Latest news with #JazzatLincolnCenter
New York Times
13-05-2025
- Entertainment
- New York Times
Jazz at Lincoln Center's New Season Highlights Ties to Africa
Jazz at Lincoln Center's 38th season will celebrate jazz, Africa and the African diaspora with programs that pay tribute to genre greats like John Coltrane and Miles Davis, while others will spotlight vocalists, pianists and other trumpeters. It will also include a tour of Africa by the Jazz at Lincoln Center Orchestra. The new season opens on July 24 with a preview concert,, 'Reflections on Africa,' in the Rose Theater. The program, with the Jazz at Lincoln Center Orchestra and Vincent Gardner as the musical director, offers compositions reflecting the effect of African consciousness on music composed by jazz artists including Coltrane, Randy Weston, Jackie McLean and Horace Parlan. The season continues on Sept. 18 with 'Afro!,' a new composition by Wynton Marsalis, the managing and artistic director of Jazz at Lincoln Center, which illuminates his meditations on the African continent. It will also feature the vocalist Shenel Johns, the djembe player Weedie Braimah and the drummer Herlin Riley. On Oct. 3-4, Jazz at Lincoln Center will present a 91st birthday retrospective of the 75-year-long career of the Capetown-born pianist and composer Abdullah Ibrahim. (He was known as Dollar Brand when Duke Ellington first heard his trio in 1963 and sponsored his first recording.) On Oct. 24 and Oct. 25, the Orchestra will feature another South African pianist, Nduduzo Makhathini, including a debut of new work that he has composed. Works by Ellington take center stage Jan. 15-17, 2026, with 'Duke in Africa.' The music directors for that program will be Chris Lewis and Alexa Tarantino, two of the Orchestra's newest members. On Feb. 13 and on Valentine's Day, Dianne Reeves will explore the universal theme of love as she shares songs that highlight rapture, anguish, romance and heartbreak. The Orchestra will feature works by Davis from May 14-16, 2026, in 'Sketches of Miles: Miles Davis at 100.' Later that month (May 29-30, 2026), Jazzmeia Horn, the winner of the 2015 Thelonious Monk Institute of Jazz International Vocals Competition, will present a program showcasing her vocal range and improvisation, with the Her Noble Force big band. Etienne Charles, the Trinidad-born trumpeter and composer, will take on Anglophone Afro-Caribbean traditions in 'Folklore LIVE Vol. 2' from June 5-6, 2026, in the Appel Room. Later that month, June 12-13, 2026, the Orchestra with Marsalis will also explore the African roots that help make up the genres of Brazil, with 'Soul of Brazil,' featuring Hamilton de Holanda and the music of Moacir Santos, in the Rose Theater. The full season is online at
New York Times
13-05-2025
- Entertainment
- New York Times
A High School Festival Keeps Duke Ellington Very Much Alive
In a dressing room behind the stage in the Metropolitan Opera House, Wynton Marsalis, the trumpeter and educator, intently watched a live feed of the big band representing the Osceola County School for the Arts, from Kissimmee, Fla. They were playing Dizzy Gillespie's 'Things to Come,' a piece that can expose any weaknesses in a big band. Being a good jazz musician isn't just about playing fast and loud and high, but this song requires musicians to do all of that. The school's lead trumpet player was in the middle of a solo. A dexterous player who could hit the high notes, he sounded like a professional. 'Watch, the director's going to wave off the backgrounds here,' Mr. Marsalis said, using some colorful language to say the soloist had not gotten to his good stuff yet. The director then made a small gesture to the rest of his band, telling them to wait to let the solo develop. It was a chart that Mr. Marsalis had surely heard live hundreds of times, but each time it is full of small decisions like these, making it a new experience. It has been nearly a century since Duke Ellington's orchestra became the house band at the Cotton Club on 142nd Street. Even there, where Ellington and his group of Black musicians played in front of all-white audiences, patrons were expected to be active listeners. Ellington is quoted in the book 'Duke Ellington's America' as saying the club 'demanded absolutely silence' during performances, and that anybody making noise would quickly be ushered out the door. Ellington knew his work had a signature. He wrote with particular members of his orchestra, like the saxophonist Johnny Hodges or the trumpeter Cootie Williams, in mind, and he believed that nobody else could sound like them, no matter how hard they tried. Still, at Essentially Ellington, an annual high school big-band festival organized by Jazz at Lincoln Center and held over the weekend, teenagers from all over the world tried their hardest to channel those musicians anyway. This year, in honor of the 30th anniversary of the festival, 30 big bands of the 127 that sent in application tapes came to New York to compete for top honors, up from the usual 15. The finalists included 