DOCSLIB.ORG

Cécile Mclorin Salvant, Wycliffe April 9 at 7Pm & 9:30Pm in the Appel Room Gordon, and More

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cécile Mclorin Salvant, Wycliffe April 9 at 7Pm & 9:30Pm in the Appel Room Gordon, and More Friday Evening, February 26, 2016, at 8:30 Charles Busch: The Lady at the Mic Tom Judson, Music Director and Piano The The Program Guy Klucevsek, Accordion Joe Gallant, Bass Carl Andress, Director This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Jill and Irwin B. Cohen, The G & A Foundation, Inc., Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts. Artist catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM: Saturday Evening, February 27, at 8:30 Terri Lyne Carrington’s Mosaic Project: Love & Soul featuring Valerie Simpson & Oleta Adams IN THE STANLEY H. KAPLAN PENTHOUSE: Wednesday Evening, March 16, at 8:00 Luluc Thursday Evening, March 17, at 8:00 Anaïs Mitchell Friday Evening, March 18, at 8:00 The Cooper Clan All Together Wednesday Evening, March 30, at 8:00 Liz Callaway sings Maltby & Shire Thursday Evening, March 31, at 8:00 Imani Uzuri Friday Evening, April 1, at 8:00 Grace McLean The Appel Room is located in Jazz at Lincoln Center’s Frederick P. Rose Hall. The Stanley H. Kaplan Penthouse is located in the Samuel B. and David Rose Building at 165 West 65th Street, 10th floor. For tickets, call (212) 721-6500 or visit AmericanSongbook.org. Call the Lincoln Center Info Request Line at (212) 875-5766 or visit AmericanSongbook.org for complete program information. Join the conversation: #LCSongbook We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. Flash photography and the use of recording equipment are not allowed in the building. American Songbook I Note on the Program Why You Gotta Love the Lady at the Mic By Charles Busch A deep love and fascination for actresses has very much defined my career as an actor/playwright. Many of my plays have paid homage to the pantheon of iconic women of film and theater, from Sarah Bernhardt to Greer Garson. For the past few years I’ve been immersed in the world of cabaret and find myself inspired by another feminine icon: the lady at the mic. There is something magical about the image of the vulnerable but indomitable woman standing in the spotlight commanding an audience. Whereas in my theater performances I sometimes evoke Bette Davis, Susan Hayward, and Rosalind Russell, in my cabaret work I manage to slip in elements of Judy Garland, Marlene Dietrich, Edith Piaf, and Peggy Lee. There have been, of course, great male performers, but I tend to think of them as part of the tradition of the “saloon singer” best exemplified by Frank Sinatra and Tony Bennett. This is a very personal view, but somehow the intimate cabaret stage seems to be more the province of the lady at the mic. I may have come to this conclusion because of the many movies that featured the character of a world-weary dame performing in a usually disreputable establish- Note on the Program the on Note ment. She often enters to spotty applause, sings one number, and then quickly retreats to the bar to engage in tough banter with the man who’s giving her trouble. Indelible images were etched on my mind of Rita Hayworth performing “Put the Blame on Mame” in Gilda and Ida Lupino grinding out her cigarette on top of the piano and then croaking her way through “One for My Baby” in Road House. When she finishes, Celeste Holm memorably quips, “She does more without a voice than anyone I’ve ever heard.” Sometimes the singin’ woman’s warbling is barely tolerated, as when poor Gladys George in The Roaring Twenties is dismissed as “that off-key canary.” The concept of the chanteuse also conjures forth a glittering, glamorous post–World War II Manhattan. One can fantasize about showing up at one of those great supper clubs of the past such as the Persian Room, the Empire Room, or Le Directoire to see Lena Horne, Lisa Kirk, or Kay Thompson wowing a crowd of elegantly dressed sophisticates. And it must have been great fun going to the less opulent but edgier rooms like the Blue Angel or the Bon Soir and discovering a young Barbra Streisand or Carol Burnett. This evening’s show, The Lady at the Mic, pays tribute to a group of extra- ordinarily talented women who