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Home , 2015 in jazz, Adam Rudolph, Archie Shepp, Cecil McBee, Cecil Payne, Cleo Brown

during the rehearsal for the 2015 NEA Masters concert. Photo by Michael G. Stewart NATIONAL ENDOWMENT FOR THE ARTS

2016 Fellows WENDY OXENHORN

February 19, 2016

I send greetings to all those gathered to honor the 2016 NEA Jazz Masters.

For generations, the rich sounds of jazz have embodied the rhythm, struggle, beauty, and promise of our country and our people. This most American of art forms holds the power—across all the styles it has inspired—to capture our Nation in the vibrant origins of our past, in our spirit of perpetual discovery, and in our willingness to reinvent ourselves and shape our future.

From its beginnings in the hearts of African Americans—joining influences spanning Africa and Europe to set freedom’s cause to music—through the emergence of , the birth of cool, and the evolutions that have followed, jazz has endured as a timeless symbol of what America is and what we can become. By recognizing iconic figures who have expanded the boundaries of jazz, you are celebrating not only the ways music has enriched our Nation, but also the hopes and ideals that define us.

As you come together, you have my best wishes for an outstanding concert and ceremony. b

he National Endowment for the Arts Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art; musicians and advocates Twho had, and continue to have, a significant impact on one of the great artistic inventions of the 20th century.

The 2016 NEA Jazz Masters have certainly had such an impact. Gary Burton’s four-mallet method on the and desire to bridge the musical genres of jazz and rock helped spawn an entirely new audience for the music. Wendy Oxenhorn saw a need in the jazz community to assist musicians without means and has led the Jazz Foundation of America for the past 15 years in providing medical and other assistance to more than 5,000 musicians annually. Pharoah Sanders injected a strong sense of spirituality into his music, taking the mantle from and bringing it into the 21st century. Archie Shepp’s music shed light on issues of racism and inequality, connecting with audiences in ways that sometimes only music can. These individuals have had an impact not just on the music, but on American culture.

The National Endowment for the Arts is celebrating its impact on American culture this year as well, as part of its 50th anniversary, which launched on September 29, 2015. A special section on the NEA website was created to highlight artists, arts organizations, and projects the agency has supported since 1965, as well as stories we have collected from the public about their Photo by Strauss Peyton Studios arts experiences (including one from NEA Jazz Master David Liebman!). Additionally, we are engaging with the public on new initiatives, such as our inaugural songwriting challenge for high school students, and Creativity Connects*, which explores how the arts connect with non-arts sectors through a grant opportunity, an infrastructure report about what resources artists need in order to create, and an interactive digital graphic that shows where the bright spots are across the nation. You can find more information on all of these at arts.gov.

The NEA Jazz Masters tribute concert has occurred in different locations over the years—, New York; Long Beach, California; Toronto, Canada—but as part of the NEA's anniversary celebration, we brought it to the nation’s capital in 2016. I would like to thank our partner, the John F. Kennedy Center for the Performing Arts, for producing the NEA Jazz Masters tribute concert in their Concert Hall. The concert is webcast live by the Kennedy Center (kennedy-center.org) and the NEA (arts.gov), among others, and will be archived for later viewing.

Please join me in honoring the 2016 NEA Jazz Masters for their work in the jazz field and their contributions to the nation’s cultural heritage.

Jane Chu Chairman National Endowment for the Arts

*Creativity ConnectsTM is used with permission from Crayola, LLC.

CONTENTS

2016 NEA Jazz Masters ...... 9 Gary Burton ...... 10 Wendy Oxenhorn ...... 12 Pharoah Sanders ...... 14 Archie Shepp ...... 16 A Brief History of the Program ...... 18 Nomination Overview ...... 21 Previous Events ...... 22 NEA Jazz Masters, 1982-2016 ...... 26

Rudresh Mahanthappa and Ingrid Jensen were part of the house band for the 2015 NEA Jazz Masters concert at Jazz at Lincoln Center. Photo by Michael G. Stewart 8 National Endowment for the Arts 2016 NEA JAZZ MASTERS Gary Burton Wendy Oxenhorn Pharoah Sanders Archie Shepp

