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Jazz at Lincoln Center Orchestra with Wynton Marsalis

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Thursday, September 29, 2016, 8pm
Paramount Theatre, Oakland

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Wynton Marsalis, music director, trumpet

Ryan Kisor, trumpet
Kenny Rampton, trumpet Marcus Printup, trumpet Vincent Gardner, trombone Chris Crenshaw, trombone Elliot Mason, trombone

Sherman Irby, alto and soprano saxophones, flute, clarinet Ted Nash, alto and soprano saxophones, flute, clarinet
Victor Goines, tenor and soprano saxophones, clarinet, bass clarinet
Walter Blanding, tenor and soprano saxophones, clarinet Paul Nedzela, baritone and soprano saxophones, bass clarinet

Dan Nimmer, piano Carlos Henriquez, bass Ali Jackson, drums

Tonight’s program will be announced from the stage and performed without an intermission.

Brooks Brothers is the official clothier of the
Jazz at Lincoln Center Orchestra with Wynton Marsalis.

For more information, please visit jazz.org. Facebook: facebook.com/jazzatlincolncenter
Twitter: twitter.com/jazzdotorg
YouTube: youtube.com/jazzatlincolncenter

Cal Performances' presentations in Oakland are generously underwritten by Signature Development Group.

Jazz residency and education activities are generously underwritten by the Thatcher Meyerson Family.

ABOUT THE ARTISTS

he mission of Jazz at Lincoln Center is country, woven with the colorful stories of the to entertain, enrich, and expand a global artists behind them. Jazz Night in America and

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community for jazz through perform- Jazz at Lincoln Center’s radio archive can be ance, education, and advocacy. With the found at jazz.org/radio.

  • world-renowned Jazz at Lincoln Center Orch-
  • Under music director Wynton Marsalis, the

estra and guest artists spanning genres and JLCO spends over a third of the year on tour. generations, Jazz at Lincoln Center produces The big band performs a vast repertoire, from thousands of performance, education, and rare historic compositions to Jazz at Lincoln broadcast events each season in its home in Center-commissioned works, including comNew York City (Frederick P. Rose Hall, “The positions and arrangements by Duke Ellington, House of Swing”) and around the world, for Count Basie, Fletcher Henderson, Thelonious people of all ages. Jazz at Lincoln Center is led Monk, Mary Lou Williams, Billy Strayhorn, by chairman Robert J. Appel, managing and Dizzy Gillespie, Benny Goodman, Charles artistic director Wynton Marsalis, and execu- Mingus, Chick Corea, Oliver Nelson, and many

  • tive director Greg Scholl.
  • others. Guest conductors have included Benny

The Jazz at Lincoln Center Orchestra Carter, John Lewis, Jimmy Heath, Chico
(JLCO), comprising 15 of today’s finest jazz O’Farrill, Ray Santos, Paquito D’Rivera, Jon soloists and ensemble players, has been the Jazz Faddis, Robert Sadin, David Berger, Gerald at Lincoln Center resident orchestra since 1988. Wilson, and Loren Schoenberg.

  • Featured in all aspects of Jazz at Lincoln Cen-
  • Jazz at Lincoln Center Orchestra also regu-

ter’s programming, this remarkably versatile larly premieres works commissioned from a vaorchestra performs and leads educational riety of composers including Benny Carter, Joe events in New York, across the US, and around Henderson, Benny Golson, Jimmy Heath, the world; in concert halls, dance venues, jazz Wayne Shorter, Sam Rivers, Joe Lovano, clubs, and public parks; and with symphony Freddie Hubbard, Chico O’Farrill, Charles orchestras, ballet troupes, local students, and an McPherson, Marcus Roberts, Geri Allen, Eric

  • ever-expanding roster of guest artists.
  • Reed, Wallace Roney, and Christian McBride,

Education is a major part of Jazz at Lincoln as well as from current and former JLCO memCenter’s mission; its educational activities are bers Wynton Marsalis, Wycliffe Gordon, Ted coordinated with concert and Jazz at Lincoln Nash, Victor Goines, Sherman Irby, Chris Center Orchestra tour programming. These Crenshaw, and Carlos Henriquez.

