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Offering by Prospectus only. At Tanglewood

Friday, Saturday, and Sunday August 31 through September 2, 1990 Koussevitzky Music Shed, Tanglewood

Friday, August 31, at 8 p.m. ' "EPITAPH" Gunther Schuller conducting a 31 -piece all-star jazz orchestra

Saturday, September 1

Grounds open at 4 p.m. with an appearance by FULL CIRCLE

7 p.m. ANITA O'DAY HARRY CONNICK, JR.

Sunday, September 2

Grounds open at 4 p.m. with an appearance by

7 p.m. MILES DAVIS

: - • . .

Jazz At Tanglewood

Friday, August 3 1 , at 8

CHARLES MINGUS Epitaph

Gunther Schuller conducting

1. Epitaph — Main Score 2. The Soul 3. Started Melody 4. Untitled Ballad 5. Freedom 6. Moods in Mambo (Bossa Nova 1945) 7. The Self-Portrait—The Chill of Death (Jazz Version) AKA "Todeskalte" 8. O.P. (Oscar Pettiford)

intermission

9. Please Don't Come Back From The Moon 10. Monk, Bunk and Vice Versa 1 1. Peggy's Blue Skylight 12. Wolverine Blues 13. The Children's Hour of Dream/ The Search 14. untitled interlude 15. Better Get Hit in Your Soul 16. Noon Night 17. Percussion, Discussion (Percussion Day) 18. Main Score Reprise

Charles Mingus' "Epitaph'

/ am Charles Mingus. Half-black man, yellow So goes a narration delivered for the man . . . half-yellow . . . not even yellow, not even CBC in Toronto by one of America's great- white enough to passfor nothing but black, and est jazz musicians. Born on April 22, 1922, not too light to be called white. I claim that I am in Nogales, Arizona, near the Mexican a Negro . . . Charles Mingus is a musician, a border, Charles Mingus grew up in the mongrel musician who plays beautiful, who plays West Coast equivalent of Harlem—the area ugly, who plays lovely, who plays masculine, who known as Watts in Los Angeles. He studied playsfeminine , who plays music, who plays all double bass and composition in a formal sounds; loud, soft, unheard sounds, sounds, way while absorbing vernacular music

sounds, sounds, solid sounds, sounds, sounds . . traditions from the great jazz masters a musician (who) just loves to play with sound. firsthand. His early professional experi- —

ences found him touring with the likes of developed his orchestra over a period of Louis Armstrong, , Kid Ory, five decades: playing his music and refining and Lionel Hampton. Eventually he settled his concept in front of an audience or a in New York, where he played and recorded microphone six or seven times a week, and, with the leading musicians of the 1950s conservatively speaking, four to six hours Charlie Parker, , Miles on each of those days or nights. Davis, Bud Powell, ArtTatum, and many As a composer, Charles Mingus learned others. One of the few bassists to do so, profound lessons from Ellington but he Mingus quickly developed as a leader of also had a talent and a vision that drew musicians. He was also an accomplished upon other sources of inspiration. Unfortu- pianist who could have made a career nately, Mingus did not have at his disposal playing that instrument. By the mid-'50s he a large orchestra ready and able to realize had formed his own publishing and record- his most recent creation night after night, ing companies to protect and document his year after year. Furthermore, as jazz did growing repertoire of original music. From not enjoy any support from the arts estab- the 1960s until his death on January 5, lishment, Mingus had to turn to the dubi- 1979, in Cuernavaca, Mexico, Mingus ous environment ofjazz clubs and also to remained in the forefront of American the commercial record industry for oppor- music. tunities to present his music. Neither of When asked to comment on his ac- these venues was ever able to support large complishments, Mingus said that his groups with any regularity since jazz had abilities as a bassist were the result of hard passed out of currency as a popular music. work but that his talent for composition Nevertheless, Mingus continued to com- was a gift. While recordings will preserve pose and work with a growing coterie of Mingus' place in the lineage of great in- musicians as he developed a language that strumentalists, his compositions will con- went quite beyond that of the common prac- tinually instruct, challenge, and inspire tice of his contemporaries. future generations of musicians and audi- In 1962, after following his musical suc- ences to expand their musical horizons. cess with recordings for major companies By 1962, only Duke Ellington had suc- such as Columbia and Atlantic, United ceeded in establishing an orchestra of Artists proposed to Mingus the idea of a consummate artists capable of interpreting long-term contract. With a healthy advance his difficult scores which, while in the jazz payment, Mingus began planning the idea idiom, were as vast in scope as the work of of a recording session in New York's Town any "classical" composer. Ellington was able Hall with an audience in attendance. The to do this because he had painstakingly date was set for November 15, 1962, and Mingus began writing new music and revising older scores for an ensemble of more than thirty musicians. That Mingus could ever have convinced United Artists to

