june 7 2016 jazz

JUNE 7, 2016

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JUNE 7, 2016 ISSUE 1 OF 4

DAILY NEBRASKAN JAZZ IN JUNE TUESDAY, JUNE 7, 20162

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UPPER LEFTFILE PHOTO BY MICHAEL MODRCIN | DNA member of the Hot Club of San Francisco, an acoustic string quintet that play gypsy swing jazz, addresses the audience of a 2002 Jazz in June performance.

LEFT CENTERFILE PHOTO BY KATE GRAFEL | DNTom Frankenfield, a University of Nebraska-Lincoln senior geography ma-jor, takes notes at Jazz in June perfor-mance in 2001. Frankenfield’s History of American Jazz course requires him to attend four performances, and he said Jazz in June fit in best with his work schedule.

LOWER LEFTFILE PHOTO BY STEVEN R. BENDER | DNSinger Paula Grady performed for the Daugherty McPartland Group at a 2001 opening Jazz in June concert.

TOP CENTERFILE PHOTO BY KRIS KOLDEN | DNRob Simon holds balloons that identify him as a volunteer while taking dona-tions between sets at a 2004 Jazz in June performance.

CENTERFILE PHOTO BY MICHAEL MODRCIN | DNA member of the Hot Club of San Fran-cisco, an acoustic string quintet that plays gypsy swing jazz, addresses the audience of a 2002 Jazz in June performance.

UPPER RIGHTFILE PHOTO BY RICHARD W. KLUVER | DNDavid Pietro, a member of the David Pietro Quintet, performs at a 2002 Jazz in June concert.

LOWER RIGHTFILE PHOTO BY SCOTT MCCLURG | DNEric Coon plays a game of footbag with friend Jeff Picraux during a Jazz in June concert in 1999.

FRONT PAGE PHOTOS

TOPCOURTESY OF JAZZ IN JUNE

3DAILY NEBRASKAN JAZZ IN JUNETUESDAY, JUNE 7, 2016

DAILY NEBRASKAN

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JAZZ IN JUNEJazz in June is a special issue produced by the Daily Nebraskan. Look for a new issue each week.

LANI HANSONDN

In his hometown on the outskirts of Havana, Cuba, it was “practically impossible” to get a hold of an instrument.

“Although music entered my life when I was 10,” Arturo Sandoval said in an email, “it wasn’t the easiest of starts.”

More than 50 years later, Sandoval has evolved into a well acknowledged guardian of jazz trumpet and flugelhorn -- with appear-ances at the Oscars, Grammy Awards and Bill-board Awards -- and his most recent stop is the University of Nebraska-Lincoln’s Jazz in June concert series.

At 10 years old, Sandoval’s aunt brought him a small horn.

“I never stopped striving to get better, even now,” he said.

The musician said that, while the piano is “definitely up there, too,” he really fell in love with the trumpet.

But it wasn’t love at first sight. Now an Emmy Award recipient for his

composing work on the underscore of a Golden Globe-nominated biographical drama based on his life, Sandoval remembers walking home cry-ing after his first trumpet lesson.

The instructor, after telling the then-10-year-old Sandoval to play for him, immediately told him to throw the horn away and give up.

“That’s when I decided I wasn’t going to let him discourage me,” Sandoval said, “and em-barked on my journey as a trumpet player.”

But a discouraging trumpet teacher wasn’t the only obstacle in that journey.

Sandoval began studying classical trumpet at 12 years old, and was quickly caught in the excitement of the jazz world. But in his home-land of Cuba under the Castro regime, only state-sanctioned music could be played.

A protege of trumpet virtuoso Dizzy Gil-lespie, Sandoval attributes much of his jazz suc-cess to their first meeting in 1977.

“Meeting Dizzy changed my life, just as music did,” Sandoval said. “It was with his help that I was able to get political asylum and move to the U.S. with my family. He afforded me the greatest freedom as well as more personal and professional opportunities than I could have ever wished for.”

Sandoval’s “Dear Diz (Every Day I Think Of You)” album is a tribute to “the mentor and friend who literally rescued him and his fam-ily from an oppressive existence and gave them a chance at an entirely new and better life,” according to Sandoval’s website. The album earned Sandoval a Grammy Award for Best Large Jazz Ensemble in 2013.

“I was very fortunate to meet and then play and tour with Dizzy,” Sandoval said. “It’s a tru-ly marvelous thing to meet your hero, and then for a relationship and a bond with him. He was my mentor, my friend, my teacher and is still an inspiration to me every day.”

“For Love or Country,” the underscore for which Sandoval won an Emmy for Best Com-poser, stars Andy Garcia as the world-renowned trumpet player, and tells the story of Sandoval’s

life up until his defection to the U.S. “I am very proud of this film,” Sandoval

said. “I was very thankful that HBO asked to do the film and more so that they were willing to tell the real story of what I went through and what many have gone through – and still do – living in Cuba.”

Still, Sandoval said, his true legacy is what he leaves behind.

Four years ago, he started the Arturo San-doval Institute, a nonprofit organization that provides instruments, master classes, music ed-ucation and more to underprivileged students throughout the country.

“I want to be a part of making sure that our children and grandchildren have music in their lives,” Sandoval said, “despite the fact that schools are cutting their music programs.”

After his Jazz in June performance, Sando-val will head to the Dakota Jazz Club in Min-neapolis, Minnesota, and the Blue Note Jazz Club in New York City before departing on his Europe Summer Tour, which includes stops in Hungary, Spain, Lebanon, France and Switzer-land.

“I am very lucky that I get to travel around the world and do what I love,” he said. “Not only for me, but it’s such a wonderful thing to be able to bring my music to audiences world-wide. Yes, it’s tiring – I’m getting old! But no matter how old I get, I feed off of the energy of the people I play for, and that keeps me ener-gized and excited for the next show.”