made notable contributions to the world of cabaret: Elaine Stritch, Julie Wilson, Mary Cleere Haran, Polly Bergen, and Joan Rivers. All of them passed away during the last few years and all were, to different degrees, friends of mine. Well, in the case of Elaine, I wouldn’t say we were “friends” in that we’d run off to a corner movie. American Songbook I Note on the Program The thing is that Elaine Stritch was such a vivid, tough individualist that any five-minute encounter left you with an anecdote to dine out on. In my case, I’d say I have around a dozen comic encounters that I’ve been dining out on for years. A somewhat cynical colleague of mine says that “cabaret is what you do either on your way up or on your way down.” That’s true in many cases, but not with these five ladies. Julie Wilson performed almost exclu- sively in nightclubs and cabarets for her entire career, as did Mary Cleere Haran. Polly Bergen and Elaine Stritch reinvigorated their later careers with now-legendary cabaret appearances. Joan Rivers continued playing small cabaret rooms at the height of her latter-day career as a way of honing material for her bigger venues, but I think mainly because she enjoyed performing before an intimate, hip New York audience. Indeed, she was doing her act at the West Bank Café the night before she died. It was a challenge choosing songs appropriate to each of these musical women. Except for Elaine with “The Ladies Who Lunch,” none of them actu- ally introduced famous songs. Mary Cleere was a great archivist, rediscover- ing forgotten gems of the American songbook. Polly “covered” so many songs that you can track the history of mid-century popular music from her catalogue. Elaine and Julie took songs originated by others and transformed them into highly personal dramatic statements. Sometimes their repertoire intersected. Elaine, Polly, and Julie were all great interpreters of the songs of Stephen Sondheim. Each of t hem turned his “I’m Still Here” into an individual anthem of survival. Years ago, I was friendly with the late veteran movie character actress Iris Adrian. True film aficionados know her as a wise-cracking blonde in over 100 films from the ’30s through the ’70s. When I would ask her about her experi- ence with tempestuous stars such as Joan Crawford and Betty Hutton, Iris would only reply sagely, “Kid, you gotta love an actress.” Well, I’ve come to believe the same applies to women singers. It ain’t easy. It’s a tough life. If asked about each of the women to whom we’re paying tribute in this show, I’d have to simply say, “Kid, you gotta love a lady at a mic.” —Copyright © 2016 by Lincoln Center for the Performing Arts, Inc. American Songbook I Meet the Artists DAVID HOWARD Charles Busch Meet the Artists the Meet Charles Busch is the author and star of such plays as The Divine Sister, Vampire Lesbians of Sodom, The Tribute Artist, and The Tale of the Allergist’s Wife, which ran for 777 performances on Broadway and received a Tony nomination for Best Play. He wrote and starred in the film versions of his plays Psycho Beach Party and Die Mommie Die!, the latter of which won him the Best Performance Award at the Sundance Film Festival. In 2003 Mr. Busch received a special Drama Desk Award for career achievement as both performer and playwright. He is also the subject of the acclaimed documen- tary film The Lady in Question Is Charles Busch. He is a two-time MAC Award winner and has performed his cabaret act in many cities, including San Francisco, Palm Springs, Provincetown, New Orleans, Atlanta, London, and Paris, and in New York at the Ballroom, Birdland, and 54 Below. Tom Judson Tom Judson (music director, piano) has appeared on Broadway in the Roundabout Theatre production of Cabaret at Studio 54. He toured the coun- try in that show and in 42nd Street. He composed the score to Whit Stillman’s indie film classic Metropolitan and has written songs for Sesame Street, Ann Magn uson, Lisa Kron, and many others. Mr. Judson is also the author of Laid Bare: Essays and Observations, as well as a magazine colum- nist and Huffington Post contributor. Guy Klucevsek Guy Klucevsek (accordion) is a composer and accordion virtuoso who has been a major contributor to the accordion renaissance of the last 25 years.
