This event is scheduled for March Depending on provincial or school board restrictions, availability is subject to change. Looking for more curricular supports? Check out the Let Freedom Swing education website for more classroom resources for your music, social studies and humanities curriculum.
Contact our Education Team at or education artscommons. The hall also welcomes a spectrum of events each season from TED Talks to National Geographic Live speakers, wedding dinners on the stage to rock stars on tour.
Accessibility: Theatre seating includes wheelchair accessible Seats Named after Mr. Margaret Mannix. Suspended high above the stage is a laminated, ,pound ton spruce-wood acoustical canopy that can be raised or lowered to tune the hall according to the specific needs of each performer. This was reflected in the music of the era, and inspired some of the most passionate and emotional performances and compositions in the history of jazz.
This concert will demonstrate how jazz can serve as a form of protest and as an instrument for social change. What are Spirituals? What is Free Jazz? Exploring the Blues Jazz and Civil Rights The s and s were a time of social and political upheaval in America. Wherever they settled it found eager new audiences. We had to go there. Other eager young musicians flocked there, too. Harlem was then the cultural capital of black America, home to the Harlem Renaissance, a remarkable coalescing of African American artists, that included activists W.
Two stride-masters stood out above the rest, James P. Rent parties were their specialty—all-night dances held in crowded apartments where the price of admission helped keep the landlord at bay.
With those two guys it was always a sporting event. Neither cut the other. They had too much respect for that. His parents both played piano and they encouraged their son to study music at a very early age.
In , Duke moved to New York, where he joined the cultural revolution known as the Harlem Renaissance. After Duke Ellington, Waller was the most prolific and successful songwriter to emerge from the world of jazz. He was also the first jazz musician to record on the organ, but his most lasting impact was as a pianist.
Building upon the Harlem stride he learned from his mentor, James P. Johnson, Waller developed his own irresistibly swinging style. His tireless left hand set the driving pace while his right served up delicate figures that continue to dazzle pianists. Discovered at 16 after winning an amateur night contest at the Apollo Theater in Harlem, she first won fame in the late s, performing novelty tunes and romantic ballads with the hard-swinging Chick Webb Orchestra.
During the s, she recorded with every kind of backup group and established herself as a master of scat singing, incorporating the fresh harmonies and rhythms of bebop into wordless acrobatic performances that astonished audiences and musicians alike.
Her gift of swing, impressive scatting, precise diction, and extraordinary range made her as adept a soloist as any horn player. Through it all, she never lost the girlish joy evident on her earliest records, never seemed to sing out of tune, and never failed to swing. Musicians were awed by her musicianship. Saxophonist Camille Thurman guides us through the Blues, and shows us how the Blues is a building block of Jazz! Guitarist James Chirillo, bassist Ari Roland, and drummer Alvin Atkinson remind you that big bands performed for dancers, and show you how to keep a strong sense of swing in your rhythm section work, no matter how fast or slow the tempo.
Who was King Oliver, and what was his contribution to the growing popularity of Jazz and the continuing innovations in the art form? Jazz at Lincoln Center's curator Phil Schaap explains Jazz's part in the Great Migration, and talks about one of the music's first stars.
But from time to time, musicians have also felt the need to use their art to protest when the United States fails to live up to its promises. It started early. In , Louis Armstrong turned a simple Broadway ditty called Black and Blue , into a searing indictment of racism. In , in the middle of the Second World War, Duke Ellington presented Black, Brown, and Beige: A Tone Parallel to the History of the Negro in America in part to remind his countrymen that while fighting for freedom abroad, Americans should not forget those denied freedom at home.
We stirred in our shackles, and our unrest awakened justice in the hearts of a courageous few, and we recreated in America the desire for true democracy, freedom for all, the brotherhood of man, principles on which the country had been founded. Nineteen-sixty saw student sit-ins at segregated lunch counters all across the South. When Duke Ellington learned that black students had been turned away from a whites-only restaurant, he made sure he, too, was turned away and made headlines across the country.
Freedom Now Suite , a torrent of anger and anguish that perfectly mirrored the rising tide of protest. But they came at a fearful cost: civil rights workers murdered, marchers beaten, neighborhoods destroyed, the assassinations of Medgar Evers, John F. Amid the anguish, some African American musicians for a time abandoned the dream of an integrated art form.
Other musicians, despairing at the chaos and turned inward, rejecting musical conventions in search of new forms of personal expression. It is of course impossible to predict the future, either for jazz or for the United States. Spirituality of one sort or another had always been an undercurrent in jazz, but in the s JOHN COLTRANE, one of the most influential and adventurous saxophonists of the era, put forward the belief that music actually had the power to heal, and he brought an almost religious intensity to everything he played.
Coltrane explored the harmonic freedom of modal jazz and the tones and textures of various world musics, and he tested the very limits of his instrument—all in search of a more profound musical meaning. Spiritual though he was, Coltrane was hardly detached from the world around him.
She taught piano and worked as an accompanist for other performers while at Julliard, but eventually left school after running out of funds.
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