[email protected]

Jazz in June’s 25th season features Jazz legend Arturo Sandoval

COURTESY PHOTO


CHUCK LIPPSTREUJUNE 9, 2008

Years and years ago, long before my time, a teenage jazz saxophonist named Charlie Parker was rid-ing down the highway with a group of musicians known as the Jay McShann Orchestra.

They were headed for Lincoln, and a gig at the University of Nebraska.

As they passed a local farm, legend has it, the band’s driver hit a chicken in the road, killing it.

McShann would recall later that the young Parker, ever the frugal musician, insisted they go back to get that “yardbird.” In Lincoln, the band cooked and ate the unlucky beast for dinner.

They started calling him “Bird” after that eve-ning here in Lincoln. Parker, of course, went on to become one of the great jazz performers and com-posers, and will forever be remembered in jazz circles as “Bird.”

In all honesty, that’s one of the only pieces of

truly relevant jazz trivia I can bring up with any authority. And, as I understand it, the “Nebraska” explanation for Bird’s nickname is one of many.

But whatever role Lincoln played in establish-ing a legacy for one of the great saxophone men of our time, here we sit again tonight for the 17th year of what’s become the gateway to summer for this city.

Jazz in June is one of those really special events a town can put on year after year – it’s not gim-micky, it’s not too colorful, it’s not expensive or ex-clusive or mundane.

It’s just jazz, a bit of food and the perfect op-portunity to lay back and relax.

You’re clean of responsibility until tomorrow morning at 8 o’clock, you hold in your hand some sort of delicious summer treat, you’re curled up in a blanket or hunkered down in a lawn chair next to friends and lovers and total strangers.

For my part, I’m likely wandering aimlessly through the winding walks. I don’t much like to sit.

At any rate, all of us are gathered here this eve-

ning because we share some level of appreciation, understanding or love for jazz. For many, the draw may just be an easy summer night out of the house, and a feeling that jazz “sort of sounds nice.”

Others are here this evening who perform, teach or study jazz for a living.

Some probably don’t even know who Charlie Parker was – others could have seen him decades ago, playing in Kansas City nightclubs at 3 a.m..

I fall into a sort of middle ground. I love jazz as a relaxant, a needed break from the rigors of life and the summer afternoon doldrums. As my jazz-pianist roommate could explain to you at length, I generally cannot carry a lengthy, cultured conver-sation on the subject.

But tonight, that doesn’t matter for me, or you, or anyone else. The jazz at Sheldon Museum of Art on a June evening is just a great thing to be around.

It’s that general sentiment – that there’s some-thing special in seeing great jazz musicians like those who will appear here over the coming weeks – that gives Jazz in June it’s “all-inclusive” nature.

Here, you don’t have to know a thing about what’s going on in specifics. You’ll walk around, bury yourself in the atmosphere and go home truly free of whatever stress followed you in.

At the risk of sounding like a trite, flowery op-timist completely out of touch with the realities of daily life, such a guaranteed good time can seldom be found in a bustling city.

So relax and enjoy. Thank the people who work to give thousands of people this opportunity, one of the most popular cultural attractions the city will ever offer.

No matter why you’re here, it’s set to be an-other year of easygoing retreat into the perfect soundtrack for an early-summer evening.

Here’s to another great year of Tuesday jazz.

DO YOU HAVE JAZZ IN JUNE MEMORIES TO SHARE? REACH US AT JAZZINJUNE@

DAILYNEBRASKAN.COM

IN CELEBRATION OF JAZZ IN JUNE’S 25TH YEAR, THE DAILY NEBRASKAN TOOK TO ITS ARCHIVES IN SEARCH OF STORIES FROM THE CONCERT SERIES’ PAST. THE FOLLOWING IS A COLUMN

FROM A FORMER DAILY NEBRASKAN OPINION EDITOR, WRITTEN AT THE COMMENCEMENT OF JAZZ IN JUNE’S 17TH SEASON.

ANNIE ALBINDN

David von Kampen once walked the halls of the Westbrook Music Building on the University of Nebraska-Lincoln’s City Campus as a student.

Now, he sits in his office as an adjunct professor.After spending his college days studying mu-

sic composition for his bachelor’s and master’s de-grees at UNL, Kampen teaches five classes at the university while composing music on the side.

Kampen has recently written two musicals with Becky Boesen, a local playwright. One of those musicals, “Puddin’ and the Grumble,” was recently performed at the Lied Center for Performing Arts.

When Kampen isn’t composing, he can be found directing the UNL Vocal Jazz Ensemble and teaching classes in ear training, music theory and history of rock and roll.

The history of rock and roll course is popular among many UNL students. According to the in-formation about the four sections of the course available on MyRed, almost 700 students took the class this spring.

The class fulfills the Achievement Centered Education’s arts requirement.

Kampen uses his experiences as a musician to teach his students in the class.

“I try and sort of infuse my history of rock class with interesting musical tidbits,” Kampen said. “We talk about musical style a lot.”

Kampen said he discusses many things in the class that are not major parts of the textbook, espe-cially if he feels strongly about a certain style or isn’t a big fan of it.

“I hope to give a nice, wide variety of stuff in

the class period.” Kampen said. “Stuff that will reinforce what they need to know for exams, obvi-ously, but also things that come out more from my background as a musician.”

Even though he’s a well-trained musician, he said students don’t have to be professionals to un-derstand the class curriculum, either. According to Kampen, pop music can be appreciated at any level, especially if it’s well done.

“You don’t need to be a trained musician to ap-preciate ‘Pet Sounds’ by the Beach Boys,” Kampen said. “But if you are a trained musician there are a lot of layers there that peel back in cool ways.”

History of rock and roll music starts at the be-ginning of American popular song and continues up to modern day. The course covers early record-ing techniques, soul, Motown, pop, hip-hop, punk, hard rock and singer-songwriter music, along with many other genres.

The class also incorporates videos of interviews and performances from the artists discussed in the book to give students an even better look at their music.

Before Kampen was teaching at UNL in the fall, he was finishing up working on a musical. Kam-pen said writing his last musical took him around a year, and it is still going through the process of writing and rewriting songs. He said his musical theater songwriting style is influenced more by pop, folk and jazz.

