Our Chairman Herbie Hancock explains how the Institute is updating its programming in response to the coronavirus.
Help support the Institute’s virtual jazz education efforts by making a tax-deductible online donation today, subscribing to our mailing list, and following us on Facebook, Twitter and Instagram.
Learn more about our award-winning educational initiatives, which have been offered for free in public schools across the United States for more than 30 years.
by Dr. J.B. Dyas, Institute Vice President for Education and Curriculum Development
This article originally appeared in the March 2020 issue of JazzEd Magazine.
Jazz is being performed all over the world in every kind of venue imaginable – jazz clubs, concert halls, festivals, universities, high schools, coffee shops, shopping malls, hotel lobbies, restaurants, art museums, and more. But who would have thought that the U.S. Federal Trade Commission (FTC) would be among them? Turns out that besides loving the music for the aesthetic enjoyment it provides, the FTC powers-that-be realize the important lessons in leadership that can be procured from jazz. With a mission of protecting the consumer via the elimination and prevention of anticompetitive business practices, monopolies, and false advertising–along with over 1,000 employees from investigators to attorneys to specialists in information technology, public affairs, financial management, and public policy–the FTC recognizes that effective leadership is paramount.
The FTC’s chief learning officer, Mark Kern, contacted me as the Commission was organizing a three-day Leadership Academy for their highest level employees. Apparently, there’s some infighting in Washington, D.C. these days (Really? I hadn’t heard!), including at some of our federal agencies, and Kern thought, “Wouldn’t it be great if the FTC ran more like a jazz group?” They were interested in, “learning from the jazz space how to build better coalitions and partnerships on teams in their space.”
This all came to fruition at the FTC Headquarters in Washington, D.C., where the Herbie Hancock Institute National Peer-to-Peer Jazz Quartet–comprising four of the most impressive high school jazz musicians in the country–along with renowned jazz trumpet recording artist Sean Jones and I presented a workshop entitled, Leadership Through the Jazz Paradigm.
After performing a couple of tunes, we gave our “What is Jazz and Why It’s Important to America” presentation, demonstrating how jazz works and how jazz exemplifies our most deeply held American values: teamwork, unity, the correlation of hard work and goal accomplishment, democracy (individual freedom but with responsibility to the group), persistence and perseverance, respect for one another, tolerance, and the vital importance of really listening to one another. This was followed by our describing leadership in jazz and what might be gleaned from it to inform current and future leaders at the FTC and others outside the music realm.
Following is a synopsis of six exemplary leadership lessons found in jazz that we examined and demonstrated:
Jazz musicians…
1. Know how to overcome problematic working conditions. For example, if the stage is too small, the piano is out of tune, the acoustics are bad, the pay is way light, and/or whatever else, we still have a great set! If the hi-hat doesn’t work, or the drummer doesn’t show up, we still have a great set. And if a couple of players in the band don’t see eye to eye, we not only have a great set, we just might create some of the most beautiful music in history like jazz greats Miles Davis and John Coltrane did in their 1950s group. There you had two musicians who had such totally different philosophies on the “right” way to play jazz (Miles using space, Trane filling up every space, et cetera), and no one would ever accuse them of being best buddies. Yet, that group has gone down in history as one of the most exquisite pieces of art (irrespective of genre) of all time–right up there with da Vinci, Beethoven, Mozart, Picasso, Baryshnikov, Shakespeare, Tolstoy, Spielberg…And, from a business standpoint, the album, Kind of Blue, that Miles and Trane recorded in 1959, is not only a masterpiece, it’s the best-selling jazz record of all time.
