June 7 2016 jazz by Dan Shattil

ISSUE 1 OF 4

JUNE 7, 2016

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DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

FRONT PAGE PHOTOS UPPER LEFT FILE PHOTO BY MICHAEL MODRCIN | DN

A member of the Hot Club of San Francisco, an acoustic string quintet that play gypsy swing jazz, addresses the audience of a 2002 Jazz in June performance. LEFT CENTER FILE PHOTO BY KATE GRAFEL | DN

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Singer Paula Grady performed for the Daugherty McPartland Group at a 2001 opening Jazz in June concert.

Rob Simon holds balloons that identify him as a volunteer while taking donations between sets at a 2004 Jazz in June performance. CENTER FILE PHOTO BY MICHAEL MODRCIN | DN

Tom Frankenfield, a University of Nebraska-Lincoln senior geography major, takes notes at Jazz in June performance in 2001. Frankenfield’s History of American Jazz course requires him to attend four performances, and he said Jazz in June fit in best with his work schedule. LOWER LEFT FILE PHOTO BY STEVEN R. BENDER | DN

TOP CENTER FILE PHOTO BY KRIS KOLDEN | DN

A member of the Hot Club of San Francisco, an acoustic string quintet that plays gypsy swing jazz, addresses the audience of a 2002 Jazz in June performance. UPPER RIGHT FILE PHOTO BY RICHARD W. KLUVER | DN

David Pietro, a member of the David Pietro Quintet, performs at a 2002 Jazz in June concert. LOWER RIGHT FILE PHOTO BY SCOTT MCCLURG | DN

Eric Coon plays a game of footbag with friend Jeff Picraux during a Jazz in June concert in 1999.

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DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

Jazz in June’s 25th season features Jazz legend Arturo Sandoval

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LANI HANSON DN In his hometown on the outskirts of Havana, Cuba, it was “practically impossible” to get a hold of an instrument. “Although music entered my life when I was 10,” Arturo Sandoval said in an email, “it wasn’t the easiest of starts.” More than 50 years later, Sandoval has evolved into a well acknowledged guardian of jazz trumpet and flugelhorn -- with appearances at the Oscars, Grammy Awards and Billboard Awards -- and his most recent stop is the University of Nebraska-Lincoln’s Jazz in June concert series. At 10 years old, Sandoval’s aunt brought him a small horn. “I never stopped striving to get better, even now,” he said. The musician said that, while the piano is “definitely up there, too,” he really fell in love with the trumpet. But it wasn’t love at first sight. Now an Emmy Award recipient for his composing work on the underscore of a Golden Globe-nominated biographical drama based on his life, Sandoval remembers walking home crying after his first trumpet lesson. The instructor, after telling the then-10-yearold Sandoval to play for him, immediately told him to throw the horn away and give up. “That’s when I decided I wasn’t going to let him discourage me,” Sandoval said, “and embarked on my journey as a trumpet player.”

But a discouraging trumpet teacher wasn’t the only obstacle in that journey. Sandoval began studying classical trumpet at 12 years old, and was quickly caught in the excitement of the jazz world. But in his homeland of Cuba under the Castro regime, only state-sanctioned music could be played. A protege of trumpet virtuoso Dizzy Gillespie, Sandoval attributes much of his jazz success to their first meeting in 1977. “Meeting Dizzy changed my life, just as music did,” Sandoval said. “It was with his help that I was able to get political asylum and move to the U.S. with my family. He afforded me the greatest freedom as well as more personal and professional opportunities than I could have ever wished for.” Sandoval’s “Dear Diz (Every Day I Think Of You)” album is a tribute to “the mentor and friend who literally rescued him and his family from an oppressive existence and gave them a chance at an entirely new and better life,” according to Sandoval’s website. The album earned Sandoval a Grammy Award for Best Large Jazz Ensemble in 2013. “I was very fortunate to meet and then play and tour with Dizzy,” Sandoval said. “It’s a truly marvelous thing to meet your hero, and then for a relationship and a bond with him. He was my mentor, my friend, my teacher and is still an inspiration to me every day.” “For Love or Country,” the underscore for which Sandoval won an Emmy for Best Composer, stars Andy Garcia as the world-renowned trumpet player, and tells the story of Sandoval’s

