T he P ro g ram - Lincoln Center`s American Songbook

The Program
Sponsored by Prudential Investment Management
Saturday Evening, February 7, 2015, at 8:30
Danny Rivera &
Nelson González: Obsesión
with special guest Paul Winter
Eduardo Reyes, Strings
Willie Rodriguez, Piano
Juan Wüst, Guitar
Konrad Adderly, Bass and Bandoneon
Johnny Rodriguez Jr., Percussion
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.
Wine generously donated by William Hill Estate Winery, Official Wine of Lincoln Center.
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 Brown
Foundation, Inc., of Houston, 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.
Endowment support is provided by Bank of America.
Public support is provided by the New York State Council on the Arts.
Artist catering is provided by Zabar’s and zabars.com.
MetLife is the National Sponsor of Lincoln Center.
Movado is an Official Sponsor of Lincoln Center.
United Airlines is the Official Airline of Lincoln Center.
WABC-TV is the Official Broadcast Partner of Lincoln Center.
William Hill Estate Winery is the Official Wine of Lincoln Center.
UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM:
Wednesday Evening, February 11, at 8:30
Meshell Ndegeocello:
Pour Une Âme Souveraine—A Dedication to Nina Simone
Thursday Evening, February 12, at 8:30
San Fermin with Metropolis Ensemble
Friday Evening, February 13, at 8:30
Talib Kweli
Saturday Evening, February 14, at 8:30
Dawn Landes
The Appel Room is located in Jazz at Lincoln Center’s Frederick P. Rose Hall.
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. The taking
of photographs and the use of recording equipment are not allowed in the building.
Note on the Program
American Songbook I Note on the Program
Beneath the Passion, a Lover’s Protest
By Ned Sublette
Born in the revolutionary cultural crossroads of colonial Santiago de
Cuba in the late 19th century, the bolero was the product of a broad,
international movement of romantic song. This musical style—not to
be confused with the unrelated rhythm that Maurice Ravel appropriated for his orchestral Bolero—was soon cultivated in every Cuban
town, and was rapidly launched along a maritime network as old as
Spanish colonization. With the advent of victrolas and radio, the
bolero became available on demand throughout Latin America,
acquiring in the process a more sophisticated harmonic palette as the
hemisphere’s greatest composers developed it. Especially during the
genre’s heyday from the 1930s through the ‘50s, when audiences in
the U.S. were swooning for crooners of the North American songbook, Latin American performers and audiences found in the bolero
an ideal vehicle to transmit and amplify deep feeling, communicating
on an emotional level through exquisite melody and through lyrics
about amor y desamor—love and its loss.
The apparent simplicity of the bolero is deceptive. Beneath the passion, the nostalgia, and the current flowing between singer and public, there is a core of protest. It’s a lover’s protest, to be sure: in the
temple of the bolero, where common words and phrases acquire
mystical significance in song, an individual oppressed by love can
lament his or her mistreatment. But it’s also the self-assertion of a
body politic defined by language and culture: the romantic song
crossed borders more easily than nationally identified dance
rhythms, with the result that boleros were composed and sung in
every Spanish-speaking territory and Brazil. They were especially cultivated in Cuba, in movie-musical Mexico, and, importantly for our
concert this evening, in Puerto Rico. (Danny Rivera is often called the
“national voice of Puerto Rico.”) In other words, the bolero is a
marker of a Latin American identity that assumes many forms.
But this musical identity developed in an open circuit between the
Latin American songbook and its English-singing counterpart. Jazz
and show tunes flowed into the region’s cinemas, over the radio, and
into the repertoires of dance orchestras; meanwhile, dancing in the
U.S. was heavily associated with Latin music. In New York, where
Puerto Ricans in the U.S. are concentrated, they were the majority
players in developing a musical culture that bridged the African
American and the Afro-Cuban, while continuing to play selfconsciously Puerto Rican styles as well. These crossings are easily
traceable from 1917, when Puerto Ricans became U.S. citizens: to
take perhaps the most famous case, Rafael Hernández, Puerto Rico’s
American Songbook I Note on the Program
most popular composer, played trombone (and saw combat) in James Reese
Europe’s famous 369th Regiment “Harlem Hellfighters” band that brought jazz
to Europe during World War I. This Latin New York wave—which peaked with
adaptations of the Cuban innovations of the mambo and the cha-cha-cha, then
exploded into salsa—powerfully influenced the rest of the country and the hemisphere through recording and broadcast, but it was live in midtown. By the early
1950s, few New York bandleaders had not alternated with a Latin orchestra on
the bandstand.