2. Take turns leading. Even when there’s a designated leader in the group (which is most often the case), each member of the group will take turns leading, depending on the moment and the situation. For instance, at any given moment during a performance, the soloist might be in charge, or the drummer, or the rhythm section collectively, or whoever. Everyone in the group acknowledges this and goes along, enjoying the different leadership of the moment. For example, although piano luminary Dave Brubeck was certainly the designated leader of the iconic Dave Brubeck Quartet, leadership changed hands continuously among Dave, saxophonist Paul Desmond, and the rhythm section (bassist Eugene Wright and drummer Joe Morello) throughout every performance. Collective leadership can be heard on their extraordinary recordings as well. The superlative results are legendary.
3. Know that the whole is greater than the sum of the parts, and that the goal is more important than anything else. In the case of the jazz combo, the goal is to make great music. So, once on the stage, we ignore any personality conflicts, we check our egos at the door, we work together and enjoy the experience regardless of whatever–all in order to achieve our goal of making great music. No matter what, jazz musicians always “maintain civility in the workplace”–something that all those in government agencies, business, higher education, healthcare, and everywhere else should do.
An excellent example of two jazz icons whose personalities couldn’t have been more opposite, but who worked together successfully for years are, again, Dave Brubeck and Paul Desmond. Dave was a devout Catholic, faithful husband, and family man who took care of his health and didn’t indulge in drugs, booze, or cigarettes. Paul was a confirmed bachelor, infamous womanizer, avid drinker, drug user, and chain smoker (he died of lung cancer at age 52). Yet, this duo, too, is universally known for recording some of the most groundbreaking albums of all time, including the fifth best-selling jazz album in history, Time Out, featuring the chart-topping single, “Take Five.” Offstage, Dave and Paul may have butted heads and argued about everything under the sun, but once they hit the downbeat, they were of one mind, one purpose.
4. Recognize the contributions of others. Jazz musicians revere the masters of the past and so enjoy listening to those of the present. We’re always talking about how great someone else plays. We love to help and encourage up-and-coming players. And we’re quick to point out when someone in the band has done something cool and compliment them (“Loved the substitutions you played on the bridge… Man, you sound better and better every time I hear you… Love what you did at the end of ‘Cherokee’ – can you show me?”).
5. Really listen to each other. Jazz musicians can only function if they’re actively and intensely listening to one another. Wouldn’t it be great if Congress were made up of all jazz musicians!
6. Improvise. Often in government agencies, business, and everywhere else, things don’t always go according to plan. Here, improvisation is key – making something that went awry into something better than if it hadn’t gone awry! Piano legend Herbie Hancock tells the story of how once when he was playing with the Miles Davis Quintet in the 1960s, he spaced out for a second and, while Miles was soloing, he played not only the wrong chord, but the “worst chord possible.” Miles immediately changed his note and made it fit beautifully – better than if Herbie had played the “right” chord. This became somewhat of a common occurrence in that group and it, too, has gone down as one of the most successful and influential in history. Miles encouraged his “employees” to experiment, be creative, and lead him as much as he led them.
By the reports, the presentation was well-received by all in attendance. “The reaction to the jazz informance was extremely positive,” wrote Kern in an email regarding the evaluations submitted by the FTC Leadership Academy attendees that included such sentiments as, “Just incredible; I haven’t appreciated jazz until today and the related leadership points were truly illuminating” and “The leadership found in jazz is so very relevant [to our work at the FTC] and brought to the topic a new point of view.”
“The participants came away with a keen understanding of how jazz relates to leading in our agency in an enlightening and permanent way,” Kern continued. “Perhaps our best lesson was on individuals able to do their own thing while positively contributing to the overall good.”
This article originally appeared in the March 2020 issue of JazzEd Magazine. Click here to download the full article.
WASHINGTON, D.C. – Due to ongoing concerns about the spread of the coronavirus, the International Jazz Day 2020 Global Host Celebration in Cape Town and other cities across South Africa, including the All-Star Global Concert on April 30, will not take place as scheduled. This decision has been undertaken in response to guidance issued by government and public health officials in South Africa and reflects the high priority that the Institute, its partners and local organizers place on the health and safety of all participating musicians, staff, affiliates and the public.
