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Jazz From Lincoln Center As of Now: Payton, d'Rivera, Reed Written by Joseph Hooper (c) and (p) Jazz From Lincoln Center, 2001, all rights reserved 1) Music: "The Day of Pentecost" from Word of God (Reed) 11/4/00 start @4:15 piano to full ensemble
2) Vox: Paquito d'Rivera (PDR int. 2/12/00 @ :40 ; 6:00 "Jazz is the // indigenous music of this country which should reflect the personality// the characteristics of this land.//Jazz is the only music you can put anything inside and still you can call it jazz. If you do it in the proper spirit."
3) Bradley: WHEN JAZZ AT LINCOLN CENTER COMMISSIONED THREE LEADING MUSICIANS TO WRITE EXTENDED PIECES, THEY GOT THREE VERY DIFFERENT VISIONS OF JAZZ. BUT TAKEN TOGETHER -- ERIC REED, NICHOLAS PAYTON, AND PAQUITO D’RIVERA – ALL PROVIDE WORKS BURSTING WITH WHAT D’RIVERA CALLS "THE PROPER SPIRIT." WHAT UNITES THESE MUSICIANS IS A DESIRE TO PUT THEIR OWN SPIN ON ESTABLISHED JAZZ FORMS. PAYTON CHOOSES BLUES GROOVES THAT HAVE ALWAYS BEEN CENTRAL TO JAZZ. D’RIVERA STARTS WITH HIS NATIVE CUBAN RHYTHMS, BUT EMBRACES MUSIC FROM ALL OF THE AMERICAS. FINALLY, ERIC REED COMBINES JAZZ WITH GOSPEL MUSIC AND A CENTURIES OLD TRADITION OF THE NEGRO SPIRITUAL. JAZZ THAT ECHOES THE PAST AND LOOKS TO THE FUTURE -- "AS OF NOW" – ON THIS EDITION OF JAZZ FROM LINCOLN CENTER. I'M ED BRADLEY.
4) Music: (fades)
5) Bradley: THE MUSIC OF THE BLACK CHURCH IS A COUSIN TO JAZZ, AND HAS OFTEN FOUND ITS WAY ACROSS THE AISLE. IN 1944, DUKE ELLINGTON PREMIERED "BLACK, BROWN, AND BEIGE," A SUITE THAT INCLUDED THE REVERENTIAL TUNE "COME SUNDAY." WITH ELLINGTON IN MIND, ERIC REED OPENS HIS COMMISSIONED PIECE, "THE WORD OF GOD," WITH A TRADITIONAL HYMN. AT ALICE TULLY HALL, REED AND TROMBONIST WYCLIFFE GORDON -- "THE LORD'S PRAYER."
6) Music: "The Lord's Prayer" (trad.) (4:01) from 11/4/00
7) Bradley: "THE LORD'S PRAYER," ERIC REED ON PIANO AND WYCLIFFE GORDON ON MUTED TROMBONE. THIS IS JAZZ FROM LINCOLN CENTER. I'M ED BRADLEY
8) Vox: Eric Reed (12/10/00 int. at 1:05) "//I was really having a lot of difficulty and conflict with personal relationships// just kind of a general premidlife crisis if you will, of wondering, who I am, what am I doing, why am I doing it."
9) Bradley: ERIC REED
10) Vox: Eric Reed (12/10/00 int. at 3:00) "This music, Word of God, this commission piece basically helped me to find my purpose, to find my way."
11) Bradley: FOR A JAZZ MUSICIAN STILL IN HIS EARLY THIRTIES, REED HAS ENJOYED UNUSUAL SUCCESS, AS A MEMBER OF WYNTON MARSALIS’ SEPTET AND THE LINCOLN CENTER JAZZ ORCHESTRA. HE’S ALSO LED HIS OWN POPULAR TRIOS. BUT IN THE SPRING OF 2000, THIS PREACHER'S SON FELT SPIRITUALLY ADRIFT. ONSTAGE AT ALICE TULLY HALL, ERIC REED.
12) Vox: Eric Reed (onstage intro remarks about half-way in) "I came across a scripture, // one of the parables that Jesus was telling about planting seeds on fertile ground, on rocks, on weeds. Anyway, the bottom line was that having the seed planted in you// is the equivalent of the word of God. If the word of God is in you during the time of testing, you won't fall away or you won't fail. And it hit me like a bolt of lightening//, it just made sense."
13) Bradley: REED'S EPIPHANY INSPIRED THIS PIECE, "THE WORD OF GOD." THE MIDDLE COMPRISES THREE SECTIONS. AFTER A SCRIPTURE READING, THE MUSIC FLOWS THROUGH AN IMPROVISED JAZZ PIANO SOLO AND COMPOSED HORN PASSAGES THAT HAVE A CONTRAPUNTAL, ALMOST BAROQUE FEEL.
14) Vox: Eric Reed (ER int. at 12/10/00 at 18:30) "So connecting the pieces are me kind of playing some arpeggios and that's something that goes on in the church after someone sings a song and then it kinda just calms people down."
15) Music: "Who Shall Separate Us From the Love of God, The Love of
16) Vox (intro to the music): Tim Cain "Who shall separate us from the love of God? Shall tribulation or distress or persecution or famine or nakedness or peril or sword, for I am persuaded that neither death nor life nor angels nor principalities nor powers nor things present nor things to come, nor heights, nor death, nor any other created thing shall be able to separate us from the love of God which is in Christ Jesus."
17) Bradley: MOVEMENTS THREE, FOUR, AND FIVE IN ERIC REED’S "WORD OF GOD" -- "WHO SHALL SEPARATE US FROM THE LOVE OF GOD?," "THE LOVE OF GOD," AND "TO MY FATHER'S HOUSE." REED WAS ON PIANO, WYCLIFFE GORDON WAS THE TROMBONE SOLOIST, WITH DION TUCKER ON SECOND TROMBONE, MIKE RODRIGUEZ ON TRUMPET, JULIUS TOLENTINO ON ALTO, WAYNE ESCOFFERY ON TENOR, BARAK MORI ON BASS AND RODNEY GREEN ON DRUMS. THE SCRIPTURE READER WAS TIM CAIN. IN THE NEXT TWO SECTIONS, ERIC REED GOES TO THE AFRICAN-AMERICAN RELIGIOUS EXPERIENCE, TRADITIONAL AND MODERN. "FATHER FORGIVE US" IS REED WRITING IN AN OLDER STYLE OF THE NEGRO SPIRITUAL, MADE FAMOUS BY THE FISK JUBILEE SINGERS AND MAHALIA JACKSON. FOR THE SECOND SECTION, "HE IS THE CHRIST," REED SWITCHES TO A DRIVING GOSPEL STYLE AND ENLISTS THE SERVICES OF THE PILGRIM CATHEDRAL CHOIR OF HARLEM.
18) Vox: Eric Reed (ER int. 12/10/00 at 36:00)
19) Bradley: AT ALICE TULLY HALL, PIANIST AND COMPOSER ERIC REED AND HIS ENSEMBLE WITH "FATHER FORGIVE US" AND "HE IS THE CHRIST."
20) Music: Father Forgive Us, He is the Christ (Reed) (total time: 9:52 including narration)
21) Vox: music intro Tim Cain
22) Bradley: "FATHER FORGIVE US" WITH SOPRANO ROBERTA GUMBEL AND "HE IS THE CHRIST," FEATURING THE PILGRIM CATHEDRAL CHOIR OF HARLEM. TIM CAIN READ THE SCRIPTURE FOR THE SIXTH AND SEVENTH SECTIONS OF ERIC REED'S "WORD OF GOD." ERIC REED CLOSES HIS "WORD OF GOD" WITH A HOLY ROAR. THE FINAL SECTION, "THE DAY OF PENTECOST" IS THE PIANIST'S MUSICAL EQUIVALENT OF JESUS' DISCIPLES "SPEAKING IN TONGUES." ERIC REED
23) Vox: Eric Reed (ER int. 12/10/00 at 42:00) "I had the four horns playing very fast, very rapid lines and they were all different, and then at one point, they all came together. (sings) And then they all went into this 4-part harmony thing and it was all very, very fast. // Like if a person gets the Holy Spirit, they start shouting or they start dancing// And this fast-paced music represents that sound. // So this piece represents both the scripture and an act that would take place in the church."
24) Bradley (alt): THE FINAL MOVEMENT OF ERIC REED’S "WORD OF GOD" -- "THE DAY OF PENTECOST."
25) Music: The Day of Pentecost (Reed) (5:52, incl. narration, not including Reed outro)
26) Vox intro: Tim Cain "Now when the day of Pentecost had finally come, they were all with one accord in one place and suddenly (drum roll) there came a sound from heaven as of a right, might rushing wind and it filled the whole house where they were sitting. Then there appeared to them divided tongues as of fire. And one sat upon each of them and they were all filled with the holy spirit and began to speak with other tongues as the spirit gave them utterance." (note: text is :44)
27) Reed outro: "Thank-you very much, the Pilgrim Cathedral Choir of Harlem. Their pastor is Bishop Charles Reed. Barak Mori on the bass, Wayne Escoffery on tenor and soprano saxophones, Mike Rodriguez on the trumpet, Julius Tolentino alto saxophone, Dion Tucker on the trombone, Rodney Green on the drums, the narrator and my best friend for twenty-six years, Tim Cain, the amazing Miss Roberta Gumbal, and one of my best friends in the whole wide world, the greatest trombonist almost in the whole wide world, Mr. Wycliffe Gordon. (big applause)"
28) alt Bradley: "THE WORD OF GOD" -- FROM ERIC REED. 29) Midbreak Music: "I Woke Up This Morning" from Word of God (Reed) from 11/4 [:25-1:17] 30) Bradley (midbreak): SUPPORT FOR JAZZ FROM LINCOLN CENTER COMES FROM N-P-R AND ITS MEMBER STATIONS, WHOSE CONTRIBUTORS INCLUDE THE LILA WALLACE READERS DIGEST FUND, SEEKING TO ENRICH COMMUNITY LIFE THROUGH SUPPORT OF EDUCATION, THE ARTS AND CULTURE. TO SEE THE SCRIPT OF THIS PROGRAM OR HEAR IT AGAIN, VISIT US AT WWW.JAZZATLINCOLNCENTER.ORG. YOU’RE LISTENING TO JAZZ FROM LINCOLN CENTER. I’M ED BRADLEY.
[Midbreak @ tk -- (incl. :10 as bed for local stations ID's)]
[music fades to actuality]
31) Vox: Paquito d'Rivera (PDR int. 2/12/00 (?) at 1:10) "This is a statement of what Latin Jazz should be//, Panamericana. // Usually what they call Latin Jazz is mainly Afro-Cuban jazz. // But it seems to ignore the elements of the music from Brazil, from Peru, Ecuador, Mexico, Venezuala. There is so many, so many countries that have wonderful music. // That is what I do for a living, mixing all that, everyday."
32) Bradley: SAXOPHONIST PAQUITO D'RIVERA'S MUSICAL VISION IS AS SWEEPING AS ERIC REED'S BAPTIST RAPTURE. D'RIVERA BELIEVES JAZZ CAN ENCOMPASS THE MUSIC OF ALL THE AMERICAS – NOT ONLY AFRO-CUBAN BUT ANDEAN STRING MUSIC AND ARGENTINE TANGO AS WELL. FEW MUSICIANS ARE BETTER QUALIFIED THAN D’RIVERA TO CHAMPION A VISION OF A SINGLE MUSICAL WORLD. AS A MEMBER OF THE GROUP IRAKERE, HE WAS ONE OF CUBA'S MOST PROMINENT MUSICIANS. SINCE HE MOVED TO THE U.S. IN 1980, HIS AFFINITY FOR TRADITIONAL CUBAN RHYTHMS HAS GROWN. AND JUST LIKE HIS ONETIME BOSS DIZZY GILLESPIE, HE'S BECOME A MENTOR TO YOUNG LATIN PLAYERS -- LIKE THE PIANIST DANILO PEREZ AND TROMBONIST JIMMY BOSCH. NOW IN MID-CAREER, D'RIVERA REMAINS A BOUNDLESS EXTROVERT AND A RECKLESS IDEALIST -- AND HE CHAMPIONS THOSE QUALITIES IN HIS "PANAMERICANA SUITE." FOR THIS WORK, HE FOUND A PARTNER AND LYRICIST IN ANOTHER CUBAN EXPATRIATE, ANNA NICOLENA.
33) Vox: Paquito d'Rivera (PDR int. 2/12/00 (?) at 1:45) "And I told her I am looking for a poem who talks about America as one, as the whole continent, the New World."
34) Bradley (alt): PAQUITO D'RIVERA
35) Vox: Paquito d'Rivera (PDR int. 2/12/00 (?) at 1:50) "And she told me, I have a poem here, do you want to check it out, and then I went to her house and had some rice and black beans of course. Then she read this poem for me and I said, 'I love that poem, I love it, who's the poet' and she says, 'it's me.' // It reflects what I was looking for, //a tribute to the whole continent, America// North, Central and South America and the islands."
36) Bradley: SOPRANO BRENDA FELICIANO SINGS THE WORDS OF ANNA NICOLENA WITH THE PAQUITO D’RIVERA ENSEMBLE – BRINGING THE MUSIC OF ALL THE AMERICAS TO THE "PANAMERICANA SUITE."
37) Music: Panamericana Suite (d'Rivera) (14:05) (2/12/00 concert)
38) Bradley: AT ALICE TULLY HALL, PAQUITO D'RIVERA'S "PANAMERICANA SUITE." D'RIVERA PLAYED ALTO SAXOPHONE AND CLARINET. SOPRANO BRENDA FELICIANO RECITED AND SANG THE POEM. THE SOUTH AMERICAN CAST INCLUDES: AQUILLES BAEZ [AH-KEE-LAYS BAH-EZ] ON GUITAR, CUATRO AND THE ANDEAN CHARANGO. RAUL JAURENA [RAH-OOL HAW-RAIN-AH] PLAYED THE BUTTON-ACCORDION OR BANDONEON. OSCAR STAGNARO [OH-SCAR STAHG-NAH-ROH] PLAYED BASS, WITH DIEGO URCOLA [DEE-AY-GO UR-COH-LAH] ON TRUMPET AND DARIO ESKENAZI ON PIANO.
39) Bradley (cont): DAVE SAMUELS PLAYED MARIMBA AND VIBES, WITH ALBERTO PALANZUELA [PAH-LAHN-ZOO-EH-LA], PERNELL SATURNINO AND MARK WALKER ON PERCUSSION. THIS IS JAZZ FROM LINCOLN CENTER. I'M ED BRADLEY. JAZZ HAS BEEN STRONGLY INFLUENCED BY THE MUSIC OF LATIN AMERICA AND THE MUSIC OF THE BLACK CHURCH. BUT BLUES IS ITS CONSTANT COMPANION. OUR THIRD COMPOSER, THE YOUNG NEW ORLEANS TRUMPETER NICHOLAS PAYTON, DIGS INTO THAT HERITAGE. HIS COMMISSION PIECE -- A TRIO OF TUNES DEDICATED TO HIS MUSICAL HEROES – RETURNS US TO THAT FAMILIAR GROUND. THE CENTERPIECE OF THE WORK IS "BLUES FOR DUKE PEARSON." IN THIS TRIBUTE TO THE UNDERAPPRECIATED PIANIST, COMPOSER, AND BANDLEADER. PAYTON REMINDS US OF PEARSON’S GIFT FOR TURNING IDEAS INTO FOOT-TAPPING MELODIES.
40) Vox: Nicholas Payton (NP int. at 15:00) "//Duke Pearson can write in so many different styles, that's one thing that I love about him, he can go from a boogaloo you know to a bossa nova to swinging, straight-ahead number to some really esoteric stuff. And in different parts of the piece, there are those different elements there. // // As the melody at the beginning that starts off with bass and bass clarinet, that's kind of haunting, as it goes on, you find, 'oh, it's just some blues'//. // You can get away with anything, if you give people a little something they can hold onto //. 41) Bradley: WE'LL CLOSE OUT OUR PROGRAM OF COMMISSIONED WORKS WITH A SLY TOUR OF THE JAZZ MAINSTREAM. AT ALICE TULLY HALL, TRUMPETER NICHOLAS PAYTON AND HIS ENSEMBLE PLAY THE "BLUES FOR DUKE PEARSON."
42) Music: Blues for Duke Pearson (Payton) (11:06) (2/12/00 concert)
43) Bradley: NICHOLAS PAYTON'S "BLUES FOR DUKE PEARSON." TIM WARFIELD PLAYED TENOR SAXOPHONE, SCOTT ROBINSON ON BARITONE, AND BILL EASLEY ON REEDS. NICHOLAS PAYTON, TERRELL STAFFORD AND BARNEY FLOYD PLAYED TRUMPETS, WITH VINCENT GARDINER ON TROMBONE AND BOB STEWART ON TUBA. THE RHYTHM SECTION FEATURED ANTHONY WONSEY ON PIANO, SEAN CONLY ON BASS, ADONIS ROSE ON DRUMS, AND KENYATTA SIMON ON PERCUSSION. ERIC REED, PAQUITO D’RIVERA, AND NICHOLAS PAYTON EACH RETURNED TO THE FOUNDATIONS OF JAZZ. WHEN THEY GOT THERE, THEY FOUND ENOUGH ROOM TO ADD ANOTHER STORY. THEIR WORKS PROVIDE THREE DIVERSE, YET PARALLEL VIEWS OF JAZZ – "AS OF NOW."
44) Music: "Andalusia Suite" (D’Rivera) FROM 2/12/00 [14:30-15:55] Paquito solo
45) Bradley: JAZZ FROM LINCOLN CENTER IS PRODUCED BY JAZZ AT LINCOLN CENTER AND MURRAY STREET ENTERPRISE NEW YORK. THIS PROGRAM WAS WRITTEN BY JOSEPH HOOPER. OUR SENIOR PRODUCER IS STEVE RATHE. THE EDITOR IS VALERIE GLADSTONE WITH ASSOCIATE PRODUCERS AVE CARRILLO AND JOSHUA JACKSON. THE RECORDINGS WERE MIXED BY SAUNDRA PALMER-GRASSI WITH REMOTE FACILITIES BY EFFANEL MUSIC AND DIGITAL POST PRODUCTION BY DAVID GOREN AT STEVEN ERICKSON'S. THE PRODUCTION TEAM INCLUDES LEE BERNARD, GWENDOLYN DEAN, ANDREW ROSENBLUM, PETER ZANGER, AND TRACEY SCHUTTY. THANKS TO ROB GIBSON, SUSAN RADIN, CHRISTA TETER, AND THE CREW AT ALICE TULLY HALL. THE ARTISTIC DIRECTOR OF JAZZ FROM LINCOLN CENTER IS WYNTON MARSALIS.
I'M ED BRADLEY. THIS IS N-P-R, WHERE JAZZ LIVES.
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