Langston Hughes Project

Kingsbury Hall presents

Langston Hughes Project

Langston Hughes Project cover

Ask Your 12

MAMA

Moods

for JAzz

February 12 | Kingsbury Hall Nancy Peery Marriott Auditorium

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KINGSBURY HALL PRESENTS

THE LANGSTON HUGHES PROJECT ASK YOUR MAMA: 12 MOODS FOR JAZZ Starring: Malcolm-Jamal Warner and Dr. Ron McCurdy and featuring the Ron McCurdy Quartet FEBRUARY 12, 2015 7:30 PM

PLEASE TURN OFF ALL CELL PHONES, PAGERS AND OTHER NOISEMAKERS. THE TAKING OF PHOTOGRAPHS, AUDIO OR VIDEO RECORDINGS IS STRICTLY PROHIBITED.

PROGRAM Mood 1: Cultural Exchange Afronato................................................................................ Ron McCurdy and Eli Brueggemann

Mood 2: Ride Red Ride In the Moment.................................................................. Ron McCurdy and Eli Brueggemann

Mood 3: Shade of Pigmeat In A Spiritual Place............................................................................................................ Ron McCurdy

Mood 4: Ode To Dinah Bass Lines...................................................................................... Ron McCurdy/Eli Brueggemann

Mood 5: Blues in Stereo Ode To Buddy........................................................................................................................ Ron McCurdy

Mood 6: Horn of Plenty Meet Me At Congo Square........................................................................................... Ron McCurdy INTERMISSION

Mood 7: Gospel Cha Cha Drums for Your Mama............................................................................................................ Peter Buck

Mood 8: Is It True Ask Your Mama................................................................................................................Eli Bruggemann

Mood 9: Ask Your Mama When You Are Gone................................................................................................................. Peter Buck

Mood 10: Bird in Orbit Madeleine’s Lullaby.......................................................................................................... Ron McCurdy

Mood 11: Jazztet Muted Hesitation Blues.......................................................................................................................... W. C. Handy

Mood 12: Show Fare, Please Show Fare.......................................................................................................................... Eli Brueggemann 6

KINGSBURY HALL PRESENTS

PROGRAM CULTURAL EXCHANGE In Negro sections of the South where doors have no resistance to violence, danger always whispers harshly. Klansmen cavort, and havoc may come at any time. Negroes often live either by the river or the railroad, and for most there is not much chance of going anywhere else. Yet always one of them has been away and has come home. The door has opened to admit something strange and foreign, yet tied by destiny to a regional past nourished by a way of life in common--in this case collard greens.

A State Department visitor from Africa comes, wishing to meet Negroes. He is baffled by the “two sides to every question” way of looking at things in the South. Although he finds that in the American social supermarket blacks for sale range from intellectuals to entertainers, to the African all cellophane signs point to ideas of change--in an IBM land that pays more attention to Moscow than to Mississippi. What--wonders the African--is really happening in the shadow of world events, past and present--and of world problems, old and new--to an America that seems to understand so little about its black citizens?

RIDE, RED, RIDE In the restless Caribbean there are the same shadows as in Mississippi, where, according to Time, Leontyne comes in the back door. Yet some persons in high places in Washington consider it subversive for ordinary people to be concerned with problems such as back doors anywhere--even suspecting those citizens of color who legitimately use the ballot in the North to elect representatives to front doors. But in spite of all, some Negroes occasionally do manage--for a moment--to get a brief ride in somebody’s American chariot.

SHADES OF PIGMEAT Oppression by any other name is just about the same, casts a long shadow, adds a dash of bitters to each song, makes of almost every answer a question, and of men of every race or religion questioners.

ODE TO DINAH Hard times endure from slavery to freedom--to Harlem where most of the money spent goes downtown. Only a little comes back in the form of relief checks, which leaves next to nothing for show fare for children who must live in a hurry in order to live at all. Yet in a milieu where so many untoward things happen, one cannot afford to take to heart too deeply the hazards. Remember Harriet Tubman? One of the run-away slaves in her band was so frightened crossing from Buffalo into Canada that on the very last lap of his journey he hid under the seat of the train and refused to glance out the window. Harriet said: “You old fool! Even on your way to freedom, you might at least look at Niagara Falls.”

BLUES IN STEREO Sometimes you are lucky, or at least you can dream lucky--even if you wake up cold in hand. But maybe with a new antenna you will get a clearer picture.