Load more

Recommended publications
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Aaron Diehl - Biography
    Aaron Diehl - Biography A 32-year-old classically trained pianist and composer, Aaron Diehl has made an indelible mark on the jazz world over the last 15 years. Showing an affinity for early jazz and mid-20th century “third-stream” music, his latest evolution comes as he begins to tackle modern classical works, performing works by George Gershwin with the New York Philharmonic, Cleveland Orchestra and LA Philharmonic in the last year alone. Diehl has collaborated with living masters ranging from from NEA Jazz Master Benny Golson to 20th century classical titan Philip Glass, while establishing himself as one of the preeminent interpreters of the Great American Songbook in his own trio and with the vocalist Cécile McLorin Salvant. Critics from The New York Times jazz critics have have extolled Mr. Diehl’s “melodic precision, harmonic erudition, and elegant restraint,” while the same paper’s classical critics have noted, “Mr. Diehl play[s] magnificently.” His meticulously conceived performances, collaborations, and compositions are refreshing as his highly personal aesthetic spearheads a union of tradition and original artistry, while bounding ahead on an uncharted course. Born in 1985 in Columbus, Ohio to a funeral director and a former Olympian turned education administrator, Aaron Diehl grew up in a nurturing musical environment. His grandfather, Arthur Baskerville, a pianist and trombonist was an early influence. He began studying classical piano at age 7, while his passion for jazz was further fueled while attending the Interlochen Arts Camp as a pre-teen, where he met the pianist Eldar, who exposed him to Oscar Peterson and Art Tatum recordings.
    [Show full text]
  • Presenting the Best of Music, Dance, Comedy and Entertainment from Around the World
    2015 / 2016 SEASON PRESENTING THE BEST OF MUSIC, DANCE, COMEDY AND ENTERTAINMENT FROM AROUND THE WORLD. FUN EVENTS FOR KIDS AND THE ENTIRE FAMILY. JORGENSEN Center for the Performing Arts jorgensen.uconn.edu | 860-486-4226 Thursday, October 1, 2015 at 7:30 pm University of Connecticut School of Fine Arts Anne D'Alleva, Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents Cécile McLorin Salvant The Kurland Agency Sponsored by 173 Brighton Avenue Boston, MA USA 02134-2003 (617) 254-0007 www.thekurlandagency.com CÉCILE MCLORIN SALVANT When Cécile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world’s most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild. “She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace,” Wynton Marsalis asserts. “I’ve never heard a singer of her generation who has such a command of styles,” remarks pianist Aaron Diehl. “She radiates authority,” critic Ben Ratliff wrote in The New York Times in response to one of her post- competition performances, and a few weeks later his colleague Stephen Holden announced that “Ms. McLorin Salvant has it all…. If anyone can extend the lineage of the Big Three—Billie Holiday, Sarah Vaughan and Ella Fitzgerald—it is this 23-year-old virtuoso.” Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers.
    [Show full text]
  • Aaron Diehl the Vagabond
    Aaron Diehl The Vagabond Aaron Diehl’s elegant pianism and musical sophistication take center stage once again on his third album for Mack Avenue Records, The Vagabond. His previous outings for the label—The Bespoke Man’s Narrative (2013), which reached No. 1 on the JazzWeek Jazz Chart; and Space, Time, Continuum (2015) featuring jazz masters Benny Golson and Joe Temperley—have already established him as one of the jazz world’s most vibrant stylists. The Vagabond, featuring Paul Sikivie on double bass, and Gregory Hutchinson on drums, includes original tunes by Diehl, as well as music by past jazz greats, John Lewis and Sir Roland Hanna, along with classical composers Sergei Prokofiev and Philip Glass. That range of repertoire suggests a sort of musical double life, a state of affairs that helped give rise to the album’s title. “I have always been fascinated in the piano’s range of tone and color” says Diehl. “This is partly rooted in my earlier interest in classical piano literature. Regardless of genre, I try to maintain an awareness of sound and nuance. Having opportunities to work with Philip Glass or perform George Gershwin’s ‘Concert in F’ with the New York Philharmonic has encouraged me to broaden my approach to pianism. They have placed me in situations completely out of my comfort zone.” As a 2007 graduate of the Juilliard School, he had studied with Russian virtuoso Oxana Yablonskaya. “She always reminds me about my tearing up when she played during our lessons,” he remembers, “with such a deep, rich sound.
