Diane Schuur Program Book - 4/5/2022

DIANE SCHUUR APRIL 5, 2022 SPONSORED BY:

PILOBOLUS BIG FIVE-OH

MARY OESTMANN GOLDBERG JOHN & LAURIE TAVLIN (NEBRASKA DIAMOND) KATHERINE F. STARACE JON HINRICHS & DONNA WOODS

2021–2022 SEASON SPONSORS

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The Friends of Lied is a membership organization of over 1,000 members, governed by a board of directors from across the state of Nebraska. Its purpose is to support and promote the Lied Center through education experiences, fundraising, social events and service. The Friends of Lied is a 501c3 taxexempt organization, serving as a support group for the Lied Center for Performing Arts. Contributions to the Friends of Lied are tax-deductible, and membership starts at just $50. Since its inception in 1989, the Friends of Lied has contributed over $7.5 million in support of the Lied Center’s mission to educate, inspire and entertain the people of Nebraska through the performing arts.

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ABOUT Schuur’s much-laureled career includes two GRAMMY™ Awards—each for Best Jazz Vocal Performance—on Timeless (1986) and Diane Schuur and The Count Basie Orchestra (1987).

Both were released by GRP Records, the label that had launched her recording career.

Schuur scored three additional GRAMMY™ nominations for subsequent albums Pure Schuur and Love Songs, as well as for the individual track “The Christmas Song.”

Schuur’s music has explored almost every locale on the American musical landscape, and her attendant studio collaborations—showcasing her pitchperfect execution and three-and-a-half-octave vocal range—are a who’s who of American originators in a plethora of styles. They include the albums Heart To Heart with B.B. King and Swingin’ for Schuur with Maynard Ferguson, alongside assorted tracks with Stan Getz, Ray Charles, Stevie Wonder, Herbie Hancock, Alison Krauss, Vince Gill, Mark Knopfler and Jose Feliciano, among countless others.

Distinguished producers who have joined forces with Schuur include Phil Ramone (Friends For Schuur), André Fisher (Pure Schuur, In Tribute), Barry Manilow (Midnight), Steve Buckingham (The Gathering), Dave Grusin (Schuur Thing, Deedles, Timeless) Al Schmitt (Blues for Schuur, Love Walked In) and Oscar CastroNeves (Schuur Fire).

The artist has been blind since her premature birth in 1953, having lost her sight to the disorder Retinopathy of Prematurity. It affected newborns receiving high-oxygen therapy during neonatal intensive care—which was standard practice until, tragically, 1954.

She first learned to play piano by ear, picking out tunes on the keys with two fingers at the age of 3.

“I sang to myself at night,” recalls Schuur.

“Mom and Dad would open the door a crack and yell ‘Diane, shut up,’ so I progressed from there to the closet.”

By age 6, Schuur was giving regular command performances amid her corduroy jumpers.

Her formal study of piano began while at the Washington State School for the Blind which Schuur attended until she was 11 years old.

A significant inspiration came at the age of 12 when her mother brought home an LP by the famed blind pianist George Shearing, Concerto for My Love. Young Diane learned all the pieces (by ear, of course), soaking up the distinctive style of Shearing. Her family arranged a meeting with Shearing during a local stint in Seattle, and she learned from that encounter that a life in music was indeed within her grasp, despite her handicap. Deedles finished her studies in public schools, eventually studying voice at the University of Puget Sound.

LIED CENTER FOR PERFORMING ARTS

After playing clubs around the Pacific Between 1984 and 1997, Schuur made Northwest, Schuur’s first break came 11 albums for GRP, plus two best-of in 1975 at the age of 21, when she did collections. She went on to record an informal backstage audition for four projects for Concord Records, and Doc Severinsen during one of The experienced a dream come true when Tonight Show bandleader’s tour stops Ahmet Ertegun, the legendary founder of at the Seattle Opera House. Severinsen’s Atlantic Records, signed her, resulting in drummer Ed Shaughnessy was so moved the 1999 release Music Is My Life.

by Diane’s She has talent, he “I SANG TO MYSELF AT NIGHT. appeared at invited her MOM AND DAD WOULD OPEN THE Carnegie Hall to sing with him at the DOOR A CRACK AND YELL ‘DIANE, seven times and has racked Monterey SHUT UP,’ SO I PROGRESSED FROM up numerous Jazz Festival Billboard THERE TO THE CLOSET.” the same chart-topping year. That jazz releases. Several classic filmed performance led to a return, high-profile performances are also available, including featured spot at Monterey in 1979, where Ray Charles In Concert with Diane Schuur Stan Getz, captivated by her set, became (Image Entertainment), Diane Schuur her mentor and advocate. & The Count Basie Orchestra (Image “She’s just like Sarah or Ella to me,” Getz Entertainment), and Live From Seattle with once said about Schuur. “She’s taking Maynard Ferguson (Paradise Artist Studios). from the tradition, and what comes out is Connecting with audiences is what Schuur her own conception and advancement does better than anything else, and after of the tradition.” five illustrious decades she’s still doing it, A subsequent invitation from Getz had her on record and in concert. participating in an all-star performance at “For the future I plan to continue my the White House with Dizzy Gillespie, Chick reading of American song,” reflects Corea, Jon Faddis, Itzhak Perlman and Schuur, “paying respect to celebrated Getz, filmed for PBS. When GRP Records writers and polishing their gems in owner Larry Rosen happened to catch its the jazz tradition.” broadcast, Rosen signed her immediately to GRP, and Schuur’s career took off.

And she is, indeed, fulfilling that goal, touring theaters and festivals around the First Lady Nancy Reagan requested Schuur world with her own group. return for an encore performance in 1984, and she was back in D.C. yet again in 1999, as one of the select musical guests invited to sing for Stevie Wonder at the Kennedy Center Honors (when Wonder received that prestigious award).

DIANE SCHUUR

JAZZ CIRCLE SPONSOR STORIES JOHN & LAURIE TAVLIN (NEBRASKA DIAMOND) John and Laurie have been dedicated supporters of Jazz Music for over 40 years.

John founded the Nebraska Jazz Orchestra in 1975. He served as NJO President and was a member of the NJO trumpet section from 1975 to 1988. As a jazz trumpeter John has been a soloist at sites ranging from London’s Crystal Palace Bowl to the jazz clubs of New York City, Chicago, Kansas City, Des Moines, New Orleans, San Francisco, Los Angeles and San Diego. He has performed with many jazz greats including Clark Terry, Bill Watrous, Don Menza and Ed Shaughnessy. In 1986 John was the recipient of the Lincoln Mayor’s Arts Award as a performing jazz artist.

John also founded the Johnny Manhattan Orchestra, a 19 member ensemble he created in 2016 to support the University of Nebraska Jazz Studies Program by employing jazz students to perform side by side with professional musicians in an active working band featuring classic Swing Era music.

Through their company, Nebraska Diamond, John and Laurie have sponsored many guest artists appearing with the Nebraska Jazz Orchestra. In addition, they have created and funded a Graduate Fellowship in Jazz Trumpet and an Excellence in Jazz Performance Scholarship Fund through the University of Nebraska Foundation which provides financial aid to select University of Nebraska jazz students.

John and Laurie together with their company Nebraska Diamond are proud to support the growth and appreciation of Jazz Music through their membership in the Jazz Circle of the Lied Performing Arts Center and are looking forward to attending many more Lied performances of this unique, creative and important American art form.

JON HINRICHS & DONNA WOODS Jon Hinrichs and Donna W. Woods are longtime Lincoln community leaders and supporters. Jon is a retired physician, as well as a musician who especially enjoys playing jazz and bluegrass. Donna has a well-known passion for the visual arts and also enjoys performing arts programs. She was part of the Lied Center’s founding team of community leaders, playing a role in the interior design of the venue in the late 1980s.

LIED CENTER FOR PERFORMING ARTS

MARY OESTMANN GOLDBERG As a child, I heard many recordings of jazz bands because my parents were great fans of the Big Bands of the 40s. I did not like these recordings of Benny Goodman, the Dorsey Brothers and others as a child. This was old music for old people. My father loved to listen to these records and had directed and contracted for his own Big Band that had a regular weekly radio program and played Gigues throughout the East coast during his college years. After being drafted during WW 2, he was assigned to directing Big Bands that entertained troops on the East Coast and at Great Lakes in Chicago.

Many years later, when I started a graduate program at UMKC Conservatory there was a huge jazz culture in the Kansas City area. Though this was not my field of study, I became extremely interested in the programs presented at the Charlie Parker Museum, at the University, and at the City Parks. Slowly, my interest and understanding increased and I put much of what I learned to work when I went back to teaching.

I feel very privileged to now support the new Jazz Circle at the Lied Center. I look forward to outstanding upcoming Jazz Presentations and to UNL/Public school student interaction with world-class artists through educational programs sponsored by the Lied. To have additional Jazz opportunities through the Lied Center is nothing but a plus for the state of Nebraska.

KATHERINE F. STARACE I am pleased to again be a sponsor in the Lied Center’s Jazz Circle. The Lied Center continues to bring great jazz musicians to Lincoln. In addition to the fabulous concerts, I appreciate the opportunity the Lied provides for local students to meet and learn from jazz masters.

The past two years have been difficult for us all, and the innovative programing which the Lied Center was able to bring to us was such a delight.

A big thank you to the Lied staff. Another reason I feel that the Lied Center is a jewel of Lincoln’s cultural scene is the diversity of programing which it provides. Not just jazz, but also dance, theater, and all kinds of music from around the world. Helping to support the Lied is one of my priorities.

DIANE SCHUUR