Major support for Lincoln Center’s American Songbook is provided by Fisher Brothers, In Memory ofRichard L. Fisher; and Amy & Joseph Perella.

Wine generously donated by William Hill Estate Winery, Official Wine of Lincoln Center.

Friday Evening, March 7, 2014, at 7:30 and 9:30

Jim Caruso’s Cast Party Goes to the Movieswith Billy Stritch

featuring Christina Bianco, Jeffry Denman, Natalie Douglas, Marilyn Maye, Jane Monheit,and Clarke Thorell

Billy Stritch, Musical Director and PianoDavid Katzenberg, BassDaniel Glass, Drums

Jim Luigs, Director

This evening’s program is approximately 75 minutes long and will be performedwithout intermission.

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

Please make certain your cellular phone,pager, or watch alarm is switched off.

These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

Sponsored by Prudential Investment Management

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Additional support for Lincoln Center’s AmericanSongbook is provided by The Brown Foundation, Inc.,of Houston, The DuBose and Dorothy HeywardMemorial Fund, The Shubert Foundation, Jill andIrwin Cohen, The G & A Foundation, Inc., GreatPerformers Circle, Chairman’s Council, and Friendsof Lincoln Center.

Endowment support is provided by Bank of America.

Public support is provided by the New York StateCouncil on the Arts.

Artist catering is provided by Zabar’s andZabars.com.

MetLife is the National Sponsor of Lincoln Center.

Movado is an Official Sponsor of Lincoln Center.

United Airlines is the Official Airline of LincolnCenter.

WABC-TV is the Official Broadcast Partner ofLincoln Center.

William Hill Estate Winery is the Official Wine ofLincoln Center.

Upcoming American Songbook Eventin The Allen Room:

Saturday Evening, March 8, at 8:30Norm Lewis (limited availability)

The Allen Room is located in Jazz at LincolnCenter’s Frederick P. Rose Hall.

Upcoming American Songbook Eventsin the Penthouse:

Wednesday Evening, March 19, at 8:00Mark Mulcahy

Thursday Evening, March 20, at 8:00Mellissa Hughes

Friday Evening, March 21, at 8:00Matt Alber (limited availability)

Thursday Evening, April 3, at 8:00Hurray for the Riff Raff (limited availability)

Friday Evening, April 4, at 8:00Rebecca Naomi Jones (limited availability)

Saturday Evening, April 5, at 8:00Unsung Carolyn Leigh

The Stanley H. Kaplan Penthouse is located at 165 West 65th Street, Tenth Floor.

For tickets, call (212) 721-6500 or visitAmericanSongbook.org. Call the Lincoln CenterInfo Request Line at (212) 875-5766 or visitAmericanSongbook.org for complete program information.

Join the conversation: #LCSongbook

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

Lincoln Center

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The Hollywood Musical in Close-Upby Barry Singer

The movie musicals of Hollywood’s “Golden Age” celebrated American popular song inpanoramic long shots and tight close-ups, inflating the music as never before, whileimparting to it a transcendent sense of intimacy. This complicated trick was deftly exe-cuted via the magnifying and personalizing magic of motion pictures. Popular song inAmerica, pre-cinema, had largely been performed on the oversized but still human scopeof the theatrical stage, before sedately taking up residence in American homes around thepiano, the Victrola, and, ultimately, the radio: early 20th-century America’s hearthplace.

Then came The Jazz Singer. The voice of Al Jolson in 1928 sang out from the height ofthe silver screen, dwarfing pretty much everything that had come before it. And so, themovie musical was born.

And reborn. Hollywood learned the raw lessons imparted by The Jazz Singer quickly andregurgitated them endlessly, while improving upon them sporadically. Whereas The JazzSinger featured a soundtrack predominantly pre-recorded on synchronized discs, withonly a handful of “live” sound sequences, The Broadway Melody, less than two yearslater, was truly an “All-Talking, All-Singing, All-Dancing” film. It won the very first AcademyAward for Best Picture (of 1929) and triggered the following year an avalanche of morethan 100 new movie musical releases.

Yet, The Broadway Melody is remembered today almost solely for its title song by NacioHerb Brown and Arthur Freed, a song that was recycled endlessly in an eponymous seriesof Broadway Melody films, before being reimagined 23 years later to crown the supremeMGM screen musical, Singin’ in the Rain.