International Jazz Day would not be possible without the thousands of independent organizers around the world who faithfully help bring the message of this unique music into their communities each year on April 30. We strongly encourage our partners to follow all local public health directives and government guidelines when considering whether to go ahead with an International Jazz Day program. Many partners have already rescheduled their programs for a later date, pending the abatement of the current global pandemic. These postponed events will be gratefully recognized as official celebrations of International Jazz Day.
For over a century, jazz has been a unifying force, rallying people around the world through the universal language of music regardless of the distance between them. With this in mind, International Jazz Day will still go forward on April 30. Though large-scale public concerts, colloquia and other gatherings that have for nearly a decade been a hallmark of this celebration, this year we are encouraging organizers to minimize viral transmission by celebrating at home. Resources, information and ideas for celebrating can be found at jazzday.com.
To allow our amazing community of jazz lovers, students and local International Jazz Day leaders a special opportunity to connect with each other, on April 30, the Institute and its partners will be organizing a virtual forum featuring acclaimed artists and webcasts of exclusive content, offered free of charge. Further details will be announced in the coming weeks.
The Institute extends a special invitation to all of its partners to submit smartphone videos, audio recordings and other virtual expressions of participation to show solidarity with everyone affected by this challenging situation. Submissions will be featured in a free live stream available worldwide as part of the virtual programming on April 30.
Herbie Hancock, UNESCO Goodwill Ambassador for Intercultural Dialogue and Co-Chair of International Jazz Day, said, “These are unprecedented times for world citizens and we are most grateful for the support, understanding, and partnership of our Jazz Day community. Armed with optimism, patience and grace, we’ll work through these challenges as families, communities, countries and as a stronger united world. Now more than ever before, let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect especially in the midst of all this isolation and uncertainty.”
Our deep gratitude and appreciation go to the South African Department of Sports, Arts and Culture; South African Tourism; the South African National Commission for UNESCO; the City of Cape Town, the SPIN Foundation; the many local partners and community leaders in South Africa; and the worldwide International Jazz Day community for their efforts in support of International Jazz Day 2020.
Dr. JB Dyas, the Institute’s Vice President for Education and Curriculum Development, presented a piano voicings workshop and participated in a best practices panel discussion at the 2020 Southern California School Band and Orchestra Association (SCSBOA) Annual Conference. The three-day conference welcomed more than 500 band directors, music teachers, and honors students representing elementary, middle and high schools, as well as colleges and universities.
“The primary purpose of the clinic was to teach non-pianist band directors how to teach the piano players in their jazz ensembles to form authentic jazz chord voicings from chord symbols,” Dyas explains. “When I work with high school jazz bands around the country, I find that too often the pianists are just playing basic chords, not jazz chords, simply because they haven’t been taught how to play jazz chords.”
Utilizing a series of mnemonics, Dyas explained and demonstrated how any jazz voicing can be transposed easily to any key. “Once you understand the system and see how the chords are formed,” Dyas adds, “playing them in all keys, and progressing smoothly from one chord to another, is a snap!”
Dyas also participated in a “Best Practices” panel discussion alongside Dan St. Marseille and Charlie Richard, directors of jazz studies for California Baptist University and Riverside City College, respectively. The panelists fielded questions from the audience regarding the best ways to teach key jazz topics and direct ensembles.
“The main point I wanted to get across was that a jazz ensemble should not be a ‘concert band with a swing beat,’ with everyone just reading their part,” Dyas iterated. “In jazz, every band member should know what’s going on, and that includes knowing the form and chord progression for all the tunes they’re playing. And it’s imperative that everyone listen to the definitive recordings of the tunes they’re working on, know who the seminal players are, and emulate them; this experience will inform and inspire their own individual voices.”
