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Sponsored by Prudential Investment Management

Wednesday Evening, February 4, 2015, at 8:30 m a r

g Judy Kuhn Sings , o

r , and P

Todd Almond , Arranger and Musical Director

e Josh Clayton , Orchestrator

h Malcolm Gets , Director T Jeremy Clayton , Woodwinds Suzy Perelman , Violin Peter Sachon , Cello Michael Aarons , Guitar Alana Dawes , Bass John Hadfield , Drums

This evening’s program is approximately 75 minutes long and will be performed without intermission.

Please make certain all your electronic devices are switched off.

Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella. Wine generously donated by William Hill Estate Winery, Official Wine of Lincoln Center. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 2

American Songbook

Additional support for Lincoln Center’s American Songbook is provided by The Brown Foundation, Inc., of Houston, The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Jill and Irwin B. Cohen, The G & A Foundation, Inc., Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Endowment support is provided by Bank of America. Public support is provided by the New York State Council on the Arts. Artist catering is provided by Zabar’s and zabars.com. MetLife is the National Sponsor of Lincoln Center. Movado is an Official Sponsor of Lincoln Center. United Airlines is the Official Airline of Lincoln Center. WABC-TV is the Official Broadcast Partner of Lincoln Center. William Hill Estate Winery is the Official Wine of Lincoln Center.

UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM:

Thursday Evening, February 5, at 8:30 Lea DeLaria

Friday Evening, February 6, at 8:30 Megan Hilty

Saturday Evening, February 7, at 8:30 Danny Rivera & Nelson González: Obsesión

Wednesday Evening, February 11, at 8:30 Meshell Ndegeocello: Pour Une Âme Souveraine—A Dedication to Nina Simone

Thursday Evening, February 12, at 8:30 San Fermin with Metropolis Ensemble

Friday Evening, February 13, at 8:30 Talib Kweli

Saturday Evening, February 14, at 8:30 Dawn Landes

The Appel Room is located in Jazz at Lincoln Center’s Frederick P. Rose Hall.

For tickets, call (212) 721-6500 or visit AmericanSongbook.org. Call the Lincoln Center Info Request Line at (212) 875-5766 or visit AmericanSongbook.org for complete program information.

Join the conversation: #LCSongbook

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces . The taking of photographs and the use of recording equipment are not allowed in the building. 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 3

American Songbook I Note on the Program

A Family’s Secrets, Buried in

m Generations of Song

a By Barry Singer r

g If the father, the daughter, and the grandson share anything at all through

o their music, it is an unwillingness to surrender their secrets easily.

r Perhaps this is what makes the music of each one of them so mesmer - izing. P

e Listen to the songs of Richard Rodgers, as the world has now for nearly a century. Nothing in the effortless melodicism—not the joy or even the h

t pathos that these songs so rapturously convey—suggests the crushing

depression that haunted Rodgers to the end of his life. n Listen to his daughter Mary’s music. No hint of the resentment that Mary o

Rodgers readily acknowledged she bore toward her often-distant father

e seems present in these songs. Only the wit, the light-hearted, even ten -

t der, lyricism of an open-hearted creative spirit can be heard. o As for Richard Rodgers’s grandson Adam Guettel—the son of Mary

N Rodgers— his music possesses both his grandfather’s penetrating melodicism and his mother’s lyrical sense of play. Underscoring this utterly exquisite amalgamation, however, is the burden Adam Guettel has privately admitted to bowing under as the anointed heir to the Rodgers legacy.

All three of these extraordinarily complicated talents were born in : Richard Rodgers on June 28, 1902; Mary Rodgers on January 11, 1931; Adam Guettel on December 16, 1964. The elder Rodgers’s career in the theater is unmatched—a litany of hits including many of the longest- running Broadway shows of his age. The theater’s collaborative art defined Richard Rodgers, inspiring in him music that divided along the fault lines of his two most constant collaborators: Lorenz Hart and Oscar Hammerstein II. Rodgers evolved two very different songwriting voices to set the words of his infamously different lyricists—the erratically brilliant Hart and the unfailingly brilliant Hammerstein. Rodgers’s genius was not only protean, it was also a little schizophrenic.

