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Home , Antibalas, Jordan McLean (musician), Marie Daulne, Menahan Street Band, Sharon Jones, Zap Mama

CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE Marina Abadjieff Center for the Performing Arts Staff

George Trudeau, director Medora Ebersole, education and community Lea Asbell-Swanger, assistant director programs manager Annie Doncsecz, finance director Lisa Faust, audience services manager Tracy Noll, sales and development services director Deanna Heichel, assistant finance director Laura Sullivan, marketing and communications Tom Hesketh, events manager director Wanda Hockenberry, assistant to the director Amy Dupain Vashaw, audience and program Christine Igoe, ticket manager development director Urszula Kulakowski, art director Shannon Arney, assistant ticket manager Heather Mannion, advertising associate Erik Baxter, multimedia specialist Sherren McKenzie, group sales coordinator Shannon Bishop, downtown ticket center manager John Mark Rafacz, editorial manager Len Codispot, sales and development accounting , assistant director for special programs coordinator Dave Shaffer Chad Swires, production supervisor Gary Collins, production supervisor , production supervisor Aimee Crihfield, contracts/logistics coordinator Mark Tinik

Community Advisory Council The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective.

Nancy VanLandingham, chair Bonnie Marshall Lam Hood, vice chair Pieter Ouwehand Melinda Stearns William Asbury Lillian Upcraft Lynn Sidehamer Brown Pat Williams Philip Burlingame Nina Woskob Deb Latta Eileen Leibowitz student representatives Ellie Lewis Stephanie Corcino Christine Lichtig Jesse Scott Mary Ellen Litzinger CENTER FOR THE PERFORMING ARTS AT PENN STATE and Columbia Artists Management, LLC present

Zap Mama and

7:30 p.m. Tuesday, February 3, 2015 Eisenhower Auditorium

The program will be announced from the stage.

The performance is presented without an intermission.

The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency.

Zap Mama a.k.a. , lead singer Maimouna Youssef, backing vocals Lene Christensen, backing vocals Manou Gallo, backing vocals, electric bass, percussion

Antibalas

Amayo, vocals, percussion Martín Perna, baritone sax, vocals Eric Biondo, trumpet Jeff Pierce, trumpet, trombone Joseph Woullard, tenor sax Kevin Raczka, drums Nikhil P. Yerawadekar, bass, guitar Timothy Allen, guitar Raja Kassis, guitar Marcus Farrar, shekere, vocals Will Rast, keyboard Reinaldo de Jesus, congas, percussion

Tour Staff

Marya J. Glur, company manager Lauren Harton, technical director Aron Mandelbaum, sound engineer

Columbia Artists Management, LLC, Tim Fox / Alison Ahart Williams, 1790 Broadway, , NY 10019 Produced in association with Solid Productions, LLC, Chris Goldsmith ZAP MAMA AND ANTIBALAS COLLABORATION Antibalas, founded in 1998, evolved out of the same -based musical nucleus as & the Dap-Kings, and into the scene around 2000. After years of heavy international touring, the band rose to greater prominence in 2007 for its role in the musical direction of the Broadway musical Fela!.

“I’ve been a fan of Zap Mama for twenty years. We’ve never had the chance to collaborate before, nor with any other group on this scale. This is a thrill and a privilege for us to be working together,” says Martín Perna of Antibalas. “I think the energies and talents of each group are complementary, and really exciting things will happen when we get to perform.”

Tonight’s concert features a new presentation, combining the two groups into one show created for this tour. “Every time I do a tour, I want the show to have its own unique story arc which, even if it’s not explicitly expressed, still gives a certain flow or cohesiveness to the presentation,” says Zap Mama founder Marie Daulne. “I’m very excited to explore the intersections between our globally influenced vocal harmonies and the polyrhythmic rhythms of Antibalas. I’m sure it will be an exciting and fun journey.”

she is a sonic stylist who alternates between storytelling and creative vo- cal expression. Using the organic tone of the human voice, Zap Mama has Thomas Rusch Thomas developed her sound for more than twenty years, inspiring diverse audi- ences around the world.