life up until his defection to the U.S. “I am very proud of this film,” Sandoval said. “I was very thankful that HBO asked to do the film and more so that they were willing to tell the real story of what I went through and what many have gone through – and still do – living in Cuba.” Still, Sandoval said, his true legacy is what he leaves behind. Four years ago, he started the Arturo Sandoval Institute, a nonprofit organization that provides instruments, master classes, music education and more to underprivileged students throughout the country. “I want to be a part of making sure that our children and grandchildren have music in their lives,” Sandoval said, “despite the fact that schools are cutting their music programs.” After his Jazz in June performance, Sandoval will head to the Dakota Jazz Club in Minneapolis, Minnesota, and the Blue Note Jazz Club in New York City before departing on his Europe Summer Tour, which includes stops in Hungary, Spain, Lebanon, France and Switzerland. “I am very lucky that I get to travel around the world and do what I love,” he said. “Not only for me, but it’s such a wonderful thing to be able to bring my music to audiences worldwide. Yes, it’s tiring – I’m getting old! But no matter how old I get, I feed off of the energy of the people I play for, and that keeps me energized and excited for the next show.” JAZZINJUNE@ DAILYNEBRASKAN.COM

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JAZZ IN JUNE

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DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

FESTIVAL A SPECIAL TREAT IN CELEBRATION OF JAZZ IN JUNE’S 25TH YEAR, THE DAILY NEBRASKAN TOOK TO ITS ARCHIVES IN SEARCH OF STORIES FROM THE CONCERT SERIES’ PAST. THE FOLLOWING IS A COLUMN FROM A FORMER DAILY NEBRASKAN OPINION EDITOR, WRITTEN AT THE COMMENCEMENT OF JAZZ IN JUNE’S 17TH SEASON. CHUCK LIPPSTREU JUNE 9, 2008 Years and years ago, long before my time, a teenage jazz saxophonist named Charlie Parker was riding down the highway with a group of musicians known as the Jay McShann Orchestra. They were headed for Lincoln, and a gig at the University of Nebraska. As they passed a local farm, legend has it, the band’s driver hit a chicken in the road, killing it. McShann would recall later that the young Parker, ever the frugal musician, insisted they go back to get that “yardbird.” In Lincoln, the band cooked and ate the unlucky beast for dinner. They started calling him “Bird” after that evening here in Lincoln. Parker, of course, went on to become one of the great jazz performers and composers, and will forever be remembered in jazz circles as “Bird.” In all honesty, that’s one of the only pieces of

truly relevant jazz trivia I can bring up with any authority. And, as I understand it, the “Nebraska” explanation for Bird’s nickname is one of many. But whatever role Lincoln played in establishing a legacy for one of the great saxophone men of our time, here we sit again tonight for the 17th year of what’s become the gateway to summer for this city. Jazz in June is one of those really special events a town can put on year after year – it’s not gimmicky, it’s not too colorful, it’s not expensive or exclusive or mundane. It’s just jazz, a bit of food and the perfect opportunity to lay back and relax. You’re clean of responsibility until tomorrow morning at 8 o’clock, you hold in your hand some sort of delicious summer treat, you’re curled up in a blanket or hunkered down in a lawn chair next to friends and lovers and total strangers. For my part, I’m likely wandering aimlessly through the winding walks. I don’t much like to sit. At any rate, all of us are gathered here this eve-

ning because we share some level of appreciation, understanding or love for jazz. For many, the draw may just be an easy summer night out of the house, and a feeling that jazz “sort of sounds nice.” Others are here this evening who perform, teach or study jazz for a living. Some probably don’t even know who Charlie Parker was – others could have seen him decades ago, playing in Kansas City nightclubs at 3 a.m.. I fall into a sort of middle ground. I love jazz as a relaxant, a needed break from the rigors of life and the summer afternoon doldrums. As my jazzpianist roommate could explain to you at length, I generally cannot carry a lengthy, cultured conversation on the subject. But tonight, that doesn’t matter for me, or you, or anyone else. The jazz at Sheldon Museum of Art on a June evening is just a great thing to be around. It’s that general sentiment – that there’s something special in seeing great jazz musicians like those who will appear here over the coming weeks – that gives Jazz in June it’s “all-inclusive” nature.