Learn about the Institute’s public school jazz education programs
Combos from three partner schools in the Institute’s National Performing Arts High Schools Jazz Program participated in the annual Jazz Education Network (JEN) Conference in New Orleans on January 8 and 9, 2020. The Chicago High School for the Arts (ChiArts) Jazz Quartet and a combo of top students from the Baltimore School for the Arts and New Orleans Center for Creative Arts each performed a set, sharing a bill with distinguished artists including Tia Fuller, Sean Jones, Dick Oatts, Terell Stafford, Chucho Valdés, and Mark Whitfield.
“I’m so proud of the way these students performed and comported themselves,” said Dr. JB Dyas, the Institute’s Vice President for Education and Curriculum Development. “They have made incredible progress since the last time I worked with them just a few months ago!”
Contributing to the ongoing centennial celebrations for the late jazz icons Charlie Parker and Dave Brubeck, the ChiArts Quartet performed noteworthy standards by both artists, including Parker’s “Donna Lee” and “Anthropology” and Brubeck’s “Koto Song” and “Here Comes McBride.” The Baltimore/New Orleans combo performed a set of early New Orleans jazz tunes, including “When the Saints Go Marching In” and “Just a Closer Walk with Thee.” They incorporated modern twists in the style of Gumbo Nouveau, the noted album by New Orleans’ own Nicholas Payton. Internationally renowned jazz trumpeter and Institute teaching artist Jon Faddis joined the group for its finale, Bourbon Street Parade.
“My hat’s off to not only these talented students but, especially, their excellent directors, Anthony Bruno, Ed Hrybyk and Michael Pellera,” added Dyas. “They keep producing superlative young players, year after year, reassuring all of us that the future of our music is in good hands.”
The Institute is heartbroken to learn of the passing of Institute trustee Jimmy Heath, a giant of jazz who left an indelible mark on the music he loved and helped shape. At the age of 93, Heath was a living legend who bore that mantle with characteristic good humor and humility.
In more than 70 years on the scene, he appeared on over 100 records, penned over 125 compositions—including the jazz standards “CTA” and “Gingerbread Man”—and appeared with countless jazz icons including Miles Davis, Dizzy Gillespie, Slide Hampton, Joe Henderson, Sonny Rollins, Herbie Hancock, Wynton Marsalis and many others. Heath, alongside brothers Percy and Tootie, presided over nearly every era of note in jazz history, from big band swing to bebop to post-bop and beyond—always staying true to his signature sound.
Heath spent 20 years as Professor of Music at the Aaron Copland School of Music at Queens College and was a passionate standard bearer for jazz education through his over three decades of work and advocacy on the Institute’s Board of Trustees. Always giving generously of his time, wisdom, and inimitable style on the saxophone, he served on the judging panels for all but one of the Institute’s Saxophone Competitions, helping to launch the careers of talents such as Joshua Redman, Chris Potter, Jon Irabagon, and Melissa Aldana–the first woman instrumentalist to take first prize at an Institute Competition. He appeared at the inaugural celebration of International Jazz Day in 2012 at United Nations Headquarters in New York, fittingly keeping stride with other musical icons like Hugh Masekela and Stevie Wonder. But perhaps most significant was his dedication to serving as an artist in residence at the Institute’s Jazz Performance program, teaching and imparting priceless insights and mentorship to the next generation even into his tenth decade.
In recognition of his tireless work to preserve and perpetuate jazz, Heath was presented with the Maria Fisher Founder’s Award in 1994.
Most recently, Heath performed at our 2018 Piano Competition in Washington, D.C., joining a stage brimming with talents that he helped nurture and inspire. With his wit, wisdom and effortless musical mastery, the jazz world and this Institute will never be quite the same without Jimmy.