THE LANGSTON HUGHES PROJECT

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PROGRAM HORN OF PLENTY Certainly there are some who make money--and others who folks think make money. It takes money to buy gas to commute to the suburbs and keep one’s lawns sheared like one’s white neighbors who wonder how on earth a Negro got a lawn mower in the face of so many ways of keeping him from getting a lawn.

GOSPEL CHA-CHA Those who have no lawns to mow seek gods who come in various spiritual and physical guises and to whom one prays in various rhythms in various lands in various tongues.

IS IT TRUE? It seems as if everything is annotated one way or another, but the subtler nuances remain to be captured. However, the atom bomb may solve all this--since it would end the end results of love’s own annotation. Meanwhile, although the going is rough, triumph over difficulties at least brings subjective glory. Everybody thinks the Negroes have the most fun, but, of course, secretly hopes they do not--although curious to find out if they do.

ASK YOUR MAMA In spite of a shortage of funds for the movies and the frequent rude intrusions of those concerned with hoarding hard metals, collective coins for music-making and grass for dreams to graze on still keep men, mules, donkeys, and black students alive.

BIRD IN ORBIT Those who contribute most to the joy of living and the stretching of the social elastic are not stymied by foolish questions, but keep right on drawing from the well of the past buckets of water in which to catch stars. In their pockets are layovers for meddlers-although somewhere grandma lost her apron.

JAZZTET MUTED Because grandma lost her apron with all the answers in her pocket (perhaps consumed by fire) certain grand-and great-grandsons play music burning like dry ice against the ear. Forcing cries of succor from its own unheard completion--not resolved by Charlie Parker--can we look to monk or Monk? Or let it rest with Eric Dolphy?

SHOW FARE, PLEASE If the answers were on tickets in long strips like those that come from slots inside the cashier’s booth at the movies, and if I had the money for a ticket--like the an who owns all tickets, all booths, and all movies and who pays the ticket seller who in turn charges me--would I, with answer in my hand, become one of the three--the man, the ticket seller, me? Show fare, mama, please.....

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KINGSBURY HALL PRESENTS

PROGRAM

Jazz Montage: A Multimedia Concert Performance of Langston Hughes’s Ask Your Mama: Twelve Moods for Jazz The Langston Hughes Project is a multimedia concert performance of Langston Hughes’s kaleidoscopic jazz poem suite which features Malcolm-Jamal Warner and the Ron McCurdy Quartet. Ask Your Mama: 12 Moods for Jazz is Hughes’s homage in verse and music to the struggle for artistic and social freedom at home and abroad at the beginning of the 1960s. It is a twelve-part epic poem which Hughes scored with musical cues drawn from blues and Dixieland, gospel songs, boogie woogie, bebop and progressive jazz, Latin “cha cha” and Afro-Cuban mambo music, German lieder, Jewish liturgy, West Indian calypso, and African drumming -- a creative masterwork left unperformed at his death.

Jazz was a cosmopolitan metaphor for Langston Hughes, a force for cultural convergence beyond the reach of words, or the limits of any one language. It called up visual analogues for him as well, most pointedly the surrealistic techniques of painterly collage and of the film editing developed in this country in the 1930s and 40s, which condensed time and space, conveyed to the viewer a great array of information in short compass, and which offered the possibility of suggesting expanded states of consciousness, chaotic remembrances of past events or dreams -- through montage.

“To me,” Hughes wrote, “jazz is a montage of a dream deferred. A great big dream -yet to come -- and always yet to become ultimately and finally true.”

By way of videography, this concert performance links the words and music of Hughes’ poetry to topical images of Ask Your Mama’s people, places, and events, and to the works of the visual artists Langston Hughes admired or collaborated with most closely over the course of his career -- the African-inspired mural designs and cubist geometries of Aaron Douglas, the blues and jazz-inspired collages of Romare Bearden, the macabre grotesques of Meta Warrick Fuller and the rhythmic sculptural figurines and heads and bas reliefs of Richmond Barthe, the color blocked cityscapes and black history series of Palmer Hayden and Jacob Lawrence. Together the words, sounds, and images recreate a magical moment in our cultural history, which bridges the Harlem Renaissance, the post World War II Beat writers’ coffeehouse jazz poetry world, and the looming Black Arts performance explosion of the 1960s.

