Thursday–Saturday Evening, February 21 –23, 2013, at 8:00 , Managing & Artistic Director Greg Scholl, Executive Director Bloomberg is the Lead Corporate Sponsor of this performance.

BLOOD ON THE FIELDS AT ORCHESTRA

WYNTON MARSALIS, Music Director, , Trumpet KENNY RAMPTON, Trumpet , Trumpet VINCENT GARDNER, , Tuba CHRIS CRENSHAW, Trombone ELLIOT MASON, Trombone , Alto & Soprano TED NASH, Alto & Soprano Saxophones , Tenor & Soprano Saxophones, Clarinet, Bass Clarinet , Tenor & Soprano Saxophones CARL MARAGHI, Baritone , Clarinet, Bass Clarinet ELI BISHOP, Guest Soloist, Violin , CARLOS HENRIQUEZ, Bass ALI JACKSON, Drums

Featuring GREGORY PORTER, Vocals KENNY WASHINGTON, Vocals , Vocals

There will be a 15-minute intermission for this performance. Please turn off your cell phones and other electronic devices. thanks its season sponsors: Bloomberg, Brooks Brothers, The Coca-Cola Company, Con Edison, Entergy, HSBC Bank, Qatar Airways, The Shops at Columbus Circle at Time Warner Center, and SiriusXM. MasterCard® is the Preferred Card of Jazz at Lincoln Center. Qatar Airways is a Premier Sponsor and Official Airline Partner of Jazz at Lincoln Center.

This concert is made possible by the State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

ROSE THEATER JAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL jalc.org PROGRAM JAZZ AT LINCOLN CENTER 25TH ANNIVERSARY SEASON HONORS Since Jazz at Lincoln Center’s inception on August 3, 1987, when Lincoln Center for the Performing Arts initiated a three-performance summertime series called “Classical Jazz,” the organization has been steadfast in its commitment to broadening and deepening the public’s awareness of and participation in jazz. On July 1, 1996, Jazz at Lincoln Center became an independent non-profit organization, establishing a prominent place for jazz alongside the opera, ballet, symphony, and other fine arts at Lincoln Center.

Jazz at Lincoln Center has strived to joyously perform and produce music, to educate, and to gather people worldwide around jazz. This special 25th Anniversary Season presents us with a timely opportunity to honor our history and traditions, and to celebrate long term Jazz at Lincoln Center supporters and board members even as we create the moments of the future.

Throughout the 2012 –13 performance season, Jazz at Lincoln Center will salute its Board of Directors, recognize and honor individuals, foundations, and all levels of government whose dedication and support contributed to this uniquely American art form of jazz.

JAZZ AT LINCOLN CENTER BOARD OF DIRECTORS Robert J. Appel, Chairman President, Appel Associates

Shahara Ahmad-Llewellyn, Vice Chair Viet Dinh Commissioner, NYC Commission on Women’s Issues Founding Partner, Bancroft PLLC

John Arnhold, Treasurer Gail May Engelberg Chairman and CIO, First Eagle Investment Trustee, The Engelberg Foundation Management Mica Ertegun Robert H. Burns President and Owner, MAC II Chairman, The Robert Burns Hotel Group Hughlyn F. Fierce Valentino D. Carlotti Retired Senior Banking Executive Partner, Goldman, Sachs & Co. JP Morgan Chase

Richard M. Cashin Michael D. Fricklas, Secretary Managing Partner, One Equity Partners Executive Vice President, General Counsel and Secretary, Viacom Inc. Diane M. Coffey, Vice Chair Managing Director, Peter J. Solomon Company, L.P. Larry Gagosian Gagosian Gallery Alan D. Cohn Senior Vice President, Wealth Management, Dr. Henry Louis Gates, Jr. Morgan Stanley Smith Barney W.E.B. Du Bois Professor of the Humanities, Stephen S. Daniel Managing Partner, Seyron Partners LLC. Marlene Hess Former Managing Director of Global Gordon J. Davis, Founding Chairman Philanthropic Services, JPMorgan Private Bank Partner, Venable Thomas H. Lee Diana Roesch DiMenna President, Thomas H. Lee Capital, LLC PROGRAM Edward T. Lewis Mark Rosenthal, Chair, Executive Committee Senior Advisor, Solera Capital Jack Rudin, Vice Chair Wynton Marsalis Co-Chairman, Rudin Management Co., Inc. Managing & Artistic Director, Jazz at Lincoln Center Arthur J. Samberg Peter Norton Manager, Hawkes Financial LLC President, Norton Family Foundation Lisa Schiff, Chairman Emeritus Robert G. O’Meally Managing Director, After Nine Holdings Zora Neale Hurston Professor of English, Columbia University Paul C. Schorr, IV Founding Managing Director, Clarence Otis Augusta Columbia Capital CEO, Darden Restaurants Melanie Shorin, Chair, Chairman’s Circle Mark R. Patterson, Vice Chair Founder, The Narrative Trust Chairman, MatlinPatterson Global Advisors H. Marshall Sonenshine Charles E. Phillips, Jr. Chairman, Sonenshine Partners LLC CEO, Infor Global Solutions David J. Stern Michael F. Price Commissioner, National Basketball Association Founder, MFP Investors Agnes Varis† Ashley Schiff Ramos Founder and President, Agvar Chemicals, Inc.

Keith Reinhard Faye Wattleton Chairman Emeritus, DDB Worldwide Managing Director, Alvarez and Marsal

Adam R. Rose George Wein Co-President, Rose Associates, Inc. Chairman, Festival Productions

Emeritus Directors June Noble Larkin Chairman and President, Edward John Noble Foundation

Albert Murray, Board Historian Novelist, Cultural Historian

Jonathan F.P. Rose, Director Emeritus President, Jonathan Rose Companies

Ex-Officio Members Hon. Michael R. Bloomberg, Mayor of the City of New York Commissioner Robert B. Tierney, Designee Hon. Scott Stringer, President of the Borough of Maggi Peyton, Designee Hon. Christine Quinn, Speaker of the Council Lola West, Designee

