ornette coleman: tomorrow is the...

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Public support for Festival 2017 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

July 11 Alice Tully Hall

Lincoln Center Festival lead support is provided by American Express

Approximate performance time: 2 hours and 5 minutes, with no intermission

Naked Lunch (1991)Film with live orchestral accompaniment

Score by Howard Shore, Ornette Coleman

Saxophone Ravi Coltrane, Henry ThreadgillBass Charnett MoffettDrums Denardo Coleman

Ensemble SignalConductor Brad Lubman

A Film by David Cronenberg

Based on the Book by William S. Burroughs

Produced by Jeremy Thomas

Written and Directed by David Cronenberg

Ornette Coleman:Tomorrow is the Question

Peter WellerJudy DavisIan HolmJulian SandsMonique MercureNicholas CampbellMichael ZelnikerRobert A. SilvermanJoseph Scorsianiand Roy Scheider

Casting Deirdre BowenCostume Designer Denise CronenbergEditor Ronald SandersProduction Designer Carol SpierDirector of Photography Peter SuschitzkyCo-Producer Gabriella Martinelli

Tonight’s screening is a DCP (Digital Cinema Package).

LINCOLN CENTER FESTIVAL 2017 ORNETTE COLEMAN: TOMORROW IS THE QUESTION

Cast

Ensemble Signal Co-Artistic Directors Brad Lubman, Lauren RadnofskySound Director, Front of House Paul Coleman

Violin 1 Olivia De Prato, Lauren Cauley, Pauline Kim Harris, Conrad Harris, Molly Germer, Shannon Steigerwald, Marina Kifferstein, Patti Kilroy

Violin 2 Josh Modney, Jennifer Choi, Lili Sarayrah, Maya Bennardo, Sarah Goldfeather, Elena Park

Viola Caleb Burhans, Victor Lowrie, Isabel Hagen, Caitlin Lynch, Jeanann Seidman,Anne Lanzilotti

Cello Lauren Radnofsky, Mariel Roberts, Ashley Bathgate, Jeff Ziegler, Clara Kennedy, Jude Tedaldi

Double Bass Greg Chudzik, Tristan Kasten-Krause, Eleonore Oppenheim, Pat Swoboda

Flute 1 Tim MunroFlute 2 Jessica SchmitzOboe 1 Jacqueline LeclairOboe 2 Christa RobinsonClarinet 1 Adrián Sandí Clarinet 2 Eileen MackBass Clarinet Ken ThomsonBassoon Oleksiy Zakharov, Maxwell GrubeHorn David Byrd-Marrow, Kate Sheeran, Tim McCarthy, Matt MarksTrumpet Mike Gurfield, Andy KozarTenor Trombone Steven Parker, James HirschfeldBass Trombone Felix DelTrediciTuba John AltieriHarp Rosanna Moore, Ashley JacksonPiano Oliver HagenTimpani Doug PerkinsPercussion Carson Moody, Bill Solomon



A Note on the Program

Louis Armstrong built the rocket ship thatlifted humans off the earth. We went fromcaves, ocean surfaces, jungles, prairies,and deserts to outer space. This tripenabled us to provide definitive answers tosome cosmic questions. Yes, the earth isround. No, the sun does not revolve aroundus. And, yes, the speed of Pop’s horn wasproof that light does indeed bend.

Twenty years after Louis, Charlie Parkerpiloted that rocket ship to a meeting withGod. Their conversation was so profound itresulted in a Big Bang, creating Universesand Galaxies, places unconceived ofbefore, ideas unconceived of before,energy unconceived of before. It washuman inspiration blazing away at its high-est level.

Less than 20 years after Bird, OrnetteColeman took that rocket ship and returnedfrom beyond the known galaxy with theinsight that man and even life itself are butideas. The free search for ideas and resolu-tions had loosened the moorings of con-ventional Gravity. Ideas can take manyforms. Man is not the only life form. Theother life form is Freedom. Other energiesflowed in, and so did other ways of being.Ornette was hailed as a hero by some,screamed at as a fraud by others.