With all this crossover going on, the Latin American songbook became an integral part of the North American songbook. A number of boleros were recorded
by U.S. artists—think “Bésame Mucho” or “Perfidia.” Boleros influenced the
course of U.S. and European pop music enormously—think of Cole Porter’s
“Begin the Beguine,” Ben E. King’s “Stand by Me,” The Beatles’ “And I Love
Her,” or your favorite ‘80s power ballad. In all its forms, the repertoire has been
ratified by generations of listeners in the Americas, while its timeless hits call
singers to measure themselves against the vocal greats of earlier times.
Danny Rivera’s take on the classic composers was formalized in 2014 with the
release of the album Obsesión, named after the familiar song by Pedro Flores.
His longtime collaborator, tresero Nelson González, is one of the pillars of New
York’s Puerto Rican music community and simultaneously one of its deepest
students of Cuban culture. González produced Obsesión as a personal obsession over a period of years. (Disclosure: I wrote the liner notes for Obsesión.)
Some of the songs he brought Rivera are obscure to 21st-century ears, while
others are songs Rivera has been singing since he was a child wonder back
when, as he told me, “the songs of Rafael Hernández and Pedro Flores gave
me the chance to prove that I could sing.”
Not all the songs on this program are boleros, nor are they all by Puerto Rican
composers. But tonight, as Rivera gives his voice to the great Latin American
songbook, the bolero is setting the tone, and Puerto Rico is the center of
the world.
Ned Sublette is the author of Cuba and Its Music: From the First Drums to the
Mambo (Chicago Review Press).
—Copyright © 2015 by Lincoln Center for the Performing Arts, Inc.
MARMARA HOUSE PROJECTS
Meet the Artists
American Songbook I Meet the Artists
Danny Rivera
Over the course of a career that reaches its 50th year in 2015, Danny
Rivera has recorded more than 70 albums and sold thousands of records, and
sold out Carnegie Hall in four different decades (1979, 1989, 1999, 2010).
Born in Santurce, Puerto Rico, Mr. Rivera’s first experiences with singing
were in the chorus of an evangelical church and in the bars of his neighborhood, and with the barriles (barrel drums) of the street side bomba that
is Puerto Rico’s strongest link to the era of plantation slavery. He made his
first professional impression as a big-band singer in 1968 with César
Concepción’s orchestra. After he was chosen as Revelation of the Year in
the 1968 Popularity Festival, he became a familiar face in Puerto Rico
through television appearances. With a repertoire that emphasized the
bolero and looked to progressive song movements, he was an emblematic figure of the bohemia of the 1970s.
After making his recording debut in 1968 (Amor, Amor, with the Clean
Cuts), he began a string of hits that included “Porque yo te amo,” “Fuiste
mía un verano,” “Manolo,” “Mi viejo,” “Yo y la rosa,” and “Va cayendo una
lágrima.” For years afterwards, he recorded and concertized constantly,
becoming an international star. Mr. Rivera signed with the Venezuelan label
TH in 1980, and his albums during this period are considered classics,
including Alborada, Serenata, and Danza Para Mi Pueblo, an album of
Puerto Rican danzas. He subsequently began his own label, DNA, producing among other titles Así Cantaba Cheíto González, and an album of Tito
Rodríguez’s ballads, Inolvidable Tito.
Mr. Rivera has also lent his voice and energy to numerous educational,
social, and peace initiatives. In 2001 he spent 30 days in the U.S. federal
prison at Guaynabo, Puerto Rico, for civil disobedience in demonstrating
for the withdrawal of the U.S. Navy from the Puerto Rican island of
Vieques. Later that year his prison diary and poems were published in the
American Songbook I Meet the Artists
book Enamorado de la Paz: Diario en la Cárcel Federal (In Love with Peace:
Federal Prison Diary).
Nelson González
Born in Vega Baja, Puerto Rico, Nelson González is a master of the Cuban tres
guitar. This traditional instrument plays an important role in son, one of the
most influential styles in Cuban music. Mr. González’s love of Afro-Caribbean
music developed at an early age and continued when his family moved to New
York City when he was 12. During the 1960s, many skilled Latin musicians
gathered at the home of Andy and Jerry González to participate in weekly jam
sessions. It was during this period that he first strummed a tres guitar.