† Deceased

(as of January 1, 2013) PROGRAM Libretto

I And everywhere. Mother, stop it. Stop it. Calling The Indians Out Stop it. Stop it. Where did my little ones go! I’m down below. Demons are riding the Trouble in our own land, crimes against the wind, I, I can’t, oh, no. human soul far too large for any describing Momma, Mother, Mother. words to hold. Rocking tomb, Blood wet womb Many cry, O brown doom, beg to die II and do Move Over Where are we, am I? Are we? Am we, am we? Move over move, move closer over, In a slave ship that darkly sways beneath the star touch me. Closer. of democracy, Jesse and Leona lie. O, My head is spinning round and round A captured man and woman, Jesse and Leona. O my eyes just won’t see. Demons come PAULA WEST , Vocal to eat me. Take us back home, far, far away, think I Leona: Move over. hear Move over now. They’re playing, proudly, pounding softly Where are we? come Don’t you hear me? Over Pain and evil all around me O-over Anyone come close to me Come closer, touch me, someone move Touch me. O over now. I think I hear a drum. I think I hear a drum III Playing, proudly, pounding, saying softly, You Don’t Hear No Drums come KENNY WASHINGTON, Vocal I think I hear a drum, I think I – Pain and evil all around me, O – Jesse: Got no place to go Over, move, move closer over You don’t hear no drums woman Touch me closer Woman you don’t hear no drum O brown doom!! All you hear. The clattering of broken Hear this cry bones and homes Pass on through Chorus: (I think you better ride this wave on out) Blood wet womb Jesse: Stop your whining common girl Rocking tomb, tomb, tomb, tomb, Us sold us to this damned world tomb, tomb, tomb, tomb All you hear the echoes of dead voices Where are we? Am I? Are I? Am we? Am final screams we?? Chorus: (I think you better ride this wave on out) I think I hear a drum, think I hear a drum Jesse: I’m a prince, my heart is stone Think I hear a drum, think I hear the Could not count the slaves I owned drums All you hear, the mocking cry of past That must be those drums singing on accomplishments the wind (I think you better ride this wave on out) Take a me back my home I Woman don’t you beg me for no touch That’s the little one with the ringing tone Common girl don’t ask me for no love Slowly swaying Low born woman Taking me back, far away back my home. Hear me sayin’ Woman you don’t hear no drums No, that’s not the sound my drums Death bound river of blood flow Not the sound my drums–that is not a Reeking foul, stench down below drum All you hear, the shrieking howls of so Pounding in, pounding, pound, pound, much misery pound, pound, pound, O, NO Agony wash over me That same beat, that same damned beat Chained to scum on troubled sea of iron drums All you hear. The splashing of your head No memory. Take a me back my against hard wood Stop it. Stop it. Stop it. Momma. Stop Chorus: (I think you better ride this wave on out) it. Stop it. Jesse: Hear me once more common girl What are these things in my hair? In rage piss I on the world PROGRAM All you hear is gasping silence of people V choking Plantation Coffle March So I’m gonna be Flying high, flying high. Reborn in this land of plenty as livestock. Only I Talking work animals. Me and Mine PAULA WEST , Vocal I’ve got to get out, got to be way far KENNY WASHINGTON, Vocal away–free Flying high, flying high. Leona: And slow we marched for all to see Only I Necks wringed with iron in agony Me and Mine We drag on feet cut bare by ground I’ve got to get out, got to be way far For endless miles did not sit down away –free New born we bring this land fresh gloom You don’t hear no drums, woman! Rot baked in death ships hot wet womb I think you better ride this wave on out. Chained men, women and little ones Reduced to dogs by whips and guns IV Jesse: I will not slave for any man A. The Market Place With each slurred step I hate this land I am a prince, no common man In teeming marketplaces, onto the sweet soil of And soon I will be free our democracy is poured the salt of a business Leona: A weary walking travesty that gives a bitter taste to our national life. Chained from this land’s sweet majesty We all submit except for one Whose high proud heart was overcome B. Soul For Sale Though bound he took three men to ground GREGORY PORTER, Vocal And would have killed but then the sound Of gunshot rang, the final bell Slave: What a great day for shopping Straight up he stood, and then he fell Buyer: I can feel money dropping Jesse: I will not slave for any man People, that’s what I’m copping With each slurred step I hate this land Soul for Sale I am a prince, no common man Checking their teeth and hairlines And soon I will be free Pinching a buck whose skin shines Leona: And as he lay our coffle stalled Looking for brown concubines He could not walk and would not crawl Soul for Sale Was time to move, he lay and fry I like my Negroes real Stared at the sun, prepared to die Simple but plentiful of feeling I lift him up and walk him round Think we can make a deal For many miles he makes no sound Nine hundred! What! Have you lost your mind? This shuffle stops. How could it be? I call that stealing He says no words of thanks to me What ‘cha got to make my corn grow? No words to me, no words to me. New pipes for my tobacco Yes, and let’s see that Negro VI Soul for Sale Work Song () Soul for Sale Oh I can’t wait to buy some Soon can mean ten minutes, or ten lifetimes. Let’s see ‘em skip, hop and run In this case, 14 years of bondage has passed. Darky, let go of that young ‘un KENNY WASHINGTON, Vocal Soul for Sale PAULA WEST , Vocal I like my Negroes real Simple but plentiful of feeling Jesse: Mmm Think we can make a deal? Leona: Mmm-hmm Nine hundred! What! Jesse: Liftin’ and a totin Have you lost your mind? Leona: Packin’ and a sackin’ I call that stealing Jesse: Pickin’ and a hoein’ Picks, hammers, mules, plows, and hoes Leona: Seedin’ and a feedin’ A passel of northern dress clothes Jesse: Plowin’ and a growin’ Oh! and I’ll take those Negroes Jesse: Mmm-hmm. All day long Soul for Sale I raise my head to sky Beat back down by sun’s burning gaze PROGRAM The field hand’s cry. I split my fingers I thirst for romance down to the blood again. One dance Leona: Blood on the fields To give me back my body King cotton grow Night falls, Brown soil yields Come little romance White up above Just one cool drink, just one cool drink Red down below I think I hear a drum Brown soil yields I think I hear a drum White up above Jesse: I think I’m going to leave this slave life Red down below behind And tomorrow You don’t hear no drum woman I can’t take no more, no more, no more You don’t hear no drum Jesse: All day long Woman you don’t hear no drum Woman I think I’m going to leave this slave life Hush up your whining now behind And hold your head up high A. Flying High To curse this evil land KENNY WASHINGTON, Vocal To hell with this strange man Watching over me Jesse: I got to get out, got to be way far Day long away–free I rise Beat down Again VIII Leona: Oh, just hold that whip masso Oh We Have A Friend In Jesus Jesse: Drive! Driver, hold that whip Ol’ Massa is a good and righteous man. Leona: Down on one knee He likes for his Negroes to worship and honor a Jesse: Got to get free merciful and just God. Cruel hot sun Leona: Day is just begun PAULA WEST , Vocal Jesse: All day long Jesse and Leona: Leona: Oh we have a friend in Jesus Blood on the fields He teaches us forgiveness King cotton grow Brown soil yields And a friend I need, Lord Jesus, White up above To ease this pain of mine Red down below Soon he will come Take me home Free his children Far, far away Come to us now Blood on the fields Jesus will show us the way home Blood on the fields Jesse: Pickin’ and a hoein’ A. God Don’t Like Ugly Leona: Blood on the fields They, however, interpret the word of God Jesse: Packin’ and a sackin’ quite differently. Leona: Blood on the fields Jesse: Plowin’ and a growin’ PAULA WEST , Vocal Leona: Blood on the fields Jesse and Leona: Leona: Let me bathe in the cool waters of your love Red down below O, Lord, your love, Oh, Lord, your love Leona: And tomorrow Oh, Lord, your love, Oh Lord, your love God don’t like ugly. God don’t like ugly. VII God don’t like ugly. God don’t like ugly. Hallelujah, Hallelujah, Hallelujah, Hallelu Lady’s Lament And the last shall be first PAULA WEST , Vocal And the last shall be first KENNY WASHINGTON, Vocal Hallelujah, Hallelujah, Hallelujah, Hallelu God don’t like ugly. God don’t like ugly. Leona: Night falls, And the last shall be first And then the day breaks And the last shall be first Again the night falls And the last shall be first And then my heart breaks And the last shall be first Again in morning And the last shall be first I face the same old, same ol’ day PROGRAM IX If you’re going to get away you must Juba And A O’Brown Squaw know who you’ll be. Runnin’ round talkin’ ‘bout you some Jesse thinks not of God, not of heaven, not of jus - kind of king tice, only his own freedom is on his mind. He Like a chicken flyin’ with a hoot owl’s wing goes to see Juba. A man so wise, the uninformed If a man be a prince, then another be a think he is a fool. slave GREGORY PORTER, Vocal May be the lesser work the greater to an early grave. Chorus: O Lord Juba, Yea Lord Juba Juba: First you dance then you sing if you’d Right, Left Juba. And a O’Brown Squaw do the Juba rig Juba: One you got to love the land, forgive it Then you turn all around and you hop a for its sin little jig You’ll never get your freedom if the land is not your friend People comes to Juba when they wants Two, you’ve got to sing with soul so to be free Indians will dance When everything is fine with them their If no one helps you run then you face he never see haven’t got a chance Jump Juba Pat Juba act a natchul fool Three, what will you call yourself if you Eat a pound of dirt and bite a two-head become free? mule If a man is a prince then he too a slave Chorus: O Lord Juba, Yea Lord Juba can be. Right, Left Juba. And a O’Brown Squaw Chorus: O Lord Juba, Yea Lord Juba Juba: Listen to these words son I’m about to say I see it in your eyes that you want to get Right, Left Juba. And a O’Brown Squaw away Dancin’ and singin’ and shakin’ my tail One mulatter girl and a bill of sale X The things you should do if you’d run Follow The Drinking Gourd add up to three Jesse don’t care about no Indians, no land, no If you do these three, there’s a chance soul, no singing, and no Leona. you might be free It was time for him to go ahead and run. Chorus: O Lord Juba, Yea Lord Juba Right, Left Juba. And a O’Brown Squaw PAULA WEST , Vocal Juba: Number one is love the land and also you must know Leona: Run day and run night The land that holds you slave is the same But look up to freedom that lets you go. Got-to-know where water lies to cover Freedom up your tracks Keep your eye on high Stayin’ long on ground too high has Follow the drinking gourd busted many backs. But what of me, Jesse See how Brer Rabbit makes himself so Freedom, sweet freedom hard to find One day or one night Dogs got long and pointy teeth and Hope they bring him back to me would love some brown behind Chorus: O Lord Juba, Yea Lord Juba Hope they bring him back to me Right, Left Juba. And a O’Brown Squaw Hope they bring him back to me Juba: Number two you got to sing with soul or even better shout A. My Soul Fell Down Be sad but sing a happy song to call the PAULA WEST , Vocal Indians out Any man be an Indian no matter how he’s born Leona: This was my wish To have you here All you got to do is give a starvin’ man some corn. Your dark strong touch Listen to ol’ Juba sing and hear a soulful All mine, all night sound Jubal laughs in the devil’s face and knock But as you passed he mama down. Dog-bit, chain-burned Chorus: O Lord Juba, Yea Lord Juba My soul fell down Right, Left Juba. And a O’Brown Squaw I was so wrong Juba: Last thing number three you must do if To want you back you’d be free PROGRAM XI When others buy and sell his loved ones? Forty Lashes Is that soul? And when this bitter life has ended If the opposition be truly serious, no matter how I will dance a happy dance noble the heart or just the cause, the unprepared, I will sing will feel the bitter lash of failure. I will shout I will cry XII And in my rage I will –O why! Anguished heart! Wake my ears to hear What A Fool I’ve Been this woman’s song Knocks on the head, feet in the butt can Soul is the giving without want. bet recognition The sharing of some soothing sweetness through this bitter life. KENNY WASHINGTON, Vocal Leona: Come to me until I feel your heartbeat Jesse: Oh what a fool I’ve been When our hearts are swaying at one tempo Oh what a fool I’ve been Jesse: Yes, I think I understand what soul is. Not thinking Leona: Come and let us have this dance Not living in this island Jesse: Come and let us have this little dance Foolishly I live back in the old ways That is soul. Want to be back home to drive my own Leona and Jesse: slaves My lips are sweet Now, I feel the pain (just one little taste) No man should own a man My bosom not cold I’m no slave (just one little taste) Not no prince Let’s pleasure ourselves Just a man (just one little taste) Just a lonely man Romance can’t be sold No More! (but they sure will try) But even through tears A. Back to Basics (and there are many) The moon shines tonight XIII (let’s stop this talking) And that is what soul is! I Hold Out My Hand What has more meaning than pain? He wants XIV to know what soul is? Look And See PAULA WEST , Vocal Now he wants to listen Vocal KENNY WASHINGTON, GREGORY PORTER, Vocal