The song’s inaugural film appearance in 1929 came in a crowd scene made intimate bythe confines of the movie screen. In a cacophonous Tin Pan Alley music publisher’s office,filled with loudly rehearsing show people, a songwriter, Charles King, breaks into song,demonstrating “The Broadway Melody” for the first time. The moment is electrifying, inti-mate as only a well-filmed cinematic moment can be. The song is soon reprised as a full-fledged onstage production number. Here, the dominant long shots look (and sound)almost prehistoric to our contemporary eyes (and ears). The camera angles are too static,the movements too stiff, the soundtrack too tinny, and the kicking chorines too guffaw-ingly zaftig. (You can catch a bemused glimpse of this in the 1973 documentary salute toMGM musicals, That’s Entertainment.)

What The Broadway Melody was aiming for in 1929 was fully achieved, finally, in Singin’in the Rain, wherein Gene Kelly and his co-director Stanley Donen gave “The BroadwayMelody”…well, everything: a Hollywood production number that remains the quintes-sence of Hollywood production numbers. And yet, what frames the song so effectively inSingin’ in the Rain is a mirroring pair of lingering, tight close-ups of Kelly that open andclose the number, grounding the outsized razzmatazz in face-to-face intimacy; from isola-tion to extravaganza and back again.

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This is one of the ways Hollywood injected songs into the American bloodstream. It reallyis the same seize-and-release, pulsing technique used by riffing jazz musicians to carveout a groove, except that the riffers here were the directors, the cameramen, and, espe-cially, the film editors, cutting back and forth between cinema’s hyperbolic inflationarypower and its contrasting ability to draw us closer than any other medium can to singersand their songs.

The master innovator in this realm was Busby Berkeley, Hollywood’s fantastical geome-trician, who dance-directed dozens of Depression-era films, most indelibly 42nd Street in1933, deploying his signature overhead camera angles and precision dancing minions inservice to songs mostly written by the terrifically prolific team of composer Harry Warrenand lyricist Al Dubin. Berkeley was the Hollywood musical’s pioneering visual innovator,refining and expanding the genre as an overstuffed fever dream of sumptuously com-posed, swirling (and very much sexualized) long shots. What is often forgotten, however,is how Berkeley also personalized his dancing platoons with innumerable individuatingclose-ups, implying intimacy one gorgeous but anonymous chorus-girl face at a time.

In Berkeley’s wake came Hollywood’s matchless musical couple, Fred Astaire and GingerRogers, who together redefined the movie musical as a mating dance for two. Whetherprancing over living room furniture or wafting through Berkeley-like production numbers,Astaire and Rogers imparted to the Hollywood musical an ineffable cinematic double-vision—an apparition of distant, intoxicating perfection that nevertheless offered theaccessible promise of intimacy.

In 1939, The Wizard of Oz further renovated and elevated the notion of what a screenmusical could be, re-rendering it as a vehicle for fabulous storytelling and limitlessly imagi-native production values. Though screen-filling long shots of Munchkinland and “TheMerry Old Land of Oz” dominate the film, it is 16-year-old Judy Garland in close-up singingHarold Arlen and Yip Harburg’s “Over the Rainbow” that gives The Wizard of Oz its heart.

After shepherding The Wizard of Oz as an uncredited associate producer, “BroadwayMelody” lyricist Arthur Freed was rewarded with his own producing position at MGM in1939. His “Freed Unit” quickly grew into Hollywood’s most polished manufacturer ofmovie musicals, generating an unsurpassed roster of hits that stand to this day as amongthe most marvelous ever made: from the Judy Garland–Mickey Rooney “backyard”revues (beginning with Babes in Arms in 1939), to Cabin in the Sky (1943), Meet Me inSt. Louis (1944), Easter Parade (1948), On the Town (1949), An American in Paris (1951),Singin’ in the Rain (1952), and Gigi (1958).

