Tuesday Evening, April 3, 2018, at 7:30 The Juilliard School presents Juilliard Jazz Orchestra Wynton Marsalis , Conductor A Tribute to Blue Note Records JACKIE MCLEAN , arr. Wynton Marsalis Appointment in Ghana MCCOY TYNER , arr. Chris Crenshaw Search for Peace WOODY SHAW , arr. Victor Goines The Moontrane HORACE SILVER , arr. Carlos Henriquez Señor Blues Intermission JOE HENDERSON , arr. Ted Nash Inner Urge HORACE SILVER , arr. David Berger Peace WAYNE SHORTER , arr. Ted Nash Fee-Fi-Fo-Fum DEXTER GORDON , arr. Sherman Irby Ernie’s Tune WAYNER SHORTER , arr. Wynton Marsalis Free for All Performance time: approximately 1 hour and 30 minutes, including one intermission Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Meet the Artist more than 25 of America’s top academic institutions including Columbia, Harvard, Howard, Princeton, and Yale. His creativity has been celebrated the world over. In 1997 he became the first jazz artist to be awarded the Pulitzer Prize in Music for his Z E N I oratorio Blood on the Fields . In 2001 he T R A was appointed Messenger of Peace by M E O Kofi Annan, secretary-general of the J Wynton Marsalis United Nations, and in 2005 Mr. Marsalis Wynton Marsalis is director of jazz studies received the National Medal of Arts, the at Juilliard and managing and artistic direc - highest award given to artists by the tor at Jazz at Lincoln Center. A world- U.S. government. In September 2016 he renowned trumpeter, composer, educator, received the National Humanities Medal and leading advocate of American culture, for his work inspiring music lovers every - he was born in New Orleans in 1961 and where to embrace America’s quintessen - made his recording debut as a leader in tial sound. Mr. Marsalis has authored six 1982. He has since recorded more than books including Jazz ABZ: An A to Z 80 jazz and classical recordings and has Collection of Jazz Portraits , Moving to won nine Grammy Awards. In 1983 he Higher Ground: How Jazz Can Change became the first and only artist to win Your Life , and most recently, Squeak, both classical and jazz Grammys in the Rumble, Whomp! Whomp! Whomp! Mr. same year. Today he is the only artist ever Marsalis helped lead the effort to con - to win Grammy Awards in five consecu - struct Jazz at Lincoln Center’s home—the tive years (1983–87). Mr. Marsalis is the Frederick P. Rose Hall, which opened its recipient of honorary doctorates from doors in 2004. About Juilliard Jazz in three concerts. The program engages students in the global jazz scene with res - idencies in Bolivia, Mexico, Switzerland, Now in its 16th season, Juilliard Jazz Brazil, and Italy. This year’s guest conduc - offers bachelor’s and master’s degrees tors and coaches include Vince Giordano, and the artist diploma. The curriculum Marquis Hill, Dave Douglas, Michael combines classroom, private studio, and White, Rick Roe, and Abraham Burton, and performance ensemble courses with sub - stantial interactions with jazz masters and faculty member Marc Cary. multiple performance opportunities in diverse venues around the city and the In New York City the 44 students in Juilliard world. The repertoire studied covers the Jazz present more than 50 performances entire jazz continuum, highlights its annually on and off campus in diverse American vernacular roots, and empha - venues including Juilliard’s Paul Recital Hall sizes the social and cultural vitality of the and Peter Jay Sharp Theater, Alice Tully music. The 2017–18 season sees the Hall, the Zinc Bar, Blue Note, and Dizzy’s Juilliard Jazz Orchestra in six concerts, Club Coca-Cola. This season marks a focus Juilliard Jazz Ensembles in 11 perfor - on two areas. The first is on trumpet inno - mances, and the Artist Diploma Ensemble vators of the post-bop era: Booker Little, Lee Morgan, and Miles Davis. The second Williams and vocalist Betty Carter. Finally, is on two extraordinary jazz musicians who Juilliard Jazz will host the Tom Jobim Youth were both admired educators and trailblaz - Orchestra form São Paulo, Brazil, and stu - ers in their own right, pianist Mary Lou dents from the Torino Conservatory in Italy. Administration Wynton Marsalis , Director Aaron Flagg , Chair and Associate Director Anika Adilifu , Administrative Manager and Production Associate Carlvin Sanon , Jazz Production and Library Manager Juilliard Jazz Orchestra Jerome Jennings , Resident Conductor Saxophones Trumpets Trombones Rhythm Gideon Tazelaar Jonah Moss Jasim Perales Micah Thomas, Piano Jarien Jamanila Noah Halpern Rashaan Salaam