Leona: I hold out my hand Juba: Look and see To comfort your wounds To learn and be And give without want One part of we The sweetness of life. And not just ye Through rivers of tears If you’d be free The moon shines tonight. Ask to know And that is what soul is. Watch out! Lay low When this bitter life has ended Than act on Death may be a welcome rest What you know But why waste all your living on dying? To grow Why let mocking evil spirits have their way? Then you can go Why wallow in sorrow Don’t close your ears to the hot songs of When love’s joys can be found? life Oh, come to me until I feel your heartbeat Open them wide And when our hearts are swaying at one Take in the size tempo Reach with your dreams That is soul. Past moonless nights Jesse: I have no heart, it’s been crushed and Look and see torn by misery. To learn and be What sweet softness, can a man know in One part of we his heart And not just ye If you’d be free PROGRAM Don’t fall in love with the weight of XVI your pain The Sun Is Gonna Shine Hawk at the mule Of tragedy But Jesse has learned how to play the blues. Life won’t be bent to your lament Ask to know Jesse: The sun is gonna shine Watch out! Lay low Upon this land today Then act on He’ll show his warm round face and smile What you know He’ll play the bluest blues high yellow To grow style Then you can go. Sun is gon’ shine. The sun is gonna shine A. The Sun Is Gonna Shine Just like he do each day KENNY WASHINGTON , Vocal His light will be so bright and clear He’ll warm those soulless hearts long XV cloaked in fear Will The Sun Come Out? Sun is gon’ shine When you see me dancing down the Yes, but still the blues. street PAULA WEST , Vocal Singing Know that I sing a song with soul to be Leona: Do I like this change in him? free From so strong a man Which I soon will be So suddenly has he gone soft. Yes, then always Will his manhood drain on this land? The sun is gonna shine Do I want to birth his slave? Upon this land today Will the sun come out? He’ll rise so high he’ll never fall Should I look up to the skies? His light will sound before the rooster’s call Will the sun come out? Sun is gon’ shine Can he shine where evil thrives? When you see me dancing down the street What shall I do? Singing Let you shine through? Know that I sing a song with soul to be Hang my head but should I cry? free Hang my head but should I cry? Which I soon will be Will the sun come out? Yes, then always Wear his crown though darkness reigns? The sun is gonna shine Will the sun come out? Upon this land today Forging metal for more chains. He’ll rise so high he’ll never fall What can I do? His light will sound before the rooster’s Sun shines through blues. call Hang my head I think I’ll cry. Sun is gon’ shine Hang my head I think I’ll cry. XVII Will the sun come out? Chant To Call The Indians Out Nourish blood-soaked fields all day? KENNY WASHINGTON, Vocal Will the sun come out? Crops been sold and sent away. Wealth all around Jesse: Oh! Anybody. Hear This Plaintive Song. None can be found Oh! Who wants to help their brother Hang my head but should I cry dance this dance? ‘Nuff to live but no to thrive. Oh! I sing with soul: Wealth all around Heal this wounded land Sun has gone down. Hang my head but should I cry? XVIII Hang my head but still survive Calling The Indians Out Come on sun, just one more try. PROGRAM XIX Juba: Freedom’s in the trying Follow The Drinking Gourd Walk on through the door Freedom’s in the trying His mind is set on a freedom larger than himself. All you need to know Jesse escapes again, this time with Leona Freedom’s in the trying KENNY WASHINGTON, Vocal Walk on through the door PAULA WEST , Vocal Freedom’s in the trying All you need to know XX Freedom is no simple thing but all Freedom Is In The Trying you need to know Even for the righteous, success is never certain. Freedom’s in the trying and walk out through the door. GREGORY PORTER, Vocal Freedom is no simple thing but all you need to know Juba: This is all I tell you because this is all Freedom’s in the trying and walk out I see. through the door. You answered questions right but you Freedom is no simple thing but all still ain’t free you need to know If you see an eagle sittin’ on a crow’s Freedom’s in the trying and walk out nest through the door. His head in the east but his mind in Chorus: O Lord Juba, Yes Lord Juba the west Right, Left Juba. And a O’Brown Squaw Freedom is no simple thing but all Juba: That’s all I know you need to know Freedom’s in the trying, just walk on through the door XXI Chorus: O Lord Juba, Yes Lord Juba Due North Right, Left Juba. And a O’Brown Squaw KENNY WASHINGTON, Vocal BLOOD ON THE FIELDS by Ted Panken © 2012