In 1997 Lincoln Center Festival askedOrnette what he would like to present forits second summer season. Ornette choseto design a career retrospective. There washis Original Quartet with Don Cherry,Charlie Haden, and Billy Higgins, which hadnot performed together for many years. (Asit happened, Don was dealing with a healthissue and Ornette invited Wallace Roney tofill in on trumpet.) There were two nights ofOrnette’s symphony, Skies of America, per-

formed by the New York Philharmonic underthe direction of Kurt Masur. And there wasOrnette’s Prime Time band with specialguests Lou Reed and Laurie Anderson.

Two decades later, when Lincoln CenterFestival wanted to honor Ornette again, itwas bittersweet, as he is no longer with us.But his legacy lives on, and I was pleased totake advantage of the opportunity to hearhis music performed by long-time bandmembers, special guests, and many friends.

Naked Lunch—a 1991 film and soundtrackalbum—was one of the rare times thatOrnette played over someone else’s music.Inspired by William Burroughs’ namesakenovel, David Cronenberg’s film adaptation,and Howard Shore’s score, Ornette con-jured up his own Harmolodic Interzone. Thecurrent performance will feature an orches-tra and a quartet comprising HenryThreadgill, Ravi Coltrane, Charnett Moffett,and yours truly.

Ornette: Made in America is an experimen-tal art piece by filmmaker Shirley Clarke.Begun in 1968 and finished in 1983, itstarts off with Ornette receiving the keys tothe city of Ft. Worth, Texas, his hometown.Clutching the keys, he says wryly, “I’mgonna let all the dogs out.” “Edgy” is anoverused term when it comes to art, butthis film qualifies.

Ornette’s Prime Time band first took shapein 1975, when Ornette and four youngmusicians were stranded in Paris for sixmonths after a European tour fell through.The result was the seminal album Dancingin Your Head. A sonic breakthrough, therehas been nothing that funky and freelyimprovised before or since.

In 1962 Ornette, fed up with his musicbeing relegated to basement jazz clubs,rented Town Hall and produced his own

concert. When he recounted the story inlater years, he noted, “On that day in NewYork City, there was a snowstorm, a sub-way strike, and a newspaper strike. But Ididn’t lose any money.” The program onthat occasion included a performance ofOrnette’s first chamber work, whichsparked his interest in classical composi-tion. On July 16 a selection of Ornette’schamber works will be heard.

As with all of his work, my father continuallylooked ahead: “Tomorrow’s the Question.”

—Denardo Coleman

About Naked Lunch

As Bill enters Interzone in the film we hear“Midnight Sunrise,” from the 1973 record-ing performed by Ornette Coleman and theMaster Musicians of Jajouka. This trackappears on Ornette’s album Dancing in YourHead. The recording was made in themountain village of Jajouka, Morocco dur-ing the feast of Bou Jeloud. The MasterMusicians of Jajouka, a group of then thirtymusicians, have played their music for4,000 years on the rhaita (a Moroccanoboe), the ney flute, and drums.Interestingly, William Burroughs was pre-sent at this recording. When I first playedthis recording for David Cronenberg, hecalled it the “Interzone National Anthem.”

“Ballad/Joan” was originally written andrecorded in London in 1966. Ornette re-recorded this piece for the film, recallinghis great trio recordings of the ‘60s.

These two pieces, as well as the CharlieParker recordings made by Dean Benedettiin the late ‘40s, formed the musical inspira-tion for the score and became the founda-tion for our collaboration. Ornette wrotefour trio pieces that are heard tonight in thefilm. In chronological order, they are

“Writeman,” “Bugpowder,” “Ballad/Joan,”and “Intersong.”

He recorded with the London Philharmonicthe way that he would with other musi-cians in a live jazz setting. He interactedwith them personally from take to take. Weplayed the score live in concert at Pan Hallin Tokyo in 1992 with bassist CharnettMoffett and Ornette’s son DenardoColeman (who played on the originalrecording) on drums. We then played thescore live to the film for the first time inBelfast in 2000 with the Ulster Symphonyand in London at the Barbican in 2001 withthe BBC Concert Orchestra. Both concertswere again with Charnett and Denardo(who are both playing tonight).

We had a great collaboration and a cher-ished friendship. Ornette is irreplaceableand his work inspired so many people.Tonight, we have the truly inspired playingof Ravi Coltrane and Henry Threadgill inter-preting Ornette’s music.