NOTES: Names in bold in biographies denote NEA Jazz Masters awardees. All recordings listed in Selected Discography are under the artist’s name unless otherwise noted. Years listed under recordings in Selected Discography denote the years the recordings were made. 2016 NEA Jazz Masters 9 GARY BURTON

ary Burton’s four- During the late 1960s, 1970s, mallet technique on and 1980s, Burton continued Gthe vibraphone gave to experiment with his the instrument a new musical sound, recording Carla Bley’s vocabulary in jazz and a fuller, -long piece A Genuine more piano-like sound than Tong Funeral; performing in the traditional two-mallet various configurations, such approach. He was one of the as solo, duos, quartets, and progenitors of with chamber orchestras; and in the late 1960s, and had a continuing to work in other decades-long educational genres such as country, rock, career at the Berklee College tango, and classical. At the of Music. same time, Burton continued to mentor notable guitarists Burton taught himself to play in his bands, including Pat the vibraphone and, at the age Metheny, , Kurt 17, made his first recording Rosenwinkel, and . in Nashville, Tennessee, with legendary guitarist Hank In 1971, Burton embarked Garland. With the help of on an education career at , another leading the Nashville guitarist, Burton as a teacher of percussion secured a record deal with and improvisation. In 1985, RCA and released his debut he became the institution’s album, New Vibe Man in Town, dean of curriculum. In 1989, in 1961 while studying at he received an honorary Berklee. doctorate of music from Photo by Michael Wilderman Berklee and, in 1996, he was At 19, on a recommendation appointed executive vice from Marian McPartland, president, a position he held SELECTED DISCOGRAPHY Burton joined pianist George until his retirement in 2004. Shearing’s group, and then worked from 1964 to 1966 Post-Berklee, Burton formed In Concert with . As a member several new bands and (BMG International, 1968) of Getz’s quartet, Burton was expanded his collaborations Passengers recognized by DownBeat with , Pat (ECM, 1976) magazine as “Talent Deserving Metheny, and other musicians. of Wider Recognition” (1965). His Generations band in the Like Minds In 1967, he formed a quartet early 2000s featured young (, 1997) featuring , an musicians, and in 2012 he electric guitarist, as one of the assembled the New Gary Chick Corea & Gary Burton soloists. The quartet’s first two Burton Quartet (with Julian Hot House in 1967—Duster and Lage, Antonio Sánchez, and (Concord Jazz, 2012) Lofty Fake Anagram—changed ) with which he the jazz landscape by adding records and performs. Burton Guided Tour rock elements to the music. has received 22 Grammy (Mack Records, 2013) In 1968, he won DownBeat’s nominations and won seven “Jazzman of the Year” award. Grammy Awards. 10 National Endowment for the Arts VIBRAPHONIST, BANDLEADER, EDUCATOR

Born January 23, 1943 in Anderson, IN

Excerpts from the interview conducted by the Kennedy Center for the NEA…

Playing with Chick Corea Inspiration

“The musical connection that I have with Chick “Inspiration is definitely one of the things that comes Corea is something that’s unique in my history. out of teaching. There’s also playing with younger Improvisation is like having a conversation with musicians. I noticed that musicians tend to fall into someone, with one big difference. When you talk one of two camps. They either prefer playing with back and forth with a friend who you know well, seasoned professionals like themselves, who are you can guess where they’re going next. But when very established and predictable, or they’re drawn you’re playing music, you don’t have to wait for to young players who are in the midst of discovery, the other person to talk—you talk at the same time. and growing and changing. I am one that finds that You’re playing at the same time, but you’re having incredibly inspiring and energizing.” this conversational interaction. There’s potential for a lot of fireworks to happen if the rapport is at a high level. We’ve been doing that all these years.”

The Guitar Whisperer

“I was introduced to the combination of guitar and vibraphone in my first professional experience with the guitarist Hand Garland. Then when it came time to start my own band, I wanted to do this rock influence thing, so the guitar was a logical instrument.