Mastery was the Freed Unit’s signature—mastery of every element in a musical’s con-struction. Freed’s stable of directors—essentially Charles Walters, George Sidney, StanleyDonen (with and without Gene Kelly), and, most decisively, Vincente Minnelli—brilliantlymanaged a veritable all-star team of musical performers, topped by Freed’s star-crossedtriumvirate: Fred Astaire (whom Freed coaxed out of retirement to MGM), Gene Kelly(whose early career Freed salvaged at MGM after David Selznick fumbled Kelly’s transferto Hollywood from Broadway), and Judy Garland (whom Minnelli, in time, married).

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It was, however, Freed’s behind-the-scenes staffers—the master craftsmen (and women)he chose to employ again and again—who gave his musicals their singular stamp: unseenartisans like vocal arranger, coach, and choral director Kay Thompson, or Roger Edens,composer, arranger, voice teacher, rehearsal pianist, musical supervisor, and, finally, asso-ciate producer on many Freed Unit films. Sure, gaudy long shots made movie musicalsspectacular, as Arthur Freed knew better than anyone. The big picture, however, camedown to the individuals. Up close, they made it all happen.

Barry Singer’s most recent book is Churchill Style: The Art of Being Winston Churchill.

—Copyright © 2014 by Lincoln Center for the Performing Arts, Inc.

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Jim Caruso made his Broadway debutalongside Liza Minnelli in the TonyAward–winning, Grammy-nominated Liza’sat the Palace, singing, dancing, and cele-brating the music and arrangements of KayThompson and the Williams Brothers. Hisrecent CD, The Swing Set, received criticalacclaim. Mr. Caruso has won six MACAwards for his sold-out shows at Birdland,Arci’s Place, the Oak Room at theAlgonquin Hotel, and the Russian TeaRoom. He was honored to sing atPresident Clinton’s first state dinner at theWhite House in a star-studded eventhosted by Lauren Bacall. At Carnegie Hall,Mr. Caruso has performed with the NewYork Pops honoring Kander & Ebb and withRosemary Clooney celebrating BingCrosby, and he sang the songs of Hope andCrosby with Michael Feinstein.

Mr. Caruso hosted Broadway on Broadway inTimes Square for 100,000 theater fans, andhe co-hosted the Drama Desk Awards web-cast for four years. His radio series, Here onBroadway, was honored with a SummitAward. For ten years, he has hosted a weeklyshowbiz bash at Birdland called Jim Caruso’sCast Party, which has garnered aBroadwayWorld Award, New York NightlifeAward, MAC Award, and Sidney MyerAward. Recently he and Billy Stritch havetaken the Party on the road, celebrating talentin Los Angeles, Las Vegas, San Francisco,and on the high seas with the Dave Koz &Friends at Sea jazz cruise. He and Stritch per-form regularly at Bemelmans Bar at theCarlyle Hotel. Learn more at jim-caruso.com.

Billy Stritch is one of the premier singer-pianists on the New York and national jazzand cabaret scenes, and he is thrilled to bepart of tonight’s Cast Party at LincolnCenter’s American Songbook. Mr. Stritchhails from Sugar Land, Texas, but has madeNew York his home for over 20 years. Hismost recent Broadway credit was as musi-cal supervisor and pianist for Liza Minnelli’sTony Award–winning Liza’s at the Palace,for which he also reconceived the vocalarrangements of Kay Thompson and theWilliams Brothers. In addition to his 22-yearassociation with Minnelli, Mr. Stritchaccompanies and arranges for Linda Lavin,Marilyn Maye, and Paulo Szot.

On stage, Mr. Stritch originated the role ofOscar, the rehearsal pianist, in the 2001Broadway revival of 42nd Street. He alsoperformed in and created the arrange-ments for The Best Is Yet to Come: TheMusic of Cy Coleman at New York’s 59E59Theater Off-Broadway in 2011. His latestsolo CD is Billy Stritch Sings Mel Tormé, asalute to one of his musical heroes. He isfeatured on numerous albums includingLinda Lavin’s Possibilities, Sunday in NewYork with Christine Ebersole, and Dreamingof a Song: The Music of Hoagy Carmichaelwith Klea Blackhurst. The readers ofBroadwayWorld.com named him NewYork’s top musical director of 2012 for hiswork on Marilyn Maye by Request. Otherawards include BMI Song of the Year, aGrammy nomination for “Does He LoveYou” recorded by Reba McEntire, fourBistro Awards, and six MAC Awards.