In April 1994 at Alice Tully Hall, the Lincoln jumpy lines and countermelodies, but the Center Jazz Orchestra, as it was then named, rhythm section pushes them along as if they premiered an extended jazz oratorio and were dance music.” composition by Wynton Marsalis titled Blood On The Fields , relating the progression of a Over the ensuing nineteen years, Marsalis man and a woman—husband and wife— has honed and evolved those strategies on such from slavery to freedom. Elaborating on major, diverse works as Big Train , All Rise , ideas he’d been developing for several years Congo Square , Abyssinian 200 Mass , Vitoria with the Wynton Marsalis Septet, and Suite , Blues Symphony , and Swing Symphony , deploying lessons gleaned from ongoing expanding his tonal canvas to include vocal immersion in the entire timeline of Duke choirs and symphonic orchestras. But Blood Ellington (particularly his later suites), On The Fields retains special pride of place in Marsalis upped the ante from such early his corpus. That’s as good a reason as any for 1990s extended works as City Movement and Marsalis and the Jazz at Lincoln Center In This House, On This Morning , penning a Orchestra to revisit it—with the GRAMMY ® poetic, vernacular libretto and a virtuoso Award –nominated baritone Gregory Porter score, chock-a-block with ingenious and the powerful contralto Paula West instrumental voicings and complex meters, inhabiting the characters of central protagonists that illuminates and propels the narrative. Leona and Jesse, performed in the original Released in a three-CD edition by Columbia- iteration by and Miles Sony in 1995, Blood On The Fields would Griffith—in conjunction with Jazz at Lincoln earn the 1997 , the Center’s 25th anniversary season. first composition by a jazz musician—and the first to incorporate extensively either Apart from the heady, gripping music improvisation or idiomatic jazz vocabulary— contained therein, Blood On The Fields is also to be awarded that honor. fascinating at this particular moment—one month into the second term of President In a contemporaneous review of the two , and two months after the premiere concerts, I wrote: “[ Blood On The release of Spielberg’s Lincoln and Tarantino’s Fields ] is a conversation with the history of Unchained —for Marsalis’ multi- jazz on its highest level. No imitation of its dimensional treatment of its subject. antecedents, it demonstrates Marsalis’ sophisticated reading and revision of his In 1996 Marsalis told me that, initially, he sources. Ellingtonally, Marsalis gave each wanted Blood on The Fields to be “tragic the musician in the orchestra a voice, and the whole way through, with no redemption.” orchestra itself a meta-voice. Call-and- He credited conversations with the aesthetic response, polyphony, shuffles, philosopher for changing his Ellingbop, dirges, parade march press-rolls, perspective. “Al took me through the different second-line struts, intricately detailed ensemble forms of tragedy, going back to Oedipus , The dialogues, impossible brass unisons, idiomatic Libation Bearers , and Agamemnon ,” Marsalis solos—even a Greek chorus!—signified and said. “He said, ‘You’ve got to understand counterstated the songs.” that if you make it all tragic, you’ll be coming from an expression that’s not really In a perceptive review of the premiere Afro-American.’ At first I disagreed, but I concert in The New York Times , Jon Pareles contemplated what he was saying, and I noted Marsalis’ attraction to Ellington’s came to an agreement that, yes, that is the “universe of suave saxophones, mocking transcendent value of the blues and of and brightly assertive .” swinging, was swinging. You He added: “He knows that above a swinging have the complexity but also the optimism. beat, a wily composer can get away with nearly It’s saying, ‘Man, this is a tragic situation, anything. Mr. Marsalis’ ensembles bristle but it’s gonna be cool.’ That’s a very with polytonality, dissonance and jagged, important part of the jazz expression.” PROGRAM Meet the ARTISTS