Ask Your Mama was dedicated to Louis Armstrong, “the greatest horn blower of them all,” and to those of whatever hue or culture of origin who welcomed being immersed in the mysteries, rituals, names, and nuances of black life not just in America but in the Caribbean, in Latin America, in Europe and Africa during the

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KINGSBURY HALL PRESENTS

PROGRAM years of anti-colonial upheaval abroad and the rising Freedom Movement here at home. Not only the youthful Martin Luther King, Jr. but the independence leaders of Guinea and Nigeria and Ghana and Kenya and the Congo fill the chants and refrains of Hughes’s epic poem.

Originally, Langston Hughes created Ask Your Mama in the aftermath of his participation as an official for the five-day Newport Jazz Festival of July 1960, where he shared the stage with such luminaries as Louis Armstrong, Dizzy Gillespie, Horace Silver, Dakota Staton, Oscar Peterson, Lambert, Hendricks, & Ross, Otis Spann, Ray Charles, and Muddy Waters. The musical scoring of the poem was designed to serve not as mere background for the words but to forge a conversation and a commentary with the music. Though Hughes originally intended to collaborate with Charles Mingus, and then Randy Weston, on the full performance of his masterwork, it remained only in the planning stages when Langston Hughes died in 1967. Its recovery now in word, music, and image provides a galvanizing

THE ARTISTS Malcolm-Jamal Warner is a wellrespected actor and director who first rose to national prominence starring on the celebrated and longrunning classic television series “The Cosby Show.” He has continued to achieve success as an actor, but also has received accolades as a poet and bass player. Warner along with his jazz-funk band Miles Long has performed in several major jazz festivals including the Playboy Jazz Festival and has opened for such high profile acts as Earl Klugh and the late Luther Vandross as well as his recent appearance at the historic Apollo Theater. Warner made his feature film debut in Drop Zone and can be seen in the comedy-adventure Fools Gold starring Matthew McConaughey, Kate Hudson and Donald Sutherland.

Malcolm also co-starred in the independent films, Restaurant with Adreinne Brody, A Fare to Remember and The List with Wayne Brady. On stage, Warner has starred in the offBroadway play Three Ways Home, Cryin’ Shame, for which he received the NAACP Theater Award for best supporting actor, Freefall at the Victory Garden Theatre in Chicago and in A Midsummer Nights’ Dream at the La Jolla Playhouse in California. Most recently Warner received critical acclaim for his West Coast debut of his one-man theatrical production of Love and Other Social Issues. A seasoned director, Warner was one of the regular directors on the comedy series Malcolm & Eddie and also directed several episodes of The Cosby Show, All That, Keenan & Kel, as well as a host of music videos.

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His short film, This Old Man, received critical acclaim on the theater festival circuit. For four seasons Warner was heard as the voice of the “Producer” on PBS’s The Magic School Bus. Currently he can be heard on the audio book version of The Marvelous Effect published by Berkley Trade as well as Simon & Schuster’s Fatherhood

by Bill Cosby. Born in Jersey City, New Jersey, Warner currently lives in Los Angeles, California.

Dr. Ronald C. McCurdy is professor of music in the Thornton School of Music at the University of Southern California (USC) and is Past-President of the International Association for Jazz Education (IAJE). Prior to his appointment at USC he served as Director of the Thelonious Monk Institute of Jazz at USC. He has served as Professor of Music and chair of the Afro-African American Studies Department and served as Director of Jazz Studies at the University of Minnesota. In 1997, Dr. McCurdy served as Visiting Professor of music at Maria-Curie Sklodowska University in Lublin, Poland. Dr. McCurdy is a consultant to the Grammy Foundation educational programs including serving as director of the National Grammy Vocal Jazz Ensemble and combo.

He serves as Director of the Walt Disney All-American College Band in Anaheim, CA. Dr. McCurdy has had an affiliation with the Walt Disney Company for more than 20 years. Dr. McCurdy is a performing artist for the Yamaha International Corporation.

For more information, please visit his website: www.ronmccurdy.com KINGSBURY HALL PRESENTS

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THE ARTISTS Sabine Pothier, originally from Moscow, Russia is jazz pianist/ composer/arranger, currently lives in Los Angeles. She is classical concert pianist in her past, but she found her passion for jazz music, while living in Washington, DC in 2007-08. After she moved to Los Angeles, she quickly became a part of the scene here, and was featured as side person and band leader at such venues as: Blue Whale, Spazio, Maverick’s Flat, Seabird Jazz Lounge, First&Hope, Barbara Morrison Performing Arts Center.

