Thursday–Saturday Evening, February 21–23, 2013, at 8:00

Wynton Marsalis, Managing & Artistic DirectorGreg Scholl, Executive Director

Bloomberg is the Lead Corporate Sponsor of this performance.

BLOOD ON THE FIELDSJAZZ AT LINCOLN CENTER ORCHESTRA

WYNTON MARSALIS, Music Director, TrumpetRYAN KISOR, Trumpet

KENNY RAMPTON, TrumpetMARCUS PRINTUP, Trumpet

VINCENT GARDNER, Trombone, Tuba CHRIS CRENSHAW, TromboneELLIOT MASON, Trombone

SHERMAN IRBY, Alto & Soprano SaxophonesTED NASH, Alto & Soprano Saxophones

VICTOR GOINES, Tenor & Soprano Saxophones, Clarinet, Bass ClarinetWALTER BLANDING, Tenor & Soprano Saxophones

CARL MARAGHI, Baritone Saxophone, Clarinet, Bass ClarinetELI BISHOP, Guest Soloist, Violin

ERIC REED, PianoCARLOS HENRIQUEZ, BassALI JACKSON, Drums

FeaturingGREGORY PORTER, VocalsKENNY WASHINGTON, Vocals

PAULA WEST, Vocals

There will be a 15-minute intermission for this performance.Please turn off your cell phones and other electronic devices.

Jazz at Lincoln Center 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 New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

ROSE THEATERJAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL

jalc.org

P R O G R A M

JAZZ AT LINCOLN CENTER25TH ANNIVERSARY SEASON HONORS

Since Jazz at Lincoln Center’s inception on August 3, 1987, when Lincoln Center for thePerforming Arts initiated a three-performance summertime series called “Classical Jazz,” theorganization has been steadfast in its commitment to broadening and deepening the public’sawareness of and participation in jazz. On July 1, 1996, Jazz at Lincoln Center became anindependent non-profit organization, establishing a prominent place for jazz alongside theopera, ballet, symphony, and other fine arts at Lincoln Center.

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

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

JAZZ AT LINCOLN CENTERBOARD OF DIRECTORS

Robert J. Appel, ChairmanPresident, Appel Associates

Shahara Ahmad-Llewellyn, Vice ChairCommissioner, NYC Commission on Women’s Issues

John Arnhold, TreasurerChairman and CIO, First Eagle Investment

Management

Robert H. BurnsChairman, The Robert Burns Hotel Group

Valentino D. CarlottiPartner, Goldman, Sachs & Co.

Richard M. CashinManaging Partner, One Equity Partners

Diane M. Coffey, Vice ChairManaging Director, Peter J. Solomon Company, L.P.

Alan D. CohnSenior Vice President, Wealth Management,

Morgan Stanley Smith Barney

Stephen S. DanielManaging Partner, Seyron Partners LLC.

Gordon J. Davis, Founding ChairmanPartner, Venable

Diana Roesch DiMenna

Viet DinhFounding Partner, Bancroft PLLC

Gail May EngelbergTrustee, The Engelberg Foundation

Mica ErtegunPresident and Owner, MAC II

Hughlyn F. FierceRetired Senior Banking Executive

JP Morgan Chase

Michael D. Fricklas, SecretaryExecutive Vice President,

General Counsel and Secretary, Viacom Inc.

Larry GagosianGagosian Gallery

Dr. Henry Louis Gates, Jr.W.E.B. Du Bois Professor of the Humanities,

Harvard University

Marlene HessFormer Managing Director of Global

Philanthropic Services, JPMorgan Private Bank

Thomas H. LeePresident, Thomas H. Lee Capital, LLC

P R O G R A M

Edward T. LewisSenior Advisor, Solera Capital

Wynton MarsalisManaging & Artistic Director, Jazz at Lincoln Center

Peter NortonPresident, Norton Family Foundation

Robert G. O’MeallyZora Neale Hurston Professor of English,

Columbia University

Clarence OtisCEO, Darden Restaurants

Mark R. Patterson, Vice ChairChairman, MatlinPatterson Global Advisors

Charles E. Phillips, Jr.CEO, Infor Global Solutions

Michael F. PriceFounder, MFP Investors

Ashley Schiff Ramos

Keith ReinhardChairman Emeritus, DDB Worldwide

Adam R. RoseCo-President, Rose Associates, Inc.

Mark Rosenthal, Chair, Executive Committee

Jack Rudin, Vice ChairCo-Chairman, Rudin Management Co., Inc.

Arthur J. SambergManager, Hawkes Financial LLC

Lisa Schiff, Chairman EmeritusManaging Director, After Nine Holdings

Paul C. Schorr, IVFounding Managing Director, Augusta Columbia Capital

Melanie Shorin, Chair, Chairman’s CircleFounder, The Narrative Trust

H. Marshall SonenshineChairman, Sonenshine Partners LLC

David J. SternCommissioner, National Basketball Association

Agnes Varis†Founder and President, Agvar Chemicals, Inc.

Faye WattletonManaging Director, Alvarez and Marsal

George WeinChairman, Festival Productions

Emeritus DirectorsJune Noble Larkin

Chairman and President, Edward John Noble Foundation

Albert Murray, Board HistorianNovelist, Cultural Historian

Jonathan F.P. Rose, Director EmeritusPresident, Jonathan Rose Companies

Ex-Officio MembersHon. Michael R. Bloomberg, Mayor of the City of New York

Commissioner Robert B. Tierney, DesigneeHon. Scott Stringer, President of the Borough of Manhattan

Maggi Peyton, DesigneeHon. Christine Quinn, Speaker of the New York City Council

Lola West, Designee

† Deceased

(as of January 1, 2013)

P R O G R A M

LibrettoI

Calling The Indians OutTrouble in our own land, crimes against thehuman soul far too large for any describing

words to hold.

IIMove Over

In a slave ship that darkly sways beneath the starof democracy, Jesse and Leona lie.

A captured man and woman, Jesse and Leona.PAULA WEST, Vocal

Leona: Move over.Move over now.Where are we?Don’t you hear me? OverAnyone come close to meTouch me. OI think I hear a drum. I think I hear adrum

Playing, proudly, pounding, saying softly,come

I think I hear a drum, I think I –Pain and evil all around me, O –Over, move, move closer overTouch me closerO brown doom!!Hear this cryPass on throughBlood wet wombRocking tomb, tomb, tomb, tomb,tomb, tomb, tomb, tomb

Where are we? Am I? Are I? Am we? Amwe??

I think I hear a drum, think I hear a drumThink I hear a drum, think I hear thedrums

That must be those drums singing onthe wind

Take a me back my home IThat’s the little one with the ringing toneSlowly swayingTaking me back, far away back my home.

No, that’s not the sound my drumsNot the sound my drums–that is not adrum

Pounding in, pounding, pound, pound,pound, pound, pound, O, NO

That same beat, that same damned beatof iron drums

No memory. Take a me back myStop it. Stop it. Stop it. Momma. Stopit. Stop it.

What are these things in my hair?

And everywhere. Mother, stop it. Stop it.Stop it. Stop it. Where did my little ones go!I’m down below. Demons are riding thewind, I, I can’t, oh, no.

Momma, Mother, Mother.Rocking tomb, Blood wet wombMany cry, O brown doom, beg to dieand do

Where are we, am I? Are we? Am we, am we?Move over move, move closer over,touch me. Closer.

O, My head is spinning round and roundO my eyes just won’t see. Demons cometo eat me.

Take us back home, far, far away, think Ihear

They’re playing, proudly, pounding softlycome

Pain and evil all around me O-overCome closer, touch me, someone moveover now.

IIIYou Don’t Hear No DrumsKENNY WASHINGTON, Vocal

Jesse: Got no place to goYou don’t hear no drums womanWoman you don’t hear no drumAll you hear. The clattering of brokenbones and homes

Chorus: (I think you better ride this wave on out)Jesse: Stop your whining common girl

Us sold us to this damned worldAll you hear the echoes of dead voicesfinal screams

Chorus: (I think you better ride this wave on out)Jesse: I’m a prince, my heart is stone

Could not count the slaves I ownedAll you hear, the mocking cry of pastaccomplishments

(I think you better ride this wave on out)Woman don’t you beg me for no touchCommon girl don’t ask me for no loveLow born womanHear me sayin’Woman you don’t hear no drumsDeath bound river of blood flowReeking foul, stench down belowAll you hear, the shrieking howls of somuch misery

Agony wash over meChained to scum on troubled seaAll you hear. The splashing of your headagainst hard wood

Chorus: (I think you better ride this wave on out)Jesse: Hear me once more common girl

In rage piss I on the world

P R O G R A MAll you hear is gasping silence of peoplechoking

So I’m gonna beFlying high, flying high.Only IMe and MineI’ve got to get out, got to be way faraway–free

Flying high, flying high.Only IMe and MineI’ve got to get out, got to be way faraway –free

You don’t hear no drums, woman!I think you better ride this wave on out.

IVA. The Market Place

In teeming marketplaces, onto the sweet soil ofour democracy is poured the salt of a businessthat gives a bitter taste to our national life.

B. Soul For Sale

GREGORY PORTER, Vocal

Slave: What a great day for shoppingBuyer: I can feel money dropping

People, that’s what I’m coppingSoul for SaleChecking their teeth and hairlinesPinching a buck whose skin shinesLooking for brown concubinesSoul for SaleI like my Negroes realSimple but plentiful of feelingThink we can make a dealNine hundred! What!Have you lost your mind?I call that stealingWhat ‘cha got to make my corn grow?New pipes for my tobaccoYes, and let’s see that NegroSoul for SaleSoul for SaleOh I can’t wait to buy someLet’s see ‘em skip, hop and runDarky, let go of that young ‘unSoul for SaleI like my Negroes realSimple but plentiful of feelingThink we can make a deal? Nine hundred! What!Have you lost your mind?I call that stealingPicks, hammers, mules, plows, and hoesA passel of northern dress clothesOh! and I’ll take those NegroesSoul for Sale

VPlantation Coffle March

Reborn in this land of plenty as livestock.Talking work animals.PAULA WEST, Vocal

KENNY WASHINGTON, Vocal

Leona: And slow we marched for all to seeNecks wringed with iron in agonyWe drag on feet cut bare by groundFor endless miles did not sit downNew born we bring this land fresh gloomRot baked in death ships hot wet wombChained men, women and little onesReduced to dogs by whips and guns

Jesse: I will not slave for any manWith each slurred step I hate this landI am a prince, no common manAnd soon I will be free

Leona: A weary walking travestyChained from this land’s sweet majestyWe all submit except for oneWhose high proud heart was overcomeThough bound he took three men toground

And would have killed but then the soundOf gunshot rang, the final bellStraight up he stood, and then he fell

Jesse: I will not slave for any manWith each slurred step I hate this landI am a prince, no common manAnd soon I will be free

Leona: And as he lay our coffle stalledHe could not walk and would not crawlWas time to move, he lay and fryStared at the sun, prepared to dieI lift him up and walk him roundFor many miles he makes no sound

This shuffle stops. How could it be?He says no words of thanks to meNo words to me, no words to me.

VIWork Song (Blood On The Fields)Soon can mean ten minutes, or ten lifetimes.In this case, 14 years of bondage has passed.

KENNY WASHINGTON, VocalPAULA WEST, Vocal

Jesse: MmmLeona: Mmm-hmmJesse: Liftin’ and a totinLeona: Packin’ and a sackin’Jesse: Pickin’ and a hoein’Leona: Seedin’ and a feedin’Jesse: Plowin’ and a growin’Jesse: Mmm-hmm. All day long

I raise my head to skyBeat back down by sun’s burning gaze

P R O G R A MThe field hand’s cry. I split my fingersdown to the blood again.

Leona: Blood on the fieldsKing cotton growBrown soil yieldsWhite up aboveRed down belowBrown soil yieldsWhite up aboveRed down belowAnd tomorrowI can’t take no more, no more, no more

Jesse: All day longWomanHush up your whining nowAnd hold your head up high

To curse this evil landTo hell with this strange manWatching over meDay longI riseBeat downAgain

Leona: Oh, just hold that whip massoJesse: Drive! Driver, hold that whipLeona: Down on one kneeJesse: Got to get free

Cruel hot sunLeona: Day is just begunJesse: All day longJesse and Leona:

Blood on the fieldsKing cotton growBrown soil yieldsWhite up aboveRed down belowTake me homeFar, far awayBlood on the fieldsBlood on the fields

Jesse: Pickin’ and a hoein’Leona: Blood on the fieldsJesse: Packin’ and a sackin’Leona: Blood on the fieldsJesse: Plowin’ and a growin’Leona: Blood on the fieldsJesse and Leona:

Red down belowLeona: And tomorrow

VIILady’s LamentPAULA WEST, Vocal

KENNY WASHINGTON, Vocal

Leona: Night falls,And then the day breaksAgain the night fallsAnd then my heart breaksAgain in morningI face the same old, same ol’ day

I thirst for romanceOne danceTo give me back my bodyNight falls,Come little romanceJust one cool drink, just one cool drinkI think I hear a drumI think I hear a drum

Jesse: I think I’m going to leave this slave life behind

You don’t hear no drum womanYou don’t hear no drumWoman you don’t hear no drumI think I’m going to leave this slave lifebehind

A. Flying HighKENNY WASHINGTON, Vocal

Jesse: I got to get out, got to be way far away–free

VIIIOh We Have A Friend In JesusOl’ Massa is a good and righteous man.

He likes for his Negroes to worship and honor amerciful and just God.PAULA WEST, Vocal

Leona: Oh we have a friend in JesusHe teaches us forgiveness

And a friend I need, Lord Jesus,To ease this pain of mineSoon he will comeFree his childrenCome to us nowJesus will show us the way home

A. God Don’t Like UglyThey, however, interpret the word of God

quite differently.PAULA WEST, Vocal

Leona: Let me bathe in the cool waters of your loveO, Lord, your love, Oh, Lord, your loveOh, Lord, your love, Oh Lord, your loveGod don’t like ugly. God don’t like ugly.God don’t like ugly. God don’t like ugly.Hallelujah, Hallelujah, Hallelujah, HalleluAnd the last shall be firstAnd the last shall be firstHallelujah, Hallelujah, Hallelujah, HalleluGod don’t like ugly. God don’t like ugly.And the last shall be firstAnd the last shall be firstAnd the last shall be firstAnd the last shall be firstAnd the last shall be first

P R O G R A M

IXJuba And A O’Brown Squaw

Jesse thinks not of God, not of heaven, not of jus-tice, only his own freedom is on his mind. Hegoes to see Juba. A man so wise, the uninformed

think he is a fool.GREGORY PORTER, Vocal

Juba: First you dance then you sing if you’d do the Juba rig

Then you turn all around and you hop alittle jig

People comes to Juba when they wantsto be free

When everything is fine with them theirface he never see

Jump Juba Pat Juba act a natchul foolEat a pound of dirt and bite a two-headmule

Chorus: O Lord Juba, Yea Lord JubaRight, Left Juba. And a O’Brown Squaw

Juba: Listen to these words son I’m about to sayI see it in your eyes that you want to getaway

Dancin’ and singin’ and shakin’ my tailOne mulatter girl and a bill of saleThe things you should do if you’d runadd up to three

If you do these three, there’s a chanceyou might be free

Chorus: O Lord Juba, Yea Lord JubaRight, Left Juba. And a O’Brown Squaw

Juba: Number one is love the land and also you must know

The land that holds you slave is the samethat lets you go.

Got-to-know where water lies to coverup your tracks

Stayin’ long on ground too high hasbusted many backs.

See how Brer Rabbit makes himself sohard to find

Dogs got long and pointy teeth andwould love some brown behind

Chorus: O Lord Juba, Yea Lord JubaRight, Left Juba. And a O’Brown Squaw

Juba: Number two you got to sing with soul or even better shout

Be sad but sing a happy song to call theIndians out

Any man be an Indian no matter howhe’s born

All you got to do is give a starvin’ mansome corn.

Listen to ol’ Juba sing and hear a soulfulsound

Jubal laughs in the devil’s face and knockhe mama down.

Chorus: O Lord Juba, Yea Lord JubaRight, Left Juba. And a O’Brown Squaw

Juba: Last thing number three you must do if you’d be free

If you’re going to get away you mustknow who you’ll be.

Runnin’ round talkin’ ‘bout you somekind of king

Like a chicken flyin’ with a hoot owl’s wingIf a man be a prince, then another be aslave

May be the lesser work the greater to anearly grave.

Chorus: O Lord Juba, Yea Lord JubaRight, Left Juba. And a O’Brown Squaw

Juba: One you got to love the land, forgive it for its sin

You’ll never get your freedom if the landis not your friend

Two, you’ve got to sing with soul soIndians will dance

If no one helps you run then youhaven’t got a chance

Three, what will you call yourself if youbecome free?

If a man is a prince then he too a slavecan be.

Chorus: O Lord Juba, Yea Lord Juba

Right, Left Juba. And a O’Brown Squaw

XFollow The Drinking Gourd

Jesse don’t care about no Indians, no land, nosoul, no singing, and no Leona.

It was time for him to go ahead and run.PAULA WEST, Vocal

Leona: Run day and run nightBut look up to freedomFreedomKeep your eye on highFollow the drinking gourdBut what of me, JesseFreedom, sweet freedomOne day or one nightHope they bring him back to meHope they bring him back to meHope they bring him back to me

A. My Soul Fell DownPAULA WEST, Vocal

Leona: This was my wishTo have you hereYour dark strong touchAll mine, all night

But as you passedDog-bit, chain-burnedMy soul fell downI was so wrongTo want you back

P R O G R A M

XIForty Lashes

If the opposition be truly serious, no matter hownoble the heart or just the cause, the unprepared,

will feel the bitter lash of failure.

XIIWhat A Fool I’ve Been

Knocks on the head, feet in the butt can bet recognition

KENNY WASHINGTON, Vocal

Jesse: Oh what a fool I’ve beenOh what a fool I’ve beenNot thinkingNot living in this islandFoolishly I live back in the old waysWant to be back home to drive my ownslaves

Now, I feel the painNo man should own a manI’m no slaveNot no princeJust a manJust a lonely manNo More!

A. Back to Basics

XIIII Hold Out My Hand

What has more meaning than pain? He wantsto know what soul is?PAULA WEST, Vocal

KENNY WASHINGTON, Vocal

Leona: I hold out my handTo comfort your woundsAnd give without wantThe sweetness of life.Through rivers of tearsThe moon shines tonight.And that is what soul is.When this bitter life has endedDeath may be a welcome restBut why waste all your living on dying?Why let mocking evil spirits have their way?Why wallow in sorrowWhen love’s joys can be found?Oh, come to me until I feel your heartbeatAnd when our hearts are swaying at onetempo

That is soul.Jesse: I have no heart, it’s been crushed and

torn by misery.What sweet softness, can a man know inhis heart

When others buy and sell his loved ones?Is that soul?And when this bitter life has endedI will dance a happy danceI will singI will shoutI will cryAnd in my rage I will –O why!Anguished heart! Wake my ears to hearthis woman’s song

Soul is the giving without want.The sharing of some soothing sweetnessthrough this bitter life.

Leona: Come to me until I feel your heartbeatWhen our hearts are swaying at one tempo

Jesse: Yes, I think I understand what soul is.Leona: Come and let us have this danceJesse: Come and let us have this little dance

That is soul.Leona and Jesse:My lips are sweet(just one little taste)My bosom not cold(just one little taste)Let’s pleasure ourselves(just one little taste)Romance can’t be sold(but they sure will try)But even through tears(and there are many)The moon shines tonight(let’s stop this talking)And that is what soul is!

XIVLook And See

Now he wants to listenGREGORY PORTER, Vocal

Juba: Look and seeTo learn and beOne part of weAnd not just yeIf you’d be freeAsk to knowWatch out! Lay lowThan act onWhat you knowTo growThen you can goDon’t close your ears to the hot songs oflife

Open them wideTake in the sizeReach with your dreamsPast moonless nightsLook and seeTo learn and beOne part of weAnd not just yeIf you’d be free

P R O G R A MDon’t fall in love with the weight ofyour pain

Hawk at the muleOf tragedyLife won’t be bent to your lamentAsk to knowWatch out! Lay lowThen act onWhat you knowTo growThen you can go.

A. The Sun Is Gonna ShineKENNY WASHINGTON, Vocal

XVWill The Sun Come Out?

Yes, but still the blues.PAULA WEST, Vocal

Leona: Do I like this change in him?From so strong a manSo suddenly has he gone soft.Will his manhood drain on this land?Do I want to birth his slave?Will the sun come out?Should I look up to the skies?Will the sun come out?Can he shine where evil thrives?What shall I do?Let you shine through?Hang my head but should I cry?Hang my head but should I cry?Will the sun come out?Wear his crown though darkness reigns?Will the sun come out?Forging metal for more chains.What can I do?Sun shines through blues.Hang my head I think I’ll cry.Hang my head I think I’ll cry.

Will the sun come out?Nourish blood-soaked fields all day?Will the sun come out?Crops been sold and sent away.Wealth all aroundNone can be foundHang my head but should I cry‘Nuff to live but no to thrive.Wealth all aroundSun has gone down.Hang my head but should I cry?Hang my head but still surviveCome on sun, just one more try.

XVIThe Sun Is Gonna Shine

But Jesse has learned how to play the blues.

Jesse: The sun is gonna shineUpon this land todayHe’ll show his warm round face and smileHe’ll play the bluest blues high yellowstyle

Sun is gon’ shine.The sun is gonna shineJust like he do each dayHis light will be so bright and clearHe’ll warm those soulless hearts longcloaked in fear

Sun is gon’ shineWhen you see me dancing down thestreet

SingingKnow that I sing a song with soul to befree

Which I soon will beYes, then alwaysThe sun is gonna shineUpon this land todayHe’ll rise so high he’ll never fallHis light will sound before the rooster’s callSun is gon’ shineWhen you see me dancing down the streetSingingKnow that I sing a song with soul to befree

Which I soon will beYes, then alwaysThe sun is gonna shineUpon this land todayHe’ll rise so high he’ll never fallHis light will sound before the rooster’scall

Sun is gon’ shine

XVIIChant To Call The Indians Out

KENNY WASHINGTON, Vocal

Jesse: Oh! Anybody. Hear This Plaintive Song.Oh! Who wants to help their brotherdance this dance?

Oh! I sing with soul:Heal this wounded land

XVIIICalling The Indians Out

P R O G R A M

XIXFollow The Drinking Gourd

His mind is set on a freedom larger than himself.Jesse escapes again, this time with Leona

KENNY WASHINGTON, VocalPAULA WEST, Vocal

XXFreedom Is In The Trying

Even for the righteous, success is never certain.GREGORY PORTER, Vocal

Juba: This is all I tell you because this is all I see.

You answered questions right but youstill ain’t free

If you see an eagle sittin’ on a crow’snest

His head in the east but his mind inthe west

Freedom is no simple thing but allyou need to know

Freedom’s in the trying, just walk onthrough the door

Chorus:O Lord Juba, Yes Lord JubaRight, Left Juba. And a O’Brown Squaw

Juba: Freedom’s in the tryingWalk on through the doorFreedom’s in the tryingAll you need to knowFreedom’s in the tryingWalk on through the doorFreedom’s in the tryingAll you need to knowFreedom is no simple thing but allyou need to know

Freedom’s in the trying and walk outthrough the door.

Freedom is no simple thing but allyou need to know

Freedom’s in the trying and walk outthrough the door.

Freedom is no simple thing but allyou need to know

Freedom’s in the trying and walk outthrough the door.

Chorus:O Lord Juba, Yes Lord JubaRight, Left Juba. And a O’Brown Squaw

Juba: That’s all I know

XXIDue North

KENNY WASHINGTON, Vocal

BLOOD ON THE FIELDSby Ted Panken © 2012

In April 1994 at Alice Tully Hall, the LincolnCenter Jazz Orchestra, as it was then named,premiered an extended jazz oratorio andcomposition by Wynton Marsalis titled BloodOn The Fields, relating the progression of aman and a woman—husband and wife—from slavery to freedom. Elaborating onideas he’d been developing for several yearswith the Wynton Marsalis Septet, anddeploying lessons gleaned from ongoingimmersion in the entire timeline of DukeEllington (particularly his later suites),Marsalis upped the ante from such early1990s extended works as City Movement andIn This House, On This Morning, penning apoetic, vernacular libretto and a virtuososcore, chock-a-block with ingeniousinstrumental voicings and complex meters,that illuminates and propels the narrative.Released in a three-CD edition by Columbia-Sony in 1995, Blood On The Fields wouldearn the 1997 Pulitzer Prize for Music, thefirst composition by a jazz musician—andthe first to incorporate extensively eitherimprovisation or idiomatic jazz vocabulary—to be awarded that honor.

In a contemporaneous review of the twopremiere concerts, I wrote: “[Blood On TheFields] is a conversation with the history ofjazz on its highest level. No imitation of itsantecedents, it demonstrates Marsalis’sophisticated reading and revision of hissources. Ellingtonally, Marsalis gave eachmusician in the orchestra a voice, and theorchestra itself a meta-voice. Call-and-response, New Orleans polyphony, shuffles,Ellingbop, dirges, parade march press-rolls,second-line struts, intricately detailed ensembledialogues, impossible brass unisons, idiomaticsolos—even a Greek chorus!—signified andcounterstated the songs.”

In a perceptive review of the premiereconcert in The New York Times, Jon Parelesnoted Marsalis’ attraction to Ellington’s“universe of suave saxophones, mockingtrombones and brightly assertive trumpets.”He added: “He knows that above a swingingbeat, a wily composer can get away with nearlyanything. Mr. Marsalis’ ensembles bristlewith polytonality, dissonance and jagged,

jumpy lines and countermelodies, but therhythm section pushes them along as if theywere dance music.”

Over the ensuing nineteen years, Marsalishas honed and evolved those strategies on suchmajor, diverse works as Big Train, All Rise,Congo Square, Abyssinian 200 Mass, VitoriaSuite, Blues Symphony, and Swing Symphony,expanding his tonal canvas to include vocalchoirs and symphonic orchestras. But BloodOn The Fields retains special pride of place inhis corpus. That’s as good a reason as any forMarsalis and the Jazz at Lincoln CenterOrchestra to revisit it—with the GRAMMY®Award–nominated baritone Gregory Porterand the powerful contralto Paula Westinhabiting the characters of central protagonistsLeona and Jesse, performed in the originaliteration by Cassandra Wilson and MilesGriffith—in conjunction with Jazz at LincolnCenter’s 25th anniversary season.

Apart from the heady, gripping musiccontained therein, Blood On The Fields is alsofascinating at this particular moment—onemonth into the second term of PresidentBarack Obama, and two months after therelease of Spielberg’s Lincoln and Tarantino’sDjango Unchained—for Marsalis’ multi-dimensional treatment of its subject.

In 1996 Marsalis told me that, initially, hewanted Blood on The Fields to be “tragic thewhole way through, with no redemption.”He credited conversations with the aestheticphilosopher Albert Murray for changing hisperspective. “Al took me through the differentforms of tragedy, going back to Oedipus, TheLibation Bearers, and Agamemnon,” Marsalissaid. “He said, ‘You’ve got to understandthat if you make it all tragic, you’ll becoming from an expression that’s not reallyAfro-American.’ At first I disagreed, but Icontemplated what he was saying, and Icame to an agreement that, yes, that is thetranscendent value of the blues and ofswinging, Duke Ellington was swinging. Youhave the complexity but also the optimism.It’s saying, ‘Man, this is a tragic situation,but it’s gonna be cool.’ That’s a veryimportant part of the jazz expression.”

P R O G R A M

Meet the ARTISTSWYNTON MARSALIS(Music Director, Trumpet)is the Managing andArtistic Director of Jazz atLincoln Center and a world-renowned trumpeter andcomposer. Born in NewOrleans, Louisiana in 1961,

Marsalis began his classical training ontrumpet at age 12, entered The JuilliardSchool at age 17, and then joined Art Blakeyand the Jazz Messengers. He made hisrecording debut as a leader in 1982, and hassince recorded more than 60 jazz and classicalrecordings, which have won him nineGRAMMY® Awards. In 1983 he became thefirst and only artist to win both classical andjazz GRAMMYs® in the same year andrepeated this feat in 1984. Marsalis is also aninternationally respected teacher andspokesman for music education, and hasreceived honorary doctorates from dozens ofU.S. universities and colleges. He has writtensix books; his most recent are Squeak, Rumble,Whomp! Whomp! Whomp!, illustrated by PaulRogers and published by Candlewick Press in2012, and Moving to Higher Ground: HowJazz Can Change Your Life with Geoffrey C.Ward, published by Random House in 2008.In 1997 Marsalis became the first jazz artistto be awarded the prestigious Pulitzer Prize inmusic for his oratorio Blood on the Fields,which was commissioned by Jazz at LincolnCenter. In 2001 he was appointed Messengerof Peace by Mr. Kofi Annan, Secretary-Generalof the United Nations, and he has also beendesignated cultural ambassador to the UnitedStates of America by the U.S. State Departmentthrough their CultureConnect program.Marsalis was instrumental in the Higher GroundHurricane Relief concert, produced by Jazzat Lincoln Center. The event raised more than$3 million for the Higher Ground Relief Fundto benefit the musicians, music industry-related enterprises, and other individuals andentities from the areas in Greater NewOrleans who were impacted by HurricaneKatrina. Marsalis helped lead the effort toconstruct Jazz at Lincoln Center’s home—Frederick P. Rose Hall—the first education,performance, and broadcast facility devotedto jazz, which opened in October 2004.

ERIC REED (Piano)Award-winning pianist andcomposer Eric Scott Reedbegan playing the piano atage two and was performingin his father’s Baptist churchin Philadelphia by age five.He was primarily self-taught,

and after impressing his teachers atPhiladelphia’s Settlement Music School(starting at age seven) and Los Angeles’Colburn School of Arts, Reed began to tourthe world as a leader and sideman at age 18.He received great attention in the 1990swith Wynton Marsalis’ Septet (for which heleft California State University at Northridge),the Jazz at Lincoln Center Orchestra, withwhom he made countless recordings and TVappearances, and with the bands of FreddieHubbard and Joe Henderson. He has sinceplayed with artists including Wayne Shorter,Jessye Norman, Patti LaBelle, EdwinHawkins, and Quincy Jones. Reed has taughtat The Juilliard School of Music and givesmaster classes and lecture demonstrations onthe discography and history of jazz music.In 2005 Eric formed a quartet with fellowLos Angelean Willie Jones III, bassistGerald Cannon and tenor and soprano sax-ophonist Stacy Dillard. His other musicalventures include more than 20 recordings asa leader, including his latest, The DancingMonk, scores for Eddie Murphy’s comedyLife and other film projects, and annualmusical direction for the Alvin AileyAmerican Dance Theater’s classic Revelations,under the direction of Judith Jamison.Currently Reed is in residence with theEbony Repertory Theatre of Los Angeles, asmusical director of Regina Taylor’s Crowns.Reed has recorded more than 29 chart-top-ping, critically-acclaimed, award-winningprojects, supported by global performancesto appreciative audiences. Legendary pianistAhmad Jamal calls Reed “one of [his] veryfavorite pianists.”

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GREGORY PORTER(Vocals) was born in LosAngeles, raised in Bakersfield,and now makes the worldhis musical home. A frequentguest performer with theJazz at Lincoln CenterOrchestra, Porter also

maintains a residency at Smoke Jazz andSupper Club in New York. With a voice thatcan caress or confront, embrace or exhort,GRAMMY® nominee Gregory Porterexhibits such an incredible degree of vocalmastery that Wynton Marsalis went onrecord to call him “a fantastic young singer,”making it even more impressive that Porter’slatest release at the time, Water (MotemaMusic), was his recording debut. The CDwas produced by saxophonist, pianist andcomposer Kamau Kenyatta, who bears muchof the responsibility for Porter’s career tra-jectory. When a shoulder injury endedPorter’s football scholarship to San DiegoState University, Kenyatta—along with saxo-phonist Daniel Jackson (Ray Charles, BuddyRich, Art Farmer, and more)—recognizedhis musical talent and nurtured the bur-geoning performer. Kenyatta invited Porterto a Los Angeles studio while producingflutist Hubert Laws’ Remembers theUnforgettable Nat King Cole, and whenLaws heard Porter singing along to theCharlie Chaplin-penned “Smile,” he decidedto include a “bonus” track of Porter’s rendi-tion. Also present in the studio that day wasEloise Laws, who gave Porter a lead role inIt Ain’t Nothin’ But the Blues, a Tony-nom-inated musical theater work that broughtPorter to Broadway. Porter also wrote andstarred in his semi-autobiographical NatKing Cole and Me, in which he dramaticallydocumented his childhood, which wasmarked by an absentee father and the joy andpain he heard when listening to his mother’sNat King Cole records. The play ran for twovery successful months at the DenverCenter for the Performing Arts and hassince travelled to Houston, Texas (withoutPorter’s involvement). Porter’s latest CD,Be Good, was released in February 2012 byMotema Music and nominated for aGRAMMY® Award.

KENNY WASHINGTON(Vocals), born and raised inNew Orleans, grew upsinging gospel in churchand playing saxophone inschool bands. Jazz caughtWashington’s interestduring his senior year of

high school, when clarinetist Alvin Batisteperformed at his school with a band of stu-dents that included Branford and WyntonMarsalis. Inspired, Washington went on tostudy music at Xavier University, playing sax-ophone and singing in a variety of stylesincluding pop, classical, R&B, and jazz.After college, Washington joined the hon-orary U.S. Navy Band as a saxophonist, butwhen his singing prowess was discovered hebecame the band’s featured vocalist. Withthe Navy band, he performed across Asia,Russia, Australia, and the U.S. He then set-tled in California, thrilling San Francisco jazzaudiences with his soulful interpretations,seemingly limitless range of more than fouroctaves, and rapid-fire scatting. The fol-lowing year, Joe Locke brought Washingtonto New York for a week-long run at Jazz atLincoln Center’s prestigious Dizzy’s ClubCoca-Cola with The Joe Locke Group. Thisexperience launched Washington into a newmusical stratosphere, and the group’s resi-dency has since become an annual Dizzy’stradition. Washington also appeared in RoyNathanson’s off-Broadway production Fire atKeaton’s Bar and Grill, with Elvis Costelloand Deborah Harry, and was the featuredvocalist at San Francisco’s world-famousMark Hopkins Intercontinental Hotel’s Topof the Mark for eight years. His astoundingimprovisational flights, inventive approachand emotional intensity are awe inspiring;whether scatting up a storm or caressing aRodgers and Hart ballad, Washington is thekind of performer who leaves the stage withan audience full of fans, such as Ravi Coltrane,who has declared Kenny Washington hisfavorite male vocalist.

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PAULA WEST (Vocals)moved to San Franciscoafter graduating from col-lege, interested in music,but unsure of what to dowith her life. She studiedold records purchased atthrift shops, took singing

classes, and as she became more confident inher talent, she ventured into jam sessionsand performances at open mics. At one ofthese sessions she met pianist Ken Muir—heraccompanist to this day—who hired her towork at San Francisco’s Ritz Carlton Hotel’sTerrace Restaurant. West went on to studywith Faith Winthrop, developing her uniquetone, delivery, and trademark ability to sus-tain a note without vibrato. In 1995 she wasincluded in the Cabaret Convention andreleased her critically acclaimed CDTemptation, and in 1996 she performed atthe Algonquin Hotel’s famous Oak Room,which led to various high-profile bookingsand allowed West to make a name for herselfon the East Coast. She has performed inNew York and Philadelphia, appeared onboth European and American broadcasts,and has made several appearances inSwitzerland and Italy. In 1997 she had asold-out debut at the Maison de la Musiquein Paris. Her film credits includeBicentennial Man and Teknolust. Known andrespected for her creative and distinct reper-toire, West is drawn to songs with interestingharmonics and literate lyrics, always keepingtwo things in mind: communication with theaudience and an intelligent approach tolyrics. “I’m a jazz singer—not an avant gardesinger,” West notes. Performing consistentlywith The Eric Reed Trio, recent appearancesinclude Jazz at Lincoln Center, Sculler’s,Jazz Aspen, and a performance at The WhiteHouse in a salute to American writers. Inaddition to Eric Reed, West has worked withsuch jazz greats as Bobby Hutcherson, BillCharlap, Frank Weiss, Mulgrew Miller, PeterWashington, Victor Lewis, Bruce Barth, andRegina Carter.

ELI BISHOP (Guest Soloist, Violin), anative of Nashville, Tennessee, has beenplaying the violin/fiddle since the age ofthree, beginning with classical and later ven-turing into jazz, swing, and bebop, which hestudies with the legendary Buddy Spicher.While enrolled at the Nashville School of the

Arts, Eli studied swing and jazz music on theviolin and also began playing the guitar.Spending his high school years focused onjazz improvisation and learning the standardrepertoire, he started making connections inthe small community of jazz violin players.This scene inspired Bishop to attend BerkleeCollege of Music from 2010–12, where hestudied violin performance and electronicproduction and design.

WALTER BLANDING (Tenor andSoprano Saxophones) was born into a musicalfamily on August 14, 1971 in Cleveland,Ohio. He began playing the saxophone atage six and by age 16, he was performingregularly with his parents at the Village Gate.Blanding attended LaGuardia High Schoolof Music & Art and Performing Arts andcontinued his studies at the New School forSocial Research where he earned a B.F.A. in2005. His 1991 debut release, Tough YoungTenors, was acclaimed as one of the best jazzalbums of the year, and his artistry began toimpress listeners and critics alike. He hasbeen a member of the Jazz at Lincoln CenterOrchestra since 1998 and has performed,toured and/or recorded with his owngroups and with such renowned artists as theCab Calloway Orchestra, Roy Hargrove,Hilton Ruiz, Count Basie Orchestra, IllinoisJacquet Big Band, Wycliffe Gordon, MarcusRoberts, Wynton Marsalis Quintet, IsaacHayes, and many others. Blanding lived inIsrael for four years and had a major impacton the music scene while touring thecountry with his own ensemble and withU.S. artists such as Louis Hayes, Eric Reed,Vanessa Rubin, and others invited to per-form there. He taught music in severalIsraeli schools and eventually opened hisown private school in Tel Aviv. During thisperiod, Newsweek International called him a“Jazz Ambassador to Israel.”

CHRIS CRENSHAW (Trombone) wasborn in Thomson, Georgia on December20, 1982. Since birth, he has been driven byand surrounded by music. When he startedplaying piano at age three, his teachers andfellow students noticed his aptitude for theinstrument. This love for piano led to hisfirst gig with Echoes of Joy, his fatherCasper’s group. He picked up the tromboneat 11 and hasn’t put it down since. He grad-uated from Thomson High School in 2001

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and received his Bachelor’s degree withhonors in Jazz Performance from ValdostaState University in 2005. He was awardedMost Outstanding Student in the VSUMusic Department and College of Arts. In2007 Crenshaw received his Master’s degreein Jazz Studies from The Juilliard Schoolwhere his teachers included Dr. DouglasFarwell and Wycliffe Gordon. He has workedwith Gerard Wilson, Jiggs Whigham, CarlAllen, Marc Cary, Wessell Anderson,Cassandra Wilson, Eric Reed, and manymore. In 2006 Crenshaw joined the Jazz atLincoln Center Orchestra and in 2012 hecomposed “God’s Trombones,” a spiritually-focused work which was premiered by theorchestra at Jazz at Lincoln Center.

VINCENT GARDNER (Trombone, Tuba)was born in Chicago in 1972 and was raisedin Hampton, Virginia. After singing, playingpiano, violin, saxophone, and French horn atan early age, he decided on the trombone atage 12. He attended Florida A&MUniversity and the University of NorthFlorida. He soon caught the ear of MercerEllington, who hired Gardner for his firstprofessional job. After graduating from col-lege, he moved to Brooklyn, New York,completed a world tour with Lauryn Hill in2000, then joined the Jazz at Lincoln CenterOrchestra. Gardner has served as Instructorat The Juilliard School, as Visiting Instructorat Florida State University and MichiganState University, and as adjunct instructor atThe New School. He has contributed manyarrangements to the Jazz at Lincoln CenterOrchestra and other ensembles. In 2009 hewas commissioned by Jazz at Lincoln Centerto write “The Jesse B. Semple Suite,” a 60-minute suite inspired by the short stories ofLangston Hughes. Gardner is featured on anumber of notable recordings and hasrecorded five CDs as a leader forSteeplechase Records. He has performedwith The Duke Ellington Orchestra, BobbyMcFerrin, Harry Connick, Jr., The SaturdayNight Live Band, Chaka Khan, A TribeCalled Quest, and many others.

VICTOR GOINES (Tenor & SopranoSaxophones, Clarinet, Bass Clarinet) is anative of New Orleans, Louisiana. He hasbeen a member of the Jazz at Lincoln CenterOrchestra and the Wynton Marsalis Septetsince 1993, touring throughout the world

and recording more than 20 albums. As aleader, Goines has recorded seven albumsincluding his most recent release Twilight(2012) on Rosemary Joseph Records. Agifted composer, Goines has more than 50original works to his credit. He has recordedand/or performed with many noted jazz andpopular artists including Ahmad Jamal, RuthBrown, Dee Dee Bridgewater, Ray Charles,Bob Dylan, Dizzy Gillespie, Lenny Kravitz,Branford Marsalis, Ellis Marsalis, DianneReeves, Willie Nelson, Marcus Roberts,Diana Ross, Stevie Wonder, and a host ofothers. Currently, he is the director of jazzstudies/professor of music at NorthwesternUniversity. He received a Bachelor of Musicdegree from Loyola University in NewOrleans in 1984, and a Master of Musicdegree from Virginia CommonwealthUniversity in Richmond in 1990.

CARLOS HENRIQUEZ (Bass) was bornin 1979 in the Bronx, New York. He studiedmusic at a young age, played guitar throughjunior high school and took up the bass whileenrolled in The Juilliard School’s MusicAdvancement Program. He enteredLaGuardia High School of Music & Arts andPerforming Arts and was involved with theLaGuardia Concert Jazz Ensemble whichwent on to win first place in Jazz at LincolnCenter’s Essentially Ellington High SchoolJazz Band Competition and Festival in 1996.In 1998 swiftly after high school, Henriquezjoined the Wynton Marsalis Septet and theJazz at Lincoln Center Orchestra, touringthe world and featured on more than 25albums. Henriquez has performed withartists including Chucho Valdes, Paco DeLucia, Tito Puente, the Marsalis Family,Willie Nelson, Bob Dylan, Stevie Wonder,Lenny Kravitz, Marc Anthony, and manyothers. He has been a member of the musicfaculty at Northwestern University School ofMusic since 2008, and was music director ofthe Jazz at Lincoln Center Orchestra’s cul-tural exchange with the Cuban Institute ofMusic with Chucho Valdes in 2010.

SHERMAN IRBY (Alto & SopranoSaxophones) was born and raised inTuscaloosa, Alabama. He found his musicalcalling at age 12. In high school, he playedand recorded with gospel immortal JamesCleveland. He graduated from Clark AtlantaUniversity with a B.A. in Music Education.

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In 1991 he joined Johnny O’Neal’s Atlanta-based quintet. In 1994 he moved to NewYork City then recorded his first two albums,Full Circle (1996) and Big Mama’s Biscuits(1998), on Blue Note. Irby toured the U.S.and the Caribbean with the Boys Choir ofHarlem in 1995, and was a member of theJazz at Lincoln Center Orchestra from 1995to 1997. During that tenure, he alsorecorded and toured with Marcus Roberts,was part of Betty Carter’s Jazz AheadProgram and Roy Hargrove’s groups. After afour-year stint with Roy Hargrove, Irbyfocused on his own group in addition tobeing a member of Elvin Jones’ ensembleand Papo Vazquez’s Pirates Troubadours.Since 2003 Irby has been the regionaldirector for JazzMasters Workshop, men-toring young children, and a board memberfor the CubaNOLA Collective. He formedBlack Warrior Records and released BlackWarrior, Faith, Organ Starter, and Live atthe Otto Club under the new label.

ALI JACKSON (Drums) developed histalent on drums at an early age. In 1993 hegraduated from Cass Tech High School andin 1998 was the recipient of Michigan’s pres-tigious Artserv Emerging Artist award. As achild, he was selected as the soloist for the“Beacons Of Jazz” concert which honoredlegend Max Roach at New School University.After earning an undergraduate degree inmusic composition at the New SchoolUniversity for Contemporary Music, hestudied under Elvin Jones and Max Roach.Jackson has been part of Young Audiences, aprogram that educates New York City youthon jazz. He has performed and recorded withartists including Wynton Marsalis, Dee DeeBridgewater, Aretha Franklin, George Benson,Harry Connick, Jr., KRS-1, Marcus Roberts,Joshua Redman, Vinx, Seito Kinen Orchestraconductor Seiji Ozawa, Diana Krall, and theNew York City Ballet. His production skillscan be heard on George Benson’s GRP releaseIrreplaceable. Jackson is also featured on theWynton Marsalis Quartet recordings The MagicHour (Blue Note, 2004), and From thePlantation to the Penitentiary (Blue Note,2007). Jackson collaborated with jazz greatsCyrus Chestnut, Reginald Veal, and JamesCarter on Gold Sounds (Brown Brothers, 2005)that transformed songs by indie alternativerock band Pavement into unique virtuosicinterpretations with the attitude of the church

and juke joint. He has been a member of theJazz at Lincoln Center Orchestra since 2005.Jackson currently performs with the WyntonMarsalis Quintet, Horns in the Hood, andleads the Ali Jackson Quartet. He also hosted“Jammin’ with Jackson,” a series for youngmusicians at Jazz at Lincoln Center’s DizzyClub Coca-Cola. He is also the voice of “DuckEllington,” a character in the Penguin bookseries Baby Loves Jazz that was released in 2006.

RYAN KISOR (Trumpet) was born on April12, 1973 in Sioux City, Iowa, and beganplaying trumpet at age four. In 1990 he wonfirst prize at the Thelonious Monk Institute’sfirst annual Louis Armstrong TrumpetCompetition. Kisor enrolled in ManhattanSchool of Music in 1991 where he studiedwith trumpeter Lew Soloff. He has performedand/or recorded with the Mingus Big Band,the Gil Evans Orchestra, Horace Silver, GerryMulligan, and Charlie Haden’s LiberationMusic Orchestra, the Carnegie Hall JazzBand, the Philip Morris Jazz All-Stars, andothers. In addition to being an active sideman,Kisor has recorded several albums as a leaderincluding Battle Cry (1997), The UsualSuspects (1998), and Point of Arrival (2000).He has been a member of the Jazz at LincolnCenter Orchestra since 1994.

CARL MARAGHI (Baritone Saxophone,Clarinet, Bass Clarinet) moved to New YorkCity from his native Montreal, Canada tostudy at the prestigious Juilliard School,where he studied and performed with artistssuch as Joe Temperley, Victor Goines, JoeLovano, Benny Golson, Wycliffe Gordon,and Wynton Marsalis. He has played in con-certs with the Jazz at Lincoln CenterOrchestra, tours with the Lionel HamptonCelebration Band, performs and recordswith Pedro Giraudo’s orchestra, and is partof the acclaimed David Berger Jazz Orchestra.Maraghi has also worked for Doc Severinsen,Ken Peplowski, Bobby Short, and LorenSchoenberg. In addition to leading and com-posing for the Carl Maraghi Sax Ensembleand the Mulligan And More Quartet, heregularly plays for Jersey Boys and Billy Ellioton Broadway. He released his first opus,Blossum, in 2009.

ELLIOT MASON (Trombone) was born inEngland in 1977 and began trumpet lessonsat age four with his father. At age seven, he

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switched his focus from trumpet to trom-bone. At 11 years old, he was performing invarious venues, concentrating on jazz andimprovisation. By 16, Mason left England tojoin his brother Brad Mason at the BerkleeCollege of Music on a full tuition scholar-ship. He has won the following awards:Daily Telegraph Young Jazz Soloist (under25) Award, the prestigious Frank RosolinoAward, the International TromboneAssociation’s Under 29 Jazz Trombonecompetition, and Berklee’s Slide HamptonAward in recognition of outstanding per-formance abilities. He moved to New YorkCity after graduation and in 2008, Masonjoined Northwestern University’s faculty asthe jazz trombone instructor. Mason hasperformed with Count Basie Orchestra, theMingus Big Band, the Maria SchneiderOrchestra, and the Maynard Ferguson BigBop Nouveau. A member of the Jazz atLincoln Center Orchestra since 2006,Mason also continues to co-lead the MasonBrothers Quintet with his brother. TheMason Brothers released their debut album,Two Sides, One Story in 2011.

TED NASH (Alto and Soprano Saxophones)was born into a musical family in LosAngeles. His father, Dick Nash, and uncle,the late Ted Nash, were both well-knownjazz and studio musicians. The youngerNash exploded onto the jazz scene at 18,moved to New York and released his firstalbum, Conception (Concord Jazz). He isco-leader of the Jazz Composers Collectiveand is constantly pushing the envelope in theworld of “traditional jazz.” His groupOdeon has often been cited as a creativefocus of jazz. Many of Nash’s recordingshave received critical acclaim, and haveappeared on the “best-of” lists in The NewYork Times, The New Yorker, The VillageVoice, The Boston Globe, and Newsday. Hisrecordings, The Mancini Project (PalmettoRecords) and Sidewalk Meeting (ArabesqueRecordings), have been placed on several“best-of-decade” lists. His album Portrait inSeven Shades was recorded by the Jazz atLincoln Center Orchestra and was releasedin 2010. The album is the first compositionreleased by the JLCO featuring originalmusic by a band member other than band-leader Wynton Marsalis.

MARCUS PRINTUP (Trumpet) was bornand raised in Conyers, Georgia. His firstmusical experiences were hearing the fierygospel music his parents sang in church. Whileattending the University of North Florida on amusic scholarship, he won the InternationalTrumpet Guild Jazz Trumpet competition. In1991 Printup’s life changed when he met hismentor, the great pianist Marcus Roberts.Roberts introduced him to Wynton Marsalis,which led to Printup’s induction into the Jazzat Lincoln Center Orchestra in 1993. Printuphas recorded with Betty Carter, DianneReeves, Eric Reed, Madeline Peyroux, TedNash, Cyrus Chestnut, Wycliffe Gordon, andRoberts, among others. He has recorded sev-eral records as a leader: Song for the BeautifulWoman, Unveiled, Hub Songs, NocturnalTraces, The New Boogaloo, Peace in the Abstract,Bird of Paradise, London Lullaby, Ballads AllNight, and A Time for Love. He made hisscreen debut in the 1999 movie Playing byHeart and recorded on the film’s soundtrack.August 22 has been declared “Marcus PrintupDay” in his hometown of Conyers, Georgia.

KENNY RAMPTON (Trumpet) joinedthe Jazz at Lincoln Center Orchestra in2010. He also leads his own sextet in addi-tion to performing with the Mingus BigBand, The Mingus Orchestra, The MingusDynasty, George Gruntz’ Concert JazzBand, and The Manhattan Jazz Orchestra(under the direction of Dave Matthews). In2010 Rampton performed with The ScottishNational Jazz Orchestra at the EdinburghInternational Festival, and was the featuredsoloist on the Miles Davis/Gil Evans classicversion of Porgy and Bess. He toured theworld with The Ray Charles Orchestra in1990 and with the legendary jazz drummerPanama Francis, The Savoy Sultans, and TheJimmy McGriff Quartet, with whom heplayed for 10 years. As a sideman, Ramptonhas performed with Mingus Epitaph (underthe direction of Gunther Schuller), BeboValdez’ Latin Jazz All-Stars, Maria Schneider,the Afro-Latin Jazz Orchestra, CharlesEarland, Dr. John, Lionel Hampton, JonHendricks, Illinois Jacquet, Geoff Keezer,Christian McBride, and a host of others.Most recently, he was hired as the trumpetvoice on Sesame Street. Some of his Broadwaycredits include Finian’s Rainbow, The Wiz,Chicago: The Musical, In The Heights, Hair,Young Frankenstein, and The Producers.

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JAZZ AT LINCOLN CENTER is dedi-cated to inspiring and growing audiences forjazz. With the world-renowned Jazz atLincoln Center Orchestra and a comprehen-sive array of guest artists, Jazz at LincolnCenter advances a unique vision for the con-tinued development of the art of jazz byproducing a year-round schedule of perform-ance, education, and broadcast events foraudiences of all ages. These productionsinclude concerts, national and internationaltours, residencies, weekly national radio pro-grams, television broadcasts, recordings,publications, an annual high school jazz band

competition and festival, a band directoracademy, jazz appreciation curriculum forstudents, music publishing, children’s con-certs and classes, lectures, adult educationcourses, student and educator workshops,and interactive websites. Under the leader-ship of Managing and Artistic DirectorWynton Marsalis, Chairman Robert J. Appel,and Executive Director Greg Scholl, Jazz atLincoln Center produces thousands of eventseach season in its home in New York City,Frederick P. Rose Hall, and around theworld. For more information, visit jalc.org.

Our newest visual art exhibit, Jazz at Lincoln Center: 25 Years of Celebrating America’sMusic, documents JALC's origins and growth in commemoration of our 25thanniversary in 2012–13. The exhibit features historical photographs, documents, posters,videos, costumes, commissioned scores, and ephemera, in a mixed media portrait ofthe organization's founding and ongoing record of achievement and commitment tothe 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 LuceFoundation, and Lisa and David Schiff for generously underwriting this exhibition.The exhibition was curated by Thomas Mellins and organized by Jazz at LincolnCenter: Robert J. Appel, Chairman of the Board of Directors; Wynton Marsalis,Managing and Artistic Director; Greg Scholl, Executive Director.

Shahara Ahmad-LlewellynThe Ammon FoundationAnonymous (2)Helen and Robert J. AppelJody and John ArnholdLisa and Dick CashinColumbus Centre LLC

Barbara and Raymond DalioThe Irene Diamond FundDiana and Joe DiMennaThe Kresge FoundationMastercardThe Andrew W. MellonFoundation

Jacqueline L. Bradley andClarence Otis

Jennifer and Michael PriceAdam R. Rose and Peter R. McQuillan

The Jack and Susan RudinEducational and Scholarship Fund

Rebecca and Arthur SambergThelma E. and David L. StewardUnited States Department ofState

United States Department ofEducation

Jazz at Lincoln Center’s annual artistic, educational, and archival programs are supported by the following generous contributors:

LEADERS

The Jeffrey Altman FoundationPatricia BlanchetBloombergBrooks BrothersThe Coca-Cola CompanyThe Shops at Columbus Circle atTime Warner Center

Mary Beth and Stephen DanielMarlene Hess and James D. ZirinFinneran Family FoundationThe Hearst Foundation, Inc.HSBC BankWynton MarsalisNational Endowment for the Arts

New York City Department ofCultural Affairs

New York State Council on the ArtsKaren L. Pritzker/Seedlings Foundation

Ingeborg and Ira L. RennertThe Rockefeller Foundation

The Fan Fox & Leslie R.SamuelsFoundation, Inc.

Lisa and David SchiffBurwell and Chip SchorrSiriusXMSurdna Foundation

GUARANTORS

Altman FoundationThe Argus FundBank of AmericaJanice and Robert BurnsCentricCon EdisonSharon and Christopher DavisGail and Al EngelbergEntergyMica Ertegun

Donna J. Astion and Michael D. Fricklas

Susan and Roger HertogSonia and Paul T. JonesJohn S. and James L. KnightFoundation

Kari Gronberg and Little Johnny Koerber

Ann Tenenbaum and Thomas H. Lee

Carolyn and Ed LewisThe Ambrose Monell FoundationPrudential FinancialFrederick P. RoseMelanie A. Shorin and Greg S. Feldman

Therese S. Rosenblatt and H. Marshall Sonenshine

Katherine and Jerry Speyer

Starwood Hotels and ResortsWorldwide

The Harold and Mimi SteinbergCharitable Trust

Dianne and David J. SternVital Projects Fund, Inc.Vosshall FamilyScharff Weisberg, Inc.

BENEFACTORS

AnonymousStefany and Simon BergsonBetsy and Alan CohnAnthony CorsoJudith and James DimonThe Ella Fitzgerald CharitableFoundation

The Charles Evans HughesMemorial Foundation

Caroline and Ed HymanBillie Lim and Stephen M. IfshinLear Family FoundationArthur Levine FoundationLincoln Center Corporate FundMr. and Mrs. Robert D. Lindsayand Family

Henry Luce FoundationAnne W. McNulty

Mericos FoundationCindy and Charles MurphyKate and Robert NiehausGwen and Peter NortonOceanic Heritage FoundationHenrietta Jones and Paolo Pellegrini

Karen and Charles PhillipsBrian J. Ratner Philanthropic Fund

Rose-Lee and Keith ReinhardLisa Roumell and Mark RosenthalMay and Samuel Rudin FamilyFoundation, Inc.

Greg SchollThe Shubert Foundation, Inc.Laurie M. Tisch Illumination FundCarol and Bernard WinogradWorld Wide Technology, Inc.

SUSTAINERS

Amy and David AbramsVirginia and Andrew AdelsonJudy and John AngeloAnonymous (2)Leslie and Harrison BainsNorman BenzaquenBrook and Roger BerlindTheresa BernazMargaret and Paul BernsteinBarbara and Timothy BoroughsBroadway Across AmericaAmbassador and Mrs. W.L.Lyons Brown

Betty and Philippe CamusEmilie and Michael CoreyJulie F. and Peter D. CummingsBrenda EarlCheryl and Blair EffronEmpirical Research Partners, LLCFortress Capital Finance III (A)LLC

Steve and Nicole FrankelArlyn and Edward Gardner

Barbara and Peter GeorgescuBarbara Langaro and Darin S. Goldstein

Elizabeth M. GordonRoberta Campbell and Richard N. Gray

Robin and Danny GreenspunAmy and John GriffinThe Marc Haas FoundationDr. and Mrs. Eddie D. HamiltonLisa Meulbroek and Brent R. Harris

Sandy and D. Jeffery KallenbergMs. Carolyn Katz and Mr. Michael Goldstein

Julia and David KochSally and Wynn KramarskyEric KrasnoffM. Robin KrasnyThe Blanche and Irving LaurieFoundation

Toby Devan LewisBeth and James Lewis

Robin and Jay L. LewisFern and Steven LoebThe Louis ArmstrongEducational Foundation

James LyleSusan and Stephen MandelNancy and Peter MeinigMericos FoundationDina Merrill and Ted HartleyKarry and Sam MeshbergJudith E. NeisserAlice K. NetterCynthia and D. Jeffrey PenneyAshley and Mike RamosMarcus V. RibeiroMargaret Z. RobsonDiana and Jonathan F.P. RosePatricia and Edward JohnRosenwald

Diane and Leo SchlinkertAdolph and Ruth SchnurmacherFoundation, Inc.

Scholastic Inc.

Stanley ShumanBarry SchwartzShearman & SterlingDarlene and Donald ShileySydney and Stanley ShumanRiva Arielle Ritvo Slifka/ Alan B. Slifka Foundation

Liora and Menachem SternbergFamily Foundation

Mary Kay and John StrangfeldBarbara Carroll and Mark StroockTames Music GroupReginald Van LeeVenable LLPDiana and Rafael VinolyTania and Mark WalkerGeorge T. WeinThe Weininger FoundationZygmunt & Audrey WilfFoundationAnn Ziff

ANGELS

Allure Anonymous (4)The Arthur M. Blank FamilyFoundationMadeline and Alan BlinderDr. William and Laurie BolthouseMerilee and Roy BostockSylvia Botero and Norman CuttlerMrs. Mildred C. BrinnValerie S. BrownMelva Bucksbaum and Raymond Learsy

Reverend Calvin ButtsThe Ralph M. CestoneFoundation

Simona and Jerome ChazenGlenn Close and David ShawDiane M. Coffey

Michael CohlLinda M. CoteAlice and Daniel CunninghamSusan and Mark DaltonPeggy Cooper Davis and Gordon J. Davis

Ms. Jacqueline Weld Drake andRodman Drake

Deutsche Asset & WealthManagement

Peggy and Mark EllisCaryl and Israel EnglanderEbony MagazineEminence Capital, LLCESPN, IncAnna and James FantaciMary Beth FarrellHughlyn F. Fierce

Mark Fisch and Rachel N. Davidson

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UPCOMING EVENTSJAZZ AT LINCOLN CENTER’SFREDERICK P. ROSE HALL

FEBRUARY 2013IRENE DIAMOND EDUCATION CENTER

Dizzy and Bird FestivalFree Listening Party with Randy WestonFebruary 28, 7pmLiving jazz piano legend and NEA Jazz Master RandyWeston, a close personal friend of Dizzy Gillespie, willpresent a retrospective of Dizzy and Charlie Parker'srecorded musical catalog.Free and open to the public

MARCH 2013ROSE THEATER

Dizzy and Bird FestivalCelebrating Dizzy GillespieMarch 8–9, 8pm No living trumpet player can claim a closer relationshipto musician-teacher-humanitarian Dizzy Gillespie—personally or musically—than Jon Faddis, who met hisfriend and mentor at age 15. A veteran of the ThadJones-Mel Lewis Orchestra, and former musical directorof Gillespie’s United Nations Orchestra, Faddis willdirect The Jon Faddis Jazz Orchestra of New Yorkthrough new transcriptions from Gillespie’s path-breaking 1940s big band, repertoire from the spectac-ular 1950s edition that toured the Middle East andSouth America under the auspices of the StateDepartment, and lead a quintet through selected gemsfrom Gillespie’s consistently superb small group record-ings with special guests Ignacio Berroa, NEA JazzMaster Jimmy Heath, Pedrito Martinez, and SteveTurre (3/8 only). Free pre-concert festival nightly at 6:30pm.Free pre-concert discussion nightly at 7pm.

IRENE DIAMOND EDUCATION CENTER

Swing UniversitySpring TermClasses start March 19Whether you are new to the music or seek to deepen yourknowledge, Swing University offers students of all agesa 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.

THE ALLEN ROOM

Dizzy and Bird FestivalPaquito D’Rivera’s “Charlie Parker with Strings”March 8–9 , 7:30pm & 9:30pmAll tributaries of contemporary jazz expression lead backto alto saxophone giant Charlie “Bird” Parker(1920–1955), whose unrivaled improvisational bril-liance mesmerizes everyone who hears him. Parker’sprofound impact on the course of music increased evenfurther after his 1950 session Charlie Parker withStrings, on which, framed by romantic string arrange-ments, he soared through a suite of standards (it remainshis most popular recording to date). On this program,the effervescent Cuban reedist-arranger-composerPaquito D’Rivera will place his lush sound and virtuosicsensibility at the service of this repertoire, imparting aLatin twist to the proceedings. A few pieces fromParker’s recordings with Machito, Chico O’Farrill, andother Latin artists will be revisited as well.Free pre-concert festival nightly at 6:30pm.

Charlie MusselwhiteMarch 15–16, 7:30pm & 9:30pmRaised in Memphis, Tennessee, Charlie Musselwhitelaunched his career within the fertile blues landscape ofmid-1960s Chicago and the flower power era SanFrancisco. Now 68, Musselwhite brings his stillbourbon-smooth tenor voice and masterful harmonicacommentary to The Allen Room, where he’ll undoubt-edly uphold the Chicago Tribune’s assessment that “hedefines the cutting edge in contemporary blues.”

Madeleine PeyrouxMarch 22–23, 7:30pm & 9:30pm“She was capable of telling the truth,” says MadeleinePeyroux of her attraction to Billie Holiday, to whomher soulful, thick-as-molasses contralto and deliberate,conversational phrasing has been compared. In theseconcerts, Peyroux will apply her recognizable-in-one-note instrument—and her guitar—to repertoire drawnfrom her last four CDs, comprising both original songsand reimagined classics from such artists as RobertJohnson, Bessie Smith, Bob Dylan, Leonard Cohen,and Joni Mitchell.

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Except where noted, all venues are located in Jazz at Lincoln Center’s Frederick P. Rose Hall, Time Warner Center, 5th floorTickets: $10-$120

To purchase tickets call CenterCharge: 212-721-6500 or visit: jalc.org. The Jazz at Lincoln Center Box Office is located onBroadway 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.

UPCOMING EVENTS

JAZZ AT LINCOLN CENTER’SFREDERICK P. ROSE HALL

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 Theaterand 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.

FEBRUARY 2013Tia Fuller Quartet with Special Guest Sean Joneswith Shamie Royston, Mimi Jones, EJ Strickland (Feb. 21–22 only), and Rudy Royston (Feb. 23–24 only)February 21–247:30pm & 9:30pmLate Night Session: Emmet Cohen Trio (Feb. 19–23)

Juilliard Jazz EnsembleFebruary 257:30pm & 9:30pm

The Music of Dexter Gordon: A Celebrationwith George Cables, Victor Lewis, Joe Locke, Jerry Weldon, Walter Blanding, and Brandon LeeFebruary 26–277:30pm & 9:30pmLate Night Session: Aaron Kimmel Quartet

Wolff & Clark Expeditionwith Michael Wolff, Mike Clark, Steve Wilson, andJames GenusFebruary 287:30pm & 9:30pmLate Night Session: Aaron Kimmel Quartet

MARCH 2013Warren Wolf Groupwith Aaron Goldberg, Kris Funn, and Billy WilliamsMarch 1–37:30pm & 9:30pmLate Night Session: Aaron Kimmel Quartet (Mar. 1–2)

Jason Marsalis Quartetwith David Potter, Will Goble, and Austin JohnsonMarch 47:30pm & 9:30pm

Grace Kelly Quintetwith Pete McCann, Evan Gregor, Eric Doob, and a surprise guestMarch 5–67:30pm & 9:30pmLate Night Session: Alphonso Horne

Dizzy and Bird FestivalWycliffe Gordon & Friends – The Dizzy Birds:Bebop Then and Nowwith Adrian Cunningham, Michael Dease, Aaron Diehl,Yasushi Nakamura, Dion Parson, and special guestsMarch 7–107:30pm & 9:30pmLate Night Session: Alphonso Horne (Mar. 7–9)

Amina Figarova Sextetwith Bart Platteau, Ernie Hammes, Marc Mommaas,Jeroen Vierdag, and Chris "Buckshot" StrikMarch 117:30pm & 9:30pm

Eddie Daniels & Roger KellawayMarch 12–137:30pm & 9:30pmLate Night Session: Joe Saylor and Bryan Carter

Billy Hart Quartetwith Mark Turner, Ethan Iverson, and Ben StreetMarch 14–177:30pm & 9:30pmLate Night Session: Joe Saylor and Bryan Carter(Mar. 14–16)

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