WYNTON MARSALIS ERIC REED (Piano) (Music Director, Trumpet) Award-winning pianist and is the Managing and composer Eric Scott Reed Artistic Director of Jazz at began playing the piano at Lincoln Center and a world- age two and was performing renowned trumpeter and in his father’s Baptist church composer. Born in New in Philadelphia by age five. Orleans, in 1961, He was primarily self-taught, Marsalis began his classical training on and after impressing his teachers at trumpet at age 12, entered The Juilliard Philadelphia’s Settlement Music School School at age 17, and then joined (starting at age seven) and Los Angeles’ and . He made his Colburn School of Arts, Reed began to tour recording debut as a leader in 1982, and has the world as a leader and sideman at age 18. since recorded more than 60 jazz and classical He received great attention in the 1990s recordings, which have won him nine with Wynton Marsalis’ Septet (for which he GRAMMY ® Awards. In 1983 he became the left California State University at Northridge), first and only artist to win both classical and the Jazz at Lincoln Center Orchestra, with jazz GRAMMYs ® in the same year and whom he made countless recordings and TV repeated this feat in 1984. Marsalis is also an appearances, and with the bands of Freddie internationally respected teacher and Hubbard and . He has since spokesman for , and has played with artists including , received honorary doctorates from dozens of , Patti LaBelle, Edwin U.S. universities and colleges. He has written Hawkins, and . Reed has taught six books; his most recent are Squeak, Rumble, at The of Music and gives Whomp! Whomp! Whomp! , illustrated by Paul master classes and lecture demonstrations on Rogers and published by Candlewick Press in the discography and history of jazz music. 2012, and Moving to Higher Ground: How In 2005 Eric formed a quartet with fellow Jazz Can Change Your Life with Geoffrey C. Los Angelean Willie Jones III, bassist Ward, published by Random House in 2008. Gerald Cannon and tenor and soprano sax - In 1997 Marsalis became the first jazz artist ophonist Stacy Dillard. His other musical to be awarded the prestigious Pulitzer Prize in ventures include more than 20 recordings as music for his oratorio Blood on the Fields, a leader, including his latest, The Dancing which was commissioned by Jazz at Lincoln Monk , scores for ’s comedy Center. In 2001 he was appointed Messenger Life and other film projects , and annual of Peace by Mr. Kofi Annan, Secretary-General musical direction for the Alvin Ailey of the United Nations, and he has also been American Dance Theater’s classic Revelations, designated cultural ambassador to the United under the direction of . States of America by the U.S. State Department Currently Reed is in residence with the through their CultureConnect program. Ebony Repertory Theatre of Los Angeles, as Marsalis was instrumental in the Higher Ground musical director of Regina Taylor’s Crowns. Hurricane Relief concert, produced by Jazz Reed has recorded more than 29 chart-top - at Lincoln Center. The event raised more than ping, critically-acclaimed, award-winning $3 million for the Higher Ground Relief Fund projects, supported by global performances to benefit the musicians, music industry- to appreciative audiences. Legendary pianist related enterprises, and other individuals and Ahmad Jamal calls Reed “one of [his] very entities from the areas in Greater New favorite pianists.” Orleans who were impacted by Hurricane Katrina. Marsalis helped lead the effort to construct Jazz at Lincoln Center’s home— Frederick P. Rose Hall—the first education, performance, and broadcast facility devoted to jazz, which opened in October 2004. PROGRAM GREGORY PORTER KENNY WASHINGTON (Vocals) was born in Los (Vocals), born and raised in Angeles, raised in Bakersfield, New Orleans, grew up and now makes the world singing gospel in church his musical home. A frequent and playing saxophone in guest performer with the school bands. Jazz caught Jazz at Lincoln Center Washington’s interest Orchestra, Porter also during his senior year of maintains a residency at Jazz and high school, when clarinetist Supper Club in New York. With a voice that performed at his school with a band of stu - can caress or confront, embrace or exhort, dents that included Branford and Wynton GRAMMY ® nominee Gregory Porter Marsalis. Inspired, Washington went on to exhibits such an incredible degree of vocal study music at Xavier University, playing sax - mastery that Wynton Marsalis went on ophone and singing in a variety of styles record to call him “a fantastic young singer,” including pop, classical, R&B, and jazz. making it even more impressive that Porter’s After college, Washington joined the hon - latest release at the time, Water (Motema orary U.S. Navy Band as a saxophonist, but Music), was his recording debut. The CD when his singing prowess was discovered he was produced by saxophonist, pianist and became the band’s featured vocalist. With composer Kamau Kenyatta, who bears much the Navy band, he performed across Asia, of the responsibility for Porter’s career tra - Russia, Australia, and the U.S. He then set - jectory. When a shoulder injury ended tled in California, thrilling San Francisco jazz Porter’s football scholarship to San Diego audiences with his soulful interpretations, State University, Kenyatta—along with saxo - seemingly limitless range of more than four phonist Daniel Jackson (, Buddy octaves, and rapid-fire scatting. The fol - Rich, Art Farmer, and more)—recognized lowing year, Joe Locke brought Washington his musical talent and nurtured the bur - to New York for a week-long run at Jazz at geoning performer. Kenyatta invited Porter Lincoln Center’s prestigious Dizzy’s Club to a Los Angeles studio while producing Coca-Cola with The Joe Locke Group. This flutist Hubert Laws’ Remembers the experience launched Washington into a new Unforgettable , and when musical stratosphere, and the group’s resi - Laws heard Porter singing along to the dency has since become an annual Dizzy’s Charlie Chaplin-penned “Smile,” he decided tradition. Washington also appeared in Roy to include a “bonus” track of Porter’s rendi - Nathanson’s off-Broadway production Fire at tion. Also present in the studio that day was Keaton’s Bar and Grill , with Eloise Laws, who gave Porter a lead role in and Deborah Harry, and was the featured It Ain’t Nothin’ But the Blues , a Tony-nom - vocalist at San Francisco’s world-famous inated musical theater work that brought Mark Hopkins Intercontinental Hotel’s Top Porter to Broadway. Porter also wrote and of the Mark for eight years. His astounding starred in his semi-autobiographical Nat improvisational flights, inventive approach King Cole and Me , in which he dramatically and emotional intensity are awe inspiring; documented his childhood, which was whether scatting up a storm or caressing a marked by an absentee father and the joy and Rodgers and Hart ballad, Washington is the pain he heard when listening to his mother’s kind of performer who leaves the stage with Nat King Cole records. The play ran for two an audience full of fans, such as , very successful months at the Denver who has declared Kenny Washington his Center for the Performing Arts and has favorite male vocalist. since travelled to Houston, Texas (without Porter’s involvement). Porter’s latest CD, Be Good, was released in February 2012 by Motema Music and nominated for a GRAMMY ® Award. PROGRAM PAULA WEST (Vocals) Arts, Eli studied swing and jazz music on the moved to San Francisco violin and also began playing the guitar. after graduating from col - Spending his high school years focused on lege, interested in music, jazz improvisation and learning the standard but unsure of what to do repertoire, he started making connections in with her life. She studied the small community of jazz violin players. old records purchased at This scene inspired Bishop to attend Berklee thrift shops, took singing College of Music from 2010 –12, where he classes, and as she became more confident in studied violin performance and electronic her talent, she ventured into jam sessions production and design. and performances at open mics. At one of these sessions she met pianist Ken Muir—her WALTER BLANDING (Tenor and accompanist to this day—who hired her to Soprano Saxophones ) was born into a musical work at San Francisco’s Ritz Carlton Hotel’s family on August 14, 1971 in , Terrace Restaurant. West went on to study Ohio. He began playing the saxophone at with Faith Winthrop, developing her unique age six and by age 16, he was performing tone, delivery, and trademark ability to sus - regularly with his parents at the . tain a note without vibrato. In 1995 she was Blanding attended LaGuardia High School included in the Cabaret Convention and of Music & Art and Performing Arts and released her critically acclaimed CD continued his studies at the New School for Temptation , and in 1996 she performed at Social Research where he earned a B.F.A. in the Algonquin Hotel’s famous Oak Room, 2005. His 1991 debut release, Tough Young which led to various high-profile bookings Tenors , was acclaimed as one of the best jazz and allowed West to make a name for herself albums of the year, and his artistry began to on the East Coast. She has performed in impress listeners and critics alike. He has New York and Philadelphia, appeared on been a member of the Jazz at Lincoln Center both European and American broadcasts, Orchestra since 1998 and has performed, and has made several appearances in toured and/or recorded with his own Switzerland and Italy. In 1997 she had a groups and with such renowned artists as the sold-out debut at the Maison de la Musique Orchestra, , in Paris. Her film credits include Hilton Ruiz, Orchestra, Illinois Bicentennial Man and Teknolust . Known and Jacquet , , Marcus respected for her creative and distinct reper - Roberts, Wynton Marsalis Quintet, Isaac toire, West is drawn to songs with interesting Hayes, and many others. Blanding lived in harmonics and literate lyrics, always keeping Israel for four years and had a major impact two things in mind: communication with the on the music scene while touring the audience and an intelligent approach to country with his own ensemble and with lyrics. “I’m a jazz singer—not an avant garde U.S. artists such as , Eric Reed, singer,” West notes. Performing consistently Vanessa Rubin, and others invited to per - with The Eric Reed Trio, recent appearances form there. He taught music in several include Jazz at Lincoln Center, Sculler’s, Israeli schools and eventually opened his Jazz Aspen, and a performance at The White own private school in Tel Aviv. During this House in a salute to American writers. In period, Newsweek International called him a addition to Eric Reed, West has worked with “Jazz Ambassador to Israel.” such jazz greats as Bobby Hutcherson, Bill Charlap, Frank Weiss, , Peter CHRIS CRENSHAW (Trombone ) was Washington, , Bruce Barth, and born in Thomson, Georgia on December . 20, 1982. Since birth, he has been driven by and surrounded by music. When he started ELI BISHOP (Guest Soloist, Violin), a playing piano at age three, his teachers and native of Nashville, Tennessee, has been fellow students noticed his aptitude for the playing the violin/fiddle since the age of instrument. This love for piano led to his three, beginning with classical and later ven - first gig with Echoes of Joy, his father turing into jazz, swing, and bebop, which he Casper’s group. He picked up the trombone studies with the legendary Buddy Spicher. at 11 and hasn’t put it down since. He grad - While enrolled at the Nashville School of the uated from Thomson High School in 2001 PROGRAM and received his Bachelor’s degree with and recording more than 20 albums. As a honors in Jazz Performance from Valdosta leader, Goines has recorded seven albums State University in 2005. He was awarded including his most recent release Twilight Most Outstanding Student in the VSU (2012) on Rosemary Joseph Records. A Music Department and College of Arts. In gifted composer, Goines has more than 50 2007 Crenshaw received his Master’s degree original works to his credit. He has recorded in Jazz Studies from The Juilliard School and/or performed with many noted jazz and where his teachers included Dr. Douglas popular artists including Ahmad Jamal, Ruth Farwell and Wycliffe Gordon. He has worked Brown, , Ray Charles, with Gerard Wilson, Jiggs Whigham, Carl , , , Allen, Marc Cary, , , Ellis Marsalis, Dianne Cassandra Wilson, Eric Reed, and many Reeves, , , more. In 2006 Crenshaw joined the Jazz at , , and a host of Lincoln Center Orchestra and in 2012 he others. Currently, he is the director of jazz composed “God’s Trombones,” a spiritually- studies/professor of music at Northwestern focused work which was premiered by the University. He received a Bachelor of Music orchestra at Jazz at Lincoln Center. degree from Loyola University in New Orleans in 1984, and a Master of Music VINCENT GARDNER (Trombone, Tuba ) degree from Virginia Commonwealth was born in in 1972 and was raised University in Richmond in 1990. in Hampton, Virginia. After singing, playing piano, violin, saxophone, and French horn at CARLOS HENRIQUEZ (Bass ) was born an early age, he decided on the trombone at in 1979 in the Bronx, New York. He studied age 12. He attended Florida A&M music at a young age, played guitar through University and the University of North junior high school and took up the bass while Florida. He soon caught the ear of Mercer enrolled in The Juilliard School’s Music Ellington, who hired Gardner for his first Advancement Program. He entered professional job. After graduating from col - LaGuardia High School of Music & Arts and lege, he moved to , New York, Performing Arts and was involved with the completed a world tour with Lauryn Hill in LaGuardia Concert Jazz Ensemble which 2000, then joined the Jazz at Lincoln Center went on to win first place in Jazz at Lincoln Orchestra. Gardner has served as Instructor Center’s Essentially Ellington High School at The Juilliard School, as Visiting Instructor Jazz Band Competition and Festival in 1996. at Florida State University and Michigan In 1998 swiftly after high school, Henriquez State University, and as adjunct instructor at joined the Wynton Marsalis Septet and the The New School. He has contributed many Jazz at Lincoln Center Orchestra, touring arrangements to the Jazz at Lincoln Center the world and featured on more than 25 Orchestra and other ensembles. In 2009 he albums. Henriquez has performed with was commissioned by Jazz at Lincoln Center artists including Chucho Valdes, Paco De to write “The Jesse B. Semple Suite,” a 60- Lucia, , the Marsalis Family, minute suite inspired by the short stories of Willie Nelson, Bob Dylan, Stevie Wonder, Langston Hughes. Gardner is featured on a Lenny Kravitz, Marc Anthony, and many number of notable recordings and has others. He has been a member of the music recorded five CDs as a leader for faculty at School of Steeplechase Records. He has performed Music since 2008, and was music director of with The Duke Ellington Orchestra, Bobby the Jazz at Lincoln Center Orchestra’s cul - McFerrin, Harry Connick, Jr., The Saturday tural exchange with the Cuban Institute of Night Live Band, Chaka Khan, A Tribe Music with Chucho Valdes in 2010. Called Quest, and many others. SHERMAN IRBY (Alto & Soprano VICTOR GOINES (Tenor & Soprano Saxophones ) was born and raised in Saxophones, Clarinet, Bass Clarinet ) is a Tuscaloosa, Alabama. He found his musical native of New Orleans, Louisiana. He has calling at age 12. In high school, he played been a member of the Jazz at Lincoln Center and recorded with gospel immortal James Orchestra and the Wynton Marsalis Septet Cleveland. He graduated from Clark Atlanta since 1993, touring throughout the world University with a B.A. in Music Education. PROGRAM In 1991 he joined Johnny O’Neal’s Atlanta- and juke joint. He has been a member of the based quintet. In 1994 he moved to New Jazz at Lincoln Center Orchestra since 2005. York City then recorded his first two albums, Jackson currently performs with the Wynton Full Circle (1996) and Big Mama’s Biscuits Marsalis Quintet, Horns in the Hood, and (1998), on Blue Note. Irby toured the U.S. leads the Ali Jackson Quartet. He also hosted and the Caribbean with the Boys Choir of “Jammin’ with Jackson,” a series for young Harlem in 1995, and was a member of the musicians at Jazz at Lincoln Center’s Dizzy Jazz at Lincoln Center Orchestra from 1995 Club Coca-Cola . He is also the voice of “Duck to 1997. During that tenure, he also Ellington,” a character in the Penguin book recorded and toured with Marcus Roberts, series Baby Loves Jazz that was released in 2006 . was part of ’s Jazz Ahead Program and Roy Hargrove’s groups. After a RYAN KISOR (Trumpet ) was born on April four-year stint with Roy Hargrove, Irby 12, 1973 in Sioux City, Iowa, and began focused on his own group in addition to playing trumpet at age four. In 1990 he won being a member of ’ ensemble first prize at the Institute’s and Papo Vazquez’s Pirates