  • programs, many of which feature JLCO mem-
  • Over the last few years, the Jazz at Lincoln

bers, include the celebrated Jazz for Young Center Orchestra has performed collaborations

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People family concert series; the Essentially with many of the world’s leading symphony Ellington High School Jazz Band Competition orchestras, including the New York Philhar-

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& Festival; the Jazz for Young People Cur - monic, the Russian National Orchestra, and the riculum; educational residencies; workshops; Berlin Philharmonic Orchestra; the symphony and concerts for students and adults worldwide. orchestras of Boston, Chicago, and London; Jazz at Lincoln Center educational programs the Orchestra Esperimentale in São Paolo, reach over 110,000 students, teachers, and gen- Brazil; and others. In 2006, the JLCO collabo-

  • eral audience members.
  • rated with Ghanaian drum collective Odadaa!,

Jazz at Lincoln Center, NPR Music, and led by Yacub Addy, performing Congo Square, WBGO-FM have partnered to create the next a composition Marsalis and Addy dedicated to generation of jazz programming on public Marsalis’ native New Orleans. The Jazz at radio: Jazz Night in America. The series show- Lincoln Center Orchestra performed Marsalis’

  • cases today’s vital jazz scene while also under-
  • Swing Symphony with the Berlin Philharmonic

scoring the genre’s storied history. Hosted by and the New York Philharmonic in 2010 bassist Christian McBride, the program features and with the Los Angeles Philharmonic in hand-picked performances from across the 2011. Swing Symphony was co-commissioned

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ABOUT THE ARTISTS

by the New York Philharmonic, Berlin Phil- cert (a project that raised funds for the Higher harmonic, Los Angeles Philharmonic, and The Ground Relief Fund, established by Jazz at

  • Barbican Centre.
  • Lincoln Center and administered through the

The Jazz at Lincoln Center Orchestra has Baton Rouge Area Foundation to benefit the also been featured in several education and musicians, music industry-related enterprises, performance residencies in recent years, in- and other individuals and entities from the cluding those in Vienne, France; Perugia, Italy; areas in Greater New Orleans who were imPrague, Czech Republic; London, England; pacted by Hurricane Katrina, and to provide Lucerne, Switzerland; Berlin, Germany; São other general hurricane relief). The band is also Paulo, Brazil; and Yokohama, Japan. Television broadcasts of JLCO programs CD that was released on Blue Note Records folhave helped broaden the awareness of the or- lowing the concert. The JLCO was featured in a

featured on the Higher Ground Benefit Concert

chestra’s unique activities. Concerts by the Jazz Thirteen/WNET production of Great Perforat Lincoln Center Orchestra have aired in mances entitled “Swingin’ with Duke: Lincoln the US, England, France, Spain, Germany, the Center Jazz Orchestra with Wynton Marsalis,” Czech Republic, Portugal, Norway, Brazil, which aired on PBS in 1999. In September Argentina, Australia, China, Japan, Korea, 2002, BET Jazz premiered a weekly series called and the Philippines. Jazz at Lincoln Center has Journey with Jazz at Lincoln Center, featuring appeared on several XM Satellite Radio live performances by the Jazz at Lincoln Center broadcasts and eight Live From Lincoln Center Orchestra from around the world.

  • broadcasts carried by PBS stations nationwide,
  • In 2015, Jazz at Lincoln Center announced

including a program that aired on October 18, the launch of Blue Engine Records, a new plat2004, during the grand opening of Jazz at form to make its vast archive of recorded conLincoln Center’s new home, Frederick P. Rose certs available to jazz audiences everywhere Hall, and on September 17, 2005, during Jazz (www.jazz.org/blueengine). The label is dedi-

at Lincoln Center’s Higher Ground Benefit Con- cated to releasing new studio and live record-

Donor Spotlight

Cal Performances Salutes the Thatcher Meyerson Family

This season, Cal Performances’ jazz residency and education activities are generously underwritten by the Thatcher Meyerson Family. Their generous gift is inspired by— and in loving memory of—family heads David and Shirley Thatcher.