“I’m known as the guitar guru. I’m a guitar whisperer or something like that. I find guitar players, often undiscovered players, who I can just tell by their first efforts have a lot of talent. I could see myself playing with them.” Photo by Bill Gallery 2016 NEA Jazz Masters 11 WENDY OXENHORN

endy Oxenhorn middle school students with is the executive drug-addicted parents. Wdirector and vice chairman of the Jazz Six years later, she moved Foundation of America on to JFA, which was (JFA), which is committed founded in 1989 by Billy to “providing jazz and Taylor, Herb Storfer, Ann musicians with financial, Ruckert, and Phoebe medical, housing, and Jacobs, with a legal assistance as well as local focus on . performance opportunities, By 2005, due to the work of with a special focus on the Oxenhorn, the foundation elderly and veterans who expanded to nationwide have paid their dues and operations with a full-time find themselves in crisis staff. Since 2001, she has due to illness, age, and/ raised more than $25 million or circumstance.” She has through events like the now held the position at JFA, annual “A Great Night in headquartered in New York Harlem.” Her fundraising City, since 2000. efforts enabled the JFA to increase the organization’s At age 14, Oxenhorn capacity to provide attended the School of emergency assistance from American Ballet and 35 to more than 5,000 cases danced with New York City annually. Ballet. At 17, she suffered a career-ending knee injury The JFA participated on that catapulted her into multiple levels in the 2005 Photo by Francesco Pini depression, leading her Hurricane Katrina relief: to a suicide hotline. She finding new housing; ended up consoling the creating employment counselor on the line, who opportunities for more herself was depressed. than 1,000 displaced New Oxenhorn began working Orleans musicians and their at the suicide hotline three children; and acquiring A.B. Spellman days later, prompting her new musical instruments to make helping others her to replace those lost in professional focus. the flood waters. In late NEA Jazz Masters 2005, Oxenhorn created In 1990, she co-founded the Agnes Varis Jazz in Street News, a publication the Schools Program. Award for Jazz that provided employment The program’s goals are and income for homeless to create dignified work Advocacy individuals. In 1994, she opportunities for ill as launched Children of well as unemployed and Substance, a public school underemployed musicians program that created of retirement age and support groups for female introduce the music to new 12 National Endowment for the Arts MUSICIANS' ADVOCATE

audiences. This program Excerpts from the interview conducted by the Kennedy Center for the NEA... has enabled hundreds of musicians to participate in blues and jazz performances On the Jazz Foundation of America for more than 80,000 public school students across “This is helping people who would never ask for help. This is helping people approximately 15 states who work six and seven nights a week until three in the morning for next to each year. nothing for the love of the art (and to pay their rent). They’re always on the fringe because they didn’t care about the money.” Oxenhorn was honored for her humanitarian efforts on behalf of jazz and blues Why the Jazz Foundation Matters musicians at the 2004 Grammy Lunch by the Artist “I remember coming up to me. He said, ‘Wendy, I was in an Empowerment Coalition airport and I saw . He’s losing his sight…I’m worried about him.’ (AEC), a nonprofit coalition of artists, musicians, and “I called Cecil—I didn’t know Cecil. We started talking, and he said, ‘Lady, performers. She was I don’t need any help. I’m fine.’ I said, ‘There’s this thing called Meals on also honored by SESAC, Wheels, and they bring food to your house.’ He goes ‘No, no, no, no, no. I WBGO FM radio, the Jazz don’t need none of that,’ and he hangs up the phone on me. I called him back Journalists Association, the next morning. He goes, ‘Don’t worry about me.’ I said, ‘I won’t worry and HBO. In 2015, Jazz at about you if you’d let them come once.’ Lincoln Center honored her with the Ashley “Because he started eating well, he started wanting to play. We hooked him up Schiff Ramos Community with some young musicians. got him a gig at the museum with Development in Jazz Award. him, and his life started up. We started giving him gigs. It changed his life.” She also serves on the board of directors of the in Switzerland On and is a blues harmonica player. “If it wasn’t for Clark Terry, there wouldn’t have been a . Quincy always says Clark was his mentor.

“Clark really suffered when he was 90, when he lost both his legs. They had to amputate from the infections. He’s ended up being a voice of courage for people—Clark chose to give his remaining years and his time to these great students, like Justin Kauflin.

“The Jazz Foundation was able to come into play by giving him a home health aide, who could be with him at home so he wouldn’t be having to live in a nursing home, where the [students] couldn’t visit at two in the morning, where he might not have a private room. Because of that, he was able to teach these amazing kids.