27 American groups and bands from Australia, Japan and Spain. Each group selected three songs to perform from the Essentially Ellington library. The top 10 finishers advanced to a second and final, competitive round. The top three then played an exhibition concert — at the opera house instead of at Jazz at Lincoln Center's Rose Room, since the additional capacity was needed — before a winner was announced. But the event's vibe, while exacting, does not feel like something out of the movie 'Whiplash' — at least not anymore. Years ago, organizers felt the competition was getting too cutthroat, and looked to soften its edges. Now, students perform, but also jam with kids from other schools, attend clinics with professionals, and have meals where they're seated not by school, but by the instrument they play. In the hallways, members of different schools spontaneously burst into song together. 'It's like the top arts festival,' said Julius Tolentino, the jazz director at Newark Academy in Livingston, N.J., whose band won the competition in 2024. 'There's nothing that compares to this. They roll out the red carpet for the students. It's changed the way band directors all over the world deal with jazz music.' The organization's work isn't limited to the contest. It runs an annual training program for band directors and sends out professional musicians, often members of the Jazz at Lincoln Center Orchestra, to help guide bands that qualify for the finals. The festival also doubles as a tool for the creation of a big band canon. For 30 years, the Jazz at Lincoln Center team has created sheet music for pieces by Ellington and some of his contemporaries, like Gillespie or Count Basie or Benny Carter, and has sent it out to schools interested in competing, for free. That process is not always simple, and often involves digging through the archives at the Smithsonian to look at existing, handwritten scores and transcribing from recordings. 'There's a philosophy that jazz is a methodology, not an art form that has a canon,' said Todd Stoll, the vice president of education at Jazz at Lincoln Center. 'The historical viewpoint of this music was, I won't say ignored, but it wasn't something that there was much focus on at the university level. I went all the way through a master's degree at a major conservatory. I never played a note of Duke Ellington's music.' That would be unfathomable now, in part because of the work that Jazz at Lincoln Center has done. Mr. Marsalis bristled at the idea that Ellington was not an international star before the festival existed, but Essentially Ellington, and the work that makes it possible, may do as much as anything to ensure that his work persists. For Mr. Marsalis, who has been at the center of debates about the jazz canon for decades, this could be a victory lap. But he insists on Essentially Ellington as an example of how playing old music does not need to be a backward-looking endeavor. 'We are not cynical,' he said. 'When you're establishing a new mythology, how much time do you have to attack the old mythology? Every band that auditions for a spot in New York is a part of that new mythology, an example of how the music is not a historical document, but something that is alive as long as it is being interpreted.' The experience, however, can be intimidating until you are a part of it. When Dr. Ollie Liddell, the band director at Memphis Central High School in Memphis, first saw videos on YouTube of groups that had reached the finals of the Essentially Ellington festival, over a decade ago, he thought to himself: 'We're never going to have a band that good.' Memphis Central is a public high school, and like most public school band directors, Dr. Liddell is responsible for not just the jazz band, but the marching band and concert ensembles, too. He has to handle fund-raising and convince clinicians to come in and work with his band. None of his jazz students receive private instruction, save one, who receives lessons from a Memphis Central alumnus over Zoom. Essentially Ellington can't always be top of mind. That's not the case for many of the groups that make it to New York, with arts magnet schools and private academies offering instrument-specific instructors, and a number of students taking private lessons as well. But even without those luxuries, a resourceful director and passionate kids can still compete. The proof? Memphis Central took first place at this year's competition. It is a cliché to say that jazz is an interactive music, a conversation. But those conversations aren't confined to the stage. On Saturday, during its final performance for the judges, Memphis Central took the stage and the sound of Ellington's 'Rockabye River' came all at once. The rumble of the drum set's low tom. The shout of the horns. The growling trumpet soloist punctuating each of the written phrases. The work was brought to life and made new. A crowd filled with competitors and rivals sat with wide eyes and open mouths, with some yelping their approval. None of them, clearly, were cynical.