Billy StritchJim Caruso

Meet the Artists

BILL WESTMORELAND

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Drama Desk and MAC Award–nominatedactress, singer, and impressionist ChristinaBianco has become a worldwide YouTubesensation with her diva impression videos.Her rendition of “Total Eclipse of theHeart” caught the attention of millions,which led to an appearance on The EllenDeGeneres Show. Ms. Bianco just sold outa critically acclaimed extended run headlin-ing at London’s famed Hippodrome. InNew York, she recently starred Off-Broadway in NEWSical the Musical andForbidden Broadway Goes to Rehab(Drama Desk nomination). She can beheard on both original cast recordings.

Ms. Bianco originated the role of Dora inthe national tour of Dora the Explorer Live,including a sold-out run at Radio City MusicHall. Other New York credits include Raffion Broadway (Gershwin Theatre), For -bidden Broadway Dances with the Stars,and Tony and Tina’s Wedding. As a cabaretartist, she performed in an unprecedentedeight-month run of 11 O’Clock Numbers atFeinstein’s at Loew’s Regency. She hasperformed her acclaimed solo show, DivaMoments, to sold-out crowds at Birdland,in Chicago, Baltimore, and London, and onvarious international cruise ships. Ms.Bianco frequently performs in concert as asoloist with the Indianapolis SymphonyOrchestra. She has sung with R&B starDeborah Cox, guest starred on the JerryLewis–Muscular Dystrophy AssociationTelethon, and performed on NBC’s Today.She has recently been interviewed by andperformed for HuffPost Live, ABC, NPR,CBS, VH1, Hallmark’s Home & Family, andPix 11. Learn more at ChristinaBianco.com.

Jeffry Denman, one of New York City’sleading song and dance men, has beennominated for Fred and Adele Astaire,Drama Desk, Lucille Lortel, and LA StageAlliance Ovation awards, and he has wonIRNE and Bistro Awards. He originated theDanny Kaye role in both the world premiereand the original Broadway cast of IrvingBerlin’s White Christmas. Other Broadwaycredits include the original companies ofThe Producers, How to Succeed inBusiness Without Really Trying, Dream,and the closing company of Cats. At CityCenter Encores!, he has performed in OfThee I Sing and Face the Music. His Off-Broadway credits include YANK! and TheHoliday Guys (York Theatre), Passion(Classic Stage Company), and Children of aLesser God (Keen Company). In concert hehas performed in Jazz Turns and UkeNight! (Birdland), Stage Door Canteen,Sunny Side Up: Roaring Through theTwenties and The Song Is You: JeromeKern Coast to Coast (92nd Street Y), andmany editions of the Broadway by the Yearseries (Town Hall).

As a director and choreographer, Mr.Denman has worked on YANK! (YorkTheatre), Jane Austen’s Pride and Prej -udice (NYMF), West Side Story, DamnYankees and The Music Man (OgunquitPlayhouse), and Thoroughly Modern Millie(Tuacahn Center for the Arts). This summerhe will be choreographing for and portray-ing Bert in Mary Poppins at OgunquitPlayhouse. Mr. Denman is the author of thebook A Year with the Producers, a journalof his time in the Mel Brooks hit musical.

Christina Bianco Jeffry Denman

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A set of gorgeous pipes combined witheffortless vocal styling and inspiring songinterpretation are the trademarks of night-club diva Natalie Douglas, who is a seven-time MAC Award winner, as well as aBistro Award recipient. Her recent musicaltributes to Lena Horne, Nina Simone, Nat“King” Cole, the civil rights movement, themusic of the 1970s, and Barbra Streisandhave had adoring audiences on their feet,clapping long and loud.

In 2013 Ms. Douglas made her Londonnightclub debut with a week-long engage-ment at the Crazy Coqs, followed by herCarnegie Hall debut, a return to Birdland,and her Café Carlyle debut with a two-nightengagement. So far, 2014 has brought aguest appearance in an Oscar Petersontribute, concerts at Birdland and in Austin,Texas, a return trip to Crazy Coqs with hernew show Four Women: Nina, Lena,Abbey, and Billie, and two concerts onOceania Regatta’s Buenos Aires to Riocruise. Ms. Douglas’s CDs, To Nina…Liveat Birdland and Not That Different, continueto be heard on NPR and Sirius XM Radioand are available on iTunes, Amazon,Spotify, and Google Play. She is a magnacum laude graduate of the University ofSouthern California with a bachelor of artsdegree in psychology and certificates intheater and women’s studies, and sheholds a master’s degree in psychologyfrom UCLA. For more information, pleasevisit nataliedouglas.com. Ms. Douglas isthrilled to be a part of this evening, whichmarks her 11th year participating in theever-evolving and always wonderful JimCaruso’s Cast Party.