Born in East Zaire during the , Daulne lost her Belgian father to the Simba rebels only days after her birth. Shortly after his death, she ZAP MAMA was flown with her Congolese mother and siblings to , where tradi- Known to her fans as Zap Mama, tional Congolese songs and culture Marie Daulne began as the leader and remained present. founder of a female vocal polyphonic quintet that succeeded worldwide Her Belgian family exposed her to and has since evolved into a variety liturgical music and Walloon popular of configurations approaching urban, songs. As an adolescent, Daulne also , American soul, and Afro-pop trained in track and field, proving to music styles. Redefining the term “vo- be a powerful athlete. calist,” Daulne is more than a singer; Following a return visit to the Congo As its success grew, the quintet was in her early 20s, Daulne was inspired invited to prestigious stages around to sing and create music. Seamlessly the world, including the Montreux Jazz blending African, American, and Euro- Festival, North Sea Jazz Festival, Wo- pean cultural influences, this Belgian- mad, Glastonbury, and many others. Congolese diva has a unique vocal style. Zap Mama’s genre connects the Zap Mama’s Adventures in Afropea was citizens of the world through sound. Her nominated for a Grammy Award for the polyphonic arrangements use the voice Best World Music album in 1994. as an instrument creating vocal grooves that reinterpret the sound of urban, Invited to perform with the Neville Afro-scat, and alternative music. Brothers, Al Jarreau, and Bobby McFerrin, Zap Mama toured through In the early 1980s, hip-hop culture the , Japan, and coun- arrived in Europe and inspired tries in Europe. The quintet appeared Daulne’s body and soul. She began on numerous TV shows, including experimenting with beatbox, rap, graf- Taratata in France, Later … with Jools fiti, and training in acrobatic choreog- Holland on the BBC, and The Arsenio raphy. Daulne discovered her artistic Hall Show and Sesame Street in the personality and started her studies United States. at the Ecole Nationale Supérieure des Arts Visuels. She also attended In 1995, Daulne signed, co-created, modern dance and circus acrobatics and performed in a commercial for classes to develop her choreography. Coca-Cola that was broadcast world- wide during the 1996 Atlanta Summer In 1987, she began studying jazz in An- Olympics. Taking center stage as the twerp, and by 1989 she was teaching lead vocalist of Zap Mama, Daulne’s and developing compositions for an a music took on a more urban influence cappella quintet. and away from a cappella. Collaborat- ing with numerous artists, including In the 1990s, she auditioned singers and (The and founded the Afro-European vocal Roots), Speech (Arrested Develop- quintet Zap Mama. ment), and Manu Dibango, Zap Mama toured concert halls across the United The group received international atten- States. Zap Mama shows sold out tion by signing with the Belgian label in New Orleans, , Los (Sony Music) in 1991. Angeles, and San Francisco. The tour reached around the world enchant- In 1992, of Talking Heads ing audiences in Africa, Australia, and signed Zap Mama with his label Luaka northern Europe. Bop (Warner Music Group) in the United States. In 2000, Daulne worked with composer Hans Zimmer and producer Tom Cruise As new inspiration arrived, Zap Mama’s on the soundtrack for Paramount’s Mis- music began to incorporate a myriad of sion Impossible II, which included her genres, particularly those of the African cover version of “.” diaspora combined with a unique mix of Euro-American traditions. Zap Mama’s Ancestry in Progress was recorded in Philadelphia and produced by the band . Featuring Cornelius to participate in a tribute Grammy Award winners , performance honoring Rock and Roll , , Bilal, Quest- Hall of Fame inductees Earth, Wind & love, and , it represents a Fire. Zap Mama was the first European combination of Afro-European and “Afro-pean” artist to be involved in the Afro-American spirit. On the Billboard Soul Train Music project. charts, it went straight to first place and stayed in the top twenty for sev- To celebrate her career, Daulne eral weeks. recorded Eclectic Flash Volume I and Flashback to Present Volume II. In both Supermoon was recorded in New York. albums, she features her trademark Daulne invited star musicians David vocal sound, core passion, and the es- Gilmore, , Arno, sence of Zap Mama (today a quartet) and The Royal Opera Children’s Choir music. She also offers vocal master of Ma Monnaie (Belgium’s National classes and has established the Vocal Opera in Brussels). Groove Choir to encourage fans and vocal enthusiasts in cities around the In 2010, the NAACP Image Awards globe to sing. nominated Zap Mama’s Recreation for Outstanding World Music Album. The first single from the new album, “We Go,” vividly echoes strength and In addition to musical endeavors, unity. It is a soundtrack for expanding Daulne has worked with humanitarian possibilities. Rhythm brings people aid organizations, including Doctors together with connection through Without Borders, Amnesty Interna- time, tone, empowering lyrics, a ris- tional, CARE, and the United Nations. ing chorus, and invigorating horns. The alluring groove features legend- At the 2011 Soul Train Music Awards, ary Jamaican producers and players Zap Mama graciously accepted the in- Sly Robbie, Sly Dunbar, and Robert vitation from founder and creator Don Shakespeare.