—Howard Shore, May 1, 2017

I received a call from the composerHoward Shore concerning some work forhis current movie score Naked Lunch. I hadread the book by William S. Burroughs, aswell as heard and seen the work of DavidCronenberg, Howard Shore, and the pro-ducer Jeremy Thomas.

My relationship to Howard’s score is har-molodic, meaning all parts are equal. Itsscore and script are harmolodic. The actor’ssound, scenes, dialogue, objects, and col-ors have equal relation to the art of NakedLunch. The score, for 77 musicians, is writ-ten without any sequence, order, key, orstrict tempo. The voicings of the wood-winds, brass, strings, percussion, non-tem-pered instruments, and the uses of the altosoloist work are so that one can hear these


instruments creating harmonies, melodies,rhythms, modulations, and dynamics mirror-ing each other categorically in Naked Lunch.

Melody is multiple unison and so isCronenberg’s script multiple in conversa-tional dialogue. For example, when Howardsent the soundtrack to me on DAT (digitalaudio tape), I heard the section where theorchestra and I recorded a composition ofMonk’s called “Misterioso.” I had heard thecomposition recorded by the pianist.Howard had played “Misterioso” with theorchestra and alto solo which created anexperience that I have had only in my ownwriting. The orchestra and alto taping was acomplete statement of its own. The altosolo and orchestra stated their position asone. A musical background of 30 or 40years, regardless of the styles, could orwould not conceive a form by using a formindependent of each other. In the solopiano piece of “Misterioso,” played withthe solo alto and orchestra, the piano

sounded as if it was playing changes forthe alto solo and the orchestra played con-trapuntal Harmolodics; voices, modula-tion, unison as a symphonic form. Yetnone of these forms existed before theirrelation to each other. One can experiencethis from the actors and dialogue in thefilm Naked Lunch.

The most exquisite aspect of Howard’sscore is the arranging of his writing for theinstruments and the absence of a timesequence as in slow/fast movement. This isthere only in form, not a sign of change.The compact disc of the soundtrack hasanother form that allows the listener toexperience a record format as if it couldappear in that form with the dialogue.

Howard Shore has written his score as thepast, future, and present singing in onevoice. Truth is simple to consume.

—Ornette Coleman, December 17, 1991



About the Artists

Ornette Coleman (Composer) taught theworld new ways of hearing music since heburst onto the New York jazz scene with hislegendary engagement at the Five Spot. In1958, with his debut album SomethingElse, it was clear that Coleman had usheredin a new era in jazz history. With his coremusical partners—trumpeter Don Cherry,double bass player Charlie Haden, anddrummer Billy Higgins—their music, freedfrom the prevailing conventions of harmony,rhythm, and melody, transformed the artform. From 1959 (which saw the release ofhis seminal albums Tomorrow Is theQuestion! and The Shape of Jazz to Come)and through the 1960s, Coleman releasedmore than 20 critically acclaimed albums onthe Atlantic and Blue Note labels, most ofwhich are now recognized as jazz classics.In the classical realm, Coleman studiedtrumpet and violin, expanding the scope ofhis repertoire to include string quartets,woodwind quintets, and orchestral works.Coleman’s symphony Skies of America,recorded by the London PhilharmonicOrchestra, was released in 1972. After hisjourneys to villages in Morocco and Nigeriain the 1970s, he created a new sound thatwas full of his trademark musical theoryHarmolodics, leading to the creation of hisband Prime Time, which released the land-mark album Dancing in Your Head in 1977.Coleman defined Harmolodics as “the useof the physical and the mental of one’s ownlogic made into an expression of sound tobring about the musical sensation of unisonexecuted by a single person or with agroup.” In the next decade, more surprisesincluded trendsetting albums Song X withguitarist Pat Metheny (1986); Virgin Beautyfeaturing the late Grateful Dead leader JerryGarcia (1988); and Tone Dialing (1995); aswell as music performed on the sound-tracks for the films Naked Lunch (1991) andPhiladelphia (1993). In 1994 OrnetteColeman was named a MacArthur Fellow

and in 1997 was inducted into the AmericanAcademy of Arts and Letters. That sameyear, Lincoln Center Festival presentedOrnette Coleman: ? Civilization, with perfor-mances of Coleman’s symphony Skies ofAmerica by Kurt Masur and the New YorkPhilharmonic; an evening with Coleman,Charlie Haden, Billy Higgins, and specialguests; and Coleman: Tone Dialing withColeman’s band Prime Time, Lou Reed,Laurie Anderson, and Fireplay. In 2007 hisrecording Sound Grammar was awardedthe Pulitzer Prize for Music. He received aGrammy Lifetime Achievement Award, andhis third album The Shape of Jazz to Comewas inducted into the Grammy Hall of Famein 2015, the same year he passed away.