    [Show full text]
  • Aaron Diehl, Piano Sat, Oct 3 Virtual Performance Piano Recital Series Aaron Diehl Piano
    PIANO RECITAL SERIES AARON DIEHL, PIANO SAT, OCT 3 VIRTUAL PERFORMANCE PIANO RECITAL SERIES AARON DIEHL PIANO SAT, OCT 3 VIRTUAL PERFORMANCE AARON DIEHL, PIANO PROGRAM The Vagabond Aaron Diehl (b. 1985) Prelude and Fugue in G Minor, Johann Sebastian Bach BWV 861 from the Well-Tempered Clavier, (1685-1750) Book I Fading Star Willie “The Lion” Smith (1893-1973) Seven Traceries William Grant Still I. Cloud Cradles (1895-1978) II. Mystic Pool III. Muted Laughter IV. Out of the Silence V. Woven Silver VI. Wailing Dawn VII. A Bit of Wit Wise Words Timo Andres (b. 1985) Blues for Peter: Excerpts from Mary Lou Williams the Zodiac Suite (1910-1981) IV. Cancer VI. Virgo XII. Pisces AARON DIEHL A 33-year-old classically trained pianist and composer, Aaron Diehl has made an indelible mark on the jazz world over the last 15 years. Showing an affinity for early jazz and mid-20th century “third- stream” music, his latest evolution comes as he begins to tackle modern classical works, performing works by George Gershwin with the New York Philharmonic, Cleveland Orchestra, Minnesota Orchestra and LA Philharmonic. Diehl has collaborated with living masters ranging from from NEA Jazz Master Benny Golson to 20th century classical titan Philip Glass, while establishing himself as one of the preeminent interpreters of the Great American Songbook in his own trio and with the vocalist Cécile McLorin Salvant. Critics from The New York Times jazz critics have have extolled Mr. Diehl’s “melodic precision, harmonic erudition, and elegant restraint,” while the same paper’s classical critics have noted, “Mr.
    [Show full text]
  • We Offer Thanks to the Artists Who've Played the Nighttown Stage
    www.nighttowncleveland.com Brendan Ring, Proprietor Jim Wadsworth, JWP Productions, Music Director We offer thanks to the artists who’ve played the Nighttown stage. Aaron Diehl Alex Ligertwood Amina Figarova Anne E. DeChant Aaron Goldberg Alex Skolnick Anat Cohen Annie Raines Aaron Kleinstub Alexis Cole Andrea Beaton Annie Sellick Aaron Weinstein Ali Ryerson Andrea Capozzoli Anthony Molinaro Abalone Dots Alisdair Fraser Andreas Kapsalis Antoine Dunn Abe LaMarca Ahmad Jamal ! Basia ! Benny Golson ! Bob James ! Brooker T. Jones Archie McElrath Brian Auger ! Count Basie Orchestra ! Dick Cavett ! Dick Gregory Adam Makowicz Arnold Lee Esperanza Spaulding ! Hugh Masekela ! Jane Monheit ! J.D. Souther Adam Niewood Jean Luc Ponty ! Jimmy Smith ! Joe Sample ! Joao Donato Arnold McCuller Manhattan TransFer ! Maynard Ferguson ! McCoy Tyner Adrian Legg Mort Sahl ! Peter Yarrow ! Stanley Clarke ! Stevie Wonder Arto Jarvela/Kaivama Toots Thielemans Adrienne Hindmarsh Arturo O’Farrill YellowJackets ! Tommy Tune ! Wynton Marsalis ! Afro Rican Ensemble Allan Harris The Manhattan TransFerAndy Brown Astral Project Ahmad Jamal Allan Vache Andy Frasco Audrey Ryan Airto Moreira Almeda Trio Andy Hunter Avashai Cohen Alash Ensemble Alon Yavnai Andy Narell Avery Sharpe Albare Altan Ann Hampton Callaway Bad Plus Alex Bevan Alvin Frazier Ann Rabson Baldwin Wallace Musical Theater Department Alex Bugnon Amanda Martinez Anne Cochran Balkan Strings Banu Gibson Bob James Buzz Cronquist Christian Howes Barb Jungr Bob Reynolds BW Beatles Christian Scott Barbara Barrett Bobby Broom CaliFornia Guitar Trio Christine Lavin Barbara Knight Bobby Caldwell Carl Cafagna Chuchito Valdes Barbara Rosene Bobby Few Carmen Castaldi Chucho Valdes Baron Browne Bobby Floyd Carol Sudhalter Chuck Loeb Basia Bobby Sanabria Carol Welsman Chuck Redd Battlefield Band Circa 1939 Benny Golson Claudia Acuna Benny Green Claudia Hommel Benny Sharoni Clay Ross Beppe Gambetta Cleveland Hts.