Is it any wonder that his daughter Mary embraced her destiny as a musi - cal theater composer, only to abandon it? Her first Broadway hit was also her last, the much beloved , written with lyricist Marshall Barer, which moved to Broadway in 1959 after opening Off- Broadway. In 1966, she created another delightful score for another Off- Broadway hit, the Mad magazine revue , The Mad Show .

By the 1970s, though, Mary Rodgers was primarily writing children’s books, and to great acclaim, most decisively with . Here and 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 4

American Songbook I Note on the Program

there, she contributed individual songs to revues: to the 1978 collaboratively composed Broadway musical , and to Phyllis Newman’s one-woman show The Madwoman of Central Park West , in 1979. The Griffin and the Minor Canon , which the Music-Theatre Group produced in 1991, was her last effort as a composer. Not only did she cease writing music altogether, she barely ever touched a piano again.

Instead, she became her son’s great champion. Adam Guettel’s bounteous musi - cal endowment was recognized early on by his mother particularly, if not by his grandfather, who died when Guettel was 15. The Richard Rodgers genius gene had clearly been passed to this profoundly original young composer, whose music climbed mountains that even his grandfather had not ascended. Thus far, Guettel has produced three full-length musicals, each of them a kind of masterpiece.

Floyd Collins was the first, a musical exhumation of the heartbreaking hopes, dreams, and death of a dirt-poor Ozark spelunker trapped in a cave in 1925. ran for just 25 performances Off-Broadway at Playwrights Horizons in 1996. Many who saw it still cannot get it out of their heads.

Myths and Hymns (also known as Saturn Return s) followed, a dramatized Guettel songfest largely derived from Greek myths and the text of a 19th- century American hymnal that Guettel happened upon in a bookstore. This show has had multiple incarnations under both titles, as Guettel has shifted back and forth in his perception of the piece. Each version shares one commonality: glo - rious songs instantly recognizable as the work of Adam Guettel.

His next work was also his most successful, the sublime A Light in the Piazza , which won the composer Tony Awards for Best Score and Best Orchestrations, after premiering at Lincoln Center Theater in 2005. Fascinatingly, the idea for the show—an adaptation of a novella by Elizabeth Spencer—came from Mary Rodgers, who first proposed it to her father as a potential musical, before sell - ing her son on it years later.

Last June, the world lost Mary Rodgers, which makes this concert all the more poignant. Theater music remains a Rodgers family enterprise. “I’ve been fasci - nated by their DNA since I first learned that Adam was Richard Rodgers’s grand - son,” says Judy Kuhn. “That all that music came from these three generations of one family. When has that ever happened? As an artist, I loved the idea of explor - ing this music, spanning so many styles and time periods. It is very challenging.”

It is also quite revealing. But you have to listen closely.

Barry Singer blogs about the arts, literature, and Winston Churchill for The Huffington Post.

—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc. 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 5

American Songbook I Meet the Artists s t s i t r A

e S R h E T N I t W

E S I t N E D e

e Judy Kuhn

M Judy Kuhn has been nominated for three Tony Awards and three Drama Desk Awards for her work on Broadway in the Roundabout Theatre Company’s revival of She Loves Me , the American premieres of Chess and Les Misérables , and Rags. Other Broadway credits include Richard Nelson’s play Two Shakespearean Actors (Lincoln Center Theater), Alan Menken and Tim Rice’s King David , and The Mystery of Edwin Drood . Recent theater appearances include The Visit by , , and Terrence McNally (Williamstown Theatre Festival), Jeanine Tesori and Lisa Kron’s Fun Home (Lucille Lortell Award/the Public Theater), and ’s Passion (Classic Stage Company/Drama League Award nomination), and The Cradle Will Rock (Encores! Off- Center). Other theater credits include Three Sisters , the U.S. premiere of Sunset Boulevard , Two Shakesperean Actors , The Highest Yellow , Eli’s Comin’ (Obie Award), The Ballad of Little Jo (Jeff Award nomination), Dream True , and The Glass Menagerie . In London’s West End Ms. Kuhn starred in Metropolis (Olivier Award nomination). This April Ms. Kuhn will reprise her performance in Fun Home when it opens on Broadway.