“As a result, all those people that he taught, like Quincy, will use his example when they are old. They will create purpose in their lives and [share their knowledge with] the next generation.”

2016 NEA Jazz Masters 13 PHAROAH SANDERS

errell “Pharoah” Sanders then on their dual-tenor is a Grammy Award- recording Meditations (both Fwinning jazz saxophonist 1965). Sanders was strongly who has shown a remarkable influenced by Coltrane, facility performing in a including spiritual elements variety of styles, from free to such as the chanting in mainstream, displaying what his release Om. In 1968, has been called “hard-edged he participated in Michael lyricism.” Emerging from John Mantler and Carla Bley’s Coltrane’s groups of the mid- Jazz ’s Orchestra 1960s, Sanders is known for Association album The Jazz his distinctive sound marked Composer’s Orchestra. A year by overblowing, harmonic, later, Sanders recorded one and multiphonic techniques. of his most commercially successful albums, Karma, Sanders was born into a featuring the 32-minute musical family, and he took up track “The Creator has a the clarinet as a child. In high Master Plan” with pianist school, he was first exposed and to jazz by his band director. vocalist ’ unique He switched to the tenor yodeling. and soon played blues gigs around Little Rock. In the 1970s, Sanders began After high school, Sanders experimenting with African moved to Oakland, California, rhythms, such as on his studying art and music at 1971 album with the Oakland Junior College. bassist , which Known in the San Francisco continues to influence his Photo by Michael Wilderman Bay Area as “Rock” or “Little music. In 1994 he traveled to Rock,” Sanders expanded his to record The Trance repertoire to include bebop, of Seven Colors with Gnawa , classical, musician Mahmoud Guinia. SELECTED DISCOGRAPHY and , performing with Towards the end of the musicians such as Ed Kelly decade and into the 1980s, Tauhid and Smiley Winters. he continued to explore other (Impulse!, 1966) styles of jazz, such as modal In 1961, he moved to New Karma and , and ventured York City, where he first into rhythm and blues. (Impulse!, 1969) began to use the name “Pharoah.” Sanders formed In 1988, Sanders received a Elevation his first group in 1963 with Grammy Award (along with (Impulse!, 1973) pianist , bassist McCoy Tyner, , Live , and drummer Cecil McBee, and David (Theresa Records, 1981) . However, he Murray) for the album Blues came to greater prominence for Coltrane: A Tribute to John The Creator Has a Master Plan playing and recording with Coltrane. Sanders continues to (Tokuma Records, 2003) John Coltrane’s band, first tour nationally and appear at on the album Ascension and major international festivals. 14 National Endowment for the Arts SAXOPHONIST, COMPOSER

Born on October 13, 1940 in Little Rock, AR

Excerpts from the interview conducted by the Kennedy Center for the NEA…

Finding His Sound on the Saxophone

“On saxophone, you can express yourself more, because it’s a reed instrument. You can bend notes. You can do so many things with the mouthpiece, while playing on a trumpet is not quite like that. A flute is not quite like that.

“I would hear something and try to see if I can do it…. I was just trying to see if I could play a pretty note, a pretty sound. I don’t know whether I knew what a pretty sound or what a good sound was at the time. Other players told me that I had a good sound. I kept on trying to improve my sound and trying to perfect my sound.”

Defining His Name

“I never told anybody on the West Coast my name was Ferrell Sanders. When they saw that I came from Little Rock, then they started calling me Rock.

[When I moved to New York], I joined the 802 union, and I gave them my name, Ferrell Sanders. They had another space. If you want to have an audience name you can, so I put down Pharoah, and that’s how that came about—everybody looking at me as Pharoah.”

The Spiritual Side to Music

“I always felt music is a very spiritual kind of thing. I grew up in a church…I was raised up in it. I feel like all of my music is coming from the creative within myself. Whatever comes through me, I’m trying to express and free myself, let it out, whatever it is. Sometimes you just have to play.”