    [Show full text]
  • 2020 Artist Sponsorship Program
    2020 Artist Sponsorship Program Join the Monterey Jazz Festival family by sponsoring a Monterey Jazz Festival Artist. As a sponsor, you can make a personal connection with an MJF musician, while ensuring the professional and artistic growth of all MJF artists and tomorrow’s rising stars. Your contribution goes to support the Monterey Jazz Festival’s comprehensive, pre-eminent year-round jazz education and mentorship opportunities. Artist Sponsorships range between $10,000 to $20,000. SPONSORSHIP LEVELS Jazz Legend - $20,000 – SPONSORED 2020 Jazz Legend Artist and Advocate – Pat Metheny and Darlene Chan During the annual Jazz Legends Gala, the Monterey Jazz Festival honors one or two amazing performers with the Jazz Legends Award. Prior Jazz Legends include Dave Holland, Kenny Barron, Dianne Reeves, Herbie Hancock, Quincy Jones, Chick Corea, Charles Lloyd, Wayne Shorter, Jack DeJohnette, Terence Blanchard, George Wein, Gerald Wilson, and Dave Brubeck. Monterey Jazz Festival will present the 2020 Jazz Legends Award to Pat Metheny and Darlene Chan during this year’s Gala. Pat Metheny first burst onto the international jazz scene in 1974. Metheny’s trademark playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility—a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, “Bright Size Life” in 1975, he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Pat Metheny has continued to redefine the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument.
    [Show full text]
  • Eileen Horowitz: Aaron Diehl, the Real Diehl Aaron Diehl Is a Classically
    Eileen Horowitz: Aaron Diehl, the Real Diehl Aaron Diehl is a classically trained pianist and composer and performer. He has made his mark on the Jazz field for the last 15 years. He plays jazz and mid century “third stream music, which is a term coined in 1957 by Gunther Schuller it is a synthesis of jazz and classical music, and now he is tackling modern classical works. Diehl has played Gershwin with the New York Philharmonic, the Cleveland orchestra and the Los Angeles Philharmonic in the last year. And now he will be playing for those of us who are very lucky to see and hear him on October 20th. Aaron Diehl was born in Columbus Ohio in 1985. His father was a funeral director and his mother was a former Olympian who became an education administrator Aaron grew up in a musical environment and his talent was nurtured from an early age. His grandfather Arthur Baskerville was a pianist and trombonist, and he was an early influence. He began his study of classical piano at the age of 7. His love of jazz was further developed while attending Interlocken arts camp as a preteen where he met the piano prodigy Eldar Djangirov, who made a lasting impression on him and who exposed him to Oscar Patterson and art Tatum. At 17 Diehl was a finalist in jazz-at Lincoln center’s Essentially Ellington competition where he was noticed by Wynton Marsalis. Marsalis was the one who named Diehl “ the real Diehl. Soon after he was invited to tour Europe with the Wynton Marsalis septet on their European tour.