Howard Shore (Composer), a three-timeOscar winner, has collaborated with DavidCronenberg on 15 of the director’s films:The Brood, Scanners, Videodrome, The Fly,Dead Ringers, Naked Lunch, M. Butterfly,Crash, eXistenZ, Spider, A History ofViolence, Eastern Promises, A DangerousMethod, Cosmopolis, and Maps to theStars. His compositions for J.R.R. Tolkien’sworld of The Lord of the Rings and TheHobbit stand as his most acclaimed todate, earning him three Oscars, fourGrammys and two Golden Globes. He wasone of the original creators of SaturdayNight Live and served as music director forthe show’s first five years. Other filmworks include Hugo, The Departed, TheAviator, Gangs of New York, and AfterHours for director Martin Scorsese, TheSilence of the Lambs and Philadelphia fordirector Jonathan Demme, as well as EdWood, Se7en, Mrs. Doubtfire, Big, and theAcademy Award–winning Spotlight. Hisopera The Fly (2008) premiered at theThéâtre du Châtelet in Paris and at the LosAngeles Opera. Other concert worksinclude the piano concerto Ruin andMemory for Lang Lang (2010), cello con-certo Mythic Gardens for Sophie Shao(2012), song cycle A Palace Upon the Ruins


for mezzo-soprano Jennifer Johnson Cano(2014), and guitar concerto The Forest forMiloš (2016). He is an officer of the Orderof Canada, an Officier de l’Ordre des Artset des Lettres de la France, and the recipi-ent of Canada’s Governor General’sPerforming Arts Award. He lives in NewYork with his wife Elizabeth Cotnoir.

Ravi Coltrane (Saxophone) has worked as asideman to many, recorded albums for him-self and others, and founded an indepen-dent record label, RKM. The second son ofJohn Coltrane and Alice Coltrane, he wasnamed after Indian sitar legend Ravi Shankarand was raised in Los Angeles, where hisfamily moved after his father’s death in 1967.His mother was a significant influence, andRavi encouraged her to return to perfor-mance and recording after a long absence.He produced and played on her TranslinearLight (2004). He has released six albums asa band leader: his latest, Spirit Fiction, wasreleased in 2012 on Blue Note. Additionalcredits include performances and record-ings with Elvin Jones, Terence Blanchard,Kenny Baron, Steve Coleman, McCoy Tyner,Jack DeJohnette, Matt Garrison, Geri Allen,Joanne Brackeen, and The Blue Note 7. He isco-leader of the Saxophone Summit withJoe Lovano and Dave Liebman. Based inBrooklyn, he leads the effort to restore theJohn Coltrane Home in Dix Hills, LongIsland, and presides over reissues of his par-ents’ recordings.

Henry Threadgill (Saxophone) studied atthe American Conservatory of Music wherehe majored in composition, piano, and flute.2016 was a banner year: In for a Penny, In fora Pound was winner of the Pulitzer Prize forMusic, he received a Lifetime AchievementAward from the Jazz Journalists Association,and Old Locks and Irregular Verbs was votedtop album of the year in the NPR Jazz CriticsPoll. He has also been a recipient of theGuggenheim Fellowship (2003), AaronCopland Award (2009), Doris Duke Impact

Award (2015), and was a United StatesArtists Fellow (2008). Down Beat maga-zine’s International Jazz Critics Poll awardedhim its Best Composer Awards in 1988,1989, 1990, 1991, and 1995, and the JazzJournalists Association honored him with itsComposer of the Year Award in 2002. Hisorchestral pieces Run Silent, Run Deep, RunLoud, Run High (1987, conducted by HaleSmith) and Mix for Orchestra (1993, con-ducted by Dennis Russell Davies) receivedtheir premieres at the Brooklyn Academy ofMusic. He has been composer in residenceat U.C. Berkeley and Atlantic Center of theArts, and has led numerous groups includ-ing Air, the Sextett, Very Circus, the 20-pieceSociety Situation Dance Band, Make aMove, and his current group, Zooid.