In 1946, David and Shirley met working on a Democratic campaign in Philadelphia. The couple married the following year, and Shirley always said that she fell for David partly because of his jazz record collection.

Shortly thereafter, the Thatchers moved to California to fulfill David’s dream of attending UC Berkeley, where he eventually received his Ed.D. Enthusiastic swing dancers, and always actively engaged in community life, David and Shirley soon welcomed three children to the family. As the years passed, the two campaigned for local Democrats, marched against the Vietnam War, volunteered for the PTA, gave citizenship classes, and edited the Peace and Justice newsletter. And through it all, they always included jazz concerts, museum visits, films, and adventurous dining in their family activities.

David and Shirley’s middle child, Maris Thatcher Meyerson, remembers coming to Zellerbach Hall with her parents shortly after it opened in 1968. Now serving on Cal Performances’ board of trustees as co-chair of the Education and Community Outreach Committee, Maris is grateful to continue her parents’ legacy of giving back to the community.

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ABOUT THE ARTISTS

ings as well as archival recordings from past Jazz prestigious Pulitzer Prize in music for his oraat Lincoln Center performances. Its first torio Blood on the Fields, which was commisrecord—Live in Cuba, recorded on a historic sioned by Jazz at Lincoln Center. In 1999, he 2010 trip to Havana by the JLCO with Wynton released eight new recordings in his unpreceMarsalis—was released in October 2015. Blue dented Swinging into the 21st series, and preEngine’s second offering—Carlos Henriquez’s miered several new compositions, including the The Bronx Pyramid—was released last Sep- ballet Them Twos, for a collaboration with the tember, and Big Band Holidays from the Jazz at New York City Ballet. That same year, he preLincoln Center Orchestra with Wynton Mar- miered the monumental work All Rise, comsalis arrived in stores last October. The most missioned and performed by the New York recent release is The Abyssinian Mass, a Wynton Philharmonic along with the JLCO and the Marsalis composition featuring the JLCO with Morgan State University Choir. Sony Classical Wynton Marsalis, Damien Sneed, the 70-piece released All Rise on CD in 2002. Recorded on Gospel Choir Chorale Le Chateau, and special September 14 and 15, 2001, in Los Angeles dur-

  • guest Reverend Dr. Calvin O. Butts, III.
  • ing the tense days following 9/11, All Rise

To date, 14 other recordings featuring the features the Jazz at Lincoln Center Orchestra JLCO with Wynton Marsalis have been released along with the Los Angeles Philharmonic, the and distributed internationally: Vitoria Suite Morgan State University Choir, the Paul Smith (2010); Portrait in Seven Shades (2010); Congo Singers, and the Northridge Singers. In 2004,

Square (2007); Don’t Be Afraid...The Music of Marsalis released The Magic Hour, his first of

Charles Mingus (2005); A Love Supreme (2005); six albums on Blue Note records. He followed

All Rise (2002); Big Train (1999); Sweet Release up his Blue Note debut with Unforgivable & Ghost Story (1999); Live in Swing City (1999); Blackness: The Rise and Fall of Jack Johnson,

Jump Start and Jazz (1997); Blood on the Fields the companion soundtrack recording to Ken (1997); They Came to Swing (1994); The Fire Burns’ PBS documentary on the great African-

of the Fundamentals (1993); and Portraits by American boxer; Wynton Marsalis: Live at The