Philip Norris, Bass Abdias Armenteros Anthony Hervey Samuel Chess Jake Kelberman, Guitar Evan Atwell-Harris David Adewumi Jacob Melsha Cameron MacIntosh, Zoe Obadia Giveton Gelin Drums Celebrating Blue Note Records Founded in 1939, it is hard to believe that Blue Note Records has been around for nearly 80 years. Synonymous with extraordinary jazz since its inception, the label has produced and/ or commissioned albums from an almost endless list of genre titans, including Dexter Gordon, Joe Henderson, Jackie McLean, Woody Shaw, Wayne Shorter, Horace Silver, and McCoy Tyner—all of whom have works on tonight’s program. Wynton Marsalis, the director of Juilliard Jazz, took a break from his busy schedule to sit down and z e answer a few questions from first-year Jazz Studies n i t r a student Jasim Perales about the importance of M e o celebrating this legendary label. J Jasim Perales: First off, what would you like and legendary cover art. It’s important us as students and musicians to come away history to know. I hope you all study the with and learn from this particular concert history and do the work outside of the and repertoire? classroom. Wynton Marsalis: I would like all of you to JP: What are some of your favorite learn about the knowledge and the history recordings from this repertoire and how of jazz, know the jazz continuum, and come have they influenced you as an artist? away with different ways to improvise. WM: There are so many, I couldn’t name I want you to know the way the musicians them all. Blue Note started with Sidney played, learn the modern big band language, Bechet, and the New Orleans style of music. and use that language and apply it to From Sidney Bechet to all of Art Blakey’s small-band settings. A lot of these tunes music—and I played in his band—his early weren’t written for large ensembles, and classic albums. Wayne Shorter, Herbie I want you all to understand that style of Hancock, Dexter Gordon, Lee Morgan, playing. Freddie Hubbard—they all covered a lot of music, made a lot possible, and had JP: Why did you choose this theme and a lot of creativity. It’s important to learn what is it about Blue Note Records that about them because they shaped the makes it an interesting concert theme music we hear today. here and now? WM: Every day is the present day. So it Trombonist Jasim Perales is a first-year doesn’t matter if it is yesterday, today, or bachelor’s student in Jazz Studies at tomorrow, it’s an important body of work, Juilliard where he holds a Jerome L. with a great sound, informative linear notes, Greene Fellowship. BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Julie Anne Choi Greg Margolies Pre-College Division Kent A. Clark Vincent A. Mai Yoheved Kaplinsky, Artistic Director Kenneth S. Davidson Ellen Marcus Ekaterina Lawson, Director of Admissions and Academic Affairs Barbara G. Fleischman Nancy A. Marks Anna Royzman, Director of Performance Activities Keith R. Gollust Stephanie Palmer McClelland Evening Division Mary Graham Christina McInerney Danielle La Senna, Director Joan W. Harris Lester S. Morse Jr. Matt Jacobson Stephen A. Novick Lila Acheson Wallace Library Edward E. Johnson Jr. Joseph W. Polisi Jane Gottlieb, Vice President for Library and Karen M. Levy Susan W. Rose Information Resources; Director of the C.V. Starr Teresa E. Lindsay Deborah Simon Doctoral Fellows Program Laura Linney Sarah Billinghurst Solomon Enrollment Management and Student Development Michael Loeb William E.“Wes” Stricker, MD Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Barrett Hipes, Associate Dean for Student Development TRUSTEES EMERITI Sabrina Tanbara, Assistant Dean of Student Affairs June Noble Larkin, Chair Emerita Cory Owen, Assistant Dean for International Advisement and Diversity Initiatives Mary Ellin Barrett William Buse, Director of Counseling Services Sidney R. Knafel Katherine Gertson, Registrar Elizabeth McCormack Tina Gonzalez, Director of Financial Aid John J. Roberts Teresa McKinney, Director of Community Engagement Camille Pajor, Title IX Coordinator Todd Porter, Director of Residence Life JUILLIARD COUNCIL Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health and Counseling Services Michelle Demus Auerbach Jean-Hugues Monier Holly Tedder, Director of Disability Services Barbara Brandt Terry Morgenthaler and Associate Registrar Brian J. Heidtke Pamela J. Newman Gordon D. Henderson Howard S. Paley Finance Peter L. Kend John G. Popp Christine Todd, Vice President and Chief Financial Officer Younghee Kim-Wait Grace E.