Here, you don’t have to know a thing about what’s going on in specifics. You’ll walk around, bury yourself in the atmosphere and go home truly free of whatever stress followed you in. At the risk of sounding like a trite, flowery optimist completely out of touch with the realities of daily life, such a guaranteed good time can seldom be found in a bustling city. So relax and enjoy. Thank the people who work to give thousands of people this opportunity, one of the most popular cultural attractions the city will ever offer. No matter why you’re here, it’s set to be another year of easygoing retreat into the perfect soundtrack for an early-summer evening. Here’s to another great year of Tuesday jazz. DO YOU HAVE JAZZ IN JUNE MEMORIES TO SHARE? REACH US AT JAZZINJUNE@ DAILYNEBRASKAN.COM

The life of a UNL student-turned-professor ANNIE ALBIN DN

David von Kampen once walked the halls of the Westbrook Music Building on the University of Nebraska-Lincoln’s City Campus as a student. Now, he sits in his office as an adjunct professor. After spending his college days studying music composition for his bachelor’s and master’s degrees at UNL, Kampen teaches five classes at the university while composing music on the side. Kampen has recently written two musicals with Becky Boesen, a local playwright. One of those musicals, “Puddin’ and the Grumble,” was recently performed at the Lied Center for Performing Arts. When Kampen isn’t composing, he can be found directing the UNL Vocal Jazz Ensemble and teaching classes in ear training, music theory and history of rock and roll. The history of rock and roll course is popular among many UNL students. According to the information about the four sections of the course available on MyRed, almost 700 students took the class this spring. The class fulfills the Achievement Centered Education’s arts requirement. Kampen uses his experiences as a musician to teach his students in the class. “I try and sort of infuse my history of rock class with interesting musical tidbits,” Kampen said. “We talk about musical style a lot.” Kampen said he discusses many things in the class that are not major parts of the textbook, especially if he feels strongly about a certain style or isn’t a big fan of it. “I hope to give a nice, wide variety of stuff in

the class period.” Kampen said. “Stuff that will reinforce what they need to know for exams, obviously, but also things that come out more from my background as a musician.” Even though he’s a well-trained musician, he said students don’t have to be professionals to understand the class curriculum, either. According to Kampen, pop music can be appreciated at any level, especially if it’s well done. “You don’t need to be a trained musician to appreciate ‘Pet Sounds’ by the Beach Boys,” Kampen said. “But if you are a trained musician there are a lot of layers there that peel back in cool ways.” History of rock and roll music starts at the beginning of American popular song and continues up to modern day. The course covers early recording techniques, soul, Motown, pop, hip-hop, punk, hard rock and singer-songwriter music, along with many other genres. The class also incorporates videos of interviews and performances from the artists discussed in the book to give students an even better look at their music. Before Kampen was teaching at UNL in the fall, he was finishing up working on a musical. Kampen said writing his last musical took him around a year, and it is still going through the process of writing and rewriting songs. He said his musical theater songwriting style is influenced more by pop, folk and jazz. “Musical theatre generally has a broader appeal than say, if you wrote an opera,” he said. Kampen is also working on a cantada for a choir and string orchestra, which is liturgical work based on scripture passages, and arranging charts for the Vocal Jazz Ensemble. While he isn’t able to organize group kickball

PHOTO BY JULIAN TIRTADJAJA | DN games in the green space outside of Selleck Residence Hall anymore like he did when he attended UNL, he said that being here feels natural.

“I feel at home here,” Kampen said.