  • Ellington (1992).
  • House Of Tribes (2005); From the Plantation to

the Penitentiary (2007); Two Men with the Blues,

Wynton Marsalis (music director, trumpet) is featuring Willie Nelson (2008); He and She the managing and artistic director of Jazz at (2009); Here We Go Again, featuring Willie Lincoln Center. Born in 1961 in New Orleans, Nelson, Wynton Marsalis, and Norah Jones Louisiana, Marsalis began his classical training (2011); and Wynton Marsalis & Eric Clapton on trumpet at age 12 and soon began playing in Play The Blues (2011). To mark the 200th anlocal bands and in diverse genres. He entered niversary of Harlem’s historical Abyssinian the Juilliard School at age 17 and soon joined Baptist Church in 2008, Marsalis composed a Art Blakey and the Jazz Messengers. Marsalis full mass for choir and jazz orchestra. The piece made his recording debut as a leader in 1982, premiered at Jazz at Lincoln Center, followed and has since recorded more than 70 jazz and with performances at the celebrated church. classical albums that have garnered him nine Marsalis composed his second symphony, Blues Grammy® Awards. In 1983, he became the first Symphony, which was premiered in 2009 by the and only artist to win both classical and jazz Atlanta Symphony Orchestra and performed Grammy Awards in the same year; he repeated again in 2010 by the Boston Symphony Orch-

  • this feat in 1984.
  • estra. That same year, he premiered his third

Marsalis’ rich body of compositions includes symphony, Swing Symphony, a co-commission

Sweet Release; Jazz: Six Syncopated Movements; by the New York Philharmonic, Berlin PhilJump Start and Jazz; Citi Movement/Griot New harmonic, Los Angeles Philharmonic, and The York; At the Octoroon Balls; In This House, On Barbican Centre. The Jazz at Lincoln Center

This Morning; and Big Train. In 1997, he Orchestra with Wynton Marsalis performed the became the first jazz artist to be awarded the piece with the Berlin Philharmonic in Berlin

ABOUT THE ARTISTS

and with the New York Philharmonic in New Relief Fund. He led the effort to construct Jazz York City in 2010 and with the Los Angeles at Lincoln Center’s new home—Frederick P.

  • Philharmonic in Los Angeles in 2011.
  • Rose Hall—the first education, performance,

Marsalis is also an internationally respected and broadcast facility devoted to jazz, which teacher and spokesman for music education, opened in 2004. and has received honorary doctorates from dozens of universities and colleges throughout Walter Blanding (tenor and soprano saxothe United States. He conducts educational phones, clarinet,) was born into a musical famprograms for students of all ages and hosts the ily on August 14, 1971, in Cleveland, Ohio, and

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popular Jazz for Young People concerts pro- began playing the saxophone at age six. In 1981, duced by Jazz at Lincoln Center. Marsalis has he moved with his family to New York City; also written and is the host of the video series by age 16, he was performing regularly with his Marsalis on Music and the radio series Making parents at the Village Gate. Blanding attended the Music. He has written several books: Sweet LaGuardia High School of Music & Art and Swing Blues on the Road, in collaboration with Performing Arts and continued his studies at photographer Frank Stewart; Jazz in the Bitter- the New School for Social Research, where he sweet Blues of Life, with Carl Vigeland; To a earned a bachelor’s degree in 2005. His 1991

Young Musician: Letters from the Road, with debut release, Tough Young Tenors, was ac-

Selwyn Seyfu Hinds; Squeak, Rumble, Whomp! claimed as one of the best jazz albums of the Whomp! Whomp!, illustrated by Paul Rogers; year, and his artistry began to impress listeners and Moving to Higher Ground: How Jazz and critics alike. He has been a member of the Can Change Your Life, with Geoffrey C. Ward, JLCO since 1998 and has performed, toured, published by Random House. In 2005, Can - and/or recorded with his own groups and with dlewick Press released Marsalis’ Jazz ABZ: such renowned artists as the Cab Calloway An A to Z Collection of Jazz Portraits, 26 poems Orchestra, Roy Hargrove, Hilton Ruiz, Count celebrating jazz greats, illustrated by poster Basie Orchestra, Illinois Jacquet Big Band,