Photo by Michael Wilderman 2016 NEA Jazz Masters 15 ARCHIE SHEPP

rchie Shepp is a Ascension recording and jazz saxophonist was featured—along with Abest known for John Coltrane—on New his Afrocentric music of Thing at Newport, a live the late 1960s, a unique album with two sets from style of free-form avant- the 1965 Newport Jazz garde jazz blended with Festival. At this time, African rhythms, and for Shepp began looking to his collaborations with John African cultural and music Coltrane, , traditions for inspiration, as , and the New shown on such recordings York Contemporary Five as The Magic of Ju-Ju (1967), ensemble. His long career as a recording featuring an educator has focused on an African percussion ethnomusicology, looking ensemble. Before the end at the history of African- of the decade, he added American music from its teaching to his activities, origins in Africa to today. first at the University at Buffalo, New York, and in Shepp was born in Florida 1971 at the University of but grew up in , Massachusetts, where he Pennsylvania, studying spent the next 30 years piano, clarinet, and alto as a professor in the saxophone before switching Afro-American Studies to the tenor. He studied department. drama at Goddard College Photo by Michael Wilderman from 1955 to 1959, but In 2004, Shepp co-founded chose music as his main the French profession. Shepp’s first ArchieBall to release his recording under his own albums. The 2013 release SELECTED DISCOGRAPHY name Archie Shepp - Bill by the label, I Hear the Dixon Quartet was released Sound by the Archie Shepp Fire Music in 1962. , an Attica Blues Orchestra, was (Impulse!, 1965) album featuring four John nominated for a Grammy Coltrane compositions Award. The artist is featured The Way Ahead (and one of his own) in the 1981 documentary (Impulse!, 1968-69) followed in 1964, taking filmImagine the Sound, Archie Shepp & Horace Parlan Coltrane’s compositions produced by Ron Mann, into a more avant-garde and in Archie Shepp: je suis Goin' Home direction that Coltrane jazz c’est ma vie, a 2007 (Steeplechase, 1977) himself would follow. documentary by Frank Live in New York Shepp’s bands in the mid- Cassenti. 1960s featured musicians (Verve, 2000) including , I Hear the Sound , Beaver (ArchieBall, 2012-13) Harris, and Grachan Moncur III. In 1965, Shepp was a sideman on John Coltrane’s 16 National Endowment for the Arts SAXOPHONIST, COMPOSER, EDUCATOR

Born on May 24, 1937 in Fort Lauderdale, FL

Excerpts from the interview conducted by the Kennedy Center for the NEA…

Music as Theater

“I majored in theater in college. I first heard Ezra Pound and T.S. Eliot on recordings. When I was a young kid, I only heard music on records. I never conceived of words being put on a recording. I was impressed with the poets and poetry in the same format as I would listen to music. I very early saw the connection between theater and music. For me, even today, my performances always have an aspect of theater. I’d do things on stage [that] I know would generate a visual connection, and it seems to make the music somewhat stronger and more integral to the entire presentation.”

The Influence of Cecil Taylor

“My background was very traditional and conventional until I met Cecil Taylor in the early 1960s. Cecil was quite a big influence on me, intellectually and musically. Part of my evolution as an African American, as a musician, is due to my conversations with him and the influence he had on my later development. He opened up an entirely new set of options for me, as far as playing music without chords, changing tempos…. Music didn’t always have to have chords to have a dance beat. All those things were important.”

From Work Songs to Rap

“Music has always been a balm to the soul with the African-American people, going back to slavery where we’re singing songs to work, spirituals, blues, and the eventual evolution of instrumental music in New Orleans and the piano stride on the East Coast. When I look at young kids today, rapping and hip-hop and all those forms, I’m taken back to the spiritual and the blues and how important music has been in helping us, helping the music to evolve, and helping my people to survive.”

Photo by Michael Wilderman 2016 NEA Jazz Masters 17 A BRIEF HISTORY OF THE PROGRAM

NEA Jazz Masters (from left) , , and Clark Terry at the 1991 ceremony. Photo by Michael Wilderman