    [Show full text]
  • CÉCILE Mclorin SALVANT & the AARON DIEHL TRIO CÉCILE Mclorin SALVANT
    15 March Great Hall Auckland Town Hall CÉCILE McLORIN SALVANT & THE AARON DIEHL TRIO CÉCILE McLORIN SALVANT Cécile McLorin Salvant was born and 2015 with Aaron Diehl (piano), Paul Sikivie raised in Miami, Florida, of a French (bass) and Lawrence Leathers (drums). mother and a Haitian father. She started In 2016, For One To Love won the Grammy classical piano studies at five, and began Award for Best Jazz Vocal Album. singing in the Miami Choral Society at Her fourth album, Dreams and Daggers, eight. Early on, she developed an interest (for Mack Avenue Records), was recorded in classical voice, began studying with in part live at the Village Vanguard in 2016 private instructors, and later with Edward with Aaron Diehl (piano), Paul Sikivie Walker, vocal teacher at the University of (bass) and Lawrence Leathers (drums), Miami. The Catalyst Quartet and Sullivan Fortner. In 2007, Cécile moved to Aix-en-Provence, In 2018, she became a double Grammy France, to study law as well as classical Award winner with Dreams and Daggers and baroque voice at the Darius Milhaud also winning Best Jazz Vocal Album. Conservatory. It was in Aix-en-Provence, Ben Ratliff writes in The New York with reedist and teacher Jean-François Times, “she sings clearly, with her full Bonnel, that she started learning about pitch range, from a pronounced low jazz, and sang with her first band. In end to full and distinct high notes, used 2009, after a series of concerts in Paris, sparingly [...] Her voice clamps into each she recorded her first album Cécile, with song, performing careful variations on Jean-François Bonnel’s Paris Quintet.
    [Show full text]
  • October 2013
    Catskill Mountain Region October 2013 GUIDEwww.catskillregionguide.com Fleischmanns Celebrates 100 Years October 12, 10-2pm Featuring Pick your own pumpkins Pumpkin decorating Face painting Scarecrow building Join us for a fun time! Zoom Gallery 1164 Main/The Place To Be (845) 206-9838 • www.ZoomGallery.org Swinging on a Star Cookie’s Re-imagined Attic Pieces Coming Soon to Main St 2 • www.catskillregionguide.com TABLE OF www.catskillregionguide.com VOLUME 28, NUMBER 10 October 2013 CONTENTS PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Rita Adami Steve Friedman Albert Verdesca CONTRIBUTING WRITERS Tara Collins, Garan Santicola, Jeff Senterman, Carol and David White ADMINISTRATION & FINANCE Candy McKee, Toni Perretti, Danyelle McDowell & Cara Dantzig PRINTING Catskill Mountain Printing DISTRIBUTION Catskill Mountain Foundation On the cover: Jazz pianist and Artistic Director of the Catskill Jazz Factory Aaron Diehl will perform this October with legendary saxophonist Lew Tabackin. For more information about the concert, please see the article on page 8. EDITORIAL DEADLINE FOR NEXT ISSUE: October 6 Photo by John Abbott The Catskill Mountain Region Guide is published 12 times a year by the Catskill Mountain Foundation, Inc., Main Street, PO Box 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines THE ARTS send a request via e-mail to [email protected].