Marilyn Maye is a cultural and musical trea-sure. Her entire life has been committed tothe art of song and performance. She was“discovered” by Steve Allen during her 11-year engagement at the Colony in KansasCity, and he presented her many times onhis national television show. From thoseappearances came an RCA recording con-tract. She appeared 76 times on The TonightShow with Johnny Carson, the record for asinger. Her place in popular music historywas assured when the SmithsonianInstitution included her RCA recording of“Too Late Now” in its 110 Best AmericanCompositions of the 20th Century. In Marchand November 2013, Ms. Maye completedtwo-week runs with added held-over perfor-mances at New York’s 54 Below. In NewYork, Los Angeles, Florida, St. Louis, SanFrancisco, and Kansas City, Ms. Maye con-ducts “The Art of Performance” masterclasses. She coaches privately, createsarrangements, designs, and directs, sharingthe techniques and experiences of her life-long career.

Grammy-nominated Jane Monheit hasbeen a leading light in both the jazz andcabaret worlds since emerging as a finalistin the Thelonious Monk Institute’s 1998vocal competition. In addition to her ownrecordings, she has worked alongside thelikes of Terence Blanchard, Tom Harrell,and Ivan Lins. Ms. Monheit is currently

Marilyn Maye

Jane Monheit

Natalie Douglas

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touring in support of her album The Heartof the Matter, a collaboration with GrammyAward–winning producer Gil Goldstein,who has previously worked with suchgiants as Wayne Shorter, Gil Evans, and PatMetheny. The pair first joined forces forpart of Ms. Monheit’s 2009 album, TheLovers, the Dreamers, and Me.

Clarke Thorell most recently welcomedboos and hisses playing the role of RoosterHannigan in the Broadway revival of Annie.A San Diego native, Mr. Thorell made hisBroadway debut in The Who’s Tommy,directed by Des McAnuff. He originated theroles of Corny Collins in the Broadway com-pany of Hairspray and Jim Farrell in Titanic.He pinch hit for John Pizzarelli at Radio CityMusic Hall in Sinatra: His Voice. His World.His Way, and stepped into the long-runningMamma Mia! as Harry Bright. Other creditsinclude Gentlemen Prefer Blondes oppositeMegan Hilty for Encores! at New York CityCenter, Orsino in Twelfth Night directed byJack O’Brien, Homer in Floyd Collinsdirected by Tina Landau, Satellites at thePublic Theater, Sondheim’s Saturday Night,Wise Guys directed by Sam Mendes, LoneStar Love, and Catch Me If You Can. His filmand television credits include The Knick,Men in Black III, Boardwalk Empire, 30Rock, NYC 22, The Winning Season, Kings,Rescue Me, Law & Order: SVU, StrongMedicine, and The Sopranos.

Portraying Andy Williams, Mr. Thorelltoured the globe with Liza Minnelli, as wellas Jim Caruso and Billy Stritch, recreatingthe 1948 nightclub act made famous byKay Thompson and the Williams Brothers.As a vocalist, Mr. Thorell has performed

with artists including ABBA, the Red ClayRamblers, Dave Brubeck, and PeteTownshend, and he is a proud member ofMichael McElroy’s Broadway InspirationalVoices. Mr. Thorell maintains a lifelongdream of becoming the next voice ofDonald Duck.

David KatzenbergFor over 40 years, David Katzenberg (bass)has been a New York bass regular, playingjazz, rock, and pop for singers, Broadwayshows, club dates, recordings, and jingles.Mr. Katzenberg played the entire 18-yearrun of the Broadway show Cats, makinghim the longest running bass player inBroadway history. He has also performed inabout 25 other Broadway pit orchestrasincluding Can-Can, Barnum, Cabaret, TheProducers, Wonderful Town, Spamalot,Nine, Urinetown, La Cage aux Folles, TheBoy from Oz, Bells Are Ringing, Curtains, AChorus Line, Kiss Me, Kate, and others. Herecently completed a four-year run with LizaMinnelli and continues that creative collabo-ration on an occasional basis. Over theyears he has played with singers and artistsincluding Donna Summer, Gloria Gaynor,Rita Moreno, Eartha Kitt, Starland VocalBand, Johnny Mathis, Cleo Laine, BettyBuckley, Clint Holmes, and many others.