18 National Endowment for the Arts melding of African orchestras disbanded for In an effort to nationally the free market has not and European music lack of work, and musicians recognize outstanding been kind. Despite their A and cultures, jazz found themselves in stiff jazz musicians for their unparalleled contributions was born in the United competition for fewer and lifelong achievements to American art, many jazz States, a new musical fewer gigs. The music, and mastery of jazz, the greats worked for years form that used rhythm, starting with bebop and Arts Endowment in 1982 just barely scraping by. The improvisation, and into hard bop and free jazz, created the American monetary award often has instruments in unique and became more cerebral Jazz Masters Fellowships provided a much-needed exciting ways. Jazz came and less dance-oriented, (renamed the NEA Jazz infusion of income. to prominence in the early focusing on freeing up Masters Fellowships in 20th century on the dance improvisation and rhythm. 2004). These awards The three individuals floors of major cultural It was moving in a new are given to musicians who were chosen as the centers such as Kansas City artistic direction, and, if who have reached an inaugural class certainly and New York. With the this high quality were to be exceptionally high standard lived up to the criteria advent of sound recording maintained, it would need of achievement in this very of artistic excellence capabilities, the increased some assistance. specialized art form. and significance to the availability of affordable art form: , gramophones, and the NEA support for the jazz In addition to the , and Sun rise of radio as popular field began in 1969 with recognition, the NEA Ra. The advisory panel in entertainment, jazz quickly a grant to jazz composer, included a monetary that first year included conquered the country. By musician, and theoretician award of $20,000 for each stellar jazz musicians the 1930s and 1940s, jazz George Russell (named an fellowship. The rigors of themselves, including some had become America’s NEA Jazz Master in 1990). making a living in the jazz future NEA Jazz Masters: dance music, selling albums Activities supported by the field are well documented. trumpeter and and performance tickets at NEA include jazz festivals Jazz is an art form to which saxophonists , dizzying rates and sweeping and concert seasons, millions of fans in foreign special projects such as Dr. countries off their feet. ’s Jazzmobile in New York and the By the 1950s, however, with Institute the advent of rock and roll of Jazz’s Jazz Sports and the tilt in jazz toward program, educational jazz bebop rather than the more programming on National popular swing, jazz began Public Radio, artists-in- a decline in its popularity. It schools programs, and continued to be seen as an research. important and exciting art form, but by an increasingly While the NEA recognized smaller audience. Jazz and acted on the need for was still being exported public funding for jazz, overseas, though, especially the pioneers of the field by Voice of America radio were rapidly aging, and broadcasts and U.S. many died without the Department of State appropriate recognition goodwill tours that featured of their contributions to such musicians as Dizzy this great American art Gillespie, , form. Louis Armstrong and . and , two of the giants of jazz in By the 1960s, when the terms of both musicianship National Endowment for and composition, both the Arts (NEA) was created died in the early 1970s by Congress, jazz album without the importance of sales were down and their contributions being live performances were fully acknowledged and becoming more difficult appreciated. to find. Large dance Chilean saxophonist performs with NEA Jazz Master at the 2014 concert. Photo by Michael G. Stewart 2016 NEA Jazz Masters 19 Jackie McLean, Archie 33 venues nationwide, from boogie-woogie (Cleo The award offers a solid Shepp, and . with performances and Brown) to swing (Count platform for raising In addition, legendary educational activities Basie, Andy Kirk, Jay worldwide awareness of Riverside record company reaching more than 200,000 McShann); from bebop America’s rich jazz heritage co-owner and producer people, including 13,000 (Dizzy Gillespie, Kenny by not only honoring those (also an youth. Clarke) to (Danny who have dedicated their NEA Jazz Master) was on Barker); from free jazz lives to the music, but the panel. New programming for (, Cecil also by leading the way broadcast was developed, Taylor) to (Miles in efforts encouraging From that auspicious such as Jazz Moments Davis, , Ahmad the preservation and beginning, the program radio shorts and podcast Jamal); and everywhere nourishing of jazz as an has continued to grow interviews with NEA in between. What ties important musical form for and provide increased Jazz Masters (both Jazz all these styles together generations to come. awareness of America’s Moments and podcasts can is a foundation in the rich jazz heritage. In 2004, be downloaded for free at blues, a reliance on group a new award was created the NEA site on iTunes U). interplay, and unpredictable for those individuals improvisation. Throughout The NEA has also who helped to advance the years, and in all supported the Smithsonian the appreciation of jazz. the different styles, Jazz Oral History Program In 2005, the award was these musicians have to document the lives and designated the A.B. demonstrated the talent, careers of nearly 100 NEA Spellman NEA Jazz Masters creativity, and dedication Jazz Masters (go to Award for Jazz Advocacy in that make them NEA Jazz www.smithsonianjazz.org honor of A.B. Spellman, a Masters. jazz writer, accomplished and click on “Oral poet, innovative arts Histories”). In addition administrator, and former to transcriptions of the NEA deputy chairman, hours-long interviews, the who has dedicated much website also includes audio of his life to bringing the clips that provide unique joy and artistry of jazz to views on everything from all Americans. Additionally, their early years to their the amount of the first introduction to music fellowship was increased to to the working life of a $25,000. jazz musician in the artists’ voices. During the same year, the NEA Jazz Masters The NEA’s support of jazz initiative included several in general has continued new programs in addition to grow over the years. In to the fellowships. A two- the decade between 2005 CD anthology of NEA and 2015, the NEA awarded Jazz Masters’ music was more than $31 million in produced by Verve Music jazz-related grants and Group. NEA Jazz Masters additional support to the on Tour, sponsored by field. Verizon, brought jazz Each passing year brings musicians to all 50 states increased international throughout 2005-07 for recognition of the NEA performances, community Jazz Masters awards as the events, and educational nation’s highest honor for programs. That program outstanding musicianship was followed by NEA Jazz in the field of jazz. The Masters Live, which from recipients of the NEA 2008 to 2014 brought Jazz Masters award cover 51 NEA Jazz Masters to all aspects of the music: plays during the 2009 NEA Jazz Masters concert. Photo by Tom Pich 20 National Endowment for the Arts NOMINATION OVERVIEW