record such a huge jazz orchestra is a tribute to his status as one of the most important jazz musicians of those times. Meanwhile, despite some protests that he would be distracted from his preparations, Mingus was convinced to take part in a United Artists session with none other than his mentor Duke Ellington and peer Max Roach. While emotional tension surged during the session, the music proved re- markable and the record company pro- moted Mingus' presence on their roster by taking a full page ad for the December issue of Billboard Magazine. In the meantime, Mingus kept hard at work on preparations for his own date and then, for some reason, he agreed to let United Artists move the session forward to October 12 —a full five weeks earlier. From accounts of musicians who were there, Charles Mingus Mingus expanded his original concept and

38? as he wrote more music, he realized that he written; on others, Epitaph appeared as a would need more help with orchestrating subtitle for what at first looked like indepen- his ideas and copying his scores. dent compositions. Significantly, all the The first in a series of tragedies occurred measures on all of the scores were succes- when Mingus, out of strain and frustration, sively numbered. This seemed to indicate swung out at his longtime friend Jimmy that Mingus had intended all of this music Knepper—who had been assisting with the to work together as an extended composi- preparation of the scores—and broke a tion in a particular organic way. tooth in the trombonist's mouth. With scant Further study and research of this music rehearsal time Mingus assembled his musi- led Gunther Schuller to the conclusion that cians on the stage of Town Hall. In view of Mingus' "hope was to find improvisation the audience were two copyists, seated with and spontaneity and freedom, and at the the orchestra, preparing instrumental parts same time compose a large extensive frame from the newly finished score while the of reference. That's the problem that in jazz musicians played! More aggravating prob- has not yet been solved. Only Duke Elling- lems occurred since the recording engi- ton really tackled it. But Ellington was still neers were not able to provide playback writing songs and fashioning suites around monitors on stage—nor were they able to them. This [Epitaph] has nothing to do with see the musicians, thus reducing communi- thirty-two-bar song forms. It's composition cation to a shambles. Furthermore, when in the true sense." Mingus discovered that the promoters had Perhaps due to the tense and emotional advertised the event as a concert and not as circumstances surrounding his creation an open recording session with its attendant and attempt to perform Epitaph, Mingus stops and starts, he encouraged customers himself said little about this piece except to demand their money back. that "I wrote it for my tombstone." An The full realization of the music Mingus epitaph created by a man with the large had wrought was thwarted not only by a physical dimensions, enormous appetite, lack of rehearsal but by the fact that he had and broad compass of musical expression to act as composer, contractor, conductor, of Charles Mingus will reflect its author's bassist/soloist, consultant, advisor, and, world. Perhaps he considered this piece to virtually, director and producer. Valiantly be a summary or a commemorative incor- Mingus persevered until midnight, when porating not only Mingus' new music of the the unionized stagehands began to close time, but some older pieces re-cast, and down the hall. One musician, some direct and indirect references to those perhaps, broke into Ellington's In A Mellow- influences that formed his genius as a tone, and as the weary artists sought joyful composer—all of this written for a special release through a jam session on a familar assembly of some thirty-three musicians theme, the stagehands brought down the whom Mingus had determined could best curtain in front of the remaining bewil- realize his musical expressions. dered, yet supportive, audience. What Later, some of the Epitaph music became came out on the Town Hall recording issued part of Mingus' working repertoire for a by United Artists is fragmentary and dispa- while, but never in its original orchestra- rate. Titles were mislabeled, splicing and tion. For instance, Monk, Bunk and Vice Versa editing was done without Mingus' knowl- and O.R were played at Birdland, a New edge, and little of the two hours of recorded Yorkjazz club, by a much smaller group. music appeared on the . And if this On amateur recordings which preserve weren't enough, Mingus found himself in broadcasts from these times one can hear court on two counts: first to bring suit that only the basic melodies were used, not against United Artists for more than full arrangements. For the 1971 Columbia $18,000 in back payment, and later to recording titled "Let My Children Hear answer assault charges made by Knepper Music," one of the revised portions of for the incident that almost ruined the Epitaph—The Chill OfDeath—was recorded. trombonist's career. In this version the piece was played twice: And what of those scores that Mingus the first time overdubbed with a recitation wrote for that fateful occasion? During a by Mingus and the second with an alto project to catalog all the existing musical saxophone solo. manuscripts of Charles Mingus, approxi- In one section, Freedom, there is narration, mately twenty scores for a large jazz orches- singing, humming, rhythmic clapping tra written on oversized frayed and yellowed (Prrrwopp—as Mingus described it), folk- paper were discovered in the collection. On song-like melody, and use of the blues form some of these scores the title Epitaph was which reminds us of the ferment in Amer- ican society that Mingus recognized in the be heard more often. Mingus played piano early 1960s, and of problems yet to be when he first recorded it with a small jazz resolved. group a year before the Town Hall session. In the whole of this work there are refer- This mule ain'tfrom Moscow, this mule ain't ences and allusions both direct and indirect from the South, to all of Mingus' musical influences—Duke But