  • artist Paul Rogers.
  • Wycliffe Gordon, Marcus Roberts, the Wynton

In 2001, Marsalis was appointed Messenger Marsalis Quintet, Isaac Hayes, and many othof Peace by Kofi Annan, former Secretary- ers. Blanding lived in Israel for four years and General of the United Nations; he has also been had a major impact on the music scene while designated cultural ambassador to the United touring the country with his own ensemble and States of America by the US State Department with US artists such as Louis Hayes, Eric Reed, through their CultureConnect program. In Vanessa Rubin, and others. He taught music in 2009, Marsalis was awarded France’s Legion of several Israeli schools and eventually opened Honor, the highest honor bestowed by the his own private school in Tel Aviv. During this French government. He serves on former Lieu - period, Newsweek International called him a tenant Governor Landrieu’s National Advisory “Jazz Ambassador to Israel.” Board for Culture, Recreation, and Tourism, a national advisory board to guide the adminis- Chris Crenshaw (trombone) was born in tration’s plans to rebuild Louisiana’s tourism Thomson, Georgia, on December 20, 1982. and cultural economies. Marsalis has also been Since birth, he has been driven by and surnamed to the Bring New Orleans Back Com - rounded by music. When he started playing mission, former New Orleans Mayor C. Ray piano at age three, his teachers and fellow Nagin’s initiative to help rebuild New Orleans students noticed his aptitude for the instruculturally, socially, economically, and uniquely ment. This love for piano led to his first gig with for every citizen. Marsalis was instrumental in Echoes of Joy, his father Casper’s gospel quartet the Higher Ground Hurricane Relief concert, group. He started playing the trombone at age produced by Jazz at Lincoln Center, which 11, receiving honors and awards along the way. raised over $3 million for the Higher Ground Crenshaw graduated from Thomson High

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School in 2001 and received his bachelor’s de- lege, completed a world tour with Lauryn Hill gree with honors in jazz performance from in 2000, and then joined the Jazz at Lincoln Valdosta State University in 2005. He was Center Orchestra. Gardner has served as an named Most Outstanding Student in the VSU instructor at the Juilliard School, as a visiting Music Department and College of Arts. In instructor at Florida State University and 2007, Crenshaw received his master’s degree in Michigan State University, and as an adjunct jazz studies from the Juilliard School, where his instructor at The New School. He is currently teachers included Dr. Douglas Farwell and the director of the Jazz at Lincoln Center Youth Wycliffe Gordon. He has appeared as a sideman Orchestra, and he has contributed many on fellow JLCO trumpeter Marcus Printup’s arrangements to the Jazz at Lincoln Center Ballads All Night and on Wynton Marsalis and Orchestra and other ensembles. In 2009, he was Eric Clapton Play the Blues. In 2006, Crenshaw commissioned by Jazz at Lincoln Center to joined the Jazz at Lincoln Center Orchestra and write The Jesse B. Semple Suite, a 60-minute

  • in 2012, he composed God’s Trombones, a spir-
  • work inspired by the short stories of Langston

itually focused work that was premiered by the Hughes. In addition, Gardner is a popular in-

  • orchestra at Jazz at Lincoln Center.
  • structor at Jazz at Lincoln Center’s ongoing jazz

education program, Swing University, teaching
Vincent Gardner (trombone) was born in courses on bebop and more. Gardner is feaChicago in 1972 and was raised in Hampton, tured on a number of notable recordings and Virginia. After singing and playing piano, vio- has recorded five CDs as a leader for Steeplelin, saxophone, and French horn at an early age, chase Records. He has performed with The he decided to focus on the trombone at age 12. Duke Ellington Orchestra, Bobby McFerrin, He attended Florida A&M University and the Harry Connick, Jr., the Saturday Night Live University of North Florida, and soon caught Band, Chaka Khan, A Tribe Called Quest, and the ear of Mercer Ellington, who hired Gardner many others. Gardner was chosen as the top for his first professional job. He moved to Rising Star Trombonist in the 2014 DownBeat Brooklyn, New York, after graduating from col- Critics Poll.