Her film and television appearances include Disney’s Pocahontas , Enchanted , Elementary , Hope & Faith , Law & Order , All My Children , The Secret Life of Mary Margaret , My Favorite Broadway: The Leading Ladies , the Kennedy Center Honors, Les Misérables: The Dream Cast in Concert, and In Performance at the White House .

Ms. Kuhn has performed on concert stages around the world, including Carnegie Hall, Avery Fisher Hall, Feinstein’s at the Regency, and the Hollywood Bowl, as well as Royal Albert Hall and the Hippodrome in London. Her solo albums include All This Happiness (PS Classics), Serious Playground: The Songs of Laura Nyro (Sh-K-Boom), and Just in Time: Judy Kuhn Sings Jule Styne. 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 6

American Songbook I Meet the Artists

Todd Almond

In addition to working with Judy Kuhn, Todd Almond (arranger and musical direc - tor) has served as musical director for (her album In Constant Search of the Right Kind of Attention ) and Sherie Rene Scott ( Piece of Meat and the album All Will Be Wel l ). As a composer/lyricist, Mr. Almond adapted and appeared in both The Winter’s Tale and The Tempest for the Public Theater’s Public Works initiative. Other recent productions include Kansas City Choir Boy (with Courtney Love) at the Prototype Festival, Girlfriend (with songwriter Matthew Sweet) at Actors Theatre of Louisville, Sarah Ruhl’s Stage Kiss at Playwrights Horizons, and On the Levee (with playwright Marcus Gardley) at Lincoln Center Theater’s LCT3. Upcoming shows include Iowa , an original musi - cal at Playwrights Horizons, and Melancholy Play at Trinity Repertory Company.

Josh Clayton

Josh Clayton (orchestrator) is excited to be making his American Songbook debut with Judy Kuhn. This season he provided additional orchestrations for the Broadway revival of , and he recently orchestrated the Goodman Theatre of Chicago’s award-winning production of Brigadoon . Mr. Clayton pro - vided new or ch es trations for the Encores! Off-Center production of Marc Blitzstein’s The Cradle Will Rock . Recently he has also written orchestrations for the Radio City Christmas Spectacular , as well as the Irish Repertory Theatre’s productions of New Girl in Town and Donnybrook! Mr. Clayton provided addi - tional orchestrations for the 2008 Tony and Grammy-nominated Gypsy , starring Patti LuPone. He has orchestrated for , , Laura Osnes, Nathan Lane, Faith Prince, Kate Baldwin, Cheyenne Jackson, and Denyce Graves. Mr. Clayton currently serves as assistant musical director for the New York City Center Encores! series.

Malcolm Gets

Malcolm Gets (director) has appeared on Broadway in Macbeth (Lincoln Center Theater), The Story of My Life , Amour (Tony and Drama Desk nominations), and The Molière Comedies (Roundabout Theatre Company). Off-Broadway he has been seen in A New Brain , Merrily We Roll Along (Drama Desk nomination, Obie Award), The Two Gentlemen of Verona (Obie and Actors’ Equity’s St. Clair Bayfield Awards), Hello Again , Boys and Girls , Finian’s Rainbow , Polish Joke , Juno , Vigil , and Allegro . He has appeared at City Center’s Encores! series in The Boys from Syracuse , , and Irma La Douce . On television Mr. Gets has been seen in Caroline in the City , The Good Wife , Blue Bloods , and Law & Order . His film work includes Thirteen Conversations About One Thing , Sex and the City , Mrs. Parker and the Vicious Circle , and the Emmy-winning Grey Gardens on HBO. He recently finished filming Outliving Emily . Mr. Gets can be heard on many orig - inal cast recordings, including ’s Mostly Sondheim , his Carnegie Hall debut. His first solo CD, The Journey Home , is available on PS Classics. 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 7