“Musical theatre generally has a broader ap-peal than say, if you wrote an opera,” he said.

Kampen is also working on a cantada for a choir and string orchestra, which is liturgical work based on scripture passages, and arranging charts for the Vocal Jazz Ensemble.

While he isn’t able to organize group kickball

games in the green space outside of Selleck Resi-dence Hall anymore like he did when he attended UNL, he said that being here feels natural.

“I feel at home here,” Kampen said.ARTS@

DAILYNEBRASKAN.COM

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EMMA OLSONDN

The 25th annual Jazz in June event marks a year of transition with Spencer Munson as the new event coordinator.

Martha Florence, the previous coordinator, has been involved in all but two of the events. Florence and Munson have worked together to put on the concert series this year.

“She has been an excellent mentor giving me tips in all facets of organizing this event,” Munson said. “She, along with my amazing volunteer leadership team, has also taken on a number of tasks for me to help alleviate the stresses of organizing an event of such magni-tude.”

Munson said he hopes the future of the event holds bigger artists, more campus activities and collaboration leading up to the event as well as a larger regional marketing strategy. However, his focus this year was simply learning about the event and behind-the-scenes work.

“This year I just wanted to make sure the event was done professionally, just as it has been for 24 years prior,” Munson said.

As a way to hopefully draw more young people to what was then the Sheldon Memorial Art Gallery, Jazz in June was launched in 1991. The fi rst performance drew an estimated 500 at-tendees.

Twenty-fi ve years later, the concert series has grown so large that the focus has shifted from a promotional event for the Sheldon to a

University of Nebraska-Lincoln and commu-nity organization. A Jazz in June advisory board was created and is made up of both university staff and community members.

Bill Stephan, the chair of the Jazz in June advisory board, said UNL made a strategic decision to make the event an indepen-dent operation.

“In the past, there was no staff whose primary re-sponsibility was produc-ing Jazz in June,” S t e p h a n said. “As one of the largest per-forming arts events on the UNL campus, it was identifi ed that having a dedicated staff member will pro-vide the music series stabil-ity and growth for the future.”

Despite the organizational changes, Munson said attendees will not see any notice-able changes in the event itself this year.

“I would say the only major change I made was fi nding more ways to partner with local

businesses,” Munson said. “We were able to save a lot of money in services and goods for sponsorship trades.”

The event gained sponsorships from Union Bank and Trust, Scheels, Nebras-

ka Bank of Commerce, the Downtown Lincoln Asso-

ciation and more. Other changes

include more on-line marketing

and informa-tion as well as a yoga class before each event.

“I hope the posi-tive energy is high and noticeable,” Munson said.

M u n s o n was drawn to

Jazz in June be-cause of the diver-

sity of population the event attracts. “It is the best mix of

Lincolnites: all ages, colors and backgrounds.” Munson said.

He was motivated to take the coordinator position because of his love for jazz music, UNL and the potential for growth the event has.

“Most community endeavors have to be

started from the ground up,” Munson said. “With Jazz in June, we just have to take an al-ready great event and make it better.”

Munson said he wants to bring more youth and multicultural programming to the event in the future.

Munson comes from Harrison, Nebraska, and although he never attended UNL as an undergraduate, he said he’s always found the campus to be inviting with its proximity to downtown.

Munson said he wanted to work with music because of the joy it brings to people’s lives.

“Music and dancing bring happiness to peo-ple’s lives, and I feed off of that positive energy,” he said.

His experience with music and event coor-dinating runs deep as he is also involved with marketing and booking at the Bourbon Theatre and Downtown Lincoln Association as well as festivals such as The Nebraska Folk and Roots Festival, Lincoln Calling, Lincoln Exposed and Lincoln Unites.

He said he’s enjoyed learning about the event from the staff at the Lied Center for Per-forming Arts as well as Bill Stephan and Matt Boring.

“Lincoln needs more events like this,” Mun-son said, “and it has been my goal to make Lin-coln a better place with events just like Jazz in June.”

[email protected]

25th season serves as transition for Jazz in June

decision to make the event an indepen-

was identifi ed that having a dedicated

ciation and more.

include more on-

Jazz in June be-cause of the diver-

sity of population the IMAGE COURTESY OF JAZZ IN JUNE


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ELIZABETH REMBERTDN

The 2016 Jazz in June garden tours prom-ise more than what you might see on a walk through the University of Nebraska-Lincoln campus, Lincoln Parks Planner Mark Canney said. The tours will delve past the blooms to focus on the history and evolution of the cam-pus gardens.

This year’s tours are themed “Old and New,” and will guide listeners through the evolution of Love Garden, historic buildings and new projects on campus.

The tours run every Tuesday in June the hour before the evening concert. Tour-goers meet on the steps of the Sheldon’s east en-trance and depart at 6 p.m. to explore campus.

The fi rst tour on June 7 was led by Eileen Bergt, assistant director of UNL Landscape Services. Bergt spoke about historic trees on UNL’s original four-block campus, while pointing out the newer unique trees. One in-stance of these remarkable trees can be found on the west side of Jorgensen Hall, where two Flower of Kent trees grow. These trees were planted by Landscape Services in May 2015 and are duplicates of the apple tree that in-spired Newton’s theory on gravity.

June 14’s tour will showcase UNL’s new campus projects, and will be led by Emily Casper, a campus landscape architect. Tour-goers will peruse the Love Commons Plaza

GARDEN TOURS: SEE PAGE 10

Garden tours to focus on ‘Old and New’

PHOTO BY ALLISON HESS | DN


ANNIE ALBIN | DN

HELD ON THE WEST LAWN OF THE SHELDON MUSEUM OF ART EVERY TUESDAY IN JUNE, JAZZ IN JUNE HAS BECOME A STAPLE FOR SUMMER ACTIVITIES IN LINCOLN. WITH THOUSANDS

OF ATTENDEES EACH NIGHT, THE FESTIVAL HAS GROWN TO PROVIDE MORE FOR ITS ATTENDEES THAN JUST JAZZ. THE DAILY NEBRASKAN COMPILED A TIMELINE OF

THE HISTORY OF JAZZ IN JUNE, STARTING WITH ITS FIRST CONCERT IN 1991 TO ITS 25TH ANNIVERSARY CELEBRATION KICKING OFF THIS WEEK.