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DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

25th season serves as transition for Jazz in June EMMA OLSON DN The 25th annual Jazz in June event marks a year of transition with Spencer Munson as the new event coordinator. Martha Florence, the previous coordinator, has been involved in all but two of the events. Florence and Munson have worked together to put on the concert series this year. “She has been an excellent mentor giving me tips in all facets of organizing this event,” Munson said. “She, along with my amazing volunteer leadership team, has also taken on a number of tasks for me to help alleviate the stresses of organizing an event of such magnitude.” Munson said he hopes the future of the event holds bigger artists, more campus activities and collaboration leading up to the event as well as a larger regional marketing strategy. However, his focus this year was simply learning about the event and behind-the-scenes work. “This year I just wanted to make sure the event was done professionally, just as it has been for 24 years prior,” Munson said. As a way to hopefully draw more young people to what was then the Sheldon Memorial Art Gallery, Jazz in June was launched in 1991. The first performance drew an estimated 500 attendees. Twenty-five years later, the concert series has grown so large that the focus has shifted from a promotional event for the Sheldon to a

businesses,” Munson said. “We were able to University of Nebraska-Lincoln and commusave a lot of money in services and goods for nity organization. A Jazz in June advisory board sponsorship trades.” was created and is made up of both university The event gained sponsorships from Union staff and community members. Bank and Trust, Scheels, NebrasBill Stephan, the chair of the ka Bank of Commerce, the Jazz in June advisory board, Downtown Lincoln Assosaid UNL made a strategic ciation and more. decision to make the Other changes event an independent operation. include more online marketing “In the past, and informathere was no tion as well as staff whose a yoga class primary rebefore each sponsibility event. was produc“I hope ing Jazz the posiin June,” tive energy Stephan is high and said. “As noticeable,” one of the Munson said. largest perMunson forming arts was drawn to events on the Jazz in June beUNL campus, it cause of the diverwas identified that IMAGE COURTESY OF JAZZ IN JUNE sity of population the having a dedicated event attracts. staff member will pro“It is the best mix of vide the music series stabilLincolnites: all ages, colors and ity and growth for the future.” backgrounds.” Munson said. Despite the organizational changes, He was motivated to take the coordinator Munson said attendees will not see any noticeposition because of his love for jazz music, UNL able changes in the event itself this year. and the potential for growth the event has. “I would say the only major change I made “Most community endeavors have to be was finding more ways to partner with local

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started from the ground up,” Munson said. “With Jazz in June, we just have to take an already great event and make it better.” Munson said he wants to bring more youth and multicultural programming to the event in the future. Munson comes from Harrison, Nebraska, and although he never attended UNL as an undergraduate, he said he’s always found the campus to be inviting with its proximity to downtown. Munson said he wanted to work with music because of the joy it brings to people’s lives. “Music and dancing bring happiness to people’s lives, and I feed off of that positive energy,” he said. His experience with music and event coordinating runs deep as he is also involved with marketing and booking at the Bourbon Theatre and Downtown Lincoln Association as well as festivals such as The Nebraska Folk and Roots Festival, Lincoln Calling, Lincoln Exposed and Lincoln Unites. He said he’s enjoyed learning about the event from the staff at the Lied Center for Performing Arts as well as Bill Stephan and Matt Boring. “Lincoln needs more events like this,” Munson said, “and it has been my goal to make Lincoln a better place with events just like Jazz in June.” JAZZINJUNE@ DAILYNEBRASKAN.COM

DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

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DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

Garden tours to focus on ‘Old and New’ ELIZABETH REMBERT DN

The 2016 Jazz in June garden tours promise more than what you might see on a walk through the University of Nebraska-Lincoln campus, Lincoln Parks Planner Mark Canney said. The tours will delve past the blooms to focus on the history and evolution of the campus gardens. This year’s tours are themed “Old and New,” and will guide listeners through the evolution of Love Garden, historic buildings and new projects on campus. The tours run every Tuesday in June the hour before the evening concert. Tour-goers meet on the steps of the Sheldon’s east entrance and depart at 6 p.m. to explore campus. The first tour on June 7 was led by Eileen Bergt, assistant director of UNL Landscape Services. Bergt spoke about historic trees on UNL’s original four-block campus, while pointing out the newer unique trees. One instance of these remarkable trees can be found on the west side of Jorgensen Hall, where two Flower of Kent trees grow. These trees were planted by Landscape Services in May 2015 and are duplicates of the apple tree that inspired Newton’s theory on gravity. June 14’s tour will showcase UNL’s new campus projects, and will be led by Emily Casper, a campus landscape architect. Tourgoers will peruse the Love Commons Plaza