Daniel GlassDaniel Glass (drums) is one of today’s fore-most authorities on classic American drum-ming. For the past 20 years, he has touredthe world with the pioneering “retro-swing” group Royal Crown Revue. He hasalso recorded and performed with a host oftop-flight artists like Brian Setzer, LizaMinnelli, Bette Midler, and KISS front-manGene Simmons. Mr. Glass has been votedone of the top five clinicians in the world byreaders of Modern Drummer and DRUM!magazine, and he performs regularly atmajor international percussion festivals andmusic conferences.

Clarke Thorell

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Jim LuigsJim Luigs (director) is a playwright, libret-tist, lyricist, and director. His work hasappeared on and Off-Broadway, in theWest End, and in theaters across thecounty and abroad. His Off-Broadway cred-its include Das Barbecü (book and lyrics),Spread Eagle, and Barbara Cook’sBroadway. Regional theater credits includeWalt Disney Theatrical’s Aladdin (bookadaptation), The Plexiglass Slipper (bookand lyrics), and Second Wind, among oth-ers. He has directed cabaret shows andconcerts with Barbara Cook, Jane Kra -kowski, Rita Moreno, and Tovah Feldshuh.As a consultant to Music Theater Inter -national, Mr. Luigs has adapted more thana dozen classic stage musicals for perfor-mance by students. He is an adjunct pro-fessor at NYU’S Tisch School of the Arts.Learn more at jimluigsdesigns.com.

American SongbookIn 1998, Lincoln Center launched AmericanSongbook, dedicated to the celebration ofpopular American song. Designed to high-light and affirm the creative mastery ofAmerica’s songwriters from their emergenceat the turn of the 19th century up throughthe present, American Songbook spans allstyles and genres, from the form’s early

roots in Tin Pan Alley and Broadway to theeclecticism of today’s singer-songwriters.American Songbook also showcases theoutstanding interpreters of popular song,including established and emerging concert,cabaret, theater, and songwriter performers.

Lincoln Center for the Performing Arts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and festi-vals including American Songbook, GreatPerformers, Lincoln Center Festival,Lincoln Center Out of Doors, MidsummerNight Swing, the Mostly Mozart Festival,and the White Light Festival, as well as theEmmy Award–winning Live From LincolnCenter, which airs nationally on PBS. Asmanager of the Lincoln Center campus,LCPA provides support and services for theLincoln Center complex and the 11 resi-dent organizations. In addition, LCPA led a$1.2 billion campus renovation, completedin October 2012.

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Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingJill Sternheimer, Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorJulia Lin, Programming AssociateAnn Crews Melton, Programming Publications EditorKristin Renee Young, House Seat Coordinator

For American SongbookMatt Berman, Lighting DesignScott Stauffer, Sound DesignJessica Barrios, Wardrobe AssistantSara Sessions, Production Assistant

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jack dejohnette, joe lovano, esperanza spalding, leo genovese: the spring quartetFEB 28–MAR 1 8PMWith an opening by Cécile McLorin Salvant

maria schneider orchestraMAR 14–15 7PM, 9:30PMComposer-arranger Maria Schneider and her award-winning 17-member orchestra

tomatito: an evening of flamencoMAR 15 8PMAndalusian Gitano guitarist and 2013 Latin GRAMMY® Award winner Tomatito and Flamenco dancer Paloma Fantova

beyond jobim: new voices of brazilMAR 21–22 7PM, 9:30PMWith vocalists Luísa Maita and Clarice Assad

Box Office Broadway

at 60th, ground floor

jalc.org

jazz at lincoln center

frederick p. rose hall

5th floor

march

Centercharge

212-721-6500

LEAD CORPORATE SUPPORTER OF BEYOND JOBIM: NEW VOICES OF BRAZIL

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