American Songbook I Meet the Artists

Jeremy Clayton

Jeremy Clayton (woodwinds) hails from Vermont and received dual bachelor’s degrees in music and dance from Skidmore College in Saratoga Springs, New York. He has performed both nationally and abroad in shows such as Oklahoma! , The Drowsy Chaperone , Happy Days: The Musical , and Dr. Seuss’ How the Grinch Stole Christmas. His most recent New York credits include the 2013 New York revival of Stephen Sondheim’s Passion at Classic Stage Company, The Cradle Will Rock at City Center Encores!, the world premiere of Transport at the Irish Repertory Theatre, and the Off-Broadway production of The Underclassman for Prospect Theater Company. Mr. Clayton has also had the pleasure of performing in the New York revivals of Take Me Along and New Girl in Town at the Irish Repertory Theatre, and the world premiere of Nancy Ford and Gretchen Cryer’s Anne of Green Gables .

Suzy Perelman

Suzy Perelman (violin) is originally from Philadelphia. She earned her bache - lor’s degree in violin performance at the Cleveland Institute of Music and her master’s degree from Carnegie Mellon University. She earned a second bach - elor’s degree in music education from Case Western Reserve University. Ms. Perelman spent six years as a full-time orchestra musician, first in the Utah Symphony and then in the San Antonio Symphony. She then toured the coun - try for two years as concertmaster of the Phantom of the Opera orchestra. She is now a freelance violinist in New York City, playing in many orchestras including the Brooklyn, Long Island, and the Westchester philharmonics. She has also performed in several films and commercials and in many Broadway shows, including Chitty Chitty Bang Bang , 9 to 5 , LoveMusik , Jekyll & Hyde , and Evita . Ms. Perelman has been named a spotlight artist by Music for Autism and plays recitals for that organization regularly. She is also the head concert coordinator and a frequent performer for the New York charity Concerts in Motion, bringing live music to the homebound. Next month, Ms. Perelman will join the company of the Broadway production of Gigi .

Peter Sachon

Peter Sachon (cello) performs with some of the finest freelance orchestras and opera companies in New York City, in Broadway shows, and in jazz and rock groups, and also actively promotes new music. He has participated in the Schleswig-Holstein Music Festival and the Pacific Music Festival, where he was principal cellist. Mr. Sachon has played with groups including Absolute Ensemble, Riverside Orchestra, Sonos Chamber Orchestra, the Virginia Symphony Orchestra, and the Hollywood Bowl Orchestra. Mr. Sachon toured Europe and the U.S. as a member of Pink Martini. He has played for the Broadway shows Fiddler on the Roof , The Light in the Piazza , High Fidelity , 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 8

American Songbook I Meet the Artists

Legally Blonde , South Pacific , and Pippin . Mr. Sachon has performed with Audra McDonald, Victoria Clark, Deborah Voigt, Rufus Wainwright, Dee Snider, Peter Buffett, Anthony Rapp, Judy Kuhn, Josh Groban, and Billy Joel. As a part of his series the Cello Project, Mr. Sachon has premiered more than 30 new works for cello—all written for him by Broadway composers. A brief list includes John Bucchino, Tom Kitt, Michael John LaChiusa, Stephen Schwartz, Andrew Lippa, Ricky Ian Gordon, Stephen Flaherty, Zina Goldrich, Jake Heggie, Robert Lopez, and Maury Yeston.

Michael Aarons

Michael Aarons (guitar) has performed and recorded with well-known artists such as Plácido Domingo, , Joshua Bell, James Ingram, Michael McDonald, Elton John, Ray Charles, Luther Vandross, Liza Minnelli, Chaka Khan, Patti LaBelle, and many more. His Broadway credits include Kinky Boots , Evita , Godspell , Baby It’s You! , Green Day’s American Idiot , Memphis , 9 to 5 , Grease , and High Fidelity . Mr. Aarons was an arranger on Next to Normal . His company, Hybrid Music Productions, has scored music for the Gap, Nike, CNBC, Lifetime, Sesame Street , Style Network, Oxygen, OWN, ABC, and MTV, including the theme song for Style Network’s How Do I Look? Hybrid Music has also licensed original songs for movies such as Edward Burns’s The Fitzgerald Family Christmas , as well as Promised Land starring Matt Damon. Mr. Aarons is also a music coordinator for various Broadway and Off-Broadway shows.