The 2019 edition of the Herbie Hancock Institute National Peer-to-Peer Jazz Quintet, comprising five of the most impressive high school jazz musicians in the country, recently reunited to perform at the Institute’s International Jazz Guitar Competition Finals & All-Star Gala at the Kennedy Center in Washington, DC on December 3rd. On the same bill as such jazz luminaries as Herbie Hancock, Terence Blanchard, and Bobby Watson, the group opened the show with acclaimed saxophonist Antonio Hart, performing Hart’s arrangement of Seven Steps to Heaven, one of the first compositions Hancock recorded with fellow jazz icon, Miles Davis.
Under the direction of Dr. JB Dyas, the Institute’s VP for Education and Curriculum Development, the peer-to-peer students annually participate in weeklong national peer-to-peer jazz informance tours in which they gain invaluable performance experience playing alongside internationally acclaimed artists while they, in turn, educate young audiences in public schools across the U.S. about America’s indigenous musical art form, jazz. In so doing, they not only help develop jazz audiences for the future, but also exemplify the deeply held American values that jazz represents: teamwork, unity, democracy, persistence, and the vital importance of really listening to one another.
The 2019 group was composed of alto saxophonist Jalin Shiver(Newark), tenor saxophonist Sasha Ripley (Houston), pianist Dalton Hayse (Los Angeles), bassist Dario Bizio (Los Angeles), and drummer Jeremiah Collier (Chicago). The Quintet toured New England in spring 2019 with esteemed trumpeter/educator Sean Jones, performing in high schools in Maine, New Hampshire, and Vermont. They also performed at the U.S. Federal Trade Commission headquarters in Washington, DC, where they presented a workshop for the FTC’s highest level employees on leadership lessons that can be gleaned from the jazz paradigm.
The Institute congratulates these talented young artists on their achievements, and thanks them for their dedication to sharing the positive lessons of jazz with audiences of all ages.
Washington, DC – The 2019 Herbie Hancock Institute of Jazz International Guitar Competition and All-Star Gala Concert came to a thrilling conclusion following the announcement of Evgeny Pobozhiy, 30, of Seversk, Russia, as first place winner of the Competition. Pobozhiy then joined the evening’s honoree, Terence Blanchard, and a host of jazz guitar legends onstage for a dazzling performance of Wes Montgomery’s “Four On Six.”
Presented by the Herbie Hancock Institute of Jazz, the world’s preeminent jazz education organization, the Competition awarded more than $150,000 in scholarships and prizes, including a $30,000 scholarship and a guaranteed recording contract with Concord Records for the first-place winner. Internationally acclaimed guitarists Stanley Jordan, Lionel Loueke, Russell Malone, Pat Metheny, Chico Pinheiro, Lee Ritenour and John Scofield served as the Competition judges.
The December 3rd event at the Kennedy Center Eisenhower Theater featured a star-studded Gala Concert with the presentation of the Institute’s Maria Fisher Founder’s Award to multi-GRAMMY Award-winning trumpeter, composer and educator Terence Blanchard. The evening featured stellar performances by a diverse group of all-stars including Musical Director John Beasley, Dee Dee Bridgewater, Keith David, Antonio Hart, Jane Monheit, Cassandra Wilson and Lizz Wright. They were joined onstage by many of Blanchard’s former Institute students, among them Billy Buss, Alan Hampton, Lionel Loueke, Gretchen Parlato, Walter Smith III and Dayna Stephens. These young artists have become leading names on the international jazz scene.
First place winner Pobozhiy captivated the audience with his performances of “502 Blues” and “Falling Grace.” Second place winner Max Light, 27, of Bethesda, Maryland performed “Hey, It’s Me You’re Talking To” and “Prelude To A Kiss,” and third place winner Cecil Alexander, 25, of Muskegon, Michigan performed “One Finger Snap” and “Infant Eyes.” They were among the 12 outstanding, young guitarists from seven countries around the world who competed a day earlier in the Competition Semifinals at the Smithsonian National Museum of the American Indian’s Rasmuson Theater. Pianist Reggie Thomas, bassist Yasushi Nakamura, drummer Carl Allen and saxophonist Bobby Watson accompanied each competitor.
The Gala began by shining a spotlight on emerging musicians. The Institute’s National Peer-to-Peer High School All-Star Jazz Quintet performed the Miles Davis standard “Seven Steps to Heaven” alongside saxophone great Antonio Hart. Among the nation’s most accomplished young jazz musicians, these students train with Institute teaching artists at public performing arts high schools across the country.
The evening also showcased the Herbie Hancock Institute Ensemble, joined by vocalist and Institute graduate Michael Mayo, performing “I Remember You.” These gifted musicians from around the world receive full scholarships to attend the Herbie Hancock Institute of Jazz Performance, the Institute’s master’s degree program at the UCLA Herb Alpert School of Music in Los Angeles. The students, who represent the next generation of jazz artists, study for two years with world-renowned jazz musicians, composers and educators.
Dee Dee Bridgewater, Musical Director John Beasley and Diego Urcola, a winner of the Institute’s 1997 Jazz Trumpet Competition, honored Louis Armstrong with their mesmerizing rendition of “What A Wonderful World.” Jane Monheit joined forces with Antonio Hart to pay tribute to Brazilian bossa nova with their performance of the Antonio Carlos Jobim classic, “Chega de Saudade.” Monheit then spoke about one of her musical idols, the late Joe Williams, who served as a judge at the Institute’s 1998 Jazz Vocals Competition that launched her career. She introduced acclaimed actor and singer Keith David, who performed a segment from his touring stage musical, “Here’s To Life: Joe Williams.” In character as Joe Williams, David told stories of Williams’ life and treated the audience to two selections popularized by the incomparable vocalist: “Every Day I Have the Blues” and “Alright, Okay, You Win.”
Additional highlights from the All-Star Gala Concert included Cassandra Wilson performing a soulful version of “On the Sunny Side of the Street” from Terence Blanchard’s 2001 recording, Let’s Get Lost, and Lizz Wright’s stunning rendition of “Detour Ahead” from Blanchard’s 1994 tribute album to Billie Holiday.
Mitch Landrieu, former Mayor of New Orleans and Lieutenant Governor of Louisiana, joined the celebration to praise Blanchard and his album “A Tale of God’s Will – A Requiem for Katrina,” which musically illustrated Hurricane Katrina’s devastating effect on the residents of New Orleans. After accepting the Maria Fisher Founder’s Award from Institute Chairman Herbie Hancock, Blanchard joined seven of his former Institute students to perform “Soldiers” from his GRAMMY-nominated 2015 release, Breathless.
Proceeds from the All-Star Gala Concert will support the Institute’s public school education programs in Baltimore, Chicago, Dallas, Houston, Los Angeles, Miami, New Orleans, Newark, San Francisco and Washington, DC. All of the Institute’s education programs are provided free of charge, with a special emphasis on serving economically disadvantaged public school students and their teachers and parents.
Air transportation was provided by United Airlines, Official Airline of the Herbie Hancock Institute of Jazz.
Washington, D.C. —Twelve outstanding young jazz guitarists from around the world have been selected to compete in the 2019 Herbie Hancock Institute of Jazz International Guitar Competition on December 2-3 in Washington, D.C.
The semifinalists are: Cecil Alexander of Muskegon, Michigan; Joseph Bell of Princeton, New Jersey; Will Brahm of Portland, Oregon; François Chanvallon of Paris, France; Lucian Gray of Toronto, Canada; Max Light of Bethesda, Maryland; Armen Movsesyan of Los Angeles, California; Evgeny Pobozhiy of Seversk, Russia; Matt Sewell of St. Louis, Missouri; Juan Vidaurre of Caracas, Venezuela; Tal Yahalom of Jerusalem, Israel; and Francesco Zampini of Rome, Italy.
