC

April 2015

Voice/TYY: (202) 682-5496 For individuals who are deaf or hard-of-hearing.

Individuals who do not use conventional print may contact the Arts Endowment’s Office for Accessibility to obtain this publication in an alternate format. Telephone: (202) 682-5532

National Endowment for the Arts 400 7th Street, SW Washington, DC 20506-0001 (202) 682-5400

Additional copies of this publication can be obtained for free by contacting the NEA website: arts.gov.

This publication was printed on recycled paper.

COVER PHOTOS: From left: Carla Bley Photo by Elena Carminati

George Coleman Photo by Lena Adasheva

Charles Lloyd Photo by Michael Wilderman

Joe Segal Photo by Marc PoKempner

16 NEA Jazz Masters 2015 In Memoriam

Buddy DeFranco Charlie Haden Orrin Keepnews Jimmy Scott 1923-2014 1937-2014 1923-2015 1925-2014 Photo by Tom Pich Photo by Steven Perilloux Photo by Frank Stewart Photo by Tom Pich

Horace Silver Clark Terry Joe Wilder Gerald Wilson 1928-2014 1920-2015 1922-2014 1918-2014 Photo by Tom Pich Photo by Tom Pich Photo by Tom Pich Photo by Tom Pich

NEA Jazz Masters 2015 400 7th Street, SW Washington, DC 20506-0001 (202) 682-5400