this mule's got some learning—mostly Ellington, Bird (Charlie Parker), Classical, mouth-to-mouth. Church, American Popular Song, Latin This mule could be called stubborn and lazy, American, Free Jazz, Aleatoric, New Or- But in a clever sort of way, this mule's been leans, etc. Epitaph may be seen as a summa- waiting and planning, tion of Mingus' musical state of develop- And working—in seclusion—-for a sacred ment as of the summer of 1962. In it are kind of day. new works, old works, easy music, difficult The day that burning sticks—or crosses—is music, and, in the case ofJelly Roll Morton's not mere child's play. Wolverine Blues, a direct interpolation which But a madman in his most incandescent groom he may have included to show where he Whose loveless soul is imperfection in its most was coming from. The Children's Hour of lustrous bloom. Dream/The Search explores the complete palette of colors possible in the jazz orches- Stand still, old mule, soothe in contemplation, tra. Thematically, there are references to Thy burning hole and aching thigh, The Chill OfDeath which impart a sombre That your stubbornness is of the living, hue to its mood. Better Get Hit In Your Soul And cruel anxiety has begun to die. was composed in 1959 and became known Standfast young old mule. Standfast. as one of his most accessible and popular pieces. Mingus left instructions in Epitaph Mingus had a very special concern with for a small group within the assembly of death, as we are able to learn from his book musicians to come forward and jam on it. "Beneath the Underdog." He claimed to Here, gospel and blues cook together in a have written one section, The Chill OfDeath, unique mixture as prepared by a master in 1939—and from the looks of the original chef. Noon Night is another beautiful score, that could very well be. A brooding, melody of the sort that might have brought swirling piece, nothing quite like this had Mingus a more popular kind of success had ever come from a jazz composer. Initially, other musicians played it. The main melody Mingus crammed in additional parts on the was first recorded by a small group as original score of The Chill Of Death to accom- Nouroog in 1957. For Epitaph, it is of course modate the large jazz orchestra. He then re-scored for the large ensemble as well as rewrote the piece substantially (as the title introducing new materials, which may of that section of Epitaph indicates) as a jazz account for the new title. version of the earlier composition. In this Finally, on the last page of this great section virtually every member of the large piece, Mingus left instructions for a return ensemble is required to improvise. to the opening section. His musical journey O.P. (Oscar Pettiford) is an exciting tribute brings us again to the source, leading one to one of the leading bassists in jazz. Con- to imagine he meant the entire work to be sidered by many the heir to , played continuously in a never-ending O.P. must have inspired Mingus in his spiral—each level different as expressed effort to master one of the most difficult of through the changing improvisations from all musical instruments. Please Don't Come the many jazz musicians as they interpret Back From The Moon was also known as his Epitaph. Moonboy and shows another variant of the From notes by title indicated on the score as Pinky Don't — Andrew Homzy Come Here For Love, Man. This is another of the ballad-like compositions that are sprin- a and musicologist kled throughout the work. Monk, Bunk and Andrew Homzy, composer specializing in the study ofjazz, teaches at Vice Versa was also known as Osmotin or Concordia University, Montreal. While Osmosis. And from the legendary New cataloguing the complete works of Charles Orleans trumpeter Bunk Johnson to Mingus, he discovered the materials for iconoclast composer/pianist Thelonius Epitaph. Monk, Mingus understood that jazz rep- resented a continuum in music—and that he was a part of it. Peggy's Blue Skylight— another beautiful melody that deserves to Gunther Schuller Born in 1925 in , Gunther Schuller has developed a musical career ranging from composer and conductor to educator, administrator, music publisher, and . At the age of seventeen he was principal hornist with the Cincinnati Symphony; two years later he was appointed to a similar position with the Metropolitan Opera Orchestra. In 1959 he gave up performing to devote his time primarily to composition. He has received commissions from major orchestras throughout the world and, since 1980, has been a member of the American Academy of Arts and Letters. Among other awards, he has received two Guggenheim fellowships, the Darius Milhaud Award, the Rodgers and Hammerstein Award, and numerous honorary degrees. He was the 1989 recipient of Columbia University's William Schuman Award for lifetime achievement in American music composition. During the 1988-89 season he was composer-in-residence with the Chamber Music Society of Lincoln Center, where he was the first recipient of the Eleise L. Stoeger Composer Chair Award. As a conductor, Mr. Schuller travels throughout the world, leading major ensembles. As an educator, he has taught at the Manhattan School of Music and Yale University, and served as head of the composition department at the Tanglewood Music Center from 1963 until 1984. During the last fourteen of those years he was the Center's artistic director. In 1967 he was appointed president of the New England Conservatory of Music, Boston, where he remained until 1977. During that time he reintroduced the music of Scott Joplin and developed the New England Conservatory Ragtime Ensemble. Since 1984 he has been artistic director of the Festival at Sandpoint, Idaho. Mr. Schuller has written dozens of essays and four books, the most recent of which is The Swing Era: The Development ofJazz— 1930- 1940. Mr. Schuller collaborated with Charles Mingus on two major performances, conducting a Mingus composition entitled Revelations at Brandeis University in 1957 and, in 1960, conduct- ing another extended work called Half-Mast Inhibition at a recording sesson for Mercury Rec- ords. After Mingus' death, he conducted both works at a tribute at Carnegie Hall.