PHOTO BY ALLISON HESS | DN

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DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

LOOKING BACK, LOOKING FORWARD HELD ON THE WEST LAWN OF THE SHELDON MUSEUM OF ART EVERY TUESDAY IN JUNE, JAZZ IN JUNE HAS BECOME A STAPLE FOR SUMMER ACTIVITIES IN LINCOLN. WITH THOUSANDS OF ATTENDEES EACH NIGHT, THE FESTIVAL HAS GROWN TO PROVIDE MORE FOR ITS ATTENDEES THAN JUST JAZZ. THE DAILY NEBRASKAN COMPILED A TIMELINE OF THE HISTORY OF JAZZ IN JUNE, STARTING WITH ITS FIRST CONCERT IN 1991 TO ITS 25TH ANNIVERSARY CELEBRATION KICKING OFF THIS WEEK.

ANNIE ALBIN | DN – 1991 –

– 1998 –

– 2001 –

– 2002 –

JAZZ IN JUNE STARTS AS A GAMBLE

JAZZ IN JUNE FEATURES ITS FIRST INTERNATIONAL PERFORMER

JAZZ IN JUNE MARKET GETS A REVAMP

GARDEN TOURS MAKE A COMEBACK

Hoping to draw more young people to what was then the Sheldon Memorial Art Gallery, the Nebraska Art Association – now known as the Sheldon Art Association – launched an outdoor jazz series. Kathy Piper, then-executive director of the Nebraska Art Association, found that outdoor jazz concerts were attracting large, youthful audiences and, with the help of the University of Nebraska-Lincoln’s director of jazz studies David Sharp scheduled four jazz groups to play, including the Nebraska Jazz Orchestra and a group Sharp was a member of. The first performance drew an estimated 500 attendees. “We had no money, absolutely none, and no idea if it would work,” Piper told The Daily Nebraskan in 2009. “It cost us very little... It was a real gamble, but I’ll never forget that first night. We set up at 6 p.m. on the steps of the Sheldon and people started coming from every place.”

During its first few years, Jazz in June often featured local bands. As the budget for the concert series grew, more regional and national acts were booked. Jazz in June’s first international act, Belgian pianist Ivan Paduart, made his debut at the concert series during its seventh season. “The Belgian government is sponsoring (Paduart) to come to the United States for two jazz concerts, one in Kansas City and one here,” then-execuvie director of the Nebraska Art Association told The Daily Nebraskan in 2998. “This is new and exciting, for both us and him, as he’s never been in the U.S. before.”

Under the direction of Linda Hubka, the Jazz in June market shifted its focus. Hubka said the original market had been more of a farmer ’s market, with vegetables and other foods from local vendors, but it didn’t quite stick. The attendees at Jazz in June wanted food that they could eat while they were there, not food they would have to take home. The market became a place for local food vendors to sell ready-to-eat foods, as well as arts and crafts. With more than a dozen vendors, attendees can now find anything from gourmet oatmeal to Greek food at the market.

While tours were a part of Jazz in June in the mid-1990s, they didn’t become a regular part of Jazz in June until the early 2000s. Kay Kottas, then-manager of education and plant records for the University of NebraskaLincoln botanical gardens and arboretum, told The Daily Nebraskan in 2002 that the university decided to resurrect the garden tours because of increased interest from Jazz in June concertgoers. “We just felt that it would be a good addition, particularly because the gardens are very close to where Jazz in June is held, and because people are curious about the campus,” she said.

ABOVE LEFT FILE PHOTO BY STEVEN R. BENDER | DN

ABOVE RIGHT FILE PHOTO BY STEVEN R. BENDER | DN

FAR RIGHT FILE PHOTO BY MICHAEL MODRCIN | DN

Fans have front-row seats at a 2001 Jazz in June concert outside the Sheldon Memorial Art Gallery. The Nebraska Jazz Orchestra performed despite the cool, damp weather.