LOOKING BACK, LOOKING FORWARD

– 1991 – JAZZ IN JUNE STARTS

AS A GAMBLE

Hoping to draw more young people to what was then the Sheldon Memorial Art Gallery, the Nebraska Art Association – now known as the Sheldon Art Association – launched an outdoor jazz series.

Kathy Piper, then-executive director of the Nebraska Art Association, found that outdoor jazz concerts were attracting large, youthful audiences and, with the help of the University of Nebraska-Lincoln’s director of jazz studies David Sharp scheduled four jazz groups to play, including the Nebraska Jazz Orchestra and a group Sharp was a member of. The first performance drew an estimated 500 attendees.

“We had no money, absolutely none, and no idea if it would work,” Piper told The Dai-ly Nebraskan in 2009. “It cost us very little...It was a real gamble, but I’ll never forget that first night. We set up at 6 p.m. on the steps of the Sheldon and people started coming from every place.”

– 1998 – JAZZ IN JUNE FEATURES ITS FIRST

INTERNATIONAL PERFORMER

During its first few years, Jazz in June often featured local bands. As the budget for the concert series grew, more regional and national acts were booked. Jazz in June’s first interna-tional act, Belgian pianist Ivan Paduart, made his debut at the concert series during its sev-enth season.

“The Belgian government is sponsoring (Paduart) to come to the United States for two jazz concerts, one in Kansas City and one here,” then-execuvie director of the Nebraska Art Association told The Daily Nebraskan in 2998. “This is new and exciting, for both us and him, as he’s never been in the U.S. before.”

– 2001 – JAZZ IN JUNE MARKET

GETS A REVAMP

Under the direction of Linda Hubka, the Jazz in June market shifted its focus.

Hubka said the original market had been more of a farmer’s market, with vegetables and other foods from local vendors, but it didn’t quite stick. The attendees at Jazz in June wanted food that they could eat while they were there, not food they would have to take home. The market became a place for local food vendors to sell ready-to-eat foods, as well as arts and crafts. With more than a dozen vendors, attendees can now find any-thing from gourmet oatmeal to Greek food at the market.

– 2002 – GARDEN TOURS MAKE

A COMEBACK

While tours were a part of Jazz in June in the mid-1990s, they didn’t become a regular part of Jazz in June until the early 2000s.

Kay Kottas, then-manager of education and plant records for the University of Nebraska-Lincoln botanical gardens and arboretum, told The Daily Nebraskan in 2002 that the university decided to resurrect the garden tours because of increased interest from Jazz in June concert-goers.

“We just felt that it would be a good addi-tion, particularly because the gardens are very close to where Jazz in June is held, and because people are curious about the campus,” she said.

ABOVE LEFT FILE PHOTO BY STEVEN R. BENDER | DNFans have front-row seats at a 2001 Jazz in June concert outside the Sheldon Memorial Art Gallery. The Nebraska Jazz Orchestra performed despite the cool, damp weather.

FAR RIGHT FILE PHOTO BY MICHAEL MODRCIN | DNDrawn more by adventure than a love of music, brothers Ethan and Logan Bell climb on William Tucker’s 1985 bronze sculpture “Ouranos” at a 2002 Jazz in June concert.

ABOVE RIGHT FILE PHOTO BY STEVEN R. BENDER | DNPianist Eldar Djangirov, 14, performs at Jazz in June in 2001. Djangirov, originally from Kyrgyzstan, had been on the jazz scene since 1996.


– 2009 – JAZZ IN JUNE GOES GREEN

Thanks in part to the Sheldon Museum of Art’s building operations manager and chair of its green committee, Lynn Doser, Jazz in June took steps toward a more sustainable future.

“We want it to be public that the Sheldon is going green,” Doser told The Daily Nebraskan in 2009. “We wanted to be a community leader in following the green practices” with the festi-val serving as a kick-off public event.

The first was doing away with plastic bottles of pop in favor of recyclable aluminum cans. Water sold at the event, for lack of an available greener option, remained in plastic bottles, but bins for recycling those, as well as festival programs, were provided. Balloons, which once marked donation baskets, were re-placed with flags made from recycled material.

“We have five, six thousand people, which creates a lot of garbage,” Doser explained. “I hope they think about (recycling) at least dur-ing Jazz in June.”

– 2010 – WEATHER THREATENS FIRST WEEK OF JAZZ

As the last microphone was connected and sound tested for the show, the members of the Darryl White Group started to unplug.

“As you can tell, it’s not a bright, sunny day in Lincoln, Nebraska,” Rand Wiese, a security worker for the Sheldon, announced to the crowd. “Normally, the weatherman never knows what’s going on, but looking up at the sky, I’d say he has a fifty-fifty chance.”

But the rain didn’t stop the music from play-ing. The band just moved inside, into the audito-rium in the Sheldon. The room can hold 300 peo-ple, and Sheldon employees had planned for the possibility of storms. Many attendees left before the rain started, but those that chose to stay filled up the small auditorium within the museum.

– 2011 – JAZZ IN JUNE CELEBRATES

ITS 20TH YEAR

For its 20th anniversary, the concert series high-lighted bands that have played in the past, in-cluding the Nebraska Jazz Orchestra – which appeared at the very first Jazz in June concert in 1991.

The event also featured limited edition post-ers and T-shirts, and included a welcome from the mayor in correlation with Cleaner, Greener Lincoln, which sponsored the event, and the Joshua Collingsworth Memorial Foundation, which promoted water safety.

Martha Florence, chair of the event, dis-pelled rumors that the Jazz in June program was coming to an end.