he National are musical excellence nominations each year. Nominations remain Endowment for the and significance of the Nominations are made active for five years, being T Arts recognizes the nominees’ contributions by submitting a one- reconsidered annually importance of jazz as one to the art of jazz. The NEA page letter detailing during this period. of the great American honors a wide range of the reasons that the art forms of the 20th and styles while making the nominated artist should Posthumous nominations 21st centuries. As part awards. There is also a receive an NEA Jazz will not be considered. of its efforts to honor special award, the A.B. Masters Fellowship and Individuals who have those distinguished Spellman NEA Jazz Master a resume or biography previously received artists whose excellence, Award for Jazz Advocacy, (maximum two pages) an NEA lifetime honor impact, and significant which is given to an that outlines the award (National Heritage contributions in jazz individual who has made career of the nominee. Fellowship, Jazz Masters have helped keep this major contributions to the Nominations submitted to Fellowship, or an Opera important art form appreciation, knowledge, the NEA by the deadline Honor) are not eligible. alive, the NEA annually and advancement of jazz. are reviewed by an Information on the NEA awards NEA Jazz Masters advisory panel of jazz Jazz Masters award is Fellowships, the highest Fellowships are awarded experts and at least one available on the NEA honor that our nation to living artists on the knowledgeable layperson. website: arts.gov. bestows upon jazz basis of nominations Panel recommendations musicians. Each fellowship from the general public are forwarded to the award is $25,000. and the jazz community. National Council on the Nominees must be Arts, which then makes The NEA Jazz Masters citizens or permanent recommendations to the NEA Jazz Masters Kenny Fellowship is a lifetime residents of the United Barron and play chairman of the National ’ “Placitude” during achievement award. The States. An individual Endowment for the Arts. the 2014 concert. Photo by criteria for the fellowships may submit one or more Michael G. Stewart 2016 NEA Jazz Masters 21 PREVIOUS EVENTS

Hank Jones, , Billy Taylor (2004) Louis Bellson, (2005) Photo by Tom Pich Photo by Vance Jacobs

Quincy Jones, (2008) Photo by Tom Pich , Sheila Jordan (2012) Photo by Michael G. Stewart , (2009) Photo by Tom Pich

Eddie Palmieri, (2013) Photo by Michael G. Stewart

22 National Endowment for the Arts Here are a few candid moments from NEA Jazz Masters events, 2004-2015...

Nancy Wilson, , , Ramsey Chick Corea, Roy Haynes, Ron Carter (2006) Lewis (2007) Photo by Tom Pich Photo by Tom Pich , (2010) , Photo by Tom Pich (2011) Photo by Frank Stewart

David Liebman, (2014) , (2015) Photo by Michael G. Stewart Photo by Michael G. Stewart