Ensemble for "Epitaph'

Trombones Alto Saxophones Contrabass Clarinet Drums Wayne Andre Rick Centalonza Dale Kleps Art Baron Alex Foster Eddie Bert John Handy Tuba Vibes Sam Burtis Don Butterfield Steve Nelson George Flynn Tenor Saxophones David Taylor Piano Guitar Kathy Halverson Jack Wilkins Trumpets Baritone Saxophones Kirk Lightsey Randy Brecker Percussion Jon Faddis Roger Rosenberg Bass Joe Passaro Earl Gardner Gary Smulyan Rufus Reid Warren Smith Greg Gisbert Bassoon Edwin Schuller Milton Mustafa Michael Rabinowitz

Anita O'Day

Born and raised in Chicago, Anita O'Day first sang professionally for coins thrown at her feet in depression-era walkathons. She changed

her surname from Colton, choosing O'Day because it was pig- Latin for the "dough" she hoped to make. Ms. O'Day gradually worked her way up from singing waitress to house singer at many of Chicago's taverns. It was during an appearance at the Three Deuces that she was discov- ered by Gene Krupa. The following year she joined Krupa's band, which resulted in the legendary teaming of Anita O'Day with Roy Eldridge and a string of hit records that included "Let Me Off Up- town," "Boogie Blues," "Opus One," and "That's What You Think." In 1944 Ms. O'Day joined the Stan Kenton band, selling a million copies of "And Her Tears Flowed Like Wine" and establishing a unique new vocal style. After a brief return to the Krupa band in 1945 and a short stint with the band, Anita O'Day emerged as one of the major exponents of the bebop style, earning the nickname "The Jezebel ofJazz." Norman Granz then signed her to his newly formed Norgran label, which eventually became Verve. For the next twelve years, their collaboration produced a series of classic jazz recordings that are

still selling. A highlight of this period was Ms. O'Day 's appearance at the 1958 Newport Jazz Festival, captured on film by Burt Stern in the award-winning documentaryJazz on a Summer's Day. This led to roles in such films as The Gene Krupa Story (where Ms. O'Day portrayed herself), Zigzag, and The Outfit. Anita O'Day has been profiled by Harry Reasoner on "60 Minutes," and her biography, High Times, Hard Times, written with George Eells, was published in 1981. Her career continues to flourish in clubs and theaters and at jazz festivals throughout the world.

Harry Connick, Jr.

Harry Connick, Jr. 's work as a singer, pianist, and performer has been lavishly recognized in recent years. He achieved national prominence with his performance on the soundtrack of the motion picture When Harry Met Sally. His album of songs from the film earned an RIAA

Gold Record and reached Number 1 on the Billboard Traditional Jazz Chart, also appearing on the Pop Album Chart. Mr. Connick's perform- ance earned him a Grammy Award for Best Jazz Vocal Performance, Male, and he was named Best Jazz Act in magazine's 1989 Music Awards and Best National Jazz Artist in the annual Reader's Poll of the Boston Phoenix. Mr. Connick has recently released two record- ings, an orchestral/vocal album entitled We Are in Love and Lofty s Roach Souffle, an album of music composed by Mr. Connick and recorded with his trio. Coinciding with the release of the two is Harry Connick, Jr. 's home video debut, entitled Singin & Swingin. This fall he makes his film debut in Memphis Belle, portraying a tailgunner in the crew of a World War II bomber squadron based in England. Born and raised in New Orleans, Harry Connick, Jr. began playing the piano at the age of three and at six played the national anthem for his father's swearing-in as District Attorney. While still in elementary school he made his recording debut with a Dixieland group for a local record company; soon he was sitting in at clubs on Bourbon Street. Mr. Connick studied piano with Ellis Marsalis and James Booker, winning several classical piano competitions while a student at the New Orleans Center for the Creative Arts. After a year at Loyola University, he moved to New York, where he studied at Hunter College and the Manhattan School of Music, played at clubs and restaurants, and worked as organist and choir director at a Bronx church. It was Mr. Connick's second album, entitled 20 (Mr. Connick's age at the time), that brought him to the attention of filmmaker Rob Reiner, who had just finished shooting When Harry Met Sally.