These aspiring jazz musicians will compete in the Semifinals round, taking place on Monday, December 2nd, from 12:00 p.m. to 5:00 p.m. at the Smithsonian Institution’s National Museum of the American Indian. The semifinalists will perform before an all-star judging panel of internationally acclaimed jazz guitarists: Stanley Jordan, Lionel Loueke, Russell Malone, Pat Metheny, Chico Pinheiro, Lee Ritenour and John Scofield. Each semifinalist will perform for 15 minutes accompanied by a stellar rhythm section featuring pianist Reggie Thomas, bassist Yasushi Nakamura, and drummer Carl Allen.
From this group, the judges will select three finalists to perform in the Competition Finals at the John F. Kennedy Center for the Performing Arts on Tuesday evening, December 3rd. At stake is more than $150,000 in scholarships and prizes, including a $30,000 first place scholarship and guaranteed recording contract with Concord Music Group; a $15,000 second place scholarship; and a $10,000 third place scholarship. The evening will culminate with an All-Star Gala Concert featuring performances by Herbie Hancock, Dee Dee Bridgewater, Lizz Wright, Bobby Watson, Musical Director John Beasley, Emmy Award-winning actor and vocalist Keith David and many other jazz greats. The Institute will present its Maria Fisher Founder’s Award to multi-GRAMMY Award-winning trumpeter, composer and educator Terence Blanchard. Many of his former Institute students, including recording artists Gretchen Parlato, Walter Smith III, Dayna Stephens and others leading the next generation of major jazz artists, will take the stage to pay tribute to Blanchard.
Proceeds from the Herbie Hancock Institute of Jazz International Guitar Competition and All-Star Gala Concert will support the Institute’s public school education programs in Washington D.C., Chicago, Dallas, Houston, Los Angeles, Miami, New Orleans, Newark, San Francisco and the Mississippi Delta.
Event and ticket information
Herbie Hancock Institute of Jazz International Guitar Competition Semifinals
Monday, December 2nd at 12 noon with ticket distribution at 11:00 a.m.
Rasmuson Theater at the National Museum of the American Indian
4thSt. & Independence Ave., SW, Washington, D.C.
Tickets for the Semifinals are free of charge but limited, and will be distributed by the Smithsonian Associates at the National Museum of the American Indian on a first-come, first-served basis beginning at 11:00 a.m.
Herbie Hancock Institute of Jazz International Guitar Competition Finals and All-Star Gala Concert
Tuesday, December 3rd at 7:30 p.m.
Kennedy Center Eisenhower Theater
2700 F St., NW, Washington, D.C.
Tickets are $35 to $125 and may be purchased via the Kennedy Center box office in person, by calling 800.444.1324, or online at www.kennedy-center.org. Information regarding VIP packages, which include a post-event VIP Cast Party, is available from the Institute at 202.364.7272.
The Newport Festivals Foundation made a generous donation of musical instruments to the Herbie Hancock Institute of Jazz Performance at the UCLA Herb Alpert School of Music, helping to ensure that current and future students in the program will have access to top-of-the-line tools for honing their craft.
The Sakae drumset, Zildjian cymbals and Korg Kronos keyboard contributed by the Foundation will be used by the Institute’s students throughout the year as they study, compose, rehearse and perform under the guidance of Institute Chairman Herbie Hancock and Artists-in-Residence like Christian McBride, Terri Lyne Carrington, Billy Childs, Chris Potter and many others.
The leading graduate-level college program of its kind, the Institute of Jazz Performance is a tuition-free, two-year program that accepts one ensemble of musicians for each class. All of the students receive full scholarships, as well as stipends to cover their monthly living expenses. The musicians study both individually and as a small group, receiving personal mentoring, ensemble coaching, and lectures on the jazz tradition. They are also encouraged to experiment in expanding jazz in new directions through their compositions and performances.
The Institute and the UCLA Herb Alpert School of Music thank the Newport Festivals Foundation for its generosity, and for bolstering our efforts to help exceptional students develop into the jazz masters of tomorrow.