Charnett Moffett (Bass) tours with his bandand with his solo project Solo Bass Works.His father Charles was drummer for OrnetteColeman, which led to him being raisedamong jazz royalty and being exposed toadventurous musical sounds from an earlyage. Charnett, named after his father andmentor-to-be Ornette, became bassist forhis namesake and remains one of the lead-ing practitioners of Coleman’s Harmolodicsmusical philosophy, which he brings to newgenerations through the free jazz spirit of hisown inventive (yet structured) music. Hefirst appeared on a recording at age 7 withthe Moffett Family Band, and at 16 heattended Juilliard, leaving to join the WyntonMarsalis Quintet, which began a non-stopcareer working with icons Art Blakey,Ornette Coleman, Dizzy Gillespie, HerbieHancock, Dianne Reeves, Anita Baker,Branford Marsalis, Bette Midler, and MelodyGardot. He records on the Grammy-winningMotéma Music label, where he has madefive albums since 2010; his latest, Musicfrom Our Soul (2017), features an all-starcast—Pharaoh Sanders, Stanley Jordan,Cyrus Chestnut, Jeff “Tain” Watts, VictorLewis, and Mike Clark—long-time collabora-tors from his 30 years as a recording artist.


Denardo Coleman (Drums) made hisdebut on drums at the age of ten on TheEmpty Foxhole, an album with his fatherOrnette Coleman and Charlie Haden,released on Blue Note in 1966. He begantouring with his father by the mid-1980s,and he also became his manager. Denardowent on to produce several OrnetteColeman recordings, including the histori-cal double recording In All Languages(1987) featuring Prime Time along withOrnette Coleman’s groundbreaking originalquartet with Don Cherry, Charlie Haden,and Billy Higgins. Denardo has beeninvolved with many other projects—nonemore enriching than the work he has donewith his mother Jayne Cortez, one ofAmerica’s pre-eminent contemporarypoets. With the Jayne Cortez and theFirespitters group, he collaborated on fiverecordings, including Taking the Blues BackHome (1996). Denardo has just launchedSong X Records and Films; its first releaseis Celebrate Ornette, a boxed set thatincludes multiple DVDs, CDs, and LPs,including the last performance by OrnetteColeman, who passed away in 2015.

Brad Lubman (Conductor), founding co-artistic and music director of EnsembleSignal, appeared at Lincoln Center Festivallast summer for Reich/Reverberations, in2013 to conduct Monkey: Journey to theWest, and in 1999 as part of Reich: Four.He has led major orchestras including theRoyal Concertgebouw Orchestra,Symphonieorchester des BayerischenRundfunks, Los Angeles Philharmonic,NDR Sinfonieorchester Hamburg, DresdenPhilharmonic, DSO Berlin, RSO Stuttgart,WDR Symphony Cologne, OrchestrePhilharmonique de Radio France, FinnishRadio Symphony, the Netherlands RadioChamber Philharmonic, and the NationalSymphony. He has also worked with manycontemporary music ensembles, includingEnsemble Modern, London Sinfonietta,Klangforum Wien, Musik Fabrik, ASKO

Ensemble, Ensemble Resonanz, and SteveReich and Musicians. Lubman has con-ducted at new-music festivals acrossEurope, including those in Lucerne,Salzburg, Berlin, Huddersfield, Paris,Cologne, Frankfurt, and Oslo. Lubman hasconducted numerous world premieres.Among these are Steve Reich’s Three Tales,Daniel Variations, Radio Rewrite, andVariations for Vibes, Pianos and Strings.His own music has been performed in theU.S. and Europe, and can be heard on hisTzadik CD, Insomniac. He is on the facultyat the Eastman School of Music and theBang on a Can Summer Institute.