“Hopefully, it will continue on for another 20 years,” she told The Daily Nebraskan in 2011.

– 2014 – BIKE UNL OFFERS

VALET SERVICE

An effort to make the festival more environ-mentally friendly led to advanced recycling efforts, as well as the introduction of a bike valet program.

The service, which continues today, is student-run and raises money for bike racks, pumps and repairs on campus. Placed in the intersection of 13th and R streets, the bike va-let program requires photo identification and contact information at the time of drop-off. The valet begins at 5 p.m., and patrons have an hour after the musician’s final song to re-trieve their bikes.

Outdoor Adventures Center Assistant Di-rector Jordan Messerer said the program was started to encourage people to think of cycling as a more viable mode of transportation.

“We’re just trying to help people recognize that not only is cycling a great form of recre-ation,” he told The Daily Nebraskan in 2015, “it’s also a great form of transportation.”

– 2015 – VIP TICKETS OFFER

PRIME SEATING

While Jazz in June is typically general admis-sion, a $25 VIP ticket offered attendees a spot on the green space in front of the stage, a beverage and sandwich and an opportunity to meet the week’s performers.

VIP tickets for the 2016 season of Jazz in June are available on the Lied Center for Per-forming Arts website, and include a guaran-teed space in the VIP section, free food from one of the sponsoring vendors, a meet-and-greet with the week’s performers and a half-price Jazz in June T-shirt.

– 2016 – JAZZ IN JUNE TRANSITIONS

TO INDEPENDENCE

The 25th season of the concert series will serve as a transition year – from a promotional concert to bring visitors to the Sheldon Museum of Art into its own cultural entity. Read more about the transition here.

Though the leadership of the festival might have changed, Jazz in June is still the same event attendees have grown used to over the years.

“The things you have to do to ensure that Jazz in June is Jazz in June, they haven’t changed.” chair Martha Florence said.

Before the performances this June, UNL’s Campus Recreation will be offering basic yoga classes led by fitness instructors. The free classes will begin at 5:30 p.m. For more information, click here.

“The cool thing about Jazz in June,” Flor-ence said, “there’s something for everybody.”

Spencer Munson, Jazz in June’s current coordinator, said that he hopes the future of the festival will bring more university fac-tions, as well as bring in more of Lincoln’s youth.

ABOVE LEFT FILE PHOTO BY RICK TOWNLEYPat Fuenning and her 4-year-old daugher, Sarah, clap to the music at a 1999 Jazz in June concert. Sarah celebrated her birthday that same day.


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and the Nebraska Athletics Hall of Fame, while learning about the designs of the proj-ects and new plants on campus.

June 21 will continue the historic campus education, as Kay Logan-Peters, a UNL art and architecture librarian, leads an architectural tour of UNL’s first expansion. Among all of campus’ historic buildings, the tour includes the College of Business Administration, Love Library, Teachers Col-lege and Morrill Hall.

The garden tours conclude on June 28, when Landscape Servic-es landscape assistant Ann Powers and Mark Canney will lead a tour focusing on the evolu-tion of Love Garden. Powers and Canney will speak about the plants and initial design of the garden.

The annual garden tours began their own history in June 2003. Landscape Services started the garden tours and shared their audiences with the popular Jazz in June concerts.

“Most come for the tours and stay for the music,” said Bergt.

Bergt said the tours are an opportunity for Landscape Services to show the beauty of campus to the Lincoln community and visi-tors.

The tours are always centered around the campus’ plants, and offer aesthetic and educa-tional purposes, Canney said.

“You might be familiar with the plants on campus,” Canney said, “But do you know why they’re there, what purpose those plants are serving?”

Canney said his tour-goers might be inter-ested to learn that the campus’ gardens are be-

coming more and more “Nebraskan.”

While there may be no Husker flags or Kool-aid fountains, native grasses and milkweed plants lend the Nebras-kan spirit and serve important roles in the garden.

“We love the beauty of the geraniums and delphiniums, but we’ve started to ask ‘What can other plants do for the

insects, for the habitat?’” Canney said. The tour leaders’ enthusiasm is only

matched by the audience, and that is the part Bergt loves most about the tours.

Bergt invites all of the Lincoln commu-nity to come and be enthusiastic and “enjoy our beautiful campus on a beautiful summer evening.”

[email protected]

GARDEN TOURS: FROM 7

You might be familiar with the plants on

campus, but do you know why they’re there, what purpose those plants are serving?”

MARK CANNEYlincoln parks planner


STEPHANIE CAVAZOSDN

From homemade root beer to original screen printed t-shirts, the 2016 Jazz in June Market has the most diverse group of vendors it has seen thus far. Each of the market’s 19 ven-dors offers a wide variety of handmade and locally produced goods, and all of this year’s market vendors are Nebraska-based produc-ers.

“Every one of them is popular,” said Linda Hubka, the market man-ager. “We always get a good turnout.”

Frequent vendors seen at the market for more than 15 years in-clude Manila Bay, serv-ing lumpia, spring rolls and crab rangoon, and The Parthenon, which specializes in Greek food. Salads, fruit smoothies and Golden Kernel Kettlecorn popping kettlecorn have also been present for many years.

Other popular vendors are Rolling Fire Pizza, which wood fires pizza to order, and

the University of Nebraska-Lincoln’s Dairy Store serving hand-dipped ice cream and milkshakes. Hubka said it’s easy for every-one to grab a bite to eat while enjoying the music provided by Jazz in June. The two events are only about a half a block away from each other.

“We love when people come down and have dinner with us,” she said. “And shop for jewelry and handmade crafts, too.”

The newest vendors included in the market are Big Luv’s BBQ and Helping Oats gourmet oatmeal.

Big Luv’s BBQ is a barbeque catering res-taurant that also mo-bilizes itself during the summer season. Opened in April 2013, the business specializes in smoked meat and all things BBQ. Their food

truck opens in June of every year, popping up in Lincoln during the weekends. Their menu includes pulled pork sandwiches, baby back ribs and pulled pork nachos.