She performed with Scotty Barnhart, Clayton Cameron, Ricky Woodard, Barbara Morrison, Sandra Booker, Jay Jackson, Tony Dumas, Henry “Skipper” Franklin, late Ralph Penland, Chuck Manning, Zane Musa, AC Alone and others. She co-produced and released her brand new album Keys To The City Of Lost Angels which contains mostly her original works. The album has already been airplayed at several jazz stations all across the country and was greatly received by audiences.

Steve Lyman is a drummer, composer, bandleader, author, and educator.

As a performer, Lyman has enjoyed sharing the stage with some of the world’s finest musicians including: Aaron Parks, Nir Felder, Gilad Hekselman, Julian Pollack, Chase Baird, José James, Ben van Gelder, Ben Street, Bill McHenry, George Garzone, Christopher Tordini, Ralph Alessi, Logan Richardson, Jaleel Shaw, Thomas Morgan, Joe Martin, Dan Tepfer, and Corey Christiansen to name a few. As an educator, Lyman has taught master 14

classes at Utah State University, Brigham Young University, and The University of New Mexico at Santa Fe. In 2007 Lyman co-led a drumset master class alongside legendary jazz drummer Billy Hart at Montclair State University, NJ, as well as taught combos at the University of Utah from 2010-2012. Steve Lyman holds degrees from the New School University in New York City and the University of Utah.

Josh Skinner is a bassist who maintains an active career as a performer and educator. Fluent in both jazz and classical idioms, Skinner frequently performs with the Divergent, Kate Skinner Trio, Greeley Philharmonic, Fort Collins Symphony, Idaho Falls Symphony and many other regional jazz and classical ensembles.

He has traveled throughout the United States as a performer, clinician and adjudicator working with both classical and jazz soloists and ensembles.

Skinner is currently music faculty at Utah State University, teaching the bass studio and courses in jazz studies and music theory. Skinner holds a BM degree in music education from Utah State University, MM degrees in music education and performance from the University of Idaho, and is currently a doctoral candidate in bass performance from University of Northern Colorado.

He is a member of Pi Kappa Lambda, The International Society of Bassists, Jazz Education Network, NAfME, and ASTA

KINGSBURY HALL PRESENTS

DONORS Lee A. and Audrey Mack Hollaar The Bireley Geoffrey W. and Foundation Jonette C. Mangum Nancy Peery Marriott Parsons, Behle & Foundation, Inc. Latimer Salt Lake County Zoo, Sorenson Legacy Arts & Parks Foundation Western States Arts $10,000-$24,999 Federation Art Works For Kids John and Marcia Price XMission Family Foundation Zions Management Services Company Salt Lake City Arts

Jeff and Cynthia F. Fleming H. Ric and Janet K. Harnsberger Robert R. and Sharon G. Kain Sharon Kessel Peter J. and Carolyn G. Kowalchik Siew Hong Lam and Lee Min Lau $250-$499 John C. and Sheryl L. Mike Lobb Robert S. and Cheryl Allen P. Marzec Kenneth M. and Council $1,000-$2,499 Barbara L. Calney Glen McBride George Q. Morris Nicholas G. and Becton, Dickinson and Eric Norman and Foundation Louise M. Morgan Company Shellie Eide National Endowment Kenneth P. and E. Dean and Barbara Chris B. and Linda C. for the Arts Oberle Sally R. Burbidge J. Hamblin Utah Division of Arts Michael G. and Foundation Richard L. and and Museums Jennifer M. Rhode Sue J. Ellis Darlene Hirschi John K. and Ilauna J. Gilbert H. and Thelma Lisa A. Robinson $5,000-$9,999 Robert T. and Diane Gurr P. Iker Bruce W. Bastian K. Rolfs Robert E. and Mikelle Thomas B. Greene and Foundation Charles L. Saltzman Schlupp Mansfield Maria C. Sgambati R. Harold Burton and Ingrid Nygaard Jerry and Linda V. Randall F. and Foundation James E. and Janet Rowley Susan F. Turpin Hampton Inn W. Schnitz Mark J. and Dana C. Dinesh and Kalpana Service First Realty Wiest $100-$249 Patel Foundation Group Wells Fargo Carolyn C. Abravanel Prince, Yeates & William and Donna R. Foundation Patricia J. Andriano Geldzahler Vogel Kenneth-Claude A. New England Paul N. and Bonnie P. $500-$999 Ashton and Kristin Foundation for the Weiss Marian W. Ingham M. Lambert Arts Kevin K. and Alice L. Jerry W. Hussong and Kevin R. and Andrea Christopher Hill and Jacqueline Brian Burka H. Barnes Steiner Wittmeyer Michael Feehan Don P. and Jennifer and Margaret M. Barlow $2,500-$4,999 And other anonymous DeAngelis Anne Cullimore Every Blooming Thing donors Decker Richard K. and Shirley Church of Jesus Christ of Latter-day Patrick S. and Lynn E. S. Hemingway Saints deFreitas Foundation

$25,000 +

Robert & Barbara Patterson Memorial Foundation Richard P. and Jeri Neese Pugh Peter J. and Michelle B. Morgan Brad E. and Linda Walton

All gifts made between January 1, 2014 and December 31, 2014.