Pianist Eldar Djangirov, 14, performs at Jazz in June in 2001. Djangirov, originally from Kyrgyzstan, had been on the jazz scene since 1996.

Drawn more by adventure than a love of music, brothers Ethan and Logan Bell climb on William Tucker’s 1985 bronze sculpture “Ouranos” at a 2002 Jazz in June concert.

DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

– 2016 –

JAZZ IN JUNE TRANSITIONS TO INDEPENDENCE The 25th season of the concert series will serve as a transition year – from a promotional concert to bring visitors to the Sheldon Museum of Art into its own cultural entity. Read more about the transition here. Though the leadership of the festival might have changed, Jazz in June is still the same event attendees have grown used to over the years. “The things you have to do to ensure that Jazz in June is Jazz in June, they haven’t changed.” chair Martha Florence said. Before the performances this June, UNL’s Campus Recreation will be offering basic yoga classes led by fitness instructors. The free classes will begin at 5:30 p.m. For more information, click here. “The cool thing about Jazz in June,” Florence said, “there’s something for everybody.” Spencer Munson, Jazz in June’s current coordinator, said that he hopes the future of the festival will bring more university factions, as well as bring in more of Lincoln’s youth.

– 2015 –

VIP TICKETS OFFER PRIME SEATING While Jazz in June is typically general admission, a $25 VIP ticket offered attendees a spot on the green space in front of the stage, a beverage and sandwich and an opportunity to meet the week’s performers. VIP tickets for the 2016 season of Jazz in June are available on the Lied Center for Performing Arts website, and include a guaranteed space in the VIP section, free food from one of the sponsoring vendors, a meet-andgreet with the week’s performers and a halfprice Jazz in June T-shirt.

– 2009 –

– 2010 –

– 2011 –

– 2014 –

JAZZ IN JUNE GOES GREEN

WEATHER THREATENS FIRST WEEK OF JAZZ

JAZZ IN JUNE CELEBRATES ITS 20TH YEAR

BIKE UNL OFFERS VALET SERVICE

Thanks in part to the Sheldon Museum of Art’s building operations manager and chair of its green committee, Lynn Doser, Jazz in June took steps toward a more sustainable future. “We want it to be public that the Sheldon is going green,” Doser told The Daily Nebraskan in 2009. “We wanted to be a community leader in following the green practices” with the festival serving as a kick-off public event. The first was doing away with plastic bottles of pop in favor of recyclable aluminum cans. Water sold at the event, for lack of an available greener option, remained in plastic bottles, but bins for recycling those, as well as festival programs, were provided. Balloons, which once marked donation baskets, were replaced with flags made from recycled material. “We have five, six thousand people, which creates a lot of garbage,” Doser explained. “I hope they think about (recycling) at least during Jazz in June.”

As the last microphone was connected and sound tested for the show, the members of the Darryl White Group started to unplug. “As you can tell, it’s not a bright, sunny day in Lincoln, Nebraska,” Rand Wiese, a security worker for the Sheldon, announced to the crowd. “Normally, the weatherman never knows what’s going on, but looking up at the sky, I’d say he has a fifty-fifty chance.” But the rain didn’t stop the music from playing. The band just moved inside, into the auditorium in the Sheldon. The room can hold 300 people, and Sheldon employees had planned for the possibility of storms. Many attendees left before the rain started, but those that chose to stay filled up the small auditorium within the museum.

For its 20th anniversary, the concert series highlighted bands that have played in the past, including the Nebraska Jazz Orchestra – which appeared at the very first Jazz in June concert in 1991. The event also featured limited edition posters and T-shirts, and included a welcome from the mayor in correlation with Cleaner, Greener Lincoln, which sponsored the event, and the Joshua Collingsworth Memorial Foundation, which promoted water safety. Martha Florence, chair of the event, dispelled rumors that the Jazz in June program was coming to an end. “Hopefully, it will continue on for another 20 years,” she told The Daily Nebraskan in 2011.