release, Antibalas. The album is a reaffirmation of the band’s collective musical strengths and a hard-hitting continuation of its “funkified”

Marina Abadjieff excursions. Martín Perna, Antibalas founder and baritone saxophonist, calls it a vault of esoteric sounds and knowledge.

“We kicked around a couple of different titles,” Perna explains, “but ANTIBALAS we could all agree on Antibalas. We’re always who we have been, and this is Sixteen years after the New York City what we are, and what we’re about, group’s first gig, Antibalas—’s without any frills. If you’ve never heard premier second-wave ensemble— any of our albums before, this is the is back with its fifth full-length one to listen to.” Trumpeter Jordan McLean adds, According to Perna, a little-known bit “Musically, it’s our best playing as a of music trivia is the fact that the Dap- band. We’re having more fun together. Kings and Antibalas had their origins We’re all breathing in sync. The in the same apartment—a decrepit old structures of the compositions and the factory loft on Havemeyer Street in overall sound are tighter. The band is Brooklyn. sounding better than ever.” “Gabe, Tunde Adebimpe, and I were The recording was done, with label all living there at the time Antibalas head and former Antibalas member was getting started,” Perna says. Gabriel Roth at the helm, during a “The Dap-Kings were called the Soul two-week period at Daptone’s House Providers at the time … just getting of Soul Studios in Brooklyn. Antibalas off the ground. Tunde just finished is the first full-length album release at NYU and was doing animation on Daptone, which, given Antibalas’ stuff at the time, and we would mess long-running ties to the label, brings around on the cassette four-track everything full-circle for the band. and make little songs. And then Dave Sitek moved into the loft, and he and Antibalas worked with Daptone’s Tunde started making music. So this Sharon Jones & the Dap-Kings, little liminal space was so fertile with , and The Budos friendship, and creative imagination, Band, all while Roth was an original and this shared sense of struggle member. that was manifested in three musical groups that have made a pretty strong “Making this record was like going impact on America in different ways.” back and playing basketball with all your high school buddies, or Since the album’s release, Antibalas something,” Roth says. has: toured with the Daptone Super Soul Revue, playing at New York’s “We’ve woven ourselves together famed Apollo Theater; become the musically but also personally,” Perna house band for the tribute says. “It’s a community that existed concert at (performing as Antibalas, … and if you go back to with Allen Toussaint, , when Gabe and Luke and I started Judy Collins, and Richard Marx); and making music together, it goes back recorded with producer/performing to 1994.” artist Marc Ronson and international superstar Jovanotti.

1 2 3 Front cover photos: 1. Diavolo Kenneth Mucke 2. Antibalas Marina Abadjieff 3.Imago Theatre’s Frogz Jerry Mouawad 4 5 6 4. SISTER ACT © 2014 Joan Marcus 5. Cyrille Aimée 6. The King’s Singers Axel Nickolaus 7. Time for Three Sherry Ferrante 8. THE CHIEFTAINS Kevin Kelly 9. Brussels Jazz 7 8 9 Orchestra’s Graphicology Philip Paquet 10. eighth blackbird Luke Ratray 11. Rosanne Cash © Clay Patrick McBride 10 11 12 12. Theatreworks USA’s The Lightning Thief Jeremy Daniel 13. Brooklyn Rider Sarah Small 14. CAMELOT 15. The Nile 13 14 15 Project Matjaz Kacicnik CENTER FOR THE PERFORMING ARTS AT PENN STATE

7:30 P.M. TUESDAY, FEBRUARY 10 | EISENHOWER AUDITORIUM ON SALE NOW! cpa.psu.edu | 814-863-0255

Bold listings represent members who Members increased their donations by 10 percent The Center for the Performing Arts recognizes the following members or more this season. Be Bold! Contact for their support. For information on the membership program or Dave Shaffer, assistant director for how you may contribute to the Center for the Performing Arts, please special programs, at 814-863-1167. contact Dave Shaffer at 814-863-1167 or [email protected].