Alana Dawes

Hailing from Adelaide, Australia, Alana Dawes (bass) recently completed a master of music performance degree at Ithaca College, New York, after receiving a bach - elor’s degree in jazz performance from the University of Adelaide. She has been fortunate to perform with many wonderful and diverse musicians, including Kristin Chenoweth on her 2014 Australian tour and Sherie Rene Scott in the U.S., UK, and Australia, as well as performances with Lea Salonga, Eden Espinosa, and Liz and Ann Hampton Callaway, among others. Ms. Dawes resides in New York City, where she is active as a freelance musician. She is currently working with BassWorks Australia as co-director of the 2015 National Double Bass Workshop, which takes place in Australia this April.

John Hadfield

Percussionist John Hadfield’s (drums) dedication to bending genres has taken him to concert halls and clubs around the world. He has released two records of his own compositions— The Eye of Gordon (2008) and Displaced (2010)—written mainly for percussion instruments and electronics but also guitar, harp, violin, and cello. Mr. Hadfield is currently on the jazz faculty at New York University. He has 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 9

American Songbook I Meet the Artists

performed with a broad range of ensembles and artists including Yo-Yo Ma, the Silk Road Ensemble, the Saturday Night Live Band, and Kenny Werner’s Chant. He has also collaborated on more than 80 recordings as a guest artist, includ - ing the Grammy Award –winning Yo-Yo Ma & Friends: Songs of Joy & Peace (Sony BMG 2008). He will be playing drums with Judy Kuhn in the Broadway production of Fun Home .

Matt Berman

Matt Berman is the resident lighting designer for Lincoln Center’s American Songbook. He continues his design work for Kristin Chenoweth, Liza Minnelli, Kaye Ballard, Brian Stokes Mitchell, Lea Salonga, and Elaine Paige on the road. Through his work with the American Society of Composers, Authors and Publishers (ASCAP) and several U.S.-based charities, Mr. Berman has designed for a starry roster that includes , , Reba McEntire, Melissa Errico, Deborah Voigt, Michael Urie, Stevie Wonder, India Arie, Garth Brooks, Billy Joel, and Sting. His international touring sched - ule has allowed him to design for iconic venues such as Royal Albert Hall, the Paris Opera, the Olympia Theater in Paris, Royal Carré Theater in Amsterdam, the Sporting Club in Monte Carlo, the Acropolis, the Taormina Amphitheater in Sicily, Luna Park in Buenos Aires, the Sydney Opera House, and, closer to home, the Hollywood Bowl, Alice Tully Hall, and Carnegie Hall. Mr. Berman’s television work includes Chenoweth’s recently released special Coming Home , as well as seven Live From Lincoln Center broadcasts and the Tony Award –winning Liza’s at the Palace , which he also designed for Broadway. Other Broadway credits include on Broadway , Nancy LaMott’s Just in Time for Christmas , and Kathy Griffin Wants a Tony at the Belasco Theater.

Scott Stauffer

Scott Stauffer has been the sound designer for Lincoln Center’s American Songbook (1999–2015); the Actors Fund concerts of Frank Loesser , Broadway 101 , Hair, and On the Twentieth Century ; and Brian Stokes Mitchell at Carnegie Hall. His Broadway credits include A Free Man of Color , The Rivals , Contact (also in London and Tokyo), Marie Christine , Twelfth Night , and Jekyll & Hyde . Off-Broadway Mr. Stauffer has worked on Hereafter , A Minister’s Wife , Bernarda Alba , Third , Belle Epoque , Big Bill , Elegies , Hello Again , The Spitfire Grill , Pageant , and Hedwig and the Angry Inch . His regional credits include pro - ductions at the Hanger Theatre, Berkshire Theatre Festival, Chicago Shakespeare Theater, and Alley Theatre. As a sound engineer, Mr. Stauffer has worked on The Lion King , Juan Darién , Chronicle of a Death Foretold , Carousel , Once on This Island , and Little Shop of Horrors (Off-Broadway). 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 10

American Songbook

American Songbook

In 1998, Lincoln Center launched American Songbook, dedicated to the celebra - tion of popular American song. Designed to highlight and affirm the creative mas - tery of America’s songwriters from their emergence at the turn of the 19th cen - tury up through the present, American Songbook spans all styles and genres, from the form’s early roots in Tin Pan Alley and Broadway to the eclecticism of today’s singer-songwriters. American Songbook also showcases the outstanding interpreters of popular song, including established and emerging concert, cabaret, theater, and songwriter performers.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: pre - senter of artistic programming, national leader in arts and education and com - munity relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educa - tional activities annually, LCPA offers 15 programs, series, and festivals including American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center , which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012.

Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Claudia Norman, Producer, Public Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Olivia Fortunato, House Seat Coordinator

For American Songbook Matt Berman, Lighting Design Scott Stauffer, Sound Design Angela Fludd, Wardrobe Assistant Sara Sessions, Production Assistant

For Judy Kuhn Clint Ramos, Styling 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 11

UPCOMING EVENTS Jazz at Lincoln Center’s Frederick P. Rose Hall February 2015

THE APPEL ROOM ROSE THEATER Sherman Irby’s Journey Through Swing February 20 at 7pm Dianne Reeves February 21 at 9:30pm February 13–14 at 8pm Jazz at Lincoln Center Orchestra saxophonist One of the most recognized voices in jazz, Dianne Sherman Irby debuts an ensemble made up of the Reeves coalesces her signature sound, broad-spec- “swinging-est” musicians on the East Coast to trum repertoire, and fondness for love songs into a explore the migration, development, and evolution of very special Valentine’s Day weekend performance. jazz through the lens of swing. Irby first performed Reeves has long revered the city of New York, and with the Jazz at Lincoln Center Orchestra in 1995, not too many cities top the Big Apple when it comes making his mark with Roy Hargrove and Elvin Jones to romance, making Rose Theater the perfect place to along the way. In this performance highlighting revel in the occasion. Her latest CD, Beautiful Life, important and differing regions of jazz, Irby will cover was a perfectly timed Valentine’s Day release in 2014, Chicago (Gene Ammons and Johnny Griffin), Kansas given the sensual essence of both original songs and City (Count Basie and Charlie Parker), West Coast covers of Marvin Gaye and Bob Marley. Reeves will cool jazz (Chet Baker and Dave Brubeck), New assuredly set the mood for what is becoming a Jazz Orleans (Buddy Bolden and Jelly Roll Morton), New at Lincoln Center tradition; for the second year in a York City (Art Blakey, Horace Silver, and Freddie row, the most awarded female jazz vocalist of all time Hubbard), and more. Joining Irby will be saxophonist treats audiences to an intimate evening of music and and clarinetist Victor Goines, trumpeter Bruce Harris, storytelling, delivered as only she can. Reeves will be trombonist Vincent Gardner, violinist Eli Bishop, gui- joined by pianist Peter Martin, guitarist Peter Sprague, tarist James Chirillo, pianist Charles Craig, Sr., bassist bassist Reginald Veal, and drummer Terreon Gully. Gerald Cannon, and drummer Alvester Garnett. Free pre-concert discussions at 6pm (2/20) and New Orleans Songbook 8:30pm (2/21). February 20-21 at 8pm Pianist Aaron Diehl and vocalists Cyrille Aimée and Elio Villafranca’s Music of the Caribbean Milton Suggs kick off the evening by celebrating the Featuring Jon Faddis and Leyla McCalla composers and inspired songs of New Orleans, the February 20 at 9:30pm historic epicenter of jazz. The prodigious Diehl, who February 21 at 7pm has re-imagined the music of masters like New An artist who incorporates elements of Bebo Valdés, Orleans’ own Jelly Roll Morton, serves as Music Perez Prado, and Gonzalo Rubalcaba, Elio Villafranca Director. DownBeat calls Suggs, “A commanding is a leading voice of music today and part of an extra- singer... steeped in tradition... but with modern sen- ordinary lineage of Cuban pianists. Villafranca pos- sibilities." The Washington Post describes Thelonious sesses a unique gift of conceptualizing projects that Monk International Vocal Competition finalist Aimée fuse the jazz idiom with his extensive knowledge of as possessing “a voice like fine whiskey – oaky and percussion and Latin rhythms. Along with his band smooth, with a hint of smokiness.” The evening con- the Jass Syncopators and special guests trumpeter tinues with The New Orleans Jazz Orchestra’s pre- and Dizzy Gillespie protégé Jon Faddis and singer, cel- miere of founding Artistic Director Irvin Mayfield’s list, and banjo player Leyla McCalla, Villafranca will “New Orleans Jazz Market,” a composition celebrat- present Cinqué- Suite of the Caribbean, a debut work ing the orchestra’s soon-to-be-built permanent home focusing on the influences of the Congolese traditions of the same name. of rhythms, melodies, and dances through the music Free pre-concert discussion nightly, 7pm. of Puerto Rico, Santo Domingo, Haiti, Jamaica, and Cuba. Via this six-movement work with Congolese drumming and costumed dancers, Villafranca will showcase unifying elements of these islands, which share similar cultures despite their diverse histories. Free pre-concert discussions at 8:30pm (2/20) & 6pm (2/21).