Ensemble Signal has performed over 150concerts, given the New York, U.S., orworld premieres of over 20 works, and co-produced 9 recordings since its 2008debut. Founded by co-artistic/executivedirector Lauren Radnofsky and co-artisticdirector/music director Brad Lubman,Signal performed in Reich/Reverberationsat last summer’s Lincoln Center Festivaland Monkey: Journey to the West at thefestival in 2013. The ensemble, a super-group of independent artists from the mod-ern music scene, is flexible in size andinstrumentation—everything from solo tolarge contemporary ensemble in any possi-ble combination—enabling it to meet theever-changing demands on 21st-centuryperforming ensembles. Its programmingranges from minimalism or pop-influencedto the iconoclastic European avant-garde.Signal has worked with artists and com-posers including Steve Reich, HelmutLachenmann, Irvine Arditti, KristianBezuidenhout, Michael Gordon, DavidLang, Julia Wolfe, Oliver Knussen, HildaParedes, and Charles Wuorinen.Educational activities include communityperformances and educational outreach, aswell as workshops with emerging com-posers at the June in Buffalo Festival,where Signal is a resident ensemble.


Denardo Coleman AcknowledgmentsProducer Song X Productions Denardo Coleman

Project Coordinator Barry Herbert Front of House Sound, Production ManagerChris Agovino

Monitor Engineer Tommie CruiseMusic Transcriptions Dave MorganVideo Coordinator Jon SadleirPhotographer Nathaniel PhillipsAdministrative Assistant Nichelle CrossSpecial Events Coordinator Nitara BowiePR Editor Bill AdlerPublicist Ken Weinstein/Big Hassle

Howard Shore AcknowledgmentsSpecial thanks to David Cronenberg, JeremyThomas, William S. Burroughs, and BachirAttar & the Master Musicians of Jajouka

Prince in New York Music CorporationProduction Manager Alan FreyMusic Editor James SizemoreMusic Preparation Bobbie Lee Crow III

Ensemble Signal AcknowledgmentsProject Management Lauren Radnofsky,Tiffany Valvo

Project Assistance Erin Lensing


Lincoln Center Festival, now in its 22ndseason, has received worldwide attentionfor presenting some of the broadest andmost original performing arts programs inLincoln Center’s history. The festival haspresented 1,465 performances of opera,music, dance, theater, and interdisciplinaryforms by internationally acclaimed artistsfrom more than 50 countries. To date, thefestival has commissioned 44 new worksand offered 145 world, U.S., and New Yorkpremieres. It places particular emphasis onshowcasing contemporary artistic view-points and multidisciplinary works thatchallenge the boundaries of traditional per-formance. For more information, visitLincolnCenterFestival.org.

Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and communityengagement, and manager of the LincolnCenter campus. A presenter of more than3,000 free and ticketed events, perfor-mances, tours, and educational activitiesannually, LCPA offers 16 series, festivals,and programs, including AmericanSongbook, Avery Fisher Career Grants andArtist program, David Rubenstein Atriumprogramming, Great Performers, LincolnCenter at the Movies, Lincoln CenterEmerging Artist Awards, Lincoln CenterFestival, Lincoln Center Out of Doors,Lincoln Center Vera List Art Project,Midsummer Night Swing, Mostly MozartFestival, White Light Festival, the EmmyAward–winning Live From Lincoln Center,which airs nationally on PBS, and LincolnCenter Education, which is celebrating 40years enriching the lives of students, educa-tors, and lifelong learners. As manager ofthe Lincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations:The Chamber Music Society of Lincoln

Center, Film Society of Lincoln Center, Jazzat Lincoln Center, The Juilliard School,Lincoln Center Theater, The MetropolitanOpera, New York City Ballet, New YorkPhilharmonic, New York Public Library forthe Performing Arts, School of AmericanBallet, and Lincoln Center for thePerforming Arts. Lincoln Center hasbecome a leading force in using new mediaand technology to reach and inspire a widerand global audience. Reaching audienceswhere they are—physically and digitally—has become a cornerstone of making theperforming arts more accessible to NewYorkers and beyond. The re-imagination ofDavid Geffen Hall will play an important partin these efforts. For more information, visitLincolnCenter.org.

AcknowledgmentsAll Naked Lunch compositions by HowardShore (ASCAP) © 1991 South Fifth AvenuePublishing (ASCAP), except “Writeman,”“Bugpowder,” “Ballad/Joan,” and “Intersong”composed by Ornette Coleman (ASCAP);“Misterioso” composed by TheloniousMonk, published by Bocu Music, Ltd.; and“Midnight Sunrise” composed by OrnetteColeman (ASCAP), published by TempleMusic, Ltd. All Rights Reserved.