Mr. González was initially drawn to this unique instrument because of the formidable challenge it poses for musicians. With three sets of double strings,
playing a full chord on the tres is no easy task. Andy González lent him his first
tres, and it marked the beginning of a lifelong love for an instrument that represents all the richness and tradition of Cuban music.
Two other important figures in Nelson González’s music career were Rene
López, a leading authority on Cuban music, and Israel “Cachao” López, whose
descarga strongly influenced Mr. González’s music style. As his talent and
renown grew, he realized that the number of tres players in Latin America
and the Caribbean was dwindling, and he vowed to preserve the tradition of
this instrument.
Mr. González has recorded with top Latin bands like Charanga Tipica Ideal and
played on international recordings with African charanga groups. He was a
founding member of Los Kimbos with Adalberto Santiago, and in 1976 started
his own group, Nelson González and His Band. The group recorded two
albums, including one produced by the TR (Tito Rodriguez) record label. Mr.
González’s many other recordings include the Grammy Award–winning
albums Cachao Master Sessions, Vols. 1 and 2, Mi Tierra (Gloria Estefan),
Alma Caribeña (Gloria Estefan), Mundo (Rubén Blades), El Arte del Sabor
(Bebo Valdez), and Masterpiece (Tito Puente and Eddie Palmieri).
Mr. González has been playing with Danny Rivera for more than 25 years. He
appeared at the inauguration ceremony of President Jimmy Carter and was part
of the famous Havana Jam recorded in Cuba in 1979. His CD Son Mundano
(1997) was nominated for the best production of the year at the Tu Música
Awards. The following year he was a critical part of the Broadway production of
The Capeman, where he formed a close friendship with composer and musical
director Paul Simon. Television appearances include the 2000 Grammy Awards,
Saturday Night Live with Kenny Vance, the Late Show with David Letterman,
with Gloria Estefan and Cachao, and Marc Anthony Live on HBO.
American Songbook I Meet the Artists
Paul Winter
Paul Winter’s musical odyssey has
long embraced the traditions of the
world’s cultures, as well as the
wildlife voices of what he refers to as
“the greater symphony of the
Earth.” From the early days of his
college jazz sextet, which toured
Latin America for the State Department and performed the first-ever
jazz concert at the White House for
the Kennedys in 1962, to his later
ensemble, the Paul Winter Consort,
Mr. Winter’s concert tours and
recording expeditions have taken him to 52 countries and to wilderness areas
on six continents, where he has traveled via rafts, dog sleds, mules, kayaks,
tugboats, and Land Rovers. He has recorded 45 albums, seven of which have
been honored with Grammy Awards. Since 1980, Mr. Winter and his Consort
have been artists-in-residence at the Cathedral of St. John the Divine in New
York, where they have presented over 200 unique events, including their
famed annual Winter Solstice and Summer Solstice celebrations.
Eduardo Reyes
Eduardo Reyes (strings) is a musician, composer, and music producer
who has worked as a recording musician with artists such as Danny
Rivera, Cristian Castro, Melina León,
Don Omar, Gisselle, Sergio Vargas,
Aventura, and Alacranes Musical. Mr.
Reyes has won various ASCAP
(American Society of Composers,
Authors and Publishers) awards for
the song “Por Amarte Así,” which he
composed with Alejandro Montalbán. As a music producer and
arranger, he has collaborated with artists from different genres, including pop,
tropical, urban, and rock. In addition he has played, composed, arranged,
and/or produced music for more than 100 radio and television commercials, for
clients such as Telemundo and Univisión in Miami, Telemundo Puerto Rico,
WAPA, Puerto Rico’s Channel 7 and Channel 11, Cutty Sark, and Kodak.
American Songbook I Meet the Artists
Willie Rodriguez
Willie Rodriguez (piano) began his
career as a church musician. He has
performed and recorded with the
Machito (Grammy-winning recording
on Timeless Records in 1983), Manny
Oquendo y Libre, and the Johnny
Pacheco Orchestra (Grammy-winning
recording on Sony with Celia Cruz
2001). Mr. Rodriguez holds a doctorate in music education from Columbia
University, Teachers College. He is
the founder and first principal of the
Celia Cruz Bronx High School of
Music, from which he retired in 2013. In 2008 he established NYPR Music
Inc., which produced his Latin/jazz recordings Live at Willie’s Steakhouse
(2008) and Live at Don Coqui (2010). Mr. Rodriguez is currently the director of
external relations for the School of Arts and Humanities and a professor of
music at Lehman College, City University of New York. As a pianist he performs with La Orquesta Broadway, touring with the group to South American
and Europe last year. He accompanied Danny Rivera to the first annual Festival
Del Bolero in Chicago, the Performance Arts Center of Lehman College, and
to Puerto Rico.
Juan Wüst
Juan Wüst (guitar) began playing guitar at age ten. He quickly developed
an interest in classical style as well
as the pop music of his childhood in
Cuba in the 1960s, such as The
Beatles and other rock and folk
groups, which were being heard in
Havana. In 1980 Mr. Wüst became
part of the Mariel exodus and eventually took up residence in the New
York area, playing with several local
groups and conjuntos through the
’80s and ’90s. In 1986 he played at
the famous Carnegie Hall tribute for Olga Guillot. Almost from the start of his
career as a musician, Mr. Wüst was drawn to composing and arranging, and
he was able to explore these facets of his career more fully with the creation
of Q Band. In 1996 he opened Soundarts Recording Studios in Jersey City,
where he continued to advance his musical skills and opened the door to
American Songbook I Meet the Artists
recording and producing. Having established himself as a recording engineer,
he worked on more than 25 albums in various genres. His clients include
renowned artists such as Celia Cruz, Tito Puente, Johnny Pacheco, Chucho
Valdés, Paquito D’Rivera, Danny Rivera, Juan Pablo Torrez, Oriente Lopez, and
Obie Bermúdez.
Konrad Adderly
Born and raised in the South Bronx,
Konrad Adderley (bass and bandoneon) began his musical career on
Broadway as a teenager. He was first
inspired by the spotlight on a bass
player’s fingers when his mother
took him to a show in 1974. Some
years later he went on to play for
Broadway shows including A Chorus
Line and Dreamgirls. For the last 11
years Mr. Adderly has been the bass
player for Wicked. He has also
worked with Ray Charles, Aretha
Franklin, and Sonny Rollins. In addition to bass, Mr. Adderly plays the bandoneon, which is primarily used in tango. He fell in love with the sound of the
instrument when he heard a subway musician playing it. He subsequently
formed a group called Monk Tango, featuring traditional tango dancers and
Danny Rivera as its vocalist.
Johnny “Dandy” Rodriguez Jr.
Johnny “Dandy” Rodriguez Jr. (percussion) is a Latin percussionist from
New York City. At age 17 he earned a
position playing bongos in Tito
Puente’s orchestra and has spent
more than 30 years with the group.
He has also worked with Tito
Rodriguez and Ray Barretto. In 1972
Mr. Rodríguez formed the band Tipica
73, which he was with until 1979.
Following this he went back to work
with Puente, playing alongside him
until his death in 2000.
American Songbook
Matt Berman
Matt Berman is the resident lighting designer for Lincoln Center’s American
Songbook. He continues his design work for Kristin Chenoweth, Liza Minnelli,
Kaye Ballard, Brian Stokes Mitchell, Lea Salonga, and Elaine Paige on the road.
Through his work with the American Society of Composers, Authors and
Publishers (ASCAP) and several U.S.-based charities, Mr. Berman has
designed for a starry roster that includes Bernadette Peters, Barbra Streisand,
Reba McEntire, Melissa Errico, Deborah Voigt, Michael Urie, Stevie Wonder,
India Arie, Garth Brooks, Billy Joel, and Sting. His international touring schedule has allowed him to design for iconic venues such as Royal Albert Hall, the
Paris Opera, the Olympia Theater in Paris, Royal Carré Theater in Amsterdam,
the Sporting Club in Monte Carlo, the Acropolis, the Taormina Amphitheater in
Sicily, Luna Park in Buenos Aires, the Sydney Opera House, and, closer to
home, the Hollywood Bowl, Alice Tully Hall, and Carnegie Hall. Mr. Berman’s
television work includes Chenoweth’s recently released special Coming
Home, as well as seven Live From Lincoln Center broadcasts and the Tony
Award–winning Liza’s at the Palace, which he also designed for Broadway.
Other Broadway credits include Bea Arthur on Broadway, Nancy LaMott’s
Just in Time for Christmas, and Kathy Griffin Wants a Tony at the Belasco
Theater.
Scott Stauffer
Scott Stauffer has been the sound designer for Lincoln Center’s American
Songbook (1999–2015); the Actors Fund concerts of Frank Loesser, Broadway
101, Hair, and On the Twentieth Century; and Brian Stokes Mitchell at Carnegie
Hall. His Broadway credits include A Free Man of Color, The Rivals, Contact
(also in London and Tokyo), Marie Christine, Twelfth Night, and Jekyll & Hyde.
Off-Broadway Mr. Stauffer has worked on Hereafter, A Minister’s Wife,
Bernarda Alba, Third, Belle Epoque, Big Bill, Elegies, Hello Again, The Spitfire
Grill, Pageant, and Hedwig and the Angry Inch. His regional credits include productions at the Hanger Theatre, Berkshire Theatre Festival, Chicago
Shakespeare Theater, and Alley Theatre. As a sound engineer, Mr. Stauffer has
worked on The Lion King, Juan Darién, Chronicle of a Death Foretold, Carousel,
Once on This Island, and Little Shop of Horrors (Off-Broadway).
American Songbook
American Songbook
In 1998, Lincoln Center launched American Songbook, dedicated to the celebration of popular American song. Designed to highlight and affirm the creative mastery of America’s songwriters from their emergence at the turn of
the 19th century up through the present, American Songbook spans all styles
and genres, from the form’s early roots in Tin Pan Alley and Broadway to the
eclecticism of today’s singer-songwriters. American Songbook also showcases the outstanding interpreters of popular song, including established and
emerging concert, cabaret, theater, and songwriter performers.
Lincoln Center for the Performing Arts, Inc.
Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter
of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 programs, series, and festivals
including American Songbook, Great Performers, Lincoln Center Festival,
Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart
Festival, and the White Light Festival, as well as the Emmy Award–winning
Live From Lincoln Center, which airs nationally on PBS. As manager of the
Lincoln Center campus, LCPA provides support and services for the Lincoln
Center complex and the 11 resident organizations. In addition, LCPA led a $1.2
billion campus renovation, completed in October 2012.
American Songbook
Lincoln Center Programming Department
Jane Moss, Ehrenkranz Artistic Director
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Jill Sternheimer, Acting Director, Public Programming
Lisa Takemoto, Production Manager
Charles Cermele, Producer, Contemporary Programming
Kate Monaghan, Associate Director, Programming
Claudia Norman, Producer, Public Programming
Mauricio Lomelin, Associate Producer, Contemporary Programming
Julia Lin, Associate Producer
Nicole Cotton, Production Coordinator
Regina Grande, Assistant to the Artistic Director
Luna Shyr, Programming Publications Editor
Olivia Fortunato, House Seat Coordinator
For American Songbook
Matt Berman, Lighting Design
Scott Stauffer, Sound Design
Sara Sessions, Production Assistant
UPCOMING EVENTS
Jazz at Lincoln Center’s
Frederick P. Rose Hall
February 2015
THE APPEL ROOM
Sherman Irby’s Journey Through Swing
February 20 at 7pm
February 21 at 9:30pm
Jazz at Lincoln Center Orchestra saxophonist
Sherman Irby debuts an ensemble made up of the
“swinging-est” musicians on the East Coast to
explore the migration, development, and evolution of
jazz through the lens of swing. Irby first performed
with the Jazz at Lincoln Center Orchestra in 1995,
making his mark with Roy Hargrove and Elvin Jones
along the way. In this performance highlighting
important and differing regions of jazz, Irby will cover
Chicago (Gene Ammons and Johnny Griffin), Kansas
City (Count Basie and Charlie Parker), West Coast
cool jazz (Chet Baker and Dave Brubeck), New
Orleans (Buddy Bolden and Jelly Roll Morton), New
York City (Art Blakey, Horace Silver, and Freddie
Hubbard), and more. Joining Irby will be saxophonist
and clarinetist Victor Goines, trumpeter Bruce Harris,
trombonist Vincent Gardner, violinist Eli Bishop, guitarist James Chirillo, pianist Charles Craig, Sr., bassist
Gerald Cannon, and drummer Alvester Garnett.
Free pre-concert discussions at 6pm (2/20) and
8:30pm (2/21).
Elio Villafranca’s Music of the Caribbean
Featuring Jon Faddis and Leyla McCalla
February 20 at 9:30pm
February 21 at 7pm
An artist who incorporates elements of Bebo Valdés,
Perez Prado, and Gonzalo Rubalcaba, Elio Villafranca
is a leading voice of music today and part of an extraordinary lineage of Cuban pianists. Villafranca possesses a unique gift of conceptualizing projects that
fuse the jazz idiom with his extensive knowledge of
percussion and Latin rhythms. Along with his band
the Jass Syncopators and special guests trumpeter
and Dizzy Gillespie protégé Jon Faddis and singer, cellist, and banjo player Leyla McCalla, Villafranca will
present Cinqué- Suite of the Caribbean, a debut work
focusing on the influences of the Congolese traditions
of rhythms, melodies, and dances through the music
of Puerto Rico, Santo Domingo, Haiti, Jamaica, and
Cuba. Via this six-movement work with Congolese
drumming and costumed dancers, Villafranca will
showcase unifying elements of these islands, which
share similar cultures despite their diverse histories.
Free pre-concert discussions at 8:30pm (2/20) &
6pm (2/21).
ROSE THEATER
Dianne Reeves
February 13–14 at 8pm
One of the most recognized voices in jazz, Dianne
Reeves coalesces her signature sound, broad-spectrum repertoire, and fondness for love songs into a
very special Valentine’s Day weekend performance.
Reeves has long revered the city of New York, and
not too many cities top the Big Apple when it comes
to romance, making Rose Theater the perfect place to
revel in the occasion. Her latest CD, Beautiful Life,
was a perfectly timed Valentine’s Day release in 2014,
given the sensual essence of both original songs and
covers of Marvin Gaye and Bob Marley. Reeves will
assuredly set the mood for what is becoming a Jazz
at Lincoln Center tradition; for the second year in a
row, the most awarded female jazz vocalist of all time
treats audiences to an intimate evening of music and
storytelling, delivered as only she can. Reeves will be
joined by pianist Peter Martin, guitarist Peter Sprague,
bassist Reginald Veal, and drummer Terreon Gully.
New Orleans Songbook
February 20-21 at 8pm
Pianist Aaron Diehl and vocalists Cyrille Aimée and
Milton Suggs kick off the evening by celebrating the
composers and inspired songs of New Orleans, the
historic epicenter of jazz. The prodigious Diehl, who
has re-imagined the music of masters like New
Orleans’ own Jelly Roll Morton, serves as Music
Director. DownBeat calls Suggs, “A commanding
singer... steeped in tradition... but with modern sensibilities." The Washington Post describes Thelonious
Monk International Vocal Competition finalist Aimée
as possessing “a voice like fine whiskey – oaky and
smooth, with a hint of smokiness.” The evening continues with The New Orleans Jazz Orchestra’s premiere of founding Artistic Director Irvin Mayfield’s
“New Orleans Jazz Market,” a composition celebrating the orchestra’s soon-to-be-built permanent home
of the same name.
Free pre-concert discussion nightly, 7pm.
Except where noted, all venues are located in Jazz at Lincoln Center’s Frederick P. Rose Hall,
Time Warner Center, 5th floor
Tickets starting at $10
To purchase tickets call CenterCharge: 212-721-6500 or visit: jazz.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 jazz.org/groups.
For more information about our education programs, visit academy.jazz.org.
For Swing University and WeBop enrollment: 212-258-9922.
Find us on Facebook, Twitter, YouTube, and Instagram.
UPCOMING EVENTS
Jazz at Lincoln Center’s
Frederick P. Rose Hall
February 2015
Victor Goines & Friends:
With special guest Joe Temperley
February 7–8
with Aaron Diehl, Yasushi Nakamura, and
Lawrence Leathers
7:30pm & 9:30pm
Allan Harris: Black Bar Jukebox Album Release
with Pascal Le Boeuf, Jake Goldbas, Leon Boykins,
Yotam Silberstein, and Samuel Torres
February 9
7:30pm & 9:30pm
Clarence Penn and Penn Station:
Monk, the Lost Files Album Release Concert
with Kevin Hays, Yasushi Nakamura, and Chad
Leftkowitz-Brown
February 10–11
7:30pm & 9:30pm
Kim Nalley Sings Songs of Love
February 12–15
7:30pm & 9:30pm
Special pricing applies on Saturday evening.
Terry Waldo Gotham City Band:
From Ragtime to Jazz
with Jon Erik-Kellso, Mike Davis, Evan Arntzen, Howard
Alden, Brian Nalepka, Jim Fryer, and Rob Garcia
February 16
7:30pm & 9:30pm
Mardi Gras Stomp
with Joe Saylor and Alphonso Horne
February 17
7:30pm & 9:30pm
T.S. Monk Sextet
with Helen Sung, Willie Williams, Kenny Davis, Josh
Evans, and Patience Higgins
February 18–19
7:30pm & 9:30pm
Sounds of Brazil: Mario Adnet
with Duduka Da Fonseca, Eduardo Belo, Vitor
Gonçalves, and Billy Drewes
February 20–22
7:30pm & 9:30pm
Jimmy Greene Quartet: Beautiful Life
MONDAY NIGHTS WITH WBGO
with David Bryant, Luke Sellick, and Jimmy
MacBride
February 23
7:30pm & 9:30pm
William Paterson University Jazz Ensembles &
Orchestra
February 24
7:30pm & 9:30pm
The Amigos and Ken Peplowski
with Justin Poindexter, Sam Reider, Noah
Garabedian, and Will Clark
February 25
7:30pm & 9:30pm
The Music of Dexter Gordon: A Celebration
The Dexter Gordon Legacy Ensemble
with George Cables, Gerald Cannon, Lewis Nash,
Joe Locke, Abraham Burton, and Craig Handy
February 26–March 1
7:30pm & 9:30pm
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 or jazz.org/dizzys; Group Reservations: 212-258-9595 or jazz.org/dizzys-reservations
Nightly Artist sets at 7:30pm & 9:30pm.
Late Night Session sets Tuesday through Saturday. Doors open at 11:15pm
Cover Charge: $20–45. Special rates for students with valid student ID. Full dinner available at each artist set.
Rose Theater and The Appel 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 Appel Room. Items also available in Dizzy’s Club Coca-Cola during evening operating hours.
Dizzy’s Club Coca-Cola gift cards now available.
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jazz at lincoln center
february
family concert: who is billie holiday?
FEB 7 • 1PM, 3PM • JAZZ FOR YOUNG PEOPLE SERIES
With Aaron Diehl and Charenee Wade
dianne reeves
FEB 13–14 • 8PM
Vocalist Dianne Reeves returns for Valentine’s Day. Join us
for a special pre-concert Valentine’s Day dinner (2/14 only).
sherman irby’s journey through swing
FEB 20 • 7PM | FEB 21 • 9:30PM
Sherman Irby and friends explore the music of Charlie Parker,
Freddie Hubbard, and more
elio villafranca’s music of the caribbean
FEB 20 • 9:30PM | FEB 21 • 7PM
With Elio Villafranca, Jon Faddis, Leyla McCalla,
and the Jass Syncopators
new orleans songbook
FEB 20–21 • 8PM
Cyrille Aimée, Milton Suggs, Aaron Diehl, and The New Orleans
Jazz Orchestra with Irvin Mayfield
jazz across the americas
FEB 27–28 • 8PM
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Frederick P. Rose Hall
Broadway at 60th Street
Box Office: Ground Floor
CenterCharge: 212-721-6500
jazz.org
Lead Corporate Supporter of Jazz Across the Americas
The Jazz for Young People Family Concert is funded through the generosity of Mica and Ahmet Ertegun.
jazz at lincoln center
2014–15
jazz for young people series
family concert:
who is tito puente?
NOV 22 • 1PM, 3PM
Jazz at Lincoln Center Orchestra with
Wynton Marsalis
family concert:
who is billie holiday?
FEB 7 • 1PM, 3PM
Aaron Diehl and Charenee Wade celebrate
the music of Lady Day
Tickets start at $10!
OFFICIAL MEDIA PARTNER
THE JAZZ FOR YOUNG PEOPLE CONCERT SERIES IS FUNDED
THROUGH THE GENEROSITY OF MICA AND AHMET ERTEGUN
Venue Frederick P. Rose Hall
Box Office Broadway at 60th St., Ground Fl.
CenterCharge: 212-721-6500
jazz.org