ABOUT THE ARTISTS

Victor Goines (tenor and soprano saxophones, University School of Music since 2008, and was clarinet, bass clarinet) is a native of New music director of the Jazz at Lincoln Center Orleans, Louisiana. He has been a member of Orchestra’s cultural exchange with the Cuban the Jazz at Lincoln Center Orchestra and the Institute of Music with Chucho Valdés in 2010. Wynton Marsalis Septet since 1993, touring throughout the world and recording over 20 Sherman Irby (alto and soprano saxophones, albums. As a leader, Goines has recorded seven flute, clarinet) was born and raised in Tuscaalbums, including Pastels of Ballads and Blues loosa, Alabama. He found his musical calling at (2007) and Love Dance (2007) on Criss Cross age 12 and in high school played and recorded Records, and Twilight (2012) on Rosemary with gospel immortal James Cleveland. He Joseph Records. A gifted composer, Goines graduated from Clark Atlanta University with has more than 50 original works to his credit, a bachelor’s degree in music education. In 1991, including 2014’s Crescent City, premiered by he joined Johnny O’Neal’s Atlanta-based quinthe Jazz at Lincoln Center Orchestra. He has tet, and in 1994, he moved to New York City, recorded and/or performed with many noted where he recorded his first two albums, Full jazz and popular artists, including Ahmad Circle (1996) and Big Mama’s Biscuits (1998), Jamal, Ruth Brown, Dee Dee Bridgewater, for Blue Note. Irby toured the US and the Ray Charles, Bob Dylan, Dizzy Gillespie, Lenny Caribbean with the Boys Choir of Harlem in Kravitz, Branford Marsalis, Ellis Marsalis, 1995 and was a member of the Jazz at Lincoln Dianne Reeves, Willie Nelson, Marcus Roberts, Center Orchestra from 1995 to 1997. During Diana Ross, Stevie Wonder, and a host of that time he also recorded and toured with others. Currently, Goines is the director of jazz Marcus Roberts and was part of Betty Carter’s studies/professor of music at Northwestern Jazz Ahead Program and Roy Hargrove’s University. He received a bachelor’s degree from ensemble. After a four-year stint with Roy HarLoyola University in New Orleans in 1984, and grove, Irby focused on his own group in addia master’s in music from Virginia Common- tion to being a member of Elvin Jones’

  • wealth University in Richmond in 1990.
  • ensemble in 2004 and then Papo Vazquez’

Vazquez’s Pirates Troubadours after Jones’ pass-
Carlos Henriquez (bass) was born in 1979 in ing. From 2003-11, Irby was the regional the Bronx, New York. He studied music at a director for JazzMasters Workshop, mentoring young age, played guitar through junior high young children. He has served as artist-inschool, and took up the bass while enrolled residence for Jazz Camp West and an instructor in the Juilliard School’s Music Advancement for Monterey Jazz Festival Band Camp. Irby is a Program. He entered LaGuardia High School former board member for the CubaNOLA of Music & Arts and Performing Arts and was Collective. He formed Black Warrior Records involved with the LaGuardia Concert Jazz and released Black Warrior, Faith, Organ Ensemble, which went on to win first place in Starter, Live at the Otto Club, and Andy Farber’s