Naked Lunch is performed by arrangementwith Schott NY & European AmericanMusic Distributors Company, NorthAmerican agent for South Fifth AvenuePublishing, publisher and copyright owner.

Special thanks to Twentieth Century Fox.

Technical Supervisor Jeff MarkowitzStage Manager Sarissa MichaudLighting, Sound Equipment Production Resource Group

Video Equipment WorldStageVenue Sound Associate Mark Van Hare

Upcoming Events in Ornette Coleman: Tomorrow is the QuestionJuly 12 at 6:00 pm Stanley H. Kaplan Penthouse

Ornette: Made in America (1985)True to the spirit of its subject, Shirley Clarke’s celebrated 1985 portrait of Ornette Colemandefies traditional documentary formats. William S. Burroughs, Brion Gysin, Buckminster Fuller,Don Cherry, Charlie Haden, Robert Palmer, Jayne Cortez, and John Rockwell are all featured inthis kaleidoscopic portrait of an American genius.

July 14 at 8:00 pm Alice Tully Hall

Prime Time: A ReunionSpecial GuestsTrumpet Wallace RoneySaxophone Kidd Jordan, David Murray, Joshua Redman

Prime TimeGuitar Charlie Ellerbe, Kenny WesselTablas Badal RoyBass Al MacDowell, Jamaaladeen Tacuma, Chris WalkerDrums Calvin Weston, Denardo ColemanKeyboards Dave Bryant

Original members and friends of Ornette Coleman’s celebrated jazz-funk fusion band, Prime Time,come together for a one-night-only musical tribute. With two electric guitarists, two drummers,one (or sometimes two) electric bassists, and Coleman’s horn in the center, Prime Time wouldlater become Ornette’s primary vehicle for exploring how his system of harmolodics could fit intogroove-based music.

July 16 at 2:00 pm Stanley H. Kaplan Penthouse

Ornette: Chamber MusicTrinity (Fantasy for Solo Violin) (1986)Violin Olivia De Prato

Forms and Sounds (1967)

In Honor of NASA and the Planetary Soloists (1986)Oboe Soloist Jacqueline Leclair

The Sacred Mind of Johnny Dolphin (1984)Guest Trumpet Soloist Seneca Black

Ensemble SignalConductor Brad Lubman

Even as he was pushing the boundaries of improvisation, Ornette was also focused on capturingwhat he heard in his head in through-composed works. His orchestral piece Skies of America, per-formed at Lincoln Center Festival in 1997, and numerous chamber works earned him accoladesfrom many classical music innovators, including Virgil Thomson and Leonard Bernstein, who ofteninvited Ornette to performances and rehearsals at Lincoln Center. Join members of EnsembleSignal as they illuminate this intriguing corner of Coleman’s artistry.

For more information, visit LincolnCenterFestival.org.


Looking Ahead: Compagnie XY’s Il N’est Pas Encore Minuit

From July 19–22, the renowned French circus collective Compagnie XY will present its newest work, Il N’est Pas Encore Minuit. In collaboration with choreographer Loïc Touzé, 22 acrobats will use their uniquely rhythmic and expressive brand of physical theater to explore the ways in which humanity deals with instability and imbalance. Il N’est Pas Encore Minuit is an incredible experience for audiences of all ages. Le Monde calls it “a pure marvel conquering the sky.”

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Looking Ahead: Le Trio Joubran

On July 29, in the final event of the Nomadic Nights series, the oud ensemble comprising Nazareth-born brothers Samir, Wissam, and Adnan Joubran and percussionist Youssef Hbeisch performs an immersive tribute to the late Palestinian poet Mahmoud Darwish. In the Shadow of Words is a soulful dialogue between worlds, with the trio’s unique blend of traditional Arabic music, jazz, rock, and flamenco responding to Darwish’s recorded voice, all within a rich multimedia environment. The Guardian ranks Le Trio Joubran

“among the most inventive musicians in the Arab world,” while NPR calls the trio “hypnotic and bliss-inducing.”

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ornette coleman: tomorrow is the...

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