Helping Oats is a gourmet oatmeal com-

pany based out of Lincoln launched on April 6, 2016. Currently the business only serves farmer’s markets with pop-ups in the works. The “Helping” part of its name stems from the company’s desire to help the community and local businesses using local ingredients and produce.

The biggest recruiting platform for the Jazz in June Market comes from the Haymar-ket Farmer’s Market, where each of those vendors are invited to the Jazz in June Mar-ket. Year after year, more than a dozen of the vendors snag a spot.

After passing an application process and a health department clear, a small fee is given to each of the vendors based on the kinds of services they offer. There’s a homebaker rate and a commercial cooking rate. After that, Linda Hubka, the Market Manager for Jazz in June, finds a place to fit the vendor and they’re ready to roll.

The Market, which opens at 5 p.m. each Tuesday before Jazz in June, is located at 12th and R streets in front of the Lied Center for Performing Arts on UNL’s City Campus.

[email protected]

Jazz in June Market features wide variety of vendors

FILE PHOTO BY KRIS KOLDEN | DNHans Wanamaker – or “The Grill Guy” to his customers – serves up his unique style of walk-up vending in the market set up at a Jazz in June concert in 2004.

JAZZ IN JUNE MARKET VENDORS

Big Luv’s BBQ BBQ ribs and pulled pork

Daffodil Gourmet CateringPersian and Mediterranean

food, pastries

Golden Kernel KettlecornKettle corn

Greta’s GourmetBavarian brats, burgers, salads

Helping OatsGourmet oatmeal

Joyce Bingeman ArtOriginal screen prints

Lincoln City LibrariesLibrary events, reading promotional materials

Made It Myself Shaved IceShaved ice smoothies,

you flavor yourself

Manila BayLumpia, spring rolls, crab rangoons

Mir JewelryBeaded and semi precious

stone jewelry

Nebraska Repertory TheatreFree season brochures and postcards

OllyoxOriginal art, apparel and accessories

PastabilitiesArray of meat sandwiches

Rolling Fire CateringWood fired pizza

Stonecrest DesignsOriginal beadwork and jewelry

The ParthenonGreek food, salads, fruit smoothies

The Root Beer GuyHomemade root beer

UNL Dairy StoreHand dipped ice cream and

frozen shakes

VousalouOriginal designs on upcycled and

vintage apparel

We love when people come down

and have dinner with us, and shop for jewelry and handmade crafts, too.”

LINDA HUBKAjazz in june market manager


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SEPTEMBERSounds of China ......................Sept. 28An Evening With Idina Menzel ...............Sept. 30

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DECEMBERRhapsody in Black .....................Dec. 5Brian Regan ...............................Dec. 9Canadian Brass Christmas .....Dec. 10Mannheim Steamroller Christmas by Chip Davis ....Dec. 20

JANUARYRodgers + Hammerstein’s Cinderella .......................Jan. 27–29

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More than three decades’ worth of Univer-sity of Nebraska-Lincoln art and art history alumni have been featured in the Eisentrag-er-Howard Art Gallery in Richards Hall over the last three summers.

Once again, paintings adorn the walls as this year’s Alumni Artists show features art-ist from 1974 to 1978.

The first exhibition in 2014 showcased the art of UNL graduates from 1945 to 1969, and last year’s exhibition included those who graduated from the art and art history department during the early 1970s.

After the success of its first year, Peter Pinnell,chair of the Department of Art and Art History, said the opening and closing events began to serve as reunions for alumni and staff.

“We started this show to re-connect with our alumni,” said Peter Pinnell, Department Chair at Richards Hall. “No one who teaches in the department now was here as a profes-sor before the late 80s. So all of these people, who went here as students before then, we had no direct memory of them. This was a chance for the faculty and staff to meet these

PHOTO COURTESY OF ZORA J MURFFALUMNI: SEE PAGE 13

Annual exhibition serves as reunion for alumni artists


MAURA GILLANDN

Throughout the month of June, the sculpture gardens of the Sheldon Art Museum are flowing with vibrant jazz music and the excitement of live concerts. Outside, the white travertine mar-ble walls of the Sheldon backdrop the live musi-cal performances, while inside the Sheldon Art Association and University of Nebraska host an impressive collection of more than 12,000 works of art.

The Sheldon is closed on Mondays but open the rest of the week beginning Tuesday from 10 a.m. to 8 p.m., Wednesday through Saturday 10 a.m. to 5 p.m. and Sundays noon to 5 p.m. Stop in before or after each Jazz in June concert to view one, or all, of the museum’s current ex-hibitions.

RE-SEEING THE PERMANENT COLLECTION

As an ongoing exploration of museum hold-ings, two galleries reopened on May 20, both holding new readings of well-known works: Robert Motherwell’s “Atavistic Presence” and Edward Hopper’s “Room in New York.”

These galleries are repeatedly redone to highlight newly acquired artwork, showcase rarely exhibited objects and explore and facili-tate new interpretations and experiences of the Sheldon’s collection favorites.

IT WAS NEVER LINEAR: RECENT PAINTING

It Was Never Linear will exhibit paintings and drawings from 12 artists. The works produced by the invited artists focus on abstraction in con-temporary paintings and demonstrates how the act of painting, such gestural marks and atten-tion to surface texture, acts as a primary com-ponent in the representation of form and figure. The participating artists include Robert Bordo, Dawn Clements, Lois Dodd, Michelle Grabner, Loren Munk, Colin Prahl, Peter Saul, Barbara Takenaga and Stanley Whitney.

Support for this exhibition and its program-ming has been provided by H. Lee and Carol Gendler Fund.

BUILDING A LEGACY COLLECTION: A SURVEY OF INVITATIONAL

ACQUISITIONSSince 1888, the Sheldon’s growing collection has acquired more than 250 contemporary artworks from collectors, donors and participating artists through these regularly organized exhibitions. This survey will include 20 such pieces of recent masterworks of contemporary art that typify the depth of the Sheldon’s holdings.