Larry Coryell Acknowledged as one of the pioneers of the jazz-rock fusion move- ment, guitarist Larry Coryell has been described as a "renaissance musician." A Texas native, Mr. Coryell is the son of a "piano player" (his father) and a "pianist" (his mother). He began studying piano at the age of four but by twelve had shifted to ukelele. Then, inspired by Barney Kessel and Wes Montgomery, he moved on to electric guitar. He abandoned his journalism studies in college to concentrate on his music career. Classically trained, Mr. Coryell has transcribed and re- corded Stravinsky ballets for the Japanese label Nippon/Phonogram. His recent NEC release, Visions in Blue, features music of Gershwin and Ravel and was a best-seller in Japan. Larry Coryell likes to chart new courses, reaching out toward new frontiers of expression. He practices, records, and performs with a variety of other musicians, having played with Miles Davis, , Stephane Grappelli, John McLaugh- lin, Charles Mingus, Dizzy Gillespie, Earl Hines, and Betty Carter, among others. He also performs internationally as a solo artist, writes a monthly column for Guitar Player magazine, Sal and co-hosts a monthly radio show with Jimmy Webb on Japan's leading radio station. Their guests have included Art Garfunkel, Dr. John, and Herbie Hancock. Recently Larry Coryell collaborated with Al Di Meola and Bireli Lagrene, forming the Super Guitar Trio, which has toured internationally to much acclaim. He also tours regularly with his own quartet, featuring Stanley Cowell on piano, on drums, and Buster Williams on bass. The Larry Coryell Quartet's latest album is entitled Air Dancing. Gary Burton Born in Indiana, vibraphonist Gary Burton made his professional recording debut at seventeen with Nashville guitarist Hank Garland. Then, through the auspices of another guitarist, , he began a long association with RCA Records. Following studies at Boston's , Gary Burton was on the road with pianist and pursuing his recording career. His musical "coming of age" occurred in the period 1964-66, while he was with the Stan Getz Quartet. It was during this time that Downbeat magazine named him Talent Deserving of Wider Recognition. In 1967 he formed his own quartet, which soon became known for borrowing sonorities and rhythms from contemporary rock, and was successful with both rock audiences and traditional jazz fans. In addition to such quartet albums as Duster and Lofty Fake Anagram, Mr. Burton gave the avant-garde important exposure by recording 's in 1968. The years between 1969 and 1972 saw various prominent musicians perform with the Burton group, including Larry Coryell, , , Sam Brown, , Abe La Boriel, and , over the course of five albums for . These included projects with and Stephane Grappelli. , the Grammy-award winning solo album recorded in part at the 1971 , was instrumental in establish- ing the trend of solo performing so popular in jazz today. Later, at ECM Records, Gary Burton pioneered the duet recording format with , which paired Mr. Burton with Chick Corea, with whom Mr. Burton has recorded three subsequent duet albums. Mr. Burton has also recorded duet albums with Steve Swallow and , and has been involved in various quartet recordings and special projects with orchestras and guest musicians. Gary Burton is on the staff at Berklee College of Music. His teaching activities have also included numerous university workshops and several extensive U.S. State Department tours around the world. He has written a book for musicians, The Musicians Guide to the Road, published by Billboard magazine, on the subjects of touring and organizing a group.

Miles Davis Miles Dewey Davis, the master of innovative jazz music, was born in Alton, Illinois, in 1926. The son of a prominent dentist, he moved to East St. Louis with his family at the age of one. He began playing trumpet at thirteen and a year later became a member of the local musician's union. Inspired by jazz greats Clark Terry and Buddy Anson, Mr. Davis became a member of Eddie Randall's group, the Blue Devils, at sixteen, and performed in clubs all over St. Louis. After graduating from high school he joined the Billy Eckstine band, where he met Dizzy Gillespie and Charlie Parker, two profound influences on his life and music. In 1944 he moved to New York to enroll at the Juilliard School. He played in clubs with his roommate Charlie Parker and, as part of Parker's quintet, made his first recordings. By the late 1940s he was playing with the most acclaimed jazz musicians of the time. His benchmark recording, Birth of the Cool, recorded in three ses- sions in 1949 and 1950, distinguished him as a leader of a new generation ofjazz musicians. Later, joined by Red Garland, Paul Chambers, "Philly" Joe Jones, and John Coltrane, Miles Davis and group became the most important jazz quintet of its time. In 1963 Mr. Davis pre- sented a new lineup of talent in his group, including Herbie Hancock, Tony Williams, Ron Carter, and George Coleman, who would later be replaced by Wayne Shorter. This quintet became an innovative workshop, conducting various musical experiments that would ulti- mately become the genre for a whole new generation. The 1970s presented a host of health problems for Miles Davis, which forced him into a semi-retirement that lasted five years. His comeback album, The Man with the Horn, was released in 1981. A series of live engagements followed, chronicled by the in-concert double-album set We Want Miles, which won a Grammy award in 1982. After switching to Warner Brothers Records, Mr. Davis released Tutu in 1986, yet another exploration of the full range of modern musical technology. His other activities have included a music video with the group Cameo, his own video of songs from the Tutu album, and an appearance in an episode of the television series "Miami Vice." In addition, his artistic impressions in oil paintings and sketches have been shown in galleries around the world. In 1988 he received a knighthood from Spain's Order of Malta. The recipient of twenty- three Grammy nominations, Miles Davis recently wrote his autobiography, Miles, with Quincy Troupe for Simon & Schuster, and released his newest album on Warner Brothers, Amandla. Tools ofExcellence

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