An effort to make the festival more environmentally friendly led to advanced recycling efforts, as well as the introduction of a bike valet program. The service, which continues today, is student-run and raises money for bike racks, pumps and repairs on campus. Placed in the intersection of 13th and R streets, the bike valet program requires photo identification and contact information at the time of drop-off. The valet begins at 5 p.m., and patrons have an hour after the musician’s final song to retrieve their bikes. Outdoor Adventures Center Assistant Director Jordan Messerer said the program was started to encourage people to think of cycling as a more viable mode of transportation. “We’re just trying to help people recognize that not only is cycling a great form of recreation,” he told The Daily Nebraskan in 2015, “it’s also a great form of transportation.”

ABOVE LEFT FILE PHOTO BY RICK TOWNLEY

Pat Fuenning and her 4-year-old daugher, Sarah, clap to the music at a 1999 Jazz in June concert. Sarah celebrated her birthday that same day.

10 DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

GARDEN TOURS: FROM 7 The tours are always centered around the and the Nebraska Athletics Hall of Fame, campus’ plants, and offer aesthetic and educawhile learning about the designs of the projtional purposes, Canney said. ects and new plants on campus. “You might be familiar with the plants June 21 will continue the historic campus on campus,” Canney said, “But do you know education, as Kay Logan-Peters, a UNL art and why they’re there, what purpose those plants architecture librarian, leads an architectural are serving?” tour of UNL’s first expansion. Among all of Canney said his tour-goers might be intercampus’ historic buildings, the tour includes the College of Business Administration, Love ested to learn that the campus’ gardens are becoming more and more Library, Teachers Col“Nebraskan.” lege and Morrill Hall. You might be familiar While there may be The garden tours no Husker flags or Koolconclude on June 28, with the plants on aid fountains, native when Landscape Servicgrasses and milkweed es landscape assistant campus, but do you know plants lend the NebrasAnn Powers and Mark why they’re there, what kan spirit and serve Canney will lead a tour important roles in the focusing on the evolu- purpose those plants are garden. tion of Love Garden. serving?” “We love the beauty Powers and Canney will of the geraniums and speak about the plants MARK CANNEY delphiniums, but we’ve and initial design of the lincoln parks planner started to ask ‘What can garden. other plants do for the The annual garden tours began their own history in June 2003. insects, for the habitat?’” Canney said. The tour leaders’ enthusiasm is only Landscape Services started the garden tours matched by the audience, and that is the part and shared their audiences with the popular Bergt loves most about the tours. Jazz in June concerts. Bergt invites all of the Lincoln commu“Most come for the tours and stay for the nity to come and be enthusiastic and “enjoy music,” said Bergt. our beautiful campus on a beautiful summer Bergt said the tours are an opportunity evening.” for Landscape Services to show the beauty of JAZZINJUNE@ campus to the Lincoln community and visiDAILYNEBRASKAN.COM tors.

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DAILY NEBRASKAN JAZZ IN JUNE

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Jazz in June Market features wide variety of vendors JAZZ IN JUNE MARKET VENDORS Big Luv’s BBQ

BBQ ribs and pulled pork

Daffodil Gourmet Catering Persian and Mediterranean food, pastries

Golden Kernel Kettlecorn Kettle corn

Greta’s Gourmet

Bavarian brats, burgers, salads

Helping Oats

Gourmet oatmeal

Joyce Bingeman Art Original screen prints

Lincoln City Libraries Library events, reading promotional materials

Made It Myself Shaved Ice Shaved ice smoothies, you flavor yourself

Manila Bay

Lumpia, spring rolls, crab rangoons

Mir Jewelry

FILE PHOTO BY KRIS KOLDEN | DN

Hans Wanamaker – or “The Grill Guy” to his customers – serves up his unique style of walk-up vending in the market set up at a Jazz in June concert in 2004. STEPHANIE CAVAZOS DN

the University of Nebraska-Lincoln’s Dairy Store serving hand-dipped ice cream and milkshakes. Hubka said it’s easy for everyone to grab a bite to eat while enjoying the From homemade root beer to original screen music provided by Jazz in June. The two printed t-shