T TIONAL SERIES "The Songsthat Louis and Ella Sang" THE CLARK TERRY QUINTET with CAROL SLOANE SPONSOREDBY THE DEPARTMENTOF MUSIC AND THE NEW HAMPSHIRE LIBRARY OF TRADITIONAL IAZZ 8 PM MONDAY SEPTEMBERI5,7997 IOHNSON TTIEATRE PAUL CREATIVE ARTS CENTER DURHAM,NH THE ARTISTS THE CLARK TERRYQUINTET WITH CAROL SLOANE RecallingLouis Armstrongand Ella Fitzgeraldat the start of an annual seriesrooied in tradition is certainly appropriate.given their impact Onour culture, but lecent eventsgive us rcason to renect a blt on ttri causesand nature of remembrance.At one extremewe memorializea long life of unselfishaccomplishment, at the other we ate drawn to tragically unfulfilled potential. Ultimately with their relationship to socialand public consequence,celebration of such lives tends to be manifesteddramaticalty; buildings are dedicatedamd programscreated, historical documentationis ever Present,and examplesof personalinspiration abound. Although such honors are not uncommon in the arts, in the truly aestheticrealm where objectivity and subjectivity(and pastand present)are always in creativetension, tribute to thos€ whose unique achievementspersist in our conciousnessis perhaps best expressedthrough appllng one's o*n imaginationto that legacyin a manner which, while rernaining explicity coinected,still allows for the individualityand sPontaneitywhich are the lifebloodof iazz, (Havingmade this profoundpoint, it is indeedironic that we are now mostaPt to be reminded of both-Louis and Ella throughsampled simulations in televisioncommercials. Unive6ality, anyone?!) Clark Terry was a personalfriend of Louis, and though two decadesyounger nonetheless acknowledges with enthusiasmand deep resPectLouis's powerful influence on him. A revealingifushation of this factoccurs in PeterWatrous's 1994 review in the New York Times of LouisArmstrong's music at the LincolnCenter. After commentingon the of two cbncerts "PerhaPs, difficulty of recapturint the essenceof an Armstrongperformance, he wrote, then,iys not so sirangethat the high point of the two niShtscame from the performanceleast faithful to Armstrong, a seriesof improvisationsby the flugelhornist Clark Terry, ...gemlike solos that owed much to Armstrong but didn't try to aPehis style. (He) slaughteredthe comP€tition." (And the competitionincluded Wynton Marsalit JonFaddis, and NicholasPayton!) of 1996Clark participated in a twoday tribute to Ella Fitzgerald with an In the summer "was enormous(and impressive)roster of other performers. The Times noted that one singer ioined by Mr. Terry for improvisationalduets whoseblend of playfulnessand musicalauthority nearly matchedthat of Fitzgerald'sclassic exchanges with Louis Armstrongl'. Clark's partner "the -as one Carol Sloane. who columnbt Rex Reeddescribes as showstoPPer,a true and dedicated practitioner of the art of swinging who came closestto the heart and soul of iazzy "Sloane And yet anothercritic concludedthat was authentic in emulating Fitzgerald's Ella". 'innocent exquisite senseof melody, ...singingas if echoingLena Horne's descriPtion(of Ella), "t d tl"un'. It was a lessonsome of the other singersshould have heeded". Thus was a CD inspired! Most citizensof the communityof Fzz listenersknow that Clark Terry is also a celebratediazz educator,his matriculationand graduationsumma cum laude from the rhools of Basieand T TIo NAt" SER rEt: CLARKTERRY - trumpet,flugelhorn, and z, oc als DAW GLASSER- alto saxophone DONFRIEDII4A.N'piano MARCUSMcLAUKINE - bass SYLWA CUENCA- drums CAROLSLOANE - aocals Ellingtonhaving qualified him for thatrole. His associationwith UNH startedin 1975,and now includestwo residincieseach year; however, this is the first time we havebeen able to invite his regularquintet to campus.(The grouP's stature is evidentin its role in therecent Dzzy Gillespietribute at Newport.) Don Friedmanand MarcusMclaurine eachhave appearr:d here seperitely*ith Clarkbefore and it is a pleasureto againwelcome artists of suchcomprr'frensive experience.Dave Glasser',s impressive credentials are from the count Basieand lllinois Jacquet bandsand pianist Barry Harris (and the prestigiousEastnran fthool of Music!),an,:l sylvia cuenca'sdynamic pres€nce will remindsome of us that when the UNH JazzBand went to the MontreuxFestival with Clark Teny in 1976,it wasthe only one of the attendingcollcge bands that had femaleperformers! Thus we begin our SeasOnwith a deep and humbleawareneSS of how we are c.::rstantly nourislredby the renewablilty of the jazz experience,and with Sratitude for thos€ble:'d with "passin the ability to keep on the language". ed' Tapcncordcrs and carnqcs arc not Pemitred duc ro @ntracrualLftangetnenrs. Yott/ cooffttion is rcqa: THE SERIES The UNH Traditional Jazz Series began in 1979. It promotes the enioyment and understandingof the art through concertsfeaturing musiciansof regional, national, and intemational prominence. The program representsa unique endeavorto expand interest and honor outstandingtalent and achievement. Musicianswishing to do so are encouragedto offer their recordingsfor saleor mail order during intermission;a brief announcementmay be made. The sponsorshave no financial interestin suchsales beyond offering a courtesyservice to the artistsand the public. PrograrnNotes - Paul Verrette Production- DavidSeiler THE SCHEDULE September15 ClarkTerry Quintet with CarolSloane (ohnsonTheatre, Paul Creative Arts Center) October6 M-N-MTrio with JimmyMazzy, banjo; Eli Newberger,tuba; Joe Muranyi, clarinet November10 PaulBroadnax and Friends December1 Artie ShawOrchestra, directed by DickJohnson (JohnsonTheahe, Paul Creative Arts Center) February2 Duo,Brad Terry, darinet and Joachim Mencel, piano (ohnson Theaire,Paul CreativeArts Center) March9 Galvanizedfazz Band and Spiegle Willcox, trombone April 5 JamesWilliams, solo piano (ohnson Theatre,Paul CreativeArts Center) May 4 ClaudeWilliams, violin; Norris Tumey, saxophone;and RedRichards, piano 0ohnsonTheatre, Paul CreativeArts Center) (Concerts in Strafford Room of the Memorial Union Building exception noted).