Leadership Encore Amy Greenberg and Richard Doyle Bill and Connie Hayes Circle Circle Steven L. Herb and Sara Willoughby-Herb $3,000 and more $1,000 to $1,999 Nancy L. Herron Lam and Lina Hood Lynn Sidehamer Brown Pamela M. Aikey Cindy and Al Jones Mimi U. Barash Coppersmith Grace M. Bardine Chick King Marty and Joan Duff Mary and Hu Barnes James and Bonnie Knapp Blake and Linda Gall Philip and Susan Burlingame James and Barbara Korner Robert and Helen Harvey Edda and Francis G. Gentry John and Michelle Mason Bob and Sonia Hufnagel Richard B. Gidez Patrick W. and Susan N. Morse Richard and Sally Kalin Judith Albrecht and Denny Gioia Marcia and Bill Newton Dan and Peggy Hall LeKander David and Margaret Gray Steve and Anne Pfeiffenberger Barbara Palmer Michael P. Johnson and Dotty and Paul Rigby Maureen Mulderig Jack and Sue Poremba Patricia Hawbaker Quinlivan Louis P. Silverman and Stan and Debra Latta Andy and Kelly Renfrew Veronica A. Samborsky Benson and Christine Lichtig Shirly Sacks George and Nina Woskob Kenneth and Irene Mcllvried Karen Scott Shearer Russell and Jeanne Schleiden Paul and K. C. Sheeler Jackson and Diane Spielvogel Director’s Vaughn and Kay Shirk Circle Carol and Rex Warland Terry and Pat Williams Susan and Lewis Steinberg David and Diane Wisniewski Marilynne W. Stout $2,000 to $2,999 Kenton Stuck Elizabeth Trudeau Patricia Best and Thomas Ray advocate George and Debbie Trudeau Lynn Donald Breon Mark and JoAnne Westerhaus Janet Fowler Dargitz and $500 to $999 Mary Jane and William Wild Karl George Stoedefalke Charlotte Zmyslo Rod and Shari Erickson Ned and Inga Book Edward R. Galus Jack and Diana Brenizer P arTNER Arnold and Marty Gasche Sandra Zaremba and Richard Brown Donald W. Hamer and Marie Bednar Richard Carlson and Lori Forlizzi $250 to $499 Beverly Hickey Joseph and Annie Doncsecz Honey and Bill Jaffe Michael T. and Ann F. Dotsey Steve and Chris Adams Kay F. Kustanbauter Steve and Sandy Elbin William W. Asbury Eileen W. Leibowitz Mark A. Falvo Dr. Deborah F. Atwater Tom and Mary Ellen Litzinger Joel Gaesser Sven and Carmen Bilén Pieter W. and Lida Ouwehand Nancy S. Gamble Alan Brown William Rabinowitz John and Carol Graham Richard W. Bryant Robert Schmalz partner (cONT’D) friend Tom Caldwell Memorial Fund $250 to $499 $150 to $249 Don Miller Roger and Corrine Coplan Lynn and Ellis Abramson June Miller Lee and Joan Coraor Shirley Allan Gary and Judy Mitchell Stephanie Corcino Anne and Art Anderson Betty and John Moore Jo Dixon Scott and Sandy Balboni Chris and Bobbie Muscarella Margaret Duda Dr. Henry and Elaine Brzycki Robert F. and Donna C. Nicely Heather F. Fleck John Collins and Mary Brown Claire M. Paquin Pamela Francis John M. Carroll and Mary Beth Rosson Guy and Grace Pilato Peg and Joe French George and Bunny Dohn Andrew and Jean Landa Pytel Catherine Greenham Steven P. 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Levin Betty Harper and Scott Sheeder Stephen and Jennifer Van Hook Jack and Ellie Lewis Proforma LLH Promos, LLC Nancy and Wade VanLandingham Dorothy and Kenneth Lutz Tom and Ann Hettmansperger Alice Wilson and Friends Richard and Juanita Lysle Jackie and John Hook Carl and Sharon Winter Jodi Hakes McWhirter Jim and Susan Houser David L. and Connie Yocum Susan and Brian McWhirter Steven and Shirley Hsi Jim and Sharon Mortensen Anne F. Hummer the jazz train Joe and Sandy Niebel Daniel and Kathleen Jones Eva and Ira Pell Ed and Debbie Klevans $250 and more Martena Rogers John F. Knepp Help us continue to present world-class Mike and Joan Roseberry Harry B. Kropp and jazz artists by becoming a member of Sally L. Schaadt Edward J. Legutko Thomas Kurtz and The Jazz Train. For details, contact Dave Robert and Peggy Schlegel Shaffer at [email protected] or Grace Mullingan-Kurtz Tom and Carolyn Schwartz 814-863-1167. 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Charlene and Frank Gaus Endowment John and Michelle Groenveld Lee Grover and Anita Bear Contributors Steven L. Herb and $150 and more Sara Willoughby-Herb Anne and Lynn Hutcheson We recognize the following donors who have contributed to endow- Honey and Bill Jaffe ments at the Center for the Performing Arts in the past year. For more Brian and Christina Johnson information about how to contribute to existing endowments, contact Michael P. Johnson and Dave Shaffer at 814-863-1167 or [email protected]. Maureen Mulderig Cindy and Al Jones John L. Brown Jr. and Marlynn Steele Sidehamer Nicholas and Carolyn Kello Endowment Robert Martin and Kathy Weaver The Sturtz-Davis Family Kathleen D. Matason and Richard M. Smith Nina C. Brown Endowment Randi and Peter Menard Pamela M. Aikey Dr. Marla L. Moon Richard Robert Brown Program Endowment Wilson and Maureen Moses Richard Brown and Sandra Zaremba William and Annemarie Mountz Larry and Kelly Mroz Norma and Ralph Condee Chamber Music Endowment Jack and Sue Poremba Robert and Dorothy Cecil Sally L. Schaadt William F. and Kathleen Dierkes Condee David and Ann Shallcross-Wolfgang Honey and Bill Jaffe Endowment Dan and Melinda Stearns Honey and Bill Jaffe Dennis W. and Joan S. Thomson Dan and Linda Treviño McQuaide Blasko Endowment Barbara R. and Joel A. Weiss Mr. and Mrs. James Horne Charlotte Zmyslo Penn State International Dance Ensemble Endowment Elizabeth Hanley and Patrick Kolivoski

vision Enriching lives through inspiring experiences

mission The Center for the Performing Arts provides a context, through artistic connections, to the human experience. By bringing artists and audiences together we spark discovery of passion, inspira- tion, and inner truths. We are a motivator for creative thinking and examination of our relationship with the world.