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: jazz.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 jazz.org/groups. For more information about our education programs, visit academy.jazz.org. For Swing University and WeBop enrollment: 212-258-9922. Find us on Facebook, Twitter, YouTube, and Instagram. 02-04 Kuhn_GP2 copy 1/28/15 10:18 AM Page 12

UPCOMING EVENTS

Jazz at Lincoln Center’s Frederick P. Rose Hall

T.S. Monk Sextet February 2015 with Helen Sung, Willie Williams, Kenny Davis, Josh Evans, and Patience Higgins Victor Goines & Friends: February 18–19 With special guest Joe Temperley 7:30pm & 9:30pm February 7–8 with Aaron Diehl, Yasushi Nakamura, and Sounds of Brazil: Mario Adnet Lawrence Leathers with Duduka Da Fonseca, Eduardo Belo, Vitor 7:30pm & 9:30pm Gonçalves, and Billy Drewes February 20–22 Allan Harris: Black Bar Jukebox Album Release 7:30pm & 9:30pm with Pascal Le Boeuf, Jake Goldbas, Leon Boykins, Yotam Silberstein, and Samuel Torres Jimmy Greene Quartet: Beautiful Life February 9 MONDAY NIGHTS WITH WBGO 7:30pm & 9:30pm with David Bryant, Luke Sellick, and Jimmy MacBride Clarence Penn and Penn Station: February 23 Monk, the Lost Files Album Release Concert 7:30pm & 9:30pm with Kevin Hays, Yasushi Nakamura, and Chad Leftkowitz-Brown William Paterson University Jazz Ensembles & February 10–11 Orchestra 7:30pm & 9:30pm February 24 7:30pm & 9:30pm Kim Nalley Sings Songs of Love February 12–15 The Amigos and Ken Peplowski 7:30pm & 9:30pm with Justin Poindexter, Sam Reider, Noah Special pricing applies on Saturday evening. Garabedian, and Will Clark February 25 Terry Waldo Gotham City Band: 7:30pm & 9:30pm From Ragtime to Jazz with Jon Erik-Kellso, Mike Davis, Evan Arntzen, Howard The Music of Dexter Gordon: A Celebration Alden, Brian Nalepka, Jim Fryer, and Rob Garcia The Dexter Gordon Legacy Ensemble February 16 with George Cables, Gerald Cannon, Lewis Nash, 7:30pm & 9:30pm Joe Locke, Abraham Burton, and Craig Handy February 26–March 1 Mardi Gras Stomp 7:30pm & 9:30pm with Joe Saylor and Alphonso Horne February 17 7:30pm & 9:30pm

In deference to the artists, patrons of Dizzy?sCoca-Cola Club 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 jazz.org/dizzys; Group Reservations: 212-258-9595 or jazz.org/dizzys-reservations Nightly Artist sets at 7:30pm & 9:30pm. Late Night Session sets Tuesday through Saturday. Doors open at 11:15pm Cover Charge: $20–45. Special rates for students with valid student ID. Full dinner available at each artist set. Rose Theater and The Appel 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 Appel 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 Instagram.