Troubadours. first annual Trumpet Since 2003 Irby has been the regional Competition. Kisor enrolled in Manhattan director for JazzMasters Workshop, men - School of Music in 1991 where he studied toring young children, and a board member with trumpeter . He has performed for the CubaNOLA Collective. He formed and/or recorded with the Mingus Big Band, Black Warrior Records and released Black the Gil Evans Orchestra, , Gerry Warrior, Faith, Organ Starter, and Live at Mulligan, and Charlie Haden’s Liberation the Otto Club under the new label. Music Orchestra, the Carnegie Hall Jazz Band, the Philip Morris Jazz All-Stars, and ALI JACKSON (Drums ) developed his others. In addition to being an active sideman, talent on drums at an early age. In 1993 he Kisor has recorded several albums as a leader graduated from Cass Tech High School and including Battle Cry (1997), The Usual in 1998 was the recipient of Michigan’s pres - Suspects (1998), and Point of Arrival (2000). tigious Artserv Emerging Artist award. As a He has been a member of the Jazz at Lincoln child, he was selected as the soloist for the Center Orchestra since 1994. “Beacons Of Jazz” concert which honored legend Max Roach at New School University. CARL MARAGHI (Baritone Saxophone, After earning an undergraduate degree in Clarinet, Bass Clarinet) moved to New York music composition at the New School City from his native Montreal, Canada to University for Contemporary Music, he study at the prestigious Juilliard School, studied under Elvin Jones and Max Roach. where he studied and performed with artists Jackson has been part of Young Audiences, a such as , Victor Goines, Joe program that educates New York City youth Lovano, , Wycliffe Gordon, on jazz. He has performed and recorded with and Wynton Marsalis. He has played in con - artists including Wynton Marsalis, Dee Dee certs with the Jazz at Lincoln Center Bridgewater, , , Orchestra, tours with the Harry Connick, Jr., KRS-1, Marcus Roberts, Celebration Band, performs and records Joshua Redman, Vinx, Seito Kinen Orchestra with Pedro Giraudo’s orchestra, and is part conductor Seiji Ozawa, , and the of the acclaimed David Berger Jazz Orchestra. New York City Ballet. His production skills Maraghi has also worked for Doc Severinsen, can be heard on George Benson’s GRP release Ken Peplowski, Bobby Short, and Loren Irreplaceable . Jackson is also featured on the Schoenberg. In addition to leading and com - Wynton Marsalis Quartet recordings The Magic posing for the Carl Maraghi Sax Ensemble Hour (Blue Note, 2004), and From the and the Mulligan And More Quartet, he Plantation to the Penitentiary (Blue Note, regularly plays for Jersey Boys and Billy Elliot 2007). Jackson collaborated with jazz greats on Broadway. He released his first opus, , , and James Blossum , in 2009. Carter on Gold Sounds (Brown Brothers, 2005) that transformed songs by indie alternative ELLIOT MASON (Trombone ) was born in rock band Pavement into unique virtuosic England in 1977 and began trumpet lessons interpretations with the attitude of the church at age four with his father. At age seven, he PROGRAM switched his focus from trumpet to trom - MARCUS PRINTUP (Trumpet ) was born bone. At 11 years old, he was performing in and raised in Conyers, Georgia. His first various venues, concentrating on jazz and musical experiences were hearing the fiery improvisation. By 16, Mason left England to gospel music his parents sang in church. While join his brother Brad Mason at the Berklee attending the University of North Florida on a College of Music on a full tuition scholar - music scholarship, he won the International ship. He has won the following awards: Trumpet Guild Jazz Trumpet competition. In Daily Telegraph Young Jazz Soloist (under 1991 Printup’s life changed when he met his 25) Award, the prestigious Frank Rosolino mentor, the great pianist Marcus Roberts. Award, the International Trombone Roberts introduced him to Wynton Marsalis, Association’s Under 29 Jazz Trombone which led to Printup’s induction into the Jazz competition, and Berklee’s Slide Hampton at Lincoln Center Orchestra in 1993. Printup Award in recognition of outstanding per - has recorded with Betty Carter, Dianne formance abilities. He moved to New York Reeves, Eric Reed, Madeline Peyroux, Ted City after graduation and in 2008, Mason Nash, Cyrus Chestnut, Wycliffe Gordon, and joined Northwestern University’s faculty as Roberts, among others. He has recorded sev - the jazz trombone instructor. Mason has eral records as a leader: Song for the Beautiful performed with , the Woman, Unveiled, Hub Songs, Nocturnal Mingus Big Band, the Maria Schneider Traces, The New Boogaloo, Peace in the Abstract, Orchestra, and the Big Bird of Paradise, Lullaby, Ballads All Bop Nouveau. A member of the Jazz at Night, and A Time for Love . He made his Lincoln Center Orchestra since 2006, screen debut in the 1999 movie Playing by Mason also continues to co-lead the Mason Heart and recorded on the film’s soundtrack. Brothers Quintet with his brother. The August 22 has been declared “Marcus Printup Mason Brothers released their debut album, Day” in his hometown of Conyers, Georgia. Two Sides, One Story in 2011. KENNY RAMPTON (Trumpet ) joined TED NASH (Alto and Soprano Saxophones ) the Jazz at Lincoln Center Orchestra in was born into a musical family in Los 2010. He also leads his own sextet in addi - Angeles. His father, Dick Nash, and uncle, tion to performing with the Mingus Big the late Ted Nash, were both well-known Band, The Mingus Orchestra, The Mingus jazz and studio musicians. The younger Dynasty, George Gruntz’ Concert Jazz Nash exploded onto the jazz scene at 18, Band, and The Manhattan Jazz Orchestra moved to New York and released his first (under the direction of Dave Matthews). In album, Conception (Concord Jazz). He is 2010 Rampton performed with The Scottish co-leader of the Jazz Composers Collective National Jazz Orchestra at the Edinburgh and is constantly pushing the envelope in the International Festival, and was the featured world of “traditional jazz.” His group soloist on the /Gil Evans classic Odeon has often been cited as a creative version of Porgy and Bess. He toured the focus of jazz. Many of Nash’s recordings world with The Ray Charles Orchestra in have received critical acclaim, and have 1990 and with the legendary jazz drummer appeared on the “best-of” lists in The New Panama Francis, The Savoy Sultans, and The York Times, The New Yorker, The Village Jimmy McGriff Quartet, with whom he Voice, The Globe, and Newsday . His played for 10 years. As a sideman, Rampton recordings, The Mancini Project (Palmetto has performed with Mingus Epitaph (under Records) and Sidewalk Meeting (Arabesque the direction of ), Bebo Recordings), have been placed on several Valdez’ All-Stars, Maria Schneider, “best-of-decade” lists. His album Portrait in the Afro-Latin Jazz Orchestra, Charles Seven Shades was recorded by the Jazz at Earland, Dr. John, Lionel Hampton, Jon Lincoln Center Orchestra and was released Hendricks, , Geoff Keezer, in 2010. The album is the first composition Christian McBride, and a host of others. released by the JLCO featuring original Most recently, he was hired as the trumpet music by a band member other than band - voice on . Some of his Broadway leader Wynton Marsalis. credits include Finian’s Rainbow, The Wiz, Chicago: The Musical, In The Heights, Hair, Young Frankenstein, and The Producers. PROGRAM JAZZ AT LINCOLN CENTER is dedi - competition and festival, a band director cated to inspiring and growing audiences for academy, jazz appreciation curriculum for jazz. With the world-renowned Jazz at students, music publishing, children’s con - Lincoln Center Orchestra and a comprehen - certs and classes, lectures, adult education sive array of guest artists, Jazz at Lincoln courses, student and educator workshops, Center advances a unique vision for the con - and interactive websites. Under the leader - tinued development of the art of jazz by ship of Managing and Artistic Director producing a year-round schedule of perform - Wynton Marsalis, Chairman Robert J. Appel, ance, education, and broadcast events for and Executive Director Greg Scholl, Jazz at audiences of all ages. These productions Lincoln Center produces thousands of events include concerts, national and international each season in its home in New York City, tours, residencies, weekly national radio pro - Frederick P. Rose Hall, and around the grams, television broadcasts, recordings, world. For more information, visit jalc.org. publications, an annual high school jazz band