2016 NEA Jazz Masters 23 ... and some performances.

Dave Brubeck (2004) (2005) Photo by Tom Pich Photo by Vance Jacobs

Frank Wess (2008) Photo by Tom Pich

George Benson (2009) Photo by Tom Pich

Richard Davis (2014) Photo by Michael G. Stewart Jack DeJohnette, Sheila Jordan, Ron Carter, Jimmy Owens (2012) Photo by Michael G. Stewart

Lou Donaldson (2013) Photo by Michael G. Stewart 24 National Endowment for the Arts Nancy Wilson (2007) Photo by Tom Pich

Barry Harris (2006) Photo by Tom Pich

Adam Rudolph and (2010) The Marsalis Family (2011) Photo by Tom Pich Photo by Frank Stewart

Charles Lloyd (2015) Photo by Michael G. Stewart

2016 NEA Jazz Masters 25 NEA JAZZ MASTERS, 1982-2016

1982 1990 1998 2005 Roy Eldridge* George Russell* Ron Carter Dizzy Gillespie* Cecil Taylor James Moody* Paquito D’Rivera * Gerald Wilson* * * 1983 1991 1999 * * Danny Barker* Dave Brubeck* George Wein * Buck Clayton* * Andy Kirk* * Clark Terry* 2006 * 1984 2000 Ornette Coleman* 1992 * * * Donald Byrd* Chick Corea * * Marian McPartland* Buddy DeFranco* Sweets Edison* * John Levy* 1985 2001 Gil Evans* 1993 * * Jackie McLean* 2007 * * Randy Weston Toshiko Akiyoshi Joe Williams* 1986 2002 * * 1994 Frank Foster* Frank Wess* * * * * * Ahmad Jamal McCoy Tyner Carmen McRae* 2008 1987 2003 Cleo Brown* 1995 Jimmy Heath Andrew Hill* * * * Quincy Jones Jay McShann* Roy Haynes Abbey Lincoln* Tom McIntosh * * 1988 2004 Joe Wilder* * 1996 * * * Chico Hamilton* 2009 Billy Taylor* J.J. Johnson* * Jimmy Cobb 1989 Nancy Wilson Toots Thielemans Barry Harris 1997 * Billy Higgins* * * * Anita O’Day*

* deceased 26 National Endowment for the Arts NEA JAZZ MASTERS, 1982-2016

2010 2016 Gary Burton George Avakian Wendy Oxenhorn Pharoah Sanders Archie Shepp Bobby Hutcherson Yusef Lateef* Annie Ross *

2011 Orrin Keepnews* David Liebman The Marsalis Family

2012 Jack DeJohnette * * Sheila Jordan Jimmy Owens

2013 Mose Allison Lou Donaldson Lorraine Gordon Eddie Palmieri

2014 Jamey Aebersold Anthony Braxton

2015 Carla Bley Charles Lloyd Joe Segal

Ornette Coleman at 2007 NEA Jazz Masters event. Photo by Katja von Schuttenbach

2016 NEA Jazz Masters 27 CREDITS

This publication is published by: National Endowment for the Arts Office of Public Affairs

Don Ball, Editor Designed by Kelli Rogowski

Thanks to Elizabeth Auclair, Ann Meier Baker, and Katja von Schuttenbach for editorial assistance.

The 2016 NEA Jazz Masters tribute concert is produced in collaboration with the John F. Kennedy Center for the Performing Arts in Washington, DC. The Kennedy Center is the nation’s busiest performing arts center, hosting approximately 3,000 events each year for audiences numbering more than two million. For more information, go to kennedy-center.org.

April 2016

Voice/TYY: (202) 682-5496 For individuals who are deaf or hard-of-hearing.

Individuals who do not use conventional print may contact the Arts Endowment’s Office for Accessability to obtain this publication in an alternate format. Telephone: (202) 682-5532

National Endowment for the Arts 400 7th Street, SW Washington, DC 20506-0001 (202) 682-5400

Additional copies of this publication can be obtained for free by contacting the NEA website: arts.gov.

28 National Endowment for the Arts Carla Bley NEED CAPTION

Candido Camero, Joe Wilder, and Paquito D’Rivera jam for the finale of the 2008 NEA Jazz Masters concert. Photo by Tom Pich