Support for this exhibition and its program-ming has been provided by Ethel S. Abbott Charitable Foundation Exhibitions and Pro-grams Fund and the Dillon Foundation.

SHELDON STATEWIDESHAPE UP! VISUALIZING THE

GEOMETRIC WORLDShape Up! was brought together by Sheldon

Statewide, the art museum’s annual outreach program which allows for original artworks to travel across the state. This year’s exhibition is designed to be a learning resource for STEAM – science, technology, engineering, art and math – curriculum by bridging gallery and classroom environments to foster the development of vi-sual literacy and critical thinking skills.

Shape Up! will showcase a variety of medi-ums such as paintings, photographs, prints and sculpture, all of which will explore four types of geometry and how they influence out world. These areas are geometric abstraction, geom-etry and the built environment, geometry and the natural world and geometry and the human body.

The exhibition features artwork by Kim Abeles, Francis Bacon, Felice Beato, Marga-ret Bourke-White, Alexander Calder, Chuck Close, René Derouin, Buckminster Fuller, Bal-comb Greene, James Lechay, Fernand Leger, Sol Lewitt, Agnes Martin, Marjorie Mikasen, Min | Day, John Pfahl, Pablo Picasso, Bridget Riley, Hadiah Shafie, Joel Shapiro, Marko Spalatin and Walter Wilson.

[email protected]

Don’t miss these Sheldon exhibitionsstudents and welcome them back to the department.”

This year’s exhibition, which opened May 16, showcases a variety of mediums – from onion-shaped vases to a digital photograph of a building in Cuba. Lawson Smith’s “Potentilla” was a unique mixed medium, as a small tree seemed to be en-veloped in a web of glass shards.

Bill Shaffer ’s “Flash Gloria” was a re-alistic pastel of a Roller Derby Girl, glar-ing intensely at a passerby.

Most of the pieces at the gallery are contemporary; however, a few of the pieces came from the decade their creators graduated in.

Sandra Zieg’s “Woman Waiting” was initially made in 1978 and is a beautiful bronze sculpture of a pregnant woman, covered in a bluish green patina.

Another piece, painted in 1975, is en-titled “The Blue Hog.” An impressionistic piece, it features two portly pigs drawn in vivid blues and whites. According to the artist, Greg Eilers, the hogs represented some social issues during the time.

“We had a lot of social unrest, and there was the Vietnam War.” Eilers said. “We have the two hogs, the rear hog, which is more of the students and protest-ers during the time. The blue hog is more of an authority as it turns and engages you. I just wanted to give a good represen-tation of college and what I experienced at the college and what I did at the time.”

One of the unique aspects of the piece is the frame, which Eilers made specifi-cally for the picture. In order to incorpo-rate the agricultural feel, the blue wooden frame is reinforced with barrel metal.

The art show also invited individuals who missed the first two events to submit their work, as the main purpose of the show was to re-connect with alumni.

Pinnell also said that the show paid tribute to many of the instructors who had passed away over the years. Their stu-dents carry on their legacy, as their styles show off the inspiration from both the time period and those who taught within them.

Visitors are welcome to stop by room 120 of Richards Hall between 8 a.m. and 5 p.m. Monday through Friday for access to the gallery. A closing reception will be held Aug. 5 from 5 p.m. to 7 p.m.

[email protected]

ALUMNI: FROM 12

This was a chance for the faculty

and staff to meet these students and welcome them back to the department.”

PETER PINNELchair, department of art & art history

PHOTO BY ALLISON HESS | DN


JACK SAMPSONJUNE 5, 2012

“Success is not a destination; it’s a journey.”A few years ago, Lao Tizer was sitting in a

bar with a few friends when he saw that quote posted on the wall. The words resonated with lead keyboardist, composer and creator of the world/fusion jazz band, Tizer.

“It’s a great thing to keep in mind,” Tizer said. “I think as artists we’re always thinking about where we want to be. Now I realize ev-erything’s just apart of the process.”

As an artist in his early 30s, Tizer could be considered young by jazz standards. But for a man his age, it seems as though he’s already lived a lifetime.

Tizer was born and raised in Boulder, Colorado, where he became fascinated with his sister’s piano at the age of five. He imme-diately began tinkering with the instrument and, after pleading with his parents, they set up his first formal lessons when he was nine years old. From there, Tizer began composing with the influence of his parents, who real-ized their son’s knack for songwriting.

“They always encouraged me to write my own,” he said. “Because that’s where my best talent laid.”

By junior high, Tizer was composing mu-sic for a school play. He began playing live at the age of 14.

His first manager recognized him in the fall of 1996 while Tizer was playing in Denver. It didn’t take long for Tizer to kick-start his career. In early 2007, he uprooted his talents to Los Angeles, where he quickly began play-ing at Universal Studios.

“I was fortunate to get some pretty cool

gigs early on,” Tizer said. “I used to play up at Universal Studios a lot, which was a very high-profile gig, especially for an 18-year-old kid. That was a blessing.”

Tizer admits his early success alleviated the culture shock so many aspiring artists encounter upon their arrival in the City of Angels.

He began working with his first songwrit-er, Norman Saleet, shortly after moving to Los Angeles. Saleet was primarily a pop song-writer who wrote hits for large-scale bands such as Air Supply.

Saleet’s success with writing hit pop songs wasn’t the best fit for Tizer, who was dabbling with classical material as a keyboardist. Even-tually Saleet referred him to a producer who exposed the young artist to the Emmy-winner and renowned jazz guitarist Chieli Minucci. Shortly after, Tizer and Minucci began col-laborating on compositions.

“We just kind of hit it off,” Tizer said. “He just kind of knew where I was coming from musically.”

At the time, Tizer was still on his classical, new-age kick, but Minucci opened him up to the idea of using drum programming with his music. The new sound became an inspiration for Tizer to form his own band, which was an idea he hadn’t considered before. Minucci’s experience in the music industry allowed him to serve as a mentor to Tizer and the two be-came close friends.

“He helped show me the ropes of the busi-ness over the years so I feel very fortunate to have made that connection early on,” Tizer said. “For anyone who’s aspiring to have a ca-reer in this realm, I think it’s really meaning-ful and helpful to have someone with expe-

rience and success to help guide you along.”Tizer’s career began to take off after his

first collaborations with Minucci. In 2001, Tizer released “Golden Soul,” his first studio record with a full band. The record’s first sin-gle, “Her Poetry,” garnered attention, reach-ing the Billboard Contemporary Jazz Album chart. Unfortunately, due to his manager’s personal and business issues, promotion was cut short after about six weeks. Tizer said the lack of promotion might have hurt the album from breaking through on a much larger scale.

Regardless, he considers the song to be the springboard for his career and is quick to acknowledge it opened many doors for him.

After “Golden Soul” spurred a larger fan base for Tizer, he moved on to his next project, “Diversify.” Tizer’s friend and guitarist David Kollman produced the 2006 album. It features Minucci, as well as Tizer’s current violinist, Karen Briggs. Tizer admits the record was tar-geted at commercial success, but it didn’t do as well as he had hoped, despite its continued appearance on the Billboard Contemporary Jazz Album chart. In hindsight, Tizer said he is a little disenchanted with the project.

His most recent studio record, “Passages” was released in 2009. Tizer decided to take on the project after being approached by an Australian fan who wanted to hear a more solo piano-oriented record. After “Diversify,” Tizer’s most recent album has brought him back to his roots.

“I reconnected with the fact that my per-sonal path to success is to stay true to my unique voice and what makes me successful,” Tizer said. “Some people in music achieve success because they have a knack for achiev-ing success on a commercial level but other

people’s gift is to do something that is more eclectic and offbeat. Ever since I made that transition back, my career has definitely blos-somed.”

The most recent developments with the band involve a new studio album with re-cordings including all new members of the group. The album has yet to be named, but it is set for a late-July release. With how much the group has evolved, Tizer said he is very excited for its release and expects this album to bring a new and vibrant sound to his dis-cography.

Today’s performance marks Lao Tizer’s second Jazz in June performance, but this time he’s playing alongside four members of his new group. Jeff Kollman, who is from Ohio, will play guitar and is the only familiar Tizer musician playing the show. Rufus Phil-pot, a member from London, will play bass and Raul Pineda, hailing from Cuba, will play drums.

“We’re expecting an even better show than they brought last time,” said Martha Florence, who has chaired the Jazz in June committee for 10 years. “His music has evolved a lot so I’m excited to see what he brings to the table this year.”

The melting pot of musicians will bring an edgier sound than previous Tizer performanc-es with more world and rock music influenc-es. Tizer said he expects his set to be a high-energy performance with fan interaction.

Having played in Jazz in June before, Tizer said he’s looking forward to making his way back to Lincoln.

“That show in 2008 was great,” Tizer said.

UP NEXT: TIZER QUARTETNEXT WEEK’S PERFORMERS ARE NO STRANGERS TO JAZZ IN JUNE. WHILE THE TIZER QUARTET

WILL FEATURE GRAMMY-WINNING SAXOPHONIST ERIC MARIENTHAL MAKING HIS DEBUET JAZZ IN JUNE PERFORMANCE AS WELL AS A NUMBER OF NEW BAND MEMBERS, LAO

TIZER – WHO PREVIOUSLY PERFORMED IN 2008 AND 2012 – WILL MAKE HIS THIRD JAZZ IN JUNE APPEARANCE NEXT TUESDAY, JUNE 14. THE FOLLOWING IS A

DAILY NEBRASKAN ARCHIVED STORY FROM TIZER’S MOST RECENT JAZZ IN JUNE PERFORMANCE. THE STORY HAS BEEN EDITED FOR CLARITY.

TIZER: SEE PAGE 15

COURTESY PHOTOS


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JOHNNY KEELYDN

Jazz and Yoga go together like hearing a smooth trumpet solo and instantaneously realizing you should probably stretch more often. This unique combo is finally coming together, officially, at Jazz in June this year.

Specially trained University of Nebraska-Lincoln Campus Recreation Group Fitness instructors will guide Jazz in June concert-goers throughout the class to align their shakrah’s and reach perfect zen before hear-ing the best jazz Lincoln has to offer.

The class starts an hour before the con-cert, from 5:30 p.m. to 6:30 p.m. and will be located in the green space just north of the Wood Arts Building.

Sarah Lewis, a fitness coordinator at Campus Recreation, contacted the organizers

of Jazz in June back in January about a pos-sible collaboration.

She saw an opportunity to expand the program while also sharing the passion of yoga with people who may not be so familiar with it.

“Yoga out on the grass, you can’t really get much better than that, outside in the sun-shine,” Lewis said.

The class is free, all participants need to do is sign a waiver and bring a mat.

Lewis explained that the classes will be very basic and open to people of all different skill levels.

“I definitely think it will be a great event,” Allen said. “The girls teaching it are really awesome and welcoming and do a good job of making everyone feel like they can do it.”

[email protected]

Yoga a welcome addition to Jazz in June

“I have such fond memories from that show. I know it’ll be a great audience. (Jazz in June is) a long-running series that’s well attended and well supported. It’ll be fun to be back in Lincoln.”

Tizer’s journey as a musician has includ-ed a 2002 nomination for Best New Jazz Artist and a 2011 nomination for Jazz Group of the Year at the Oasis Jazz awards. He’s toured in-

ternationally including stops in Dubai, South Africa, Indonesia and Barbados.

“I’m really grateful to have the opportu-nity to do what I do,” Tizer said. “It’s a gift, despite the ups and downs.”

DO YOU HAVE JAZZ IN JUNE MEMORIES TO SHARE? REACH US AT JAZZINJUNE@

DAILYNEBRASKAN.COM

TIZER: FROM 14

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