    [Show full text]
  • Aaron Diehl Plays Rhapsody in Blue
    SEASON 2020-2021 Aaron Diehl Plays Rhapsody in Blue April 15, 2021 Jessica GriffinJessica SEASON 2020-2021 The Philadelphia Orchestra Thursday, April 15, at 8:00 On the Digital Stage Yannick Nézet-Séguin Conductor Aaron Diehl Piano Ellington/arr. Gould “Solitude” Gershwin/orch. Grofé Rhapsody in Blue (original jazz band version) Stravinsky Suite from Pulcinella I. Sinfonia (Overture) II. Serenata— IIIa. Scherzino— b. Allegro— c. Andantino IV. Tarantella— V. Toccata VI. Gavotta con due variazioni VII. Vivo VIIIa. Minuetto: Molto moderato— b. Finale: Allegro assai This program runs approximately 1 hour and will be performed without an intermission. This concert is sponsored by Bruce and Robyn Leto and Stradley Ronon. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. Our World Lead support for the Digital Stage is provided by: Claudia and Richard Balderston Elaine W. Camarda and A. Morris Williams, Jr. The CHG Charitable Trust The Horace W. Goldsmith Foundation Innisfree Foundation Gretchen and M. Roy Jackson Neal W. Krouse John H. McFadden and Lisa D. Kabnick The Andrew W. Mellon Foundation Leslie A. Miller and Richard B. Worley Ralph W. Muller and Beth B. Johnston Neubauer Family Foundation William Penn Foundation Peter and Mari Shaw Dr. and Mrs. Joseph B. Townsend Waterman Trust Constance and Sankey Williams Wyncote Foundation SEASON 2020-2021 The Philadelphia Orchestra Yannick Nézet-Séguin Music Director Walter and Leonore Annenberg Chair Nathalie Stutzmann Principal Guest Conductor Designate Gabriela Lena Frank Composer-in-Residence Erina Yashima Assistant Conductor Lina Gonzalez-Granados Conducting Fellow Frederick R.
    [Show full text]
  • Cécile Mclorin Salvant & the Aaron Diehl Trio
    CÉCILE MCLORIN SALVANT & THE AARON DIEHL TRIO 17. OKTOBER 2017 ELBPHILHARMONIE GROSSER SAAL Dienstag, 17. Oktober 2017 | 20 Uhr | Elbphilharmonie Großer Saal Jazz at the Phil | 1. Konzert CÉCILE MCLORIN SALVANT VOCALS THE AARON DIEHL TRIO AARON DIEHL PIANO PAUL SIKIVIE DOUBLE BASS KYLE POOLE DRUMS Principal Sponsors DIE KÜNSTLER CÉCILE MCLORIN SALVANT »Eine solche Sängerin findet man nur ein- oder zweimal in einer Generation«, sagt der große Jazz-Trompeter Wynton Marsalis über die heute 28-jährige Cécile McLorin Salvant. Geboren wurde sie in Miami als Tochter einer Französin und eines Haitianers. Mit fünf Jahren erhielt sie ersten Klavierunterricht, drei Jahre später begann sie im Chor zu singen und sich für klassischen Gesang zu inte- ressieren. Mit 18 Jahren zog Salvant ins französische Aix-en-Provence, wo sie Jura und klassischen Gesang am Konservatorium studierte. Hier knüpfte sie auch erste Kontakte in die Jazz-Szene und nahm nach einer Reihe von Konzerten in Paris 2009 ihr erstes Album Cécile auf. Der Durchbruch gelang ihr schließlich 2010: Auf Anraten ihrer Mutter schickte Cécile McLorin Salvant eine Demo-CD an den Thelonius-Monk-Wettbewerb, einen der renommiertesten amerikanischen Jazz-Nachwuchspreise. Als 21-jäh- rige, in den USA völlig unbekannte Sängerin wurde sie nach Washington zum Finale eingeladen – und belegte dort prompt den ersten Platz. Die Jury würdigte nicht nur ihre bemerkenswerte Stimme, sondern auch die emotionale Tiefe, mit der sie ihre Songs auslotet und in packende Statements verwandelt. Was Cécile McLorin Salvant außerdem mitbringt: das »Timing eines Comedian« (New York Times) und vor allem eine Menge Sensibilität – neue Impulse für den Jazz.
    [Show full text]