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    NYC Student Discounts The Chamber Music Society of Lincoln Center Alice Tully Hall (Broadway at 65th Street)/ Daniel and Joanna S. Rose Studio (165 West 65th Street between Broadway and Amsterdam) The Chamber Music Society of Lincoln Center (CMS) presents an annual series of concerts. Students may purchase tickets at a 50% discount in advance at the Alice Tully Hall box Office, pending availability. Student rush tickets are $10 on the day of the performance, pending availability. Present a valid student ID beginning one hour prior to curtain for two $10 tickets. https://www.chambermusicsociety.org/nyc/ticketing-information/student-tickets/ Jazz at Lincoln Center Rose Theater, The Allen Room, Dizzy’s Club Coca-Cola at Frederick P. Rose Hall, Home of Jazz at Lincoln Center (Broadway at 60th Street) Jazz at Lincoln Center is dedicated to inspiring and growing audiences for jazz. Fill out the online registration form and submit a copy of your student ID to [email protected]. Be sure to include your expected month and year of graduation in the email. Please note that for Dizzy's Club Coca-Cola reservations, you will need to create a new account separate from your student account when making your reservation. The student rate varies by performance and will be listed on the specific event page. Once your reservation is made, a student ID is required to be shown upon arrival at the res- ervation desk. http://www.jazz.org/students/ New York City Ballet David H. Koch Theater (Columbus Avenue at 63rd Street) New York City Ballet is one of the foremost dance companies in the world, with a roster of nearly 100 spectacular dancers, a 62-piece orchestra, and a repertory of modern masterpieces.
  • Reggie Workman Working Man

    Reggie Workman Working Man

    APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne
  • Classical Jazz

    Classical Jazz

    LIVE FROM LINCOLN CENTER May 29, 2003, 8:00 p.m. on PBS Marsalis at the Penthouse In the summer of 1987 a "Classical Jazz" concert series was established at New York City's Lincoln Center for the Performing Arts, under the inspired leadership of trumpet player, Wynton Marsalis. Seven years later this indispensable activity was redefined and became the autonomous jazz division at Lincoln Center--Jazz at Lincoln Center. Thus this essential American musical form took its place at Lincoln Center alongside such other constituents as the New York Philharmonic and the Metropolitan Opera, with Marsalis continuing as the driving force behind it. We have been privileged over the years on Live From Lincoln Center to be able to bring you several performances by this outstanding ensemble, most recently in concert with Kurt Masur and the New York Philharmonic. (Interestingly, during the years of the Masur family's residence in New York, the Maestro's son-- himself an aspiring conductor--became a great jazz enthusiast.) Our next Live From Lincoln Center telecast, on Thursday evening, May 29, will be devoted to yet another live performance by Jazz at Lincoln Center. But with a difference! Our previous sessions with Jazz at Lincoln Center have originated in one of the several concert halls in the Lincoln Center complex and have featured the artistry of the large ensemble. On May 29 the 90-minute performance will take place in the intimate confines of the Kaplan Penthouse high atop the building that houses Lincoln Center's administration offices. The Kaplan Penthouse has served as the locale for three previous Live From Lincoln Center telecasts: two featuring Itzhak Perlman, the other spotlighting Renée Fleming.
  • The Sonic Scale of Bob's Devices Cinemag Sky 30 Posted on 2015

    The Sonic Scale of Bob's Devices Cinemag Sky 30 Posted on 2015

    The Sonic Scale of Bob’s Devices Cinemag Sky 30 Posted on 2015/11/04 by Jon Eben Field Review by Jon Eben Field In his treatise, The Beautiful in Music, Eduard Hanslick, a Bohemian music critic and major proponent of Brahms, famously wrote, “Music means itself.” Here we discover the can of worms that emerges in attempting to write about music and the devices that reproduce it in our homes. That other more famous quotation, “Writing about music is like dancing about architecture” gestures towards that same space. There is an inherent difficulty in attempting to write about music. Music is a language, any other description is inevitably supplemental. And there is a whole other layer of difficulty involved in describing to others what a device will do to the reproduction of music in their homes under highly idiosyncratic and unique conditions when the review has been written under another set of entirely complex and different conditions. Reviewers have to grapple with these issues every time we sit down to write about a piece of equipment. Yet reviewers persist, as I will in this instance, because of our belief that the articulation of the experience of reproduced sound is not only clearly possible, but also clearly possible in ways that are noticeable and describable across a wide array of variables. Over the past several weeks, I have had the pleasure of experimenting with Bob’s Devices Cinemag Sky 30, a step- up transformer (SUT) used to passively raise the signal of low-output moving coil (MC) cartridges to the point where they can be amplified by a moving magnet (MM) phono stage.
  • Download the Blood on the Fields Playbill And