Our newest visual art exhibit, Jazz at Lincoln Center: 25 Years of Celebrating America’s Music, documents JALC's origins and growth in commemoration of our 25th anniversary in 2012 –13. The exhibit features historical photographs, documents, posters, videos, costumes, commissioned scores, and ephemera, in a mixed media portrait of the organization's founding and ongoing record of achievement and commitment to the uniquely American art form of jazz. The exhibit is free and open during concerts, so you can explore and learn more about Jazz at Lincoln Center during your visit.

Jazz at Lincoln Center gratefully acknowledges the Ford Foundation, Henry Luce Foundation, and Lisa and David Schiff for generously underwriting this exhibition. The exhibition was curated by Thomas Mellins and organized by Jazz at Lincoln Center: Robert J. Appel, Chairman of the Board of Directors; Wynton Marsalis, Managing and Artistic Director; Greg Scholl, Executive Director. Jazz at Lincoln Center’s annual artistic, educational, and archival programs are supported by the following generous contributors:

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UPCOMING EVENTS JAZZ AT LINCOLN CENTER’S FREDERICK P. R OSE HALL

FEBRUARY 2013 THE ALLEN ROOM IRENE DIAMOND EDUCATION CENTER Dizzy and Bird Festival Paquito D’Rivera’s Dizzy and Bird Festival “ with Strings” Free Listening Party with March 8–9 , 7:30pm & 9:30pm February 28, 7pm All tributaries of contemporary jazz expression lead back Living jazz piano legend and NEA Jazz Master Randy to alto saxophone giant Charlie “Bird” Parker Weston, a close personal friend of Dizzy Gillespie, will (1920–1955), whose unrivaled improvisational bril- present a retrospective of Dizzy and Charlie Parker's liance mesmerizes everyone who hears him. Parker’s recorded musical catalog. profound impact on the course of music increased even Free and open to the public further after his 1950 session Charlie Parker with Strings, on which, framed by romantic string arrange- ments, he soared through a suite of standards (it remains MARCH 2013 his most popular recording to date). On this program, the effervescent Cuban reedist-arranger-composer ROSE THEATER Paquito D’Rivera will place his lush sound and virtuosic sensibility at the service of this repertoire, imparting a Dizzy and Bird Festival Latin twist to the proceedings. A few pieces from Celebrating Dizzy Gillespie Parker’s recordings with Machito, Chico O’Farrill, and March 8–9, 8pm other Latin artists will be revisited as well. No living trumpet player can claim a closer relationship Free pre-concert festival nightly at 6:30pm. to musician-teacher-humanitarian Dizzy Gillespie— personally or musically—than , who met his Charlie Musselwhite friend and mentor at age 15. A veteran of the Thad March 15–16, 7:30pm & 9:30pm Jones-Mel Lewis Orchestra, and former musical director Raised in Memphis, Tennessee, Charlie Musselwhite of Gillespie’s United Nations Orchestra, Faddis will launched his career within the fertile blues landscape of direct The Jon Faddis Jazz Orchestra of New York mid-1960s Chicago and the flower power era San through new transcriptions from Gillespie’s path- Francisco. Now 68, Musselwhite brings his still breaking 1940s big band, repertoire from the spectac- bourbon-smooth tenor voice and masterful harmonica ular 1950s edition that toured the Middle East and commentary to The Allen Room, where he’ll undoubt- South America under the auspices of the State edly uphold the Chicago Tribune’s assessment that “he Department, and lead a quintet through selected gems defines the cutting edge in contemporary blues.” from Gillespie’s consistently superb small group record- ings with special guests Ignacio Berroa, NEA Jazz Master , , and Steve March 22–23, 7:30pm & 9:30pm Turre (3/8 only). “She was capable of telling the truth,” says Madeleine Free pre-concert festival nightly at 6:30pm. Peyroux of her attraction to Billie Holiday, to whom Free pre-concert discussion nightly at 7pm. her soulful, thick-as-molasses contralto and deliberate, conversational phrasing has been compared. In these IRENE DIAMOND EDUCATION CENTER concerts, Peyroux will apply her recognizable-in-one- note instrument—and her guitar—to repertoire drawn from her last four CDs, comprising both original songs Swing University and reimagined classics from such artists as Robert Spring Term Johnson, Bessie Smith, Bob Dylan, Leonard Cohen, Classes start March 19 and Joni Mitchell. Whether you are new to the music or seek to deepen your knowledge, Swing University offers students of all ages a chance to learn about jazz from musicians and scholars. Spring term includes Jazz 101, Jazz 201, Jazz 301, Charlie Christian, Lennie’s Listening Lessons, Ragtime, and Free Jazz. Single tickets to Spring classes are available.

Except where noted, all venues are located in Jazz at Lincoln Center’s Frederick P. Rose Hall, Time Warner Center, 5th floor Tickets: $10-$120 To purchase tickets call CenterCharge: 212-721-6500 or visit: jalc.org. The Jazz at Lincoln Center Box Office is located on Broadway at 60th Street, Ground Floor. Hours: Monday-Saturday, 10am-6pm; Sunday, 12pm-6pm. For groups of 15 or more: 212-258-9875 or jalc.org/events/group-sales. For more information about our education programs, visit jalc.org/learn. For Swing University and WeBop enrollment: 212-258-9922. Find us on Facebook, Twitter, YouTube, and Foursquare. 2

UPCOMING EVENTS

JAZZ AT LINCOLN CENTER’S FREDERICK P. R OSE HALL

FEBRUARY 2013 Quartet with David Potter, Will Goble, and Austin Johnson Tia Fuller Quartet with Special Guest March 4 with Shamie Royston, Mimi Jones, EJ Strickland 7:30pm & 9:30pm (Feb. 21–22 only), and Rudy Royston (Feb. 23–24 only) February 21–24 Quintet 7:30pm & 9:30pm with Pete McCann, Evan Gregor, Eric Doob, and Late Night Session: Emmet Cohen Trio a surprise guest (Feb. 19–23) March 5–6 7:30pm & 9:30pm Juilliard Jazz Ensemble Late Night Session: Alphonso Horne February 25 7:30pm & 9:30pm Dizzy and Bird Festival Wycliffe Gordon & Friends – The Dizzy Birds: The Music of Dexter Gordon: Bebop Then and Now A Celebration with Adrian Cunningham, , , with , Victor Lewis, Joe Locke, Yasushi Nakamura, Dion Parson, and special guests Jerry Weldon, Walter Blanding, and Brandon Lee March 7–10 February 26–27 7:30pm & 9:30pm 7:30pm & 9:30pm Late Night Session: Alphonso Horne (Mar. 7–9) Late Night Session: Aaron Kimmel Quartet Amina Figarova Sextet Wolff & Clark Expedition with Bart Platteau, Ernie Hammes, Marc Mommaas, with Michael Wolff, Mike Clark, Steve Wilson, and Jeroen Vierdag, and Chris "Buckshot" Strik James Genus March 11 February 28 7:30pm & 9:30pm 7:30pm & 9:30pm Late Night Session: Aaron Kimmel Quartet Eddie Daniels & Roger Kellaway March 12–13 7:30pm & 9:30pm MARCH 2013 Late Night Session: Joe Saylor and Bryan Carter

Warren Wolf Group Billy Hart Quartet with , Kris Funn, and Billy Williams with Mark Turner, Ethan Iverson, and Ben Street March 1–3 March 14–17 7:30pm & 9:30pm 7:30pm & 9:30pm Late Night Session: Aaron Kimmel Quartet Late Night Session: Joe Saylor and Bryan Carter (Mar. 1–2) (Mar. 14–16)

Tune in for our live webcasts brought to you from Dizzy's Club Coca-Cola. View the full schedule at jalc.org/live. In deference to the artists, patrons of Dizzy’s Club Coca-Cola are encouraged to keep conversations to a whisper during the performance. Artists and schedule subject to change. Dizzy’s Club Coca-Cola is located in Jazz at Lincoln Center’s Frederick P. Rose Hall, Time Warner Center, 5th floor New York. Reservations: 212-258-9595/9795 or jalc.org/dizzys; Group Reservations: 212-258-9580 or jalc.org/dizzys/group-sales. Nightly Artist sets at 7:30pm & 9:30pm plus an 11:30pm set on Fridays. Late Night Session sets Tuesday through Saturday, after the last Artist set. Cover Charge: $20–40. Special rates for students with valid student ID. Full dinner available at each set. Rose Theater and The Allen Room concert attendees, present your ticket stub to get 50% off the late-night cover charge at Dizzy’s Club Coca-Cola Fridays and Saturdays. Jazz at Lincoln Center merchandise is now available at the concession stands during performances in Rose Theater and The Allen Room. Items also available in Dizzy’s Club Coca-Cola during evening operating hours. Dizzy’s Club Coca-Cola gift cards now available. Find us on Facebook, Twitter, YouTube, and Foursquare.