JASON MORAN

IN MY MIND: Monk at Town Hall 1959

Fri, Nov 10 @ 8pm The Theatre at Ace Hotel

CAP UCLA presents

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2017–18 SEASON VENUES

Royce Hall, UCLAThe Theatre at Ace Hotel

Freud Playhouse, UCLA Little Theater, UCLA Will Rogers State Historic Park

UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement of the contemporary performing arts in all disciplines—dance, music, spoken word and theater—as well as emerging digital, collaborative and cross-platforms utilized by today’s leading artists. Part of UCLA’s School of the Arts and Architecture, CAP UCLA curates and facilitates direct exposure to contemporary performance from around the globe, supporting artists who are creating extraordinary works of art and fostering a vibrant learning community both on and off the UCLA campus. The organization invests in the creative process by providing artists with financial backing and time to experiment and expand their practices through strategic partnerships, residencies and collaborations. As an influential voice within the local, national, and global arts community, CAP UCLA serves to connect audiences across generations in order to galvinize a living archive of our culture.

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MESSAGE FROM THE CENTER

Tonight we celebrate the centennial of jazz icon Thelonious Monk, as well as the 10th anniversary of Jason Moran’s brilliant homage to his piano hero’s famous concert, IN MY MIND: Monk at Town Hall 1959.

Born on October 10, 1917, Thelonious Monk was one of greatest jazz musicians of all time and one of the first originators of bebop. The inscrutable and idiosyncratic composer wrote more than 70 tunes, many now considered standards including “’Round Midnight,” “Straight, No Chaser,” “Epistrophy,” “Crepuscule with Nellie,” and more. Monk’s stature has only grown since his death in 1982, and he was awarded a special Pulitzer Prize in 2006 for “a body of distinguished and innovative musical composition that has had a significant and enduring impact on the evolution of jazz.”

Since his formidable emergence on the music scene in the late 90s, jazz pianist Jason Moran has proven more than his brilliance as a performer—he has established himself as a risk-taker and innovator of new directions for jazz as a whole. In almost every category that matters—improvisation, composition, group concept, repertoire, technique and experimentation—Moran and his group Big Bandwagon have challenged the status quo, and earned a reputation as “the future of jazz.” Moran has performed with many acclaimed artists such as Charles Lloyd and Dave Holland, who are also part of the CAP UCLA family.

Members of the UCLA community have come together in honor of tonight’s performance. We are pleased to welcome members of Friends of Jazz at UCLA and students from the Thelonious Monk Institute of Jazz, where Moran has served as an artist-in-residence. Monk’s legendary Baldwin piano graced the Institute’s classroom at the UCLA Herb Alpert School of Music, where his legacy continues to inspire the next generation of the world’s most promising young musicians to pursue their passion for this distinctly American music. Monk’s award-winning biographer, Robin D. G. Kelley, a Distinguished Professor at UCLA’s Department of History, has generously contributed special notes for this program.

Thank you for joining us in saluting Monk at 100…and beyond.

Painting by Glenn Ligon

Center for the Art of Performance presents

Jason Moran IN MY MIND: Monk at Town Hall 1959

Fri, Nov 10 @ 8pmThe Theatre at Ace HotelRunning time: Approx. 75 mins. | No Intermission

Funds provided by the Doris Duke Charitable Foundation Endowment Fund.

Jason Moran | Piano

The Big BandwagonWallace Roney II | TrumpetImmanuel Wilkins | Alto SaxWalter Smith III | Tenor SaxFrank Lacy | TromboneBob Stewart | Tuba

Photo by Clay Patrick McBride

Tarus Mateen | BassNasheet Waits | DrumsDavid Dempewolf | Videographer

MESSAGE FROM THE ARTIST

This piece was commissioned to celebrate Monk’s 90th birthday. 10 years later we celebrate his centennial.

Historically, we can dissect Monk’s reemergence with this concert at the prestigious Town Hall. Up until Monk’s concerts, the only two African-American composers to have their compositions presented on the stage were pianists Duke Ellington and Fats Waller. And now, Monk was reclaiming his time and expanding his sonic vision.

Throughout the research phase for IN MY MIND, I had countless conversations about the meaning of Monk. I frequently met with artists who talked me through ideas. Glenn Ligon said that it is also important to consider the relationship between Thelonious and his wife, Nellie. The love and care they had for each other culminated into the final tune of the night, the love song “Crepuscule with Nellie.” Glenn created a painting for me with the phrase IN MY MIND repeated throughout the canvas as a type of mantra for how Monk lives within me. This image by Ligon becomes our backdrop for how the band frames the music.

Carrie Mae Weems talked about how the piece needs to represent Monk away from the piano as a dancer. Throughout the piece you’ll hear a looping tap dance move which Monk performed during his rehearsals in the Jazz Loft. This rehearsal footage of Monk had never been heard before outside of the archive.

Monk is a practitioner and a genius, a descendant of slaves and fruit of the Great Migration, a lover and uniter.

Two days before IN MY MIND premiered, my wife, Alicia Hall Moran (mezzo soprano /composer), was rushed to the hospital. Alicia was pregnant with twins and they were ready to be born, though three months early. I spent the night and day with her trying to keep calm. The night before I departed for our first rehearsal, Alicia walked me through how IN MY MIND should feel. She basically directed the piece from the hospital bed. As soon as we finished our discussion, she went to the bathroom and her water broke. She was on bedrest for the next 10 days, finally delivering on November 5, 2007.

I say all of this because everything in my life was evolving at the same moment. I am becoming a father while simultaneously meditating on the exact moment my parents shared Monk’s music with me. Within IN MY MIND, my history intersects Monk’s, making it unclear who the narrator is. Monk always lets you know he’s leading the conversation, even when you don’t hear his piano. His dance, his voice, his workspace.

My kids had their 10th birthday a few days ago and now they know who Monk is. This piece is as much about ancestral heritage as it is about Monk’s performance at Town Hall.

I had many people help me along this journey. My commissioners—SFJAZZ, Duke University, Chicago Symphony Center and Washington Performing Arts Society. The writer Ben Ratliff, the Jazz Loft historian Sam Stephenson, the estates of W. Eugene Smith and Thelonious Monk, Glenn Ligon, Carrie Mae Weems, Alicia Hall Moran, Andrew and Mary Lou Moran, The Big Bandwagon, T.S. Monk, and Robin Kelley.

Monk has a lot to say. So listen. And then listen again. Monk lived a very full life, on and off the piano. I treat the concert as a piece of material that can be screenprinted and folded, then duplicated. We perform the song “Thelonious” five different ways. “Crepuscule with Nellie” lets us know that his love for his wife, Nellie, is full and conclusive. We know Monk can make us laugh with his ultimate wit and comedic timing.

—Jason Moran

ABOUT THE PROGRAM

A hundred years after his birth, celebrate the artistry and legacy of Thelonious Monk in a unique multimedia program from MacArthur Genius and Kennedy Center Artistic Director for Jazz, Jason Moran. Moran credits Monk as the reason he took up the piano, saying, “Thelonious Monk is the most important musician, period. In all the world, period.” With IN MY MIND Moran and his Big Bandwagon take audiences on a journey exploring Monk’s roots and illustrating his monumental influence on the music that came after him. Inspired by the Thelonious Monk Orchestra’s historic 1959 concert at New York’s Town Hall, IN MY MIND features a live musical performance by Moran and his Big Bandwagon interspersed with spoken word, audio recordings, photographs, and video produced by David Dempewolf. The New York Times declares the program a “stunning project—connecting with Monk beyond the surface of his music.”

IN MY MIND was co-commissioned by Duke University and the Center for Documentary Studies, Jazz at Symphony Center, SFJAZZ, and the Washington Performing Arts Society

THELONIOUS MONK AT TOWN HALL

In October 2017, the whole world observed the centennial of an event that helped overthrow an old regime and usher in a new order. . .no, not the Russian Revolution. Thelonious Monk’s 100th birthday has proven to be the most anticipated celebration of any jazz artist since Duke Ellington’s centenary in 1999. Ever since his death in 1982, Monk’s stature has grown exponentially. He is now recognized as a composer of serious music; he is taught in nearly all college music departments, academies, and conservatories; his “Round Midnight” has become the most recorded jazz composition in history. In the last three decades, literally thousands of CDs, concerts, and repertory ensembles dedicated exclusively to Monk’s music have been produced, although none as ambitious or as visionary as Jason Moran’s IN MY MIND: Monk at Town Hall 1959. Commissioned for the 50th anniversary of Monk’s historic big band concert at New York’s Town Hall, it is a multimedia project that draws on documentary recordings of Monk’s rehearsals at photographer W. Eugene Smith’s downtown loft, photographs, digital sampling and mixing, contributions from artist Glenn Ligon, combined with stunning, virtuosic performances of Moran’s arrangements that both stay true to the original Hall Overton charts while radically departing from their 1959 aesthetic vision. IN MY MINDhas been performed at major concert halls around the world and is the subject Gary Hawkins’ documentary film bearing the same title. It is only fitting that it take another world tour as the world devotes a good part of 2017 celebrating the “High Priest” of modern music.

So why was Monk’s Town Hall concert so significant? What is the backstory to Moran’s story? The night of February 28, 1959, was something of a watershed moment for Monk. For one thing, it was the first time his music had been performed publicly in a big band setting. Furthermore, in this era concerts devoted to the work of a single jazz artist were rare—figures such as Fats Waller and Duke Ellington had enjoyed such an honor, but few others. Billed as An Evening with Thelonious Monk, in the eyes of all the critics, musicians and 1,100 adoring fans that filed into Town Hall that night, this was the jazz event of the year. Signs adorned the area around Broadway and 43rd Street—bright orange, black, and blue posters projecting a silhouette of the pianist sporting a slick driving cap, bamboo glasses, and goatee. For Monk who had spent nearly two decades subjected to hostile criticism and scuffling to make a living, it seemed as if he was finally receiving the recognition that had long eluded him. Major critics began to declare Monk a true genius, and the Downbeat International Critics Poll chose him as best pianist three years in a row between 1958 and 1960. And yet, while Monk could take the stage at Town Hall, he wasn’t able to work in Manhattan clubs because the New York Police Department had revoked his cabaret card for a third time in 1958, after he had been beaten by Delaware police and charged with “breach of peace” simply because he wanted to stop at a motel for a glass of water. It was a devastating blow, both to his livelihood and to his reputation.

Photo by Bill Wagg/Redferns/Getty Images

Harry Colomby, Monk’s manager, and his brother Jules Colomby, a noted producer and occasional musician, proposed and organized the concert. But ultimately, Monk was in charge. He knew exactly what he wanted: a big band that sounded like a small band. To write the arrangements the three men turned to Hall Overton, a brilliant composer on Julliard’s faculty and mutual friend who appreciated and understood Monk’s music. And they put together an outstanding band consisting of his regular quartet — Charlie Rouse (tenor saxophone), Sam Jones (bass), and Art Taylor (drums), supplemented by Donald Byrd (trumpet), Eddie Bert (trombone), Robert Northern (French horn), Phil Woods (alto sax), Pepper Adams (baritone), and Jay McAllister (tuba).

Moran makes excellent use of Eugene Smith’s private reel-to-real tapes, which enables us to eavesdrop into the writing, arranging, and rehearsal process. What becomes clear immediately is that Monk actively collaborated with Overton on the arrangements and his aesthetic vision drove the entire project. For example, Monk insisted that Overton transcribe his songs directly from the piano. They would sit together at the two instruments and Monk would patiently teach Overton each song, bar by bar, note by note. Monk had lead sheets, but refused to share them. Sometimes, he would play just the chords with the specific voicings and bass lines, all the while indicating what instrument should play which phrases or notes. Monk provided Hall with a precise delineation of his harmonies, movement, and rhythm. On the tune “Thelonious,” Monk spent at least 15 minutes on the first two bars alone, all the while explaining how the song should sound.

Perhaps the greatest moment captured on tape was when Overton was struggling at the piano with “Little Rootie Tootie” and Monk mercifully insists that they listen to the original record from 1952. As soon as the song ends, Monk suddenly declares, “Have the band play the whole thing, you know. The whole thing like it is!” Overton agrees, fueling Monk’s enthusiasm. Thelonious then goes on to instruct him to “take off the solo just like that. And the places where there is harmony, you put harmony. And unison, you know? Put harmony in those little places. You know. It gives it that free sound, sounds free. I’ll tell you, playing harmony all the way through makes it sound stiff.”

The music was difficult, especially when the horns had to navigate Monk’s intricate piano solo on “Little Rootie Tootie.” But under Monk’s exacting leadership, the band prevailed. The concert was enthusiastically received by the audience (Monk bowed to two standing ovations) and beautifully recorded by Riverside records. The critics were not so enthusiastic. While praising Monk’s individual performance, they called the music “bland” and “dull,” some blaming the sidemen, others blaming the arranger, and still others blaming the concert hall for being the wrong environment for jazz! Consequently, Riverside records cancelled a planned eight-city tour of the band, leaving us with just the one record.

And yet, more than a half century later, the arrangements and the original

concert recording has stood the test of time. The Town Hall 1959 concert is considered among Monk’s greatest achievements and a landmark accomplishment in modern music. Jason Moran is one of many artists to recognize the timelessness and immense value of these recordings, which is why he created IN MY MIND in the first place. But he also knows that Monk’s music was never meant for the museum. To reduce Monk’s legacy to the sum of his compositions and the archive of his recordings is to lose sight of the man and his labors. His music continues to capture our imaginations precisely because it encapsulates a life, a place, a time, and yet remains capacious enough for future artists like Jason Moran to tell their stories. Monk Lives, in spite of his fame. And if IN MY MIND is any indication of how Monk lives over the course of the next 100 years, we’re in for a wild and exciting ride.

—Robin D. G. Kelley, author of Thelonious Monk: The Life and Times of an American Original (Simon and Schuster, 2009)

ABOUT THE ARTISTS

Jason Moran (Piano)Jason Moran, pianist, composer and educator, grew up in Houston, Texas. He began studying piano when he was six, but early on developed a strong interest in both hip hop and jazz and graduated from Houston’s High School for the Performing and Visual Arts. He moved to New York and graduated from the Manhattan School of Music. He started his professional career playing with Greg Osby, and his debut recording on Blue Note Records, Soundtrack to Human Motion, was released in 1999 to great critical praise. The following year, Facing Left established his trio The Bandwagon, with bassist Tarus Mateen and drummer Nasheet Waits, and prompted JazzTimes Magazine to declare the album “an instant classic.” and Rolling Stone to state “Jason Moran is shaping up to be the most provocative thinker in current jazz.”

Since his first album, Jason he has produced ten additional albums and six film soundtracks, including scores for Ava DuVernay’s films Selma and 13th. In 2007, Moran was commissioned to create IN MY MIND: Monk at Town Hall 1959, producing a critically-acclaimed multimedia performance investigating Thelonious Monk’s famous recording, Monk at Town Hall. Recent releases include The Armory Concert (2016), Thanksgiving at the Vanguard (2017) and BANGS (2017) under his own label Yes Records.

In 2010 Moran was awarded a MacArthur fellowship and in 2011 he was appointed Artistic Advisor to Jazz at The Kennedy Center. By 2014 he was made Artistic Director for Jazz. Music education plays a central role in Moran’s life. He teamed up with Chicago high school students and artist Theater Gates to create Looks of a Lot, an evening length concert exploring the relationship of the blues to healing. He has been on the faculty of the New England Conservatory of Music since 2010, and also teaches in Copenhagen at The Rhythm Conservatory. He lives with his wife, Alicia Hall Moran, in Harlem.

Wallace Roney II (Trumpet) Music has always been a part of Wallace II’s family pedigree. His father is the renowned trumpeter Wallace Roney, Sr. and his mother is the universally acclaimed pianist Geri Allen. Roney II picked up the trumpet early. Very early. His father used to hold his horn up to his mouth and he would be able to get a sound out of the horn when he was just an infant. In fact, Wallace II made his first official recording debut on his mother’s album The Gathering, in which he blows a couple notes on his dad’s horn, on the outro of the song “Angels” at 18 months old!

Growing up in a household full of music, it wasn’t long before Roney II took a serious interest in playing trumpet. His Idols included people like Kenny Dorham, Miles Davis, Freddie Hubbard, Woody Shaw, among others. And at age 10 after showing enormous interest in playing, his father finally gave him his very own horn.

Since then, Wallace has shared the bandstand with many legendary musicians which include Chick Corea, Jimmy Heath, Jon Faddis, Lenny White, Buster Williams, and Ornette Coleman just to name a few. Wallace II continues to play in numerous venues and performance spaces across the U.S and internationally. He is currently finishing a BA of Jazz Studies at Oberlin Conservatory of Music.

Immanuel Wilkins (Alto Sax)Immanuel Wilkins is an American saxophonist, composer, arranger, and bandleader. While growing up in the Philadelphia area, he played in his church and programs dedicated to teaching jazz music such as the Clef Club of Jazz and Performing Arts. Wilkins has had the opportunity to play in Japan, Europe, South America, the United Arab Emirates, and the United States, working and/or recording with the Count Basie Orchestra, Eric Harland, Delfeayo Marsalis, Aaron Parks, Hubert Laws, Gretchen Parlato, Lalah Hathaway, Solange Knowles, and Wynton Marsalis.

He currently attends The Juilliard School, where he studied with saxophonists Steve Wilson and the late Joe Temperley. By emerging on the scene at a young age around various masters, he continues to pursue his goals of being a force in music and society today. His mission is to create a sound that has a profound spiritual and emotional impact, and to become a great leader in the lineage of jazz musicians throughout history. Through studying the human pathos of the music and the culture of jazz, he aspires to bring people together through the commonality of love and belief in this music.

Walter Smith III (Tenor Sax)Although it may appear Walter Smith III is a young gun on the scene at age 36, he is widely recognized as an adept performer, accomplished composer, and inspired educator. Smith will release his fifth album as a leader in February of 2018. In the jazz tradition, Smith has developed under the wings of many of the music’s greats.

Smith is/has been a member of several legendary groups (recording and/or touring) including the Roy Haynes Fountain of Youth Band, Terence Blanchard Quintet, Eric Harland’s Voyager Band, Jason Moran’s IN MY MIND: Monk at Town Hall 1959, the Christian McBride Situation Band, Christian Scott Group, and the Sean Jones Quintet. Smith has performed all over the world participating in numerous international festivals as well as famed venues such as Carnegie Hall and the Kennedy Center. In addition, he has shared the stage and/or appeared on recordings with many jazz notables including Eric Reed, Mulgrew Miller, Joe Lovano, Herbie Hancock, Lauren Hill, Destiny’s Child, Dee Dee Bridgewater, Terri Lyne Carrington, and a host of others. To date, he has appeared on more than 100 recordings that are released worldwide. Originally from Houston, Texas, where he attended Houston’s HSPVA, Smith now resides in the Los Angeles, California area and is an Associate Professor of Jazz Studies at Indiana University.

Frank Lacy (Trombone)Born August 9, 1958, and sixth in a family of 13 children from Houston, Texas, Frank Lacy entered high school at Houston’s famed Forest Brook High from 1972–1976 under the tutelage of famed trumpeter John “Hurricane” Roberts, trombonist Ronald “Thunder” Thornton, and clarinet prodigy Edgar Thomas.

He attended Texas Southern University on music scholarship from 1976–1979 and was a member of the famed Tsu Jazz Ensemble under the direction of Robert Lanny Steele and Howard Harris. Lacy moved to Boston to attend the Berklee College of Music in 1979, studying applied trombone, jazz composition/arranging, film composition, and conducting.

While at Berklee from 1980–1981, Lacy, while holding down the jam session stint at the famed Wally’s Jazz Club, taught jazz improvisation, jazz theory, and arranging at the famed summer Jazz Workshop directed by Bubbha Thomas and Conrad Johnson.

Upon relocation to New York, Lacy joined slide Hampton’s World of Trombones, Jackie Byard’s Apollo Stompers, Charlie Persip’s Superband, and Frank Foster’s Loud Minority Big Band. In 1982, Frank moved to New Brunswick, New Jersey to attend Rutgers University, studying more physics and jazz with the famed “Jazz Professors” including Larry Ridley, Ted Dunbar, Kenny Barron, Paul Jeffrey, William “Prof” Fielder, and Michael Carvin.

In 1986–1988, Lacy either recorded, toured, and/or performed with the following artists: Lester Bowie’s Brass Fantasy, Organ Ensemble, Roots to the Source, Blues Project, Dick Tracy, The Eurythmics, Illinois Jacquet’s Big Band (Grammy-nominated), among others. From 1990–2000, Lacy toured with his own quartet and from 2000–2014, Lacy recorded, toured, and/or per-formed with The Mingus Big

Band (as featured trombonist and vocalist), Captain Black Big Band, Revive Da Live Big Band, Danny Petroni Blues Project, the 10 32 K Collective (a trio with bassist Kevin Ray and drummer Andrew Drury), steve Turre Trombone sextet, and Robin Eubanks’s Mental images.

Frank currently coaches a Mingus ensemble at Manhattan School of Music.

Bob Stewart (Tuba)Grammy-nominated Bob Stewart has performed and recorded with such luminaries as Gil Evans, Dizzy Gillespie, McCoy Tyner, Sonny Rollins, Charles Mingus, Arthur Blythe, and Wynton Marsalis throughout his 49-year career. While a faculty member at The Julliard School for the last 15 years, Stewart has continued to lead his own ensembles. His acclaimed recording, Connections—Mind the Gap, features strings and horns in a Double Quartet. Mr. Stewart has also established The Annual Bob Stewart Tuba Competition to inspire tuba players to lead and compose for their own ensembles.

Tarus Mateen (Bass)Tarus Mateen’s creative genius and mastery of acoustic bass, electric bass, rhythm guitar, and piano make him one of the most sought-after musician/producers in Hip Hop, house, blues, rock, reggae, soul, and straight-ahead jazz. Mateen began his journey as a professional musician with his two older brothers, Roy (Drums) and Radji (Sax), who toured Jamaica with their group. By the time Mateen was a teenager, he was a studio musician for some of California’s early rappers and had toured nationally with his brothers.

in 1985 Tarus moved to Atlanta, Georgia to attend Morehouse College, majoring in music. Setting the local club circuit on fire, he sharpened his skills on both the upright and electric bass. While playing in savannah, Georgia, Art Blakey encouraged Tarus to move to New York and join his band at the recommendation of front liners Javon Jackson and Philip Harper. Upon arriving in New York in 1988, Tarus landed a new artist’s dream gig—a one and a half-year stint with legendary jazz master Betty Carter, with whom he recorded a Grammy-nominated CD.

Tarus has also made his mark on film with trumpeter/composer Terence Blanchard on the scores for Sugar Hill, the spike Lee film Malcolm X, as well as the Grammy-nominated Malcolm X Jazz Suite. Mateen’s original score for the upcoming documentary film, King George: A King Runs for President—about George Weah, an international soccer star—is gaining pre-screening momentum in Hollywood. Additionally, he has featured music on RFK Goes to South Africa, a documentary about Robert F. Kennedy fighting apartheid.

Nasheet Waits (Drums)A New York native, Nasheet Waits’ interest in playing the drums was encouraged by his father, legendary percussionist Frederick Waits. Waits’s college education began at Morehouse in Atlanta, Georgia, where he majored in psychology and history. Deciding that music would be his main focus, he continued his college studies in New York at Long Island University, where he graduated with honors, receiving his B.A. in music. While attending Long Island University, Waits studied privately

with renowned percussionist Michael Carvin. Carvin’s tutelage provided a vast foundation upon which Waits added influences from his father, as well as mentor Max Roach.

Waits’s talent came to the attention of reedman Antonio Hart, who asked Waits to originate the percussion chair of his first quintet. Waits remained a standing member of Hart’s various ensembles, recording three albums and touring nationally and internationally in noted venues, jazz festivals, as well as live television and radio performances. Nasheet remained a member of Antonio’s group through 1998.

Most recently Nasheet has been a member of Andrew Hill’s various bands, Jason Moran’s The Bandwagon, and Fred Hersch’s trio. Waits has recorded and toured extensively in Africa, Europe, Japan, Canada, South America, and the United States.

Amidst his performing, recording, and touring activity, Waits teaches private lessons to youth and adults, stressing a personal approach to the drums and music. He has been heralded for his musicality and creativity by such virtuosos as Ed Thigpen, Max Roach, Andrew Hill, and Stanley Cowell. True to his personal philosophy of the necessity to balance tradition and modernism, Waits collaborates and performs regularly with musical cohorts, contemporaries, and masters. Waits is dedicated to exploring his role and creative path in music.

David Dempewolf (Videographer)David Dempewolf has shown singular projections in various group shows in spaces and venues such as Greene Naftali (New York), the CAC (Cincinnati), Locks Gallery (Philadelphia), Whitechapel (London), and the Oberhausen and London film festivals. Dempewolf is the co-founder and co-director of the Marginal Utility gallery in Philadelphia and teaches classes in critical theory, sculpture and video at various art schools throughout the city.

Congratulates UCLA’s Center for the Art of Performance and Jason Moran’s spectacular program celebrating Thelonious Monk’s Centennial. Monk a legend is still inspiring young jazz musicians. Thanks for the inspiration.

ABOUT THELONIOUS MONK

Thelonious Sphere Monk (1917–1982) is recognized as one of the most influential figures in the history of jazz. He was one of the architects of bebop and his impact as a composer and pianist has had a profound influence on every genre of music. Monk was born on October 10, 1917, in Rocky Mount, North Carolina, but his mother, Barbara Batts, soon moved them to New York City. Monk began piano lessons as a young child and by age 16, he had won the weekly amateur contest at the Apollo Theater so many times that he was barred from entering. At age 23, Monk joined the house band at Minton’s Playhouse in Harlem, where along with Charlie Parker, Dizzy Gillespie, and a handful of other players, he developed the style of jazz that came to be known as bebop. Monk’s compositions, among them “‘Round Midnight,” were the canvasses over which these legendary soloists expressed their musical ideas.

In 1947 Monk made his first recordings as a leader for Blue Note. These albums are some of the earliest documents of his unique compositional and improvisational style, both of which employed unusual repetition of phrases, an offbeat use of space, and joyfully dissonant sounds. In 1948, he married his longtime love Nellie Smith (1921–2002) and later had two children, Thelonious, Jr. and Barbara (1953–1984). In the decade that followed, Monk played on recordings with Miles Davis, Charlie Parker, and Sonny Rollins and recorded as a leader for Prestige Records and later for Riverside Records. Brilliant Corners and Thelonious Monk with John Coltrane were two of the albums from this period that brought Monk international attention as a pianist and composer.

In 1957 the Thelonious Monk Quartet, which included John Coltrane, began a regular gig at the Five Spot. The group’s performances were hugely successful and received the highest critical praise. Over the next few years, Monk toured the United States and Europe and made some of his most influential recordings. In 1964 Monk appeared on the cover of Time magazine, an honor that has been bestowed on only three other jazz musicians. By this time Monk was a favorite at jazz festivals around the world, where he performed with his quartet, which included long-time associate Charlie Rouse. In the early 1970s he discontinued touring and recording and appeared only on rare occasions at Lincoln Center, Carnegie Hall and the Newport Jazz Festival.

Thelonious Sphere Monk died on February 17, 1982. His more than 70 compositions are classics that continue to inspire artists in all forms of music. In his lifetime he received numerous awards and continues to be honored posthumously. The Smithsonian Institution has immortalized his work with an archive of his music. In addition, the U.S. Postal Service issued a stamp in his honor. A feature documentary on Monk’s life, Straight, No Chaser, was released to critical acclaim. The Thelonious Monk Institute of Jazz was founded to honor Monk by preserving the music to which he dedicated his life. Monk’s integrity, originality, and unique approach set a standard that is a shining example for all who strive for musical excellence.

Become a MemberYour membership with the Center for the Art of Performance is more than ticket discounts, priority seating, invitations to additional programs and special member gatherings—it is sup-port for what we are able to champion within the wider cultural landscape. When you make a gift to the Center for the Art of Performance or to our Design for Sharing program, you join a community of advocates inspired by artistic exploration and new ways of knowing. We belong to a culture of the curious, and by supporting great artists, we land on new perspectives.

Our members are committed to groundbreaking contemporary performance locally, globally and everywhere in between. Your support is how we ensure that artistic expression will thrive on stage, on the UCLA campus and in the Los Angeles community for years to come. Mem-bership dollars provide the means for us to interact with the leading artists of our time, and to share what we discover with as many people as we can.

With your involvement, we can provide young audiences with the chance to experience life through the lens of the modern stage, offer fans and aficionados the recent work of artists who propel us boldly forward, and enhance the public mission of one of the nation’s leading research universities.

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Design for Sharing

“Design for Sharing enriches and supports learning, social awareness and

responsible cultural arts citizenship creating a new generation of artists

and audiences.” —Kristy Edmunds

Design for Sharing (DFS) is our free K-12 arts education program that provides public school students from across the Los Angeles metro area access to the performing arts, both at UCLA and in their own classrooms. The arts provide a gateway for students to explore shared ideas across communities and culture–sparking their curiosity and imag-ination. Since 1969, Design for Sharing has provided performances, workshops and school residencies to almost a million public school students, offering a diverse array of music, contemporary dance, and innovative theater. cap.ucla.edu/dfs

This season, the following CAP artists will participate in Design for Sharing programs:

Dancenorth/Lucy Guerin IncAteNineONIX EnsambleKronos Quartet

Gabriel KahaneJoão DonatoAntonio Sanchez & MigrationKyle Abraham/Abraham.In.Motion

Art in Action

“Art in Action is somewhere between an academic symposium and the

vibrancy of an eagerly awaiting coloring book. This is where we explore in

public to release the energetic potential of sharing ideas together.”

—Kristy Edmunds

Art in Action, our free public engagement program, offers a wide range of experiential art activities around the ideas emanating from the work of artists on our season. Through workshops, lectures, master classes, films, salons and art-making forums, Art in Action provides a platform for our UCLA and Los Angeles communities to exchange ideas and participate in shared cultural experiences.

This season, we’re continuing two ongoing initiatives and introducing a third. Writing the Landscape returns with new takes on the Poetry Bureau and special activities with our library partners, exploring how the impulse to make something results in an altered land-scape, or new view. Hearing Beyond Listening devises ways to “listen better,” with artist- curated playlists, personalized music maps, intimate salons, and the now popular, CAP Listening Lab. A new series of programs, Facing the Blank Page, takes direct inspiration from this season’s the theater is a blank page. Activities throughout the season will investigate how we transmit traces of ourselves through the written word, movement, sound and imagery. cap.ucla.edu/ArtInAction

CODA21 CODA21 is a pilot initiative that supports dialogue, research, and collaboratively designed experiments between UCLA’s Center for the Art of Performance and leading research cen-ters and labs across campus. Collaborating labs include Denise Cai and Silvalab, a leading neuroscience research lab studying molecular and cellular cognition; Hakwan Lau and the Consciousness & Metacognition Lab; the Tennenbaum Center for the Biology of Creativity; and the Design Media Arts Lab.

Informing CODA21’s design is the belief that the students at UCLA represent the conditions emblematic of society at large. Economic anxiety, homogeneous living arrangements, and media saturation imposing gender and racial stereotypes have seriously eroded the acade-my’s critical role in fostering a pluralistic, tolerant, progressive, and socially interdependent community. Curriculum is increasingly limited in its ability to play this historic role. The remaining antidote is a thoughtfully curated arts presenting program like CAP UCLA, an interdisciplinary learning experience offering students and the extended audience exposure, through live performance to artists who represent the diversity of traditions, ethnicities, gender roles, and aesthetics reflective of the demographic terrain in which we all work and live. Through its experimental collaboration, CODA21 seeks to confirm, amplify, and enhance this crucial role.

Ann Carlson: Doggie HamletWill Rogers State Historic ParkFebruary 3–4, 2018

Okwui Okpokwasili Poor People’s TV RoomPresented in association with REDCAT February 8–11, 2018

Kyle Abraham/Abraham.In.MotionDearest HomeFreud Playhouse, UCLAApril 5–7, 2018

Jennie Liu: Autobiography of the Kimono on the Western StageCODA21 Development Residency

CODA21 is funded in part by The Surdna Foundation. The Surdna Foundation seeks to foster sustainable communities in the United States—communities guided by principles of social justice and distinguished by healthy environments, strong local economies, and thriving cultures.

CODA21 ARTISTS & PROJECTSLeading artists and choreographers will participate in CODA21 through full presentations of their work, development residencies, and pilot experiments.

House Rules

PHOTOGRAPHYPhotography, video and the use of any recording equipment is strictly prohibited at all times during performances at all UCLA campus performance venues and at The Theatre at Ace Hotel. Any/all press photography must be approved in writing in advance by the Center for the Art of Performance representative. For press inquiries and to make a request to cover an event, visit cap.ucla.edu/press/

CAMERAS & SMART PHONESThe use of cameras, smart phones, cell phones and recording equipment of any kind is strictly prohibited at all times during performances at all UCLA campus performance venues and at The Theatre at Ace Hotel. All devices must be silenced before the start of the performance. Please be considerate to those around you and refrain from texting, emailing or surfing the web during performances.

LATE SEATINGLate seating will be subject to company approval and will occur only at a suitable time at the discretion of the house staff. Latecomers may not be able to be seated in their assigned seats to avoid disruption or distractions during the performance. Some events have no late seating by request of the artist, and refunds on parking and tickets for latecomers will not be accommodated. Please check the event detail page of our website for late seating policies for specific performances or opt in to our email data-base by signing up for our newsletter and pre-show emails with helpful information about pre-show activities, parking, late seating, running time, nearby dining oppor-tunities and more at cap.ucla.edu/enews/

CHILDRENChildren over age 5 are welcome to most events and, regardless of age, must have a ticket. Infants on laps are not permitted. Inquire when purchasing tickets of age appropriateness for specific events and check out website for specific performance information.

ACCESSIBILITY The Theatre at Ace Hotel offers ADA access-ible seats and restrooms. You can buy ADA seating on our ticketing site or by calling AXS at 888-9-AXS-TIX (888-929-7849). When buying tickets over the phone, please let the ticket agent know if you require accessible seating, and s/he will issue you an ADA seat.

In addition to wheelchair spaces, The Theatre at Ace Hotel is equipped with select aisle seats that have folding armrests on the aisle side to make transfer easier for those with mobility limitations. For such seating, please request a “transfer seat.”

If you need accessible seating the night of the event and don’t have a special ticket, we’ll do our best to accommodate you once you arrive at the theater.

Assisted listening devices are available.

If desired please ask our house staff.

CONNECT WITH USJoin the Conversation!

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CAP UCLA STAFF

DIRECTOR’S OFFICEExecutive and Artistic Director - Kristy Edmunds Deputy Director and Program Manager - Fred FrumbergAssistant to the Director - Yuko SaegusaArtist Liaison - Zarina Rico

PRODUCTION & EVENT OPERATIONSDirector of Operations - Steve KeeleyPatron Services Manager - Ron JarvisVenue Manager - Lorrie Snyder Production Manager - Bozkurt “Bozzy” KarasuCustodian Supervisor - Steve JarnaginHouse Manager - Ernie YbarraProduction Stage Manager - Kevin PongEvent & Crew Coordinator - Don KiddHouse Electrician - Jessica WodinskyMaster Carpenter - Ron GreeneAudio / Video Supervisor - John ColemanHouse Electrician - Antony GutierrezHouse Crew - Robert OryHouse Crew - Katie BakerHouse Crew - Patrick TraylorF.O.H Staff - Pia ShekerjianCustodian - Chancy DawsonCustodian - Ranoya Exum

FINANCIAL MANAGEMENTManager of Finance and Accounts – Stephanie TarvydFinance Analyst - Jodi Klein

MARKETING & COMMUNICATIONSDirector of Marketing & Communications – Kathy Budas Communications Manager - Holly WallaceIntegrated Marketing Specialist - Phinn SriployrungMarketing Associate - Baha Ebrahimzadeh

DEVELOPMENTAssistant Director of Development - Alexander Barrera Foundations and Individual Initiatives Development Associate - OpenDevelopment Assistant - Christina Garcia Artist Circle Box Office Liaison - Monica Contreras

EDUCATIONDirector of Education & Special Initiatives - Meryl FriedmanEducation Program Coordinator - Theresa Willis PetersStudent Arts Coordinator - Theo Bonner-PerkinsArts Engagement Coordinator - Ivy Hurwit

HUMAN RESOURCESHuman Resources Manager - Bernie MacapinlacHuman Resources Assistant - Erah Lulu

TICKETINGAssistant Director Central Ticket Office - Gerardo GaleanoBox Office Manager - Annabel Flores

RENTAL EVENTSRental Events Manager - Anthony JonesRental Events Coordinator - Christina Montaño

CAP UCLA Administrative offices:B100 Royce Hall, Box 951529Los Angeles, CA 90095-1529Tel: 310.825.4401Fax: 310.206.3843info@cap.ucla.edu

Office of Kristy Edmunds:310.206.7408director@cap.ucla.edu

UCLA Central Ticket OfficeTel: 310.825.2101Fax: 310.206.7540tickets@cap.ucla.edu

Press Inquiries:Holly WallaceTel: 310.206.8744hawallace@cap.ucla.edu

Development Office:Tel: 310.267.4463devinfo@cap.ucla.edu

Design for Sharing Office:Tel: 310.825.7681dfs@cap.ucla.edu

CAP UCLA BOARD OF DIRECTORS

EXECUTIVE COMMITTEEBradley Tabach-Bank, PresidentDeborah Irmas, Interim Executive Vice PresidentKathleen Quisenberry, Vice PresidentAnne-Marie Spataru, Vice PresidentValerie Cohen, Vice PresidentFariba Ghaffari, Vice PresidentAnn Harmsen, Vice PresidentDiane Levine, Vice PresidentLori J. Wolf, Vice President

BOARD MEMBERSMurray HidaryRoslyn Holt SwartzGeorgina HuljichAnne JarmainRenee LuskinGinny ManciniKatie MarsanoKaryn Orgell WynneEdie ParkerAlan M. SchwartzStephanie SnyderLeslie WhitePatty Wilson

DESIGN FOR SHARING COUNCIL

Stephanie Snyder, President* Diane Applebaum*Linda Essakow*Billie Fischer*Joanne KnopoffMarti Koplin*Joan LesserDiane LevineKatie Marsano*Merle MeaserMuriel Sherman*Anne-Marie Spataru*Bonnie TaubSheila WeismanMimi Wolfen Karyn Orgell Wynne

* Executive Council Member

SPECIAL THANKS TO OUR DINING PARTNERS Fundamental LA LA ChapterPalamino Restaurant & BarPlateia Pruex & ProperShibumiWEST Restaurant

CAP UCLA SPONSORS & SUPPORTERS

ENDOWMENTSOver time, many generous indi-viduals have initiated leadership gifts to establish endowments that support the performing arts at UCLA in perpetuity.

Arthur E. Guedel Memorial Lectureship FundBeatrix F. Padway Endowed Fund for Design for Sharing Design for Sharing Endowment Doris Duke Charitable Foundation Endowment FundEvelyn & Mo Ostin Endowment for the Performing ArtsGeorge C. Perkins FundGinny Mancini Endowment for Vocal PerformanceHenry Mancini Tribute FundJames A. Doolittle EndowmentJosé Luis Nazar Endowment for the Performing Arts Kevin Jeske Young Artists FundThe Lloyd E. Rigler Emerging Arts FundMerle & Peter Mullin Endowment for the Performing ArtsMimi Perloff Endowment for Design for SharingMimi & Werner Wolfen Endowment for Design for SharingNational Endowment for the Arts Challenge Grant Endowment Plitt Theaters Fund for Design for SharingRoslyn Holt Swartz & Allan J. Swartz Endowment for the Performing ArtsRoyce Center Circle Endowment Fund Royce Gala EndowmentSally & William A. Rutter Endowment for the Performing ArtsShirley & Ralph Shapiro Director’s Discretionary Fund Shirley & Ralph Shapiro Endowment for Design for Sharing

DIRECTOR’S FUNDWe are grateful to list the follow-ing individuals whose support to the Director’s Fund bolsters the vision behind the major initia-tives at CAP UCLA. Their support galvanizes our leadership efforts and is the sole resource through which the Director is able to make advance commitments.

Good Works FoundationJackie and Stanley GottliebAudrey and Sydney Irmas Charitable Foundation

Sponsors and FoundationsAnonymous Andrew W. Mellon FoundationAnother Planet EntertainmentAVK ArtsAntonia & Vladimer Kulaev Cultural Heritage FundColburn Foundation Doris Duke Charitable FoundationI.H. and Anna Grancell FoundationLibrary Foundation of Los AngelesMid Atlantic Arts FoundationNational Endowment for the Arts New England Foundation for the ArtsNicholas EndowmentRalph M. Parsons FoundationRing Foundation Samuel Goldwyn FoundationSurdna Foundation, Inc. UCLA Student Fees Advisory Committee

INDIVIDUALSCAP UCLA is pleased to acknowl-edge our individual members and donors whose gifts directly support arts education and the art of performance at UCLA. Thank you!

$50,000-$149,999Deborah Irmas/Audrey and Syd-ney Irmas Charitable FoundationSusan & Leonard NimoyLaura & Gregg Perloff/ Perloff Family Foundation

$25,000-$49,999Fariba GhaffariRenee & Meyer LuskinVirginia ManciniAnne-Marie & Alex SpataruSheila & Walter Weisman

$10,000-$24,999Leon Birnberg TrustKatie Marsano & Greyson BryanValerie & Bradford CohenLaura Donnelley/ Good Works FoundationFeintech FamilyAudree FowlerLinda Essakow & Stephen GuntherAnn & Bill HarmsenAnne JarmainDiane KesslerDiane LevineKathleen John QuisenberryCynthia Miscikowski/ Ring FoundationRoslyn Holt Swartz & Alan SwartzDee Dee Dorskind & Bradley Tabach-BankStephanie Snyder & Micahel WarrenRon WatsonLeslie White & Al LimonCarol Leifer & Lori WolfKayrn Orgell WynneBeth DeWoody & Firooz Zahedi

$5,000-$9,999Anna Wong Barth & Donald BarthAndrew Rhoda & J. Ben BourgeoisBillie & Steven FischerKiki & David GindlerMurray HidaryJoanne KnopoffJoan Lesser & Ronald JohnstonLinda Gach Ray & Stephan RayMichael Stubbs & Bill ResnickRichard RossAlan SchwartzBonnie & Paul Yaeger

$2,500-$4,999Barbara AbellDiane & Noel ApplebaumHelen & Alexander AstinSylvia & Joseph BalbonaKathleen Flanagan

This listing represents accumulative contributions from July 1, 2016-August 1, 2017

& Keenan BehrleCarol & Frank BiondiNadege & Jay CongerEdie & Robert ParkerSue & David EisnerCaryn Espo & David GoldIrene GoldenbergJudy Abel & Eric GordonAdam Grancell/I. H. & Anna Grancell FoundationSandra & Lewis KanengiserFiona & Michael KarlinJoseph KaufmanMilly & Robert KayyemJoan & Warren KesslerMartha KoplinCameron Jobe & Gerald MarkovitzClaude PetiteRonnie Rubin & Marty PiterNancy & Brad RosenbergSuzie & Michael ScottMuriel & Neil ShermanLaurie & Rick Shuman/Raskin Family FoundationJennifer SimchowitzSrila & Man Jit SinghPamela SmithDebra Vilinsky & Michael SopherCarolyn & Lester SteinLaila & Mehran TaslimiJessica Kronstadt & William TurnerSusanne & Douglas UpshawPatty & Richard WilsonMimi WolfenCarla Breitner & Gary Woolard

$1,500-2,499George AllenRosanne BogartHelene & Edwin CooperMarie & Steve FeigMary & Stanley FriedmanLori & Robert GoodmanJackie GottliebPeggy & Bernard LewakPatricia RosenburgJane SchiffhauerSuzie & Laurence Swerner

$500-$1,499Anonymous x 3Sara & James AdlerNatsuko AkiyamaSusan Stein & David AlperMichael AmbrosePatti & Harlan AmstutzRobert AndersonGail & James Andrews

Barbara BarryPamela & John BartkoCharlene & John BaskinLinda Engel & Alan BenjaminLynn & Leslie BiderCarol & Frank BiondiJames BlakeleyMarjorie BlattRonda & Stanley BreitbardSigrid Burton & Max BrennanLily & Thomas BrodRona Elliot & Roger BrossyMarilyn McKnight Browning & Roger BrowningMadelynne & Glenn CardosoEllen Hoffman & Neal CastlemanRichard CohenRoberta ConroySherri CrichtonLynne & James DeWittRachel Knopoff & Russell DickersonThe Walt Disney Company FoundationAbida & Ray DiwanFeris Greenberger & David DolinkoRos Warby & Kristy EdmundsOlga Garay-English & Kerry EnglishMary & Robert EstrinNancy & Jerome FalkIrwin & Helgard FieldElodie & Bruce FortuneZoe FriedlanderThomas GarvinLinda GoodmanElizabeth Gray & Randall GordonPattikay & Meyer GottliebJennifer Wells Green & Randall GreenSusie Edberg & Allen GroganAdam GuntherWilliam HarperLois HaytinHanna & Manfred HeitingBarbara & Daniel HorwitzHelene Des Ruisseaux & Marcus HorwitzJoan & Howard JaffeJaclyn KannerLauren KasmerWendy & Stephen KramerMaria Arispe & Timothy LaneSusan LevichDiane & Desmond LevinMorelle & Norman LevineJanell Thornton-Lewis & Randall LewisSherrill Luke

Chan LuuBea & Leonard MandelJonathan Marmelzat/Willard L. Marmelzat FoundationSandra Klein & Donald McCallumMerle & Gerald MeaserDeborah & Etan MilgromSusan & Joseph MillerJessica Cahen & Ronald MintzRuth & Robert MirvisLeslie MitchnerPhilip MortonDori & Charles MostovPaulette & Ronald NessimMary Montella & Jeffrey NewmanJami O’BrienRichard PowellMarilyn & Jerome PrewoznikLinda Peterson & Arthur PriceGloria & Samuel ReyesJames RodneyWendy-Sue RosenLinda McDonough & Bradley RossBernice & Lawrence RudolphMark SaltzmanLela & Gerard SarnatJudy & George SavitskyJose SegundoLinda & B. Thomas SeidmanGena SelmontMarjorie Kagawa Singer & Peter SingerLouise Nelson & David SmithMary & Alan SnyderGeorgina Huljich & Marcelo SpinaGary StewartCarol & Joseph SullivanJoanne TakahashiSuzanne TaylorCatherine & Leonard UngerSarah & Sydney VinnedgeToby & Robert WaldorfRuth Roberts & Dennis WasserSally & David WeilTerry & John WelshJames WetmoreNancy Englander & Harold WilliamsJames Sie & Doug WoodMarilouise & Albert ZagerMarcie & Howard ZelikowLaurie Ziegler

IN-KIND CONTRIBUTIONS

drink water, not sugar

®

PST: LA/LA That Bad DonatoSat, Dec 2, 2017 Royce Hall, UCLA

The Jazz EpistlesAbdullah Ibrahim and Ekaya & Hugh Masekela in ConcertSat, Oct 28, 2017Royce Hall, UCLA

Tickets on Sale Now!888-929-7849 | cap.ucla.edu

#CAPUCLA

CAP UCLA 2017-18

Antonio Sanchez BiRDMAN LiVEFri, Feb 16, 2018Royce Hall, UCLA

Antonio Sanchez& MigrationSat, Feb 17, 2018The Theatre at Ace Hotel