ANTONIO HART A PERFORMANCE AND DEMONSTRAT ION

Meet Antonio Hart, the innovative jazz musician, composer, and bandleader of the Antonio Hart Organ Trio.

Get to know him during this session as he introduces the fundamentals of jazz composition and interpretation, and explores the different techniques musicians use to personalize their music and create their own unique style.

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ABOUT ANTONIO HART: WHAT YOU SHOULD KNOWn Born in Baltimore, Maryland, Antonio Hart developed his passion for music early. By age seven he knew he wanted to pursue the saxophone, although his formal music training did not begin until high school. Hart attended the prestigious Baltimore School for the Arts where his interests shifted from classical music to jazz. Upon graduation, he continued his studies at Berklee College of Music in Boston, Massachusetts.

n Hart has collaborated with many musicians throughout his career including jazz greats Dizzy Gillespie, Roy Hargrove, and Jimmy Heath. He has performed on stages all over the world and can be heard on numerous albums and recordings.

n Music education has always been very important to Hart, and he began student teaching at a local high school while still in college. He is currently a professor at Queens College in New York City, in addition to conducting workshops and clinics throughout the United States, Europe, and Asia for young jazz artists.

n This session’s ensemble members include Hart (alto and

soprano saxophones, flute), Yotam Silberstein (guitar), Mike LeDonne (organ), and Brandon Sanders (drums).

JAZZ: AN EVOLVING ART FORMJazz is a truly American musical form—and many people consider it one of America’s best contributions to the world of music. Jazz first emerged about 100 years ago in the American South, most distinctly in New Orleans, Louisiana. This seaport city served as home to people of African, French, English, Caribbean, and other backgrounds. It also became a melting pot for music from these many traditions. African American musicians fused elements of ragtime, blues, classical, and big brass band sounds to create this distinct new type of music.

After the first jazz recordings were made in 1917, jazz spread across the nation. It evolved over decades, helped along by influential musicians. In the 1920s, trumpeter Louis Armstrong introduced improvised solos and Duke Ellington popularized big band jazz; in the 1930s, people began dancing to jazz music, thanks to the upbeat sounds of Benny Goodman’s and Count Basie’s swing music. Charlie Parker’s groundbreaking bebop of the 1940s led to Miles Davis’ complex “cool” style in the 1950s. Jazz moved into the 1960s with pioneers like John Coltrane and his modal jazz; the next decades brought more change—from fusion, which brought together multiple styles, to the neo-classical leanings of Wynton Marsalis and other “young lions.” Jazz continues to evolve today—building on its vast legacy of innovation and experimentation.

ABOUT THE PROGRAMDuring this session, Hart and his ensemble will perform original works of music along with many well-known jazz standards. Jazz standards refer to popular musical compositions that are widely known and performed, so much so, they have become a standard part of the jazz music repertoire, also known as the “Great American Songbook.” While there is no official list of jazz standards, most of these classic songs were created between the 1920s and 60s for Broadway musicals and films. Since then, each has been performed and recorded countless times by a variety of artists.

THE LANGUAGE OF JAZZHere are some jazz terms Antonio Hart would like you to know…

Articulation Performance techniques used by musicians that determine the style or sound of the music

Embellishment When musicians add musical flourishes to a melody that are not necessary; these additions decorate or “ornament” the music

Improvisation Creating music or song spontaneously, a technique that requires great musical skill and creativity

Melody The tune of a piece of music created by a series of notes; most often recognizable as the main tune you hum or sing along with in a musical work

David M. Rubenstein Chairman

Deborah F. Rutter President

Darrell M. Ayers Vice President, Education

Jason Moran Artistic Director for Jazz

Jazz Performance/Demonstrations are made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.artsedge.kennedy-center.org

Cuesheets are produced by ArtsEdgE, an education program of the Kennedy Center.

Learn more about education at the Kennedy Center at www.kennedy-center.org/education

The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.

© 2015 The John F. Kennedy Center for the Performing Arts

The Jazz OrganWhen you think of the organ, jazz music may not immediately come to mind—especially if you are picturing a full-blown, wind-driven pipe organ. But the pipeless organ? Well, that’s another story. This instrument has actually played a regular role in jazz music since it was introduced by American inventor Laurens Hammond in 1934.

The pipeless organ provided a more economical, portable method of producing the desirable “big band” sound, and thanks to some notable players and technological advances over the years, the instrument continued to grow in popularity. “Hammonds” are played around the world to this day by jazz, rock, blues, and gospel musicians.

Listen Up!To learn more about blues, jazz, and other musical styles on ArtsEdgEhttp://artsedge.kennedy-center.org/students/kc-connections