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KINGSBURY HALL PRESENTS

KINGSBURY HALL STAFF

Brooke Horejsi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Executive Director John Armstrong. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Events Manager Gay Cookson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Development Brooke Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ticket Office Manager Michael Draper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sound Engineer Stephanie Gosdis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Executive Secretary Patrick Grace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Operations Director Sheri Jardine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Communications Manager Tatiana Makransky.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Development Specialist Josh Rasmussen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Accountant Randy Rasmussen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Technical Director Cody Watkins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Stage Manager Robin Wilks-Dunn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Community Engagement Manager Steve Wimmer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage Manager

KINGSBURY HALL ADVISORY BOARD Geoff Mangum, Chairman Bill Bireley Michael Feehan Jake Garn Don Gale

Marian Ingham Jennifer Kohler Rob Mansfield Peter Morgan

Jeri Pugh Matt Sanders Krista Sorenson

Raymond TymasJones Mark Wiest

Kingsbury Hall presents For information about including

Kingsbury Hall in your will or trust, call Gay Cookson at

801-587-7844.

The Bireley Foundation Thank you to the people of Salt Lake County for supporting Zoo, Arts and Parks

The George Q. Morris Foundation

R. Harold Burton Foundation

Sorenson Legacy Foundation

Lee and Audrey Hollar Alice and Kevin Steiner Richard K. and Shirley S. Hemingway Foundation

The Castle Foundation

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KINGSBURY HALL PRESENTS

PATRON INFORMATION • In the event of an emergency, please walk to the nearest exit and follow instructions given by theatre personnel and ushers. Auditorium exits are clearly marked with lighted exit signs above each door.

Move away from the building to a safe place.

• Late-comers will be seated in accordance with the seating guidelines of the individual production.

• Restrooms are available in the lower lobby.

• Refreshments are available in the lower lobby.

• Drinking fountains are available in the upper and lower lobbies.

• Coat check service is available in the lobby on the west side.

• Free assisted-hearing devices are available from the coat check room in the main lobby on the west side.

• Cameras and recording devices are strictly forbidden unless permission for their use is authorized in writing by theatre management.

• Ticket office is located on the lower plaza, east of the main staircase.

For ticket information, call 801581-7100.

• Children under six are not admitted to performances. All patrons must have a ticket regardless of age. Lap sitting is not allowed.

• Lost and found is located in the ticket office or by asking the house manager. Please leave your name, phone number and description of the lost item with the ticket office (581-7100) or house manager.

• Disabled parking is located on the east side of Kingsbury Hall via Presidents Circle.

• The patron elevator is located on the west side of all three lobbies.

• Food and drink are not allowed in the auditorium.

• Bottled water purchased in the theatre is the only refreshment allowed in the auditorium. The $2 cost benefits the Student Performance Fund and the theatre’s care.

• Please silence mobile phone, pagers and watches. Patrons expecting an emergency call are urged to leave pagers and seat numbers with the house manager.

• Kingsbury’s past? Visit the historic photographic retrospective in our Legacy Gallery in our mezzanine lobby.

• Kingsbury’s future? Visit the Wall of Recognition in our lower lobby.

Find out howv you can join those who have so generously supported Kingsbury Hall. Thank you for your patronage.

• Visit Kingsbury Hall online at www.kingsburyhall.org

Dan Miller, President; Cynthia Bell Snow, Office Administrator; Jackie Medina, Art Director; Leslie Hanna, Ken Magleby, Patrick Witmer, Graphic Design; Paula Bell, Karen Malan, Dan Miller, Paul Nicholas, Advertising Representatives; Jessica Alder, Office Assistant; Kyrsten Holland Administrative Assistant The Langston Hughes Project playbill is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106, 801/467.9419. Inquiries concerning advertising should be directed to Mills Publishing, Inc., Copyright 2015

THE LANGSTON HUGHES PROJECT

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