Is That All There Is? Remembering Peggy...

Thursday Evening, January 21, 2016, at 8:30

Is That All There Is?Remembering Peggy LeeWritten and hosted by James GavinFeaturing Spencer Day, Barb Jungr, Nellie McKay, Jane Monheit, and Rebecca Parris

Mike Renzi, Piano Bob Cranshaw, BassCraig Holiday Haynes, Drums

This evening’s program is approximately 90 minutes long and will be performed without intermission.

Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella.

Endowment support provided by Bank of America

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

The Program

Please make certain all your electronic devices are switched off.

Steinway PianoThe Appel RoomJazz at Lincoln Center’s Frederick P. Rose Hall

American Songbook

We would like to remind you that the sound of coughing and rustling paper mightdistract 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. Flash photography and the use of recording equipment are not allowed in the building.

Additional support for Lincoln Center’s American Songbook is provided by The DuBose andDorothy Heyward Memorial Fund, The Shubert Foundation, Jill and Irwin B. Cohen, The G & A Foundation, Inc., Great Performers Circle, Chairman’s Council, and Friends ofLincoln Center.

Public support is provided by the New York State Council on the Arts.

Artist catering provided by Zabar’s and zabars.com

MetLife is the National Sponsor of Lincoln Center

UPCOMING AMERICAN SONGBOOK EVENTSIN THE APPEL ROOM:

Friday Evening, January 22, at 8:30Loudon Wainwright III

Saturday Evening, January 23, at 8:30Rita Moreno

Wednesday Evening, February 3, at 8:30Craig Finn

Thursday Evening, February 4, at 8:30The Songs of Todd Almondwith special guests Courtney Love and Sherie Rene Scott

Friday Evening, February 5, at 8:30Janis Ian

Saturday Evening, February 6, at 8:30Jerry Dixon & Mario Cantone

Wednesday Evening, February 17, at 8:30Foreigner: The Hits Unplugged

Thursday Evening, February 18, at 8:30A Coffin in Egypt: An Opera-in-Concertfeaturing Frederica von Stade

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 InfoRequest Line at (212) 875-5766 or visit AmericanSongbook.org for complete program infor-mation.

Join the conversation: #LCSongbook

Beneath the Veneer of Cool, a Frail HumanityBy James Gavin

Peggy Lee cast a spell when she sang. She hypnotized, even ontelevision. Lee epitomized cool, but her signature song “Fever,”covered by Beyoncé and Madonna, sizzles with sexual heat. Shenever had to shout to make her point; in Lee’s musical language,silence spoke as loudly as sound. Hers was a sweet, husky bed-room voice that beckoned you closer. “When I get very quiet andvery intense,” Lee explained, “the power goes right through.”Her jazz sense and swing feel dazzled Ray Charles, DukeEllington, and Louis Armstrong. Grady Tate, her longtime drum-mer, placed Lee on the pedestal occupied by her idol, BillieHoliday. “Peggy had that nasty, laid-back, demented, sultry,incredibly funky sound that Lady Day had,” Tate said. “But it wasLady with another Lady on top of it.”

Recent generations may love her best for her Grammy-winning1969 classic “Is That All There Is?,” an anthem of existential angstby Jerry Leiber and Mike Stoller. Lee’s recording was arranged, ather insistence, by a then-unknown Randy Newman. But her talentswent far beyond singing. In 1955 she earned an Oscar nominationfor her performance in Pete Kelly’s Blues, in w hich she played analcoholic torch singer who goes insane. That same year, WaltDisney released its animated classic Lady and the Tramp, to whichLee contributed four character voices and a half-dozen lyrics—acrowning achievement for an artist who was a singer-songwriterbefore the term existed.

Peggy Lee was born in 1920 as Norma Deloris Egstrom, a nameas flat as the Jamestown, North Dakota, landscape from whichshe sprang. “I was a weird little child with a tremendous imagina-tion,” she recalled. Her best childhood friend, Artis Conitz, added:“She came up out of nowhere. She made a lot out of nothing.” By1941, Lee was singing with the King of Swing, Benny Goodman.From the late ’40s onward she reigned at the country’s top supperclubs, including Ciro’s, Basin Street East, and the Empire Room ofthe Waldorf-Astoria hotel. Audiences saw a blonde seductresswith a mermaid’s figure, a vixen’s smile, and the ability to controlthe stage like a puppeteer. Characters materialized with eachsong. In “Big Spender,” she became a barroom vamp on themake. “I’m a Woman” cast her as an indomitable, sexy house-wife. “What Is a Woman?,” “An Empty Glass,” and theCarpenters hit “Superstar” found her evoking faded womenwhose last chances at love had fled.

American Songbook I Note on the Program

Note on the Program

American Songbook I Note on the Program

With time, Lee grew ever stranger and more contradictory. Onstage she epito-mized cool control, but inner turmoil wracked her. She spun a romantic nirvanain her songs, yet couldn’t sustain one in reality. Late in life, a woman plagued byillness and frailty won a two-and-a-half-year battle against Disney in a landmarkcase over unpaid royalties. By now she looked like a bizarre fallen angel: ashapeless blur of ghostly, gleaming white, from her snowy Cleopatra wig to herfeathered silk robe. Lee claimed a special line to God and declared she wouldnever die. She finally did in 2002.

For all her crises and self-destructiveness, Lee is no downtrodden Billie Holiday tothe public. Instead she seems tough, sexy, and victorious. The fascination withher has only grown. Lee’s voice keeps turning up like a tenacious ghost in movies,commercials, and television shows. “Is That All There Is?” was featured lastspring in the final season of Mad Men. Nearly all of her 50-plus original albumshave been reissued. In 2007 record producer Mark Vidler made a mashup of“Fever” and Iggy Pop’s “The Passenger.” Lee’s breakthrough single, “Why Don’tYou Do Right?,” recorded in 1942 with Benny Goodman, was sampled in the2010 No. 1 UK dance hit “Why Don’t You?” by Serbian DJ Gramophonedzie.

Vocally, Lee left her mark on many singers. “I love everything about her,” saidDiana Krall. “She is one of the greatest influences in what I do as an artist.”Petula Clark, Joni Mitchell, k.d. lang, Jane Monheit, and Marilyn Horne have allacknowledged her influence. “I knew I could never sound like her, but I wantedto,” said Dusty Springfield.

Today, when commercial pop is overrun by a fleet of Auto-Tuned robots, lip-syncing onstage to their own vocal tracks and lost onstage without smoke andmirrors, the achievement of Peggy Lee—who sang unaided by anything butmusicians, lighting, and a microphone, and who exposed her heart at everyshow—seems even grander in its humanity. In tonight’s show, five singers, alldistinct from one another and from Peggy Lee, will conjure up the many sidesof an uncategorizable, eternally haunting American original.

James Gavin is author of Is That All There Is?: The Strange Life of Peggy Lee,now in paperback from Atria Books/Simon & Schuster.

—Copyright © 2016 by James Gavin

American Songbook I Meet the Artists

James Gavin is the author of four books and dozens of New York Timesfeatures; he is also a worldwide public speaker, a Grammy nominee, and atwo-time recipient of ASCAP’s Deems Taylor/Virgil Thomson Award forexcellence in music journalism. His most recent book, Is That All There Is?:The Strange Life of Peggy Lee (Atria Books/Simon & Schuster), drew crit-ical praise, as did his previous ones: Intimate Nights: The Golden Age ofNew York Cabaret, Deep in a Dream: The Long Night of Chet Baker, andStormy Weather: The Life of Lena Horne. The city that made Hornefamous, Los Angeles, honored Mr. Gavin with a proclamation in 2010.

Born in Manhattan and a graduate of Fordham University, Mr. Gavin is amuch-published freelance journalist; his work has appeared in Vanity Fair,Time Out New York, the Daily Beast, and TV Guide, as well as the Times.His subjects have included Annie Lennox, Elizabeth Taylor, Nina Simone,John Legend, John F. Kennedy Jr., Miriam Makeba, Marilyn Monroe, MaeWest, Ned Rorem, Edith Piaf, Karen Carpenter, and Jacques Brel. He hascontributed liner notes to over 400 CDs; his Grammy nomination came foran essay in the Ella Fitzgerald box set Ella: The Legendary Decca Recordings,released on GRP.

Mr. Gavin has appeared in several documentaries, including the E! TrueHollywood Story on Doris Day and Anita O’Day: The Life and Times of aJazz Singer. He has made hundreds of radio appearances, including multi-ple interviews on NPR, the BBC, and Australia’s ABC Network, and hasbeen seen on the Today show, Good Morning America, and PBSNewsHour. Mr. Gavin is currently touring as narrator, host, and author ofStormy Weather: The Life and Music of Lena Horne, a show that stars for-mer Supreme Mary Wilson.

Meet the Artists

James Gavin©

MIC

HA

EL

CH

ILD

ER

S

Widely regarded for his original songsthat blend compelling melodies,smart lyrics, and lush arrangements,Spencer Day has appeared in placesas diverse as Birdland (New York), theHollywood Bowl, Jazz Alley (Seattle),the Kennedy Center (Washington,D.C.), Tanglewood Music Center, thePacific Rim Jazz Festival (Manila),and, on television, The Late LateShow with Craig Ferguson. His latestand fifth album, Daybreak, won criti-cal praise.

Raised in the small town of Pinetop, Arizona, by his mother, an accomplishedmusic teacher and soprano, Mr. Day found inspiration in the works of ColePorter, George Gershwin, Roy Orbison, Joni Mitchell, Paul Simon, and many oth-ers. A tipping point came in 2007 when he was asked to perform at the SanFrancisco Jazz Festival, which led to many requests to headline in music venuesincluding Yoshi’s in San Francisco and Oakland, California; the Monterey JazzFestival; and the Hollywood Bowl. In New York City he has earned rave reviewsfor performances at Town Hall, Joe’s Pub, and the Canal Room. He has alsoheadlined internationally in England, Japan, Australia, and Mexico.

Renowned for her unique vocalstyle, probing song interpretations,and radical approach to arrange-ments, Barb Jungr has won ravereviews for her live performancesand recordings such as Every Grainof Sand: Barb Jungr Sings Bob Dylan(Linn Records). In 2014 her albumHard Rain—The Songs of Bob Dylanand Leonard Cohen (KristalynRecords) won the BroadwayWorldCabaret Award for Best CD Release.She has also received two presti-

gious New York awards: the 2008 Nightlife Award for Outstanding CabaretVocalist and the Best International Artist 2003 Backstage Award.

In 2015 Ms. Jungr appeared as a guest artist at the Cabaret & PerformanceConference at the Eugene O’Neill Theater Center in Connecticut. She also per-formed with Grammy and Emmy winner John McDaniel at the Edinburgh


Spencer Day

Barb Jungr

STE

VE

ULL

ATH

OR

NE


Festival, and recorded her eighth release for Linn Records in collaboration withGrammy-winning pianist Laurence Hobgood.

Ms. Jungr’s credits as a writer and lyricist include The Jungle Book(Birmingham Stage Company), The Fabulous Flutterbys (Little Angel Theatre),and Cinderella, Beauty and the Beast, and Dick Whittington for the CornExchange, Newbury. Currently based in London, she is artistic director of theDeep Roots Tall Trees project in Corby, England. In 2013 she co-adapted thebestselling book We’re Going on a Bear Hunt with Peter Glanville, writing the songs and music for the show that premiered at London’s Little AngelTheatre and toured the UK that autumn. Ms. Jungr also performed a selloutseason at London’s Crazy Coqs cabaret. She was a featured vocalist in thehighly praised recording of Robb Johnson’s Gentle Men, and was a patron ofthe first-ever London Festival of Cabaret. Ms. Jungr has toured Australia andperformed regularly across the U.S., including several engagements at CaféCarlyle and Joe’s Pub in New York, Catalina’s in Los Angeles, and the RrazzRoom in San Francisco.

For her 2015 album, My WeeklyReader, singer-songwriter NellieMcKay collaborated with famedBeatles engineer Geoff Emerick,with whom she had also worked onher 2004 Columbia debut, Get Awayfrom Me. Ms. McKay has appearedin the award-winning Off-Broadwayhit Old Hats and written and per-formed three critically praised musi-cal biography shows: I Want to Live!,the story of convicted murdererBarbara Graham; Silent Spring—

It’s Not Nice to Fool Mother Nature, an exploration of environmental pio-neer Rachel Carson; and her latest, A Girl Named Bill: The Life and Times ofBilly Tipton.

Ms. McKay’s other albums include Pretty Little Head, Obligatory Villagers, andNormal as Blueberry Pie. She won a Theatre World Award for her portrayal ofPolly Peachum in the Broadway production of The Threepenny Opera andappeared in the films P.S. I Love You and Downtown Express. She wrotemusic for the Rob Reiner film Rumor Has It and contributed to the Emmy-winning documentary Gasland. Ms. McKay’s music has also been heard ontelevision shows such as Mad Men, Boardwalk Empire, Weeds, and Grey’sAnatomy. Her writing has appeared in Interview and the New York TimesBook Review.

Nellie McKay

RIC

K G

ON

ZALE

Z

A recipient of a People for the Ethical Treatment of Animals HumanitarianAward in recognition of her dedication to animal rights, Ms. McKay is also avocal advocate for feminism and civil rights.

Grammy-nominated vocalist JaneMonheit has been a leading light inboth the jazz and cabaret worldssince emerging as a finalist in theThelonious Monk Institute of Jazz’s1998 vocal competition. In additionto her own recordings, she hasworked alongside the likes ofTerence Blanchard, Tom Harrell, andIvan Lins. Her acclaimed 2013album, The Heart of the Matter, wasthe result of an especially satisfyingcollaboration with Grammy-winning

producer Gil Goldstein, who had previously worked with such giants as WayneShorter, Gil Evans, and Pat Metheny. He and Ms. Monheit first joined forceson her 2009 album, The Lovers, the Dreamers and Me.

Ms. Monheit’s passion for Brazilian music colors a wide swath of The Heart ofthe Matter, her ninth studio album, particularly in the two selections writtenby Lins and sung in Portuguese. The diverse and very personal set of songsalso includes familiar standards and compositions by John Lennon and PaulMcCartney, Randy Newman, and, for the first time, Ms. Monheit herself.

Born in Massachusetts to a family ofmusicians and educators, RebeccaParris has performed since the ageof six, mostly in musical theater. Sheattended the Boston Conservatoryand started her professional career inmusic by working with various Top40 bands in the Northeast. Whenshe discovered that she preferredsinging jazz, Ms. Parris embarkedupon a career in the jazz world. Shehas performed all over the worldwith her own groups, as well as with

jazz legends like Dizzy Gillespie, Buddy Rich, Woody Herman, Terry Gibbs,


Rebecca Parris

SU

SA

N W

ILS

ON

Jane Monheit

MA

TTH

EW

HO

LLE

R


David “Fathead” Newman, Norman Simmons, Harold Jones, Andy Simpkins,Gerald Wiggins, Bill Cunliffe, Buster Cooper, and Nat Pierce.

Her latest release, You Don’t Know Me (on the Saying It with Jazz label), fea-tures standards performed with her longtime trio: pianist Brad Hatfield, bassistPeter Kontrimas, and drummer Matt Gordy. Ms. Parris’s previous releasesinclude her all-ballad CD My Foolish Heart, The Secret of Christmas, A BeautifulFriendship with the Kenny Hadley Big Band, Double Rainbow with pianist EddieHiggins and saxophonist Michael Monaghan, and Love Comes and Goes.

Ms. Parris’s other passion is teaching. Her lessons and workshops focus ontechnique, performance, and the business side of music, as well as lyric deliv-ery and scat/improvisation.

Mike Renzi

A heavily in-demand accompanist in pop-jazz since the 1970s, Mike Renzi(piano) is currently musical director for Tony Bennett. He has played the samerole for Peggy Lee, Mel Tormé, Lena Horne, Cleo Laine, Maureen McGovern,Jack Jones, Alan Bergman, and Sylvia Syms, among many others. Born inProvidence, Rhode Island, Mr. Renzi studied piano at the Boston Conservatoryand composition at the Berklee College of Music. Encouraged by composerCy Coleman—who had heard him in concert with Syms at New York’s TownHall—Mr. Renzi moved to Manhattan in 1976. In 1983 he played for Peggy Leein Peg, her short-lived one-woman Broadway autobiographical show. Mr.Renzi continued on as her accompanist and musical director until Lee’s finalNew York appearance, a 1995 JVC Jazz Festival concert at Carnegie Hall. Theycollaborated on three CDs: Miss Peggy Lee Sings the Blues, The Peggy LeeSongbook: There’ll Be Another Spring, and Moments Like This. Mr. Renzi hasserved as musical director for several gala tribute shows at Carnegie Hall,including salutes to Frank Sinatra (1995), Ella Fitzgerald (1996), Marilyn andAlan Bergman (1997), Nat King Cole (1997), Alan Jay Lerner (2000), and PeggyLee (2003). He did the same for an 80th-birthday salute to Lena Horne at AveryFisher Hall (1997). He is a seven-time Daytime Emmy–winning composer ofsoundtrack music for such shows as Sesame Street and All My Children.

Bob Cranshaw

For over five decades, Bob Cranshaw (bass) has been the bassist of choice forsaxophonist Sonny Rollins. His career also encompasses extensive recordedwork on the Blue Note, Prestige, and Impulse! record labels during the 1960sand collaborations with Dexter Gordon, Milt Jackson, Jimmy Heath, WesMontgomery, Lee Morgan, Horace Silver, Stanley Turrentine, Carmen McRae,and countless other modern jazz greats. He plays on three tracks of PaulSimon’s top-ranked album There Goes Rhymin’ Simon.

Craig Holiday Haynes

A 35-year member of the Sun Ra Arkestra, Craig Holiday Haynes (drums) has also played with Barry Harris, Chief Bey, George Benson, Jimmy Heath,Stanley Jordan, Geri Allen, John Hicks, Gloria Lynne, Lionel Hampton, ClarkTerry, and Gladys Knight. He is part of a musical family that includes two other drummers: his father, bebop pioneer Roy Haynes, and his nephew,Marcus Gilmore.

American Songbook

In 1998, Lincoln Center launched American Songbook, dedicated to the cele-bration of popular American song. Designed to highlight and affirm the cre-ative mastery of America’s songwriters from their emergence at the turn ofthe 19th century up through the present, American Songbook spans all stylesand genres, from the form’s early roots in Tin Pan Alley and Broadway to theeclecticism of today’s singer-songwriters. American Songbook also show-cases the outstanding interpreters of popular song, including established andemerging concert, cabaret, theater, and songwriter performers.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: pre-senter of artistic programming, national leader in arts and education and com-munity relations, and manager of the Lincoln Center campus. A presenter ofmore than 3,000 free and ticketed events, performances, tours, and educa-tional activities annually, LCPA offers 15 programs, series, and festivalsincluding American Songbook, Great Performers, Lincoln Center Festival,Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly MozartFestival, and the White Light Festival, as well as the Emmy Award–winningLive From Lincoln Center, which airs nationally on PBS. As manager of theLincoln Center campus, LCPA provides support and services for the LincolnCenter complex and the 11 resident organizations. In addition, LCPA led a $1.2billion campus renovation, completed in October 2012.


Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerKate Monaghan, Associate Director, ProgrammingCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingRegina Grande, Associate ProducerLuna Shyr, Programming Publications EditorNick Kleist, Company ManagerOlivia Fortunato, House Seat Coordinator

For American SongbookMatt Berman, Lighting DesignScott Stauffer, Sound DesignAmy Page, Wardrobe Assistant

Matt Berman

Matt Berman is the resident lighting designer for Lincoln Center’s AmericanSongbook. He continues his design work for Kristin Chenoweth, Liza Minnelli,Alan Cumming, Brian Stokes Mitchell, Lea Salonga, and Elaine Paige on theroad. Through his work with 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 internationaltouring schedule has allowed him to design for iconic venues such as RoyalAlbert Hall, the Paris Opera, the Olympia theater in Paris, Royal Theatre Carréin Amsterdam, the Sporting Club in Monte Carlo, the Acropolis, the famedamphitheater in Taormina, Sicily, Luna Park in Buenos Aires, and the SydneyOpera House. Closer to home, he has done work for the Hollywood Bowl,Alice Tully Hall, and Carnegie Hall. Mr. Berman’s television work includesChenoweth’s recently released special, Coming Home, as well as seven LiveFrom Lincoln Center broadcasts, and the Tony Award–winning Liza’s at thePalace, which he also designed for Broadway. Other Broadway credits includeBea Arthur on Broadway, Nancy LaMott’s Just in Time for Christmas, andKathy Griffin Wants a Tony at the Belasco Theater.

Scott Stauffer

Scott Stauffer has been the sound designer for Lincoln Center’s AmericanSongbook since 1999; the Actors Fund concerts of Frank Loesser, Broadway101, Hair, and On the Twentieth Century; and Brian Stokes Mitchell at Carnegie

American Songbook

American Songbook

Hall. His Broadway credits include A Free Man of Color, The Rivals, Contact (alsoin London and Tokyo), Marie Christine, Twelfth Night, and Jekyll & Hyde. Off-Broadway Mr. Stauffer has worked on Promises, Hereafter, A Minister’s Wife,Bernarda Alba, Third, Belle Epoque, Big Bill, Elegies, Hello Again, The SpitfireGrill, Pageant, and Hedwig and the Angry Inch. His regional credits include pro-ductions at the Capitol Repertory Theatre, University of Michigan, HangerTheatre, Berkshire Theatre Festival, Chicago Shakespeare Theater, and AlleyTheatre. As a sound engineer, Mr. Stauffer has worked on The Lion King, JuanDarién, Chronicle of a Death Foretold, Carousel, Once on This Island, and LittleShop of Horrors (Off-Broadway).

jazz at lincoln center

jazz.orgFrederick P. Rose Hall Broadway at 60th StreetBox O�ce: Ground Floor CenterCharge: 212-721-6500

fred hersch & friends: intimate momentsJAN 15–16 • 7PM & 9:30PM | THE APPEL ROOMPianist Fred Hersch joined by pianist Sullivan Fortner, clarinetist Anat Cohen, guitarist Julian Lage, and vibraphonist Stefon Harris

jazz in the key of lifeJAN 15–16 • 8PM | ROSE THEATERJazz at Lincoln Center Orchestra with Wynton Marsalis and music director Vincent Gardner plays the music of Stevie Wonder, Donny Hathaway, and more

our love is here to stay: the george gershwin songbookJAN 28–30 • 8PM | ROSE THEATERJazz at Lincoln Center Orchestra with Wynton Marsalis

charles lloyd & the marvels featuring bill frisellJAN 29–30 • 7PM & 9:30PM | THE APPEL ROOMNEA Jazz Master saxophonist Charles Lloyd with guitarist Bill Frisell, drummer Eric Harland, pedal steel guitarist Greg Leisz, and bassist Reuben Rogers

january

UPCOMING EVENTS

Coca-Cola Generations in Jazz Festival

Jazz at Lincoln Center’sFrederick P. Rose Hall

In deference to the artists, patrons of Dizzy’s Club Coca-Colaare 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-reservationsNightly 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 Theaterand 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.

Find us on Facebook (DizzysClubCocaCola), Twitter (@jazzdotorg), YouTube (jazzatlincolncenter), and Instagram (jazzdotorg).

January 2016Joey Alexander Triowith Dan Chmielinski and Ulysses Owens, Jr.January 15–177pm & 9pm

New Century Jazz Quintetwith Benny Benack, Tim Green, Takeshi Ohbayashi,Yasushi Nakamura, and Ulysses Owens, Jr.January 187:30pm & 9:30pm

Eric Legnini TrioCo-presented by French Quarter 2016with Thomas BramerieJanuary 197:30pm

Hugh Coltman: “Shadows—Songs of Nat King Cole”Co-presented by French Quarter 2016with Thomas Naim, Gael Rakotondrabe, ChristopheMink, and Raphael ChassinJanuary 199:30pm

Matthew Shipp TrioThe Conduct of Jazz Album Release Partywith Michael Bisio and Newman Taylor BakerJanuary 207:30pm & 9:30pm

René Mariewith John Chin, Elias Bailey, and Quentin BaxterJanuary 21–247:30pm & 9:30pm

Ramón Valle Triowith Omar Rodriguez Calvo and Liber TorrienteJanuary 257:30pm & 9:30pm

Emilio Solla & La Inestable de Brooklynwith John Ellis, Tim Armacost, Alex Norris, RyanKeberle, Meg Okura, Julien Labro, Jorge Roeder,and Eric DoobJanuary 26–277:30pm & 9:30pm

Ken Peplowski QuintetThe Great American Songbook Part 1: Honoring Richard Rodgers (Jan 28)Part 2: Honoring Harold Arlen (Jan 29)Part 3: The New Standards (Jan 30)Part 4: Audience Pick! (Jan 31)With Ehud Asherie, David Wong, Aaron Kimmel,Terell Stafford (Jan 28–29 & 31), and HoustonPerson (Jan 30)January 29–317:30pm & 9:30pm

jazz at lincoln center

jazz.orgFrederick P. Rose Hall Broadway at 60th StreetBox O�ce: Ground Floor CenterCharge: 212-721-6500

family concert: who is frank sinatra?FEB 6 • 1PM & 3PM | ROSE THEATER | JAZZ FOR YOUNG PEOPLEWith vocalist Kenny Washington, storyteller Allan Harris, and Andy Farber & His Orchestra

The Jazz for Young People Family Concert is funded through the generosity of Mica and Ahmet Ertegun.

cécile mclorin salvantFEB 12–14 • 7PM & 9:30PM | THE APPEL ROOMVocalist Cécile McLorin Salvant performs for Valentine’s Day weekend

monty alexander & friends:frank sinatra at 100FEB 12–13 • 8PM | ROSE THEATERPianist Monty Alexander and special guest vocalist Kurt Elling

christian mcbride/henry butler, steven bernstein & the hot 9FEB 26–27 • 8PM | ROSE THEATERAn outstanding double bill of two of today’s most exciting and energetic jazz ensembles

february

winter 2016

ses azz courgn up now for jSi

universitywinguniversity

s

WINGU15

, and ver, , Schaap

ated cur

g

WSomo code % with prSave 15

oll today!Ragtime. Enrace Silvincluding Jazz 101, Hor

tructor Phil Sy insby legendarses azz courgn up now for jSi

enter.on Cducatiamond EDiof programming in the Irene

tund for its leadership supporFamondwledges The Irene Diackno

ullyenter gratefincoln Czz at LJa

212-258-9922 gorazz.j

g/swingu

Is That All There Is? Remembering Peggy...

Documents

Transcript of Is That All There Is? Remembering Peggy...