    Download the Blood on the Fields Playbill And

    Thursday–Saturday Evening, February 21 –23, 2013, at 8:00 Wynton Marsalis, Managing & Artistic Director Greg Scholl, Executive Director Bloomberg is the Lead Corporate Sponsor of this performance. BLOOD ON THE FIELDS JAZZ AT LINCOLN CENTER ORCHESTRA WYNTON MARSALIS, Music Director, Trumpet RYAN KISOR, Trumpet KENNY RAMPTON, Trumpet MARCUS PRINTUP, Trumpet VINCENT GARDNER, Trombone, Tuba CHRIS CRENSHAW, Trombone ELLIOT MASON, Trombone SHERMAN IRBY, Alto & Soprano Saxophones TED NASH, Alto & Soprano Saxophones VICTOR GOINES, Tenor & Soprano Saxophones, Clarinet, Bass Clarinet WALTER BLANDING, Tenor & Soprano Saxophones CARL MARAGHI, Baritone Saxophone, Clarinet, Bass Clarinet ELI BISHOP, Guest Soloist, Violin ERIC REED, Piano CARLOS HENRIQUEZ, Bass ALI JACKSON, Drums Featuring GREGORY PORTER, Vocals KENNY WASHINGTON, Vocals PAULA WEST, Vocals There will be a 15-minute intermission for this performance. Please turn off your cell phones and other electronic devices. Jazz at Lincoln Center thanks its season sponsors: Bloomberg, Brooks Brothers, The Coca-Cola Company, Con Edison, Entergy, HSBC Bank, Qatar Airways, The Shops at Columbus Circle at Time Warner Center, and SiriusXM. MasterCard® is the Preferred Card of Jazz at Lincoln Center. Qatar Airways is a Premier Sponsor and Official Airline Partner of Jazz at Lincoln Center. This concert is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. ROSE THEATER JAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL jalc.org PROGRAM JAZZ AT LINCOLN CENTER 25TH ANNIVERSARY SEASON HONORS Since Jazz at Lincoln Center’s inception on August 3, 1987, when Lincoln Center for the Performing Arts initiated a three-performance summertime series called “Classical Jazz,” the organization has been steadfast in its commitment to broadening and deepening the public’s awareness of and participation in jazz.
  • Edrgroup.Com Website

    Edrgroup.Com Website

    The Economic Role & Impact of Lincoln Center Prepared for by 2 Oliver Street, Boston, MA 02109 in association with Mt. Auburn Associates 408 Highland Ave., Somerville, MA 02144 September, 2004 Table of Contents Table of Contents Acknowledgments ................................................................................................. A Executive Summary: The Economic Role & Impact of Lincoln Center........... I Introduction ............................................................................................................1 1.1 Purpose of This Report ......................................................................................1 1.2 Overview of Lincoln Center .............................................................................2 1.3 Methodology .....................................................................................................4 1.4 Organization of the Report .................................................................................8 Economic Impact of Lincoln Center Operations ................................................9 2.1 Overview ............................................................................................................9 2.2 Direct, Indirect, and Induced Effect of Lincoln Center Spending ...................10 2.3 Total Impact of Lincoln Center Operations .....................................................12 Economic Impact of Spending by Lincoln Center Visitors ..............................15 3.1 Overview ..........................................................................................................15
  • DB Music Shop Must Arrive 2 Months Prior to DB Cover Date

    DB Music Shop Must Arrive 2 Months Prior to DB Cover Date

    05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.