San Francisco Chronicle
02-05-2025
- Business
- San Francisco Chronicle
‘The music is in good hands': SFJazz names new CEO following yearlong search
After a year under interim leadership and a nationwide search, SFJazz has appointed Gabrielle Armand as its new chief executive officer. A seasoned arts executive and longtime leader at New York's Jazz at Lincoln Center, Armand will officially assume the position on July 1, guiding the Bay Area's premier nonprofit jazz institution through a pivotal moment of both challenge and opportunity. 'It's the right time for me to make a big move like this and come into a city so deeply rooted in the arts, creativity and vibrancy,' Armand said. 'San Francisco is in a moment of regeneration, and there's so much excitement about its next chapter. It felt like a natural fit.' Armand has nearly two decades of experience in arts marketing and strategic partnerships, most recently serving as chief marketing officer and vice president of brand, sales and marketing at Jazz at Lincoln Center. There, she led transformative initiatives in media, corporate sponsorships and audience development that significantly elevated the organization's national and international presence. She now brings that expertise west, joining SFJazz as it contends with financial pressures, changing demographics and the lingering effects of a pandemic that disrupted the live performance landscape. 'The richness of her experience at Jazz at Lincoln Center combined with her lifelong passion for the art form makes her the perfect leader for us,' said Coye, the board's president. 'We are excited for the opportunities ahead as Gabrielle helps expand the reach of jazz regionally and nationally, while deepening our commitment to education and artist support.' Armand steps into her new role at a critical juncture. SFJazz, widely recognized as one of the most influential jazz presenters in the country, faces growing questions about its long-term sustainability, community engagement and strategic direction, like many local arts institutions. She replaces Susie Medak, the former managing director of Berkeley Repertory Theatre, who served as interim CEO following Greg Stern 's decision to step down at the end of December after 4 ½ years with the nonprofit. Armand will work in close partnership with Blanchard, an Emmy-winning trumpeter and twice Oscar-nominated film composer known as a leading figure in contemporary jazz. 'I see myself being on a listening tour for at least the first few months and spending real time with Terence to understand all the things that he wants to do,' Armand said, 'and then work together to kind of put together the priority list and the action plan.' Their collaboration pairs Blanchard's artistic vision with Armand's strategic leadership. 'We're both keenly aware of our responsibilities in our respective lanes,' Armand noted. 'We see opportunities to cross-pollinate where it makes sense, but most importantly, we're committed to supporting one another. Terence is such a versatile and accomplished musician, I have enormous admiration for his artistry.' Blanchard echoed her sentiment, calling Armand 'an outstanding leader with a deep understanding of the jazz world.' 'I'm excited to partner with her in advancing the vision and impact of SFJazz,' Blanchard said in a statement. During her time at Jazz at Lincoln Center, Armand spearheaded a bold expansion into digital media, launching an in-house record label, a dedicated streaming channel and award-winning broadcast content. 'Both of our organizations have been intertwined in many ways over the past decades and this is a sign of our maturation,' said Wynton Marsalis, managing and artistic director of Jazz at Lincoln Center. 'Gaby's leadership will reflect a deep understanding of the civic, cultural and mythological significance of jazz. She will make ethical, fiscally responsible, and intelligent decisions that will bring new energy to our ecosystem. The music is in good hands.' Armand sees similar opportunities at SFJazz, which has already experimented with online concerts and expanding its educational programming. 'SFJazz has an incredible foundation,' she said. 'My goal is to build on that and elevate the organization to new heights. It already has the essential ingredients every arts institution needs in times of transition: strong artistic leadership, an amazing staff and a supportive board. Those are the key elements you need whenever you're trying to turn things around, start a new chapter, or go in a different direction.' With more than 30 years of experience across music, media and nonprofit sectors, Armand is no stranger to leading complex organizations. Still, she acknowledges the unique significance of this role — and this moment. 'SFJazz has long been a beacon in both the San Francisco and national arts communities,' she said. 'It's a place where diverse voices and ideas are nurtured and celebrated. As we approach the country's semi-quincentennial, it feels especially meaningful to lead an institution rooted in jazz, a uniquely American art form that has always taken a lot of different cultures within this country, integrated them and made space and been a place to support all kinds of different artists.'
Newsweek
01-05-2025
- Entertainment
- Newsweek
Michael Imperioli Slams 'SNL' Over Aimee Lou Wood Skit: 'Mean'
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Michael Imperioli told Newsweek that a Saturday Night Live sketch about Aimee Lou Wood, his castmate in The White Lotus, was "pretty mean." SNL mocked Wood's teeth during a sketch titled "The White Potus" in which Sarah Sherman did an impersonation of her. Wood plays Chelsea in Season 3 of the Netflix series, while Imperioli starred in Season 2 as Dominic Di Grasso. Michael Imperioli, left, attends a Jazz at Lincoln Center gala in tribute to Duke Ellington in New York City on April 30, while Aimee Lou Wood, right, arrives for the Season 3 premiere of "The... Michael Imperioli, left, attends a Jazz at Lincoln Center gala in tribute to Duke Ellington in New York City on April 30, while Aimee Lou Wood, right, arrives for the Season 3 premiere of "The White Lotus" in Los Angeles on February 10. Morefor Jazz At Lincoln Center and Steve Granitz/FilmMagic Imperioli spoke about the sketch to Newsweek on the red carpet of a Jazz at Lincoln Center gala in tribute to Duke Ellington on April 30: "Yeah, that was pretty mean, mean-spirited. I guess they apologized, didn't they? It's a tricky thing because comedy, you know, I don't like having to over-censure comedy but you do have to be a little bit tactful. "She's a young actress and we want to give her some support. She's quite good." Sherman sent Wood a bunch of flowers, which The White Lotus star posted on Instagram with the caption: "Thank you for the beautiful flowers." In another post, she wrote: "I've had apologies from SNL." Wood had previously said on her Instagram that she found the sketch "cheap," writing: "Whilst in honest mode—I did find the SNL thing mean and unfunny." "The joke was about fluoride," she added. "I have big gap teeth not bad teeth. Yes, take the p*** for sure—that's what the show is about—but there must be a cleverer, more nuanced, less cheap way? "I actually love being taken the p*** out of when it's clever and in good spirits. I don't mind caricature—I understand that's what 'SNL' is. But the rest of the skit was punching up and I/Chelsea was the only one punched down on." The episode was all the more charged because Wood had told GQ magazine that White Lotus showrunner Mike White had to convince HBO that she should have the part, and she felt it was because of her looks. "Someone told me how much Mike had fought for me," she said. "They said 'it had to be you, no matter what HBO said.' It was honestly from the nicest place, but my little head goes: 'HBO didn't want me. And I know why HBO didn't want me, it's because I'm ugly. Mike had to say 'Please let me have the ugly girl!'" "That was the thing that was in my head," she added. Imperioli made his comments during a gala held the day after what would have been jazz icon Ellington's 126th birthday. "Duke Ellington is very New York," he said, "and it represents a real elegance and complexity and just that there's a gravity to his work that's important. Supporting jazz is really important. I think making sure that it continues and that younger generations appreciate it and discover it." Jack Royston is chief royal correspondent for Newsweek, based in London. You can find him on X, formerly Twitter, at @jack_royston and read his stories on Newsweek's The Royals Facebook page. Do you have a question about Charles and Queen Camilla, Prince William and Princess Kate, Meghan Markle and Prince Harry, or their family that you would like our experienced royal correspondents to answer? Email royals@ We'd love to hear from you.
Newsweek
01-05-2025
- Entertainment
- Newsweek
Dave Chappelle's New Donald Trump Roast After Viral China Jobs Clip
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Dave Chappelle roasted Donald Trump for taking over as chairman of the Kennedy Center—weeks after a past joke about the president went newly viral on social media. The comedian spoke out while hosting a gala in tribute to Duke Ellington at New York's Jazz at the Lincoln Center on April 30 and got a laugh from Alec Baldwin and Joy Reid, who were in the audience. Trump fired multiple people from the board of the Kennedy Center Washington, including the former chairman, David M. Rubenstein, and was subsequently appointed the new chairman. Why It Matters It comes after a clip of Chappelle criticizing Trump's trade war with China in 2017 resurfaced in April and went viral in the context of Trump's new 2025 tariffs. Dave Chappelle, speaking onstage during a Jazz at Lincoln Center gala in tribute to Duke Ellington in New York City on April 30, 2025, during the show mocked President Donald Trump for taking over as... Dave Chappelle, speaking onstage during a Jazz at Lincoln Center gala in tribute to Duke Ellington in New York City on April 30, 2025, during the show mocked President Donald Trump for taking over as chairman of the Kennedy Center. Morefor Jazz At Lincoln Center What To Know Chappelle was discussing the importance of jazz icon Duke Ellington's legacy when he said: "We gotta keep this tradition alive—this is one of the best traditions we got going in America. And you see what Trump did at the Kennedy Center? You're next, he'll come over here. "'I'm gonna make jazz great again,' you're like, 'Oh no. Oh no.' 'Yeah, I'm gonna put my hands on the jazz next.'" The joke got a laugh from the crowd before Chappelle spotted Baldwin, famous for his own Trump impression, in the audience. "Alec, I should have asked you to do that impression tonight," he said. Trump's move to take over at the Kennedy Center sparked cancellations from some artists in protest, including Issa Rae, Rhiannon Giddens and the musical Hamilton, NPR reported. What People Are Saying President Donald Trump, on Truth Social in February: "We are going to make the Kennedy Center in Washington D.C., GREAT AGAIN. I have decided to immediately terminate multiple individuals from the Board of Trustees, including the Chairman, who do not share our Vision for a Golden Age in Arts and Culture. Just last year, the Kennedy Center featured Drag Shows specifically targeting our youth — THIS WILL STOP." Comedian Dave Chappelle, in a resurfaced video roasting Trump on tariffs in 2017: "All this m***********'s ideas sound like high people ideas. Like, he doesn't think these things through before he tells us. He just tells us what he's thinking as soon as it occurs to him. That s*** sounds nuts. 'I'm gonna go to China and I'm gonna get those jobs from China and bring them back here to America.' For what n*****? So iPhones can be $9,000. Leave that job in China where it belongs. None of us want to work that hard. I want to wear Nikes, I don't want to make s***." Jack Royston is chief royal correspondent for Newsweek, based in London. You can find him on X, formerly Twitter, at @jack_royston and read his stories on Newsweek's The Royals Facebook page. Do you have a question about Charles and Queen Camilla, Prince William and Princess Kate, Meghan Markle and Prince Harry, or their family that you would like our experienced royal correspondents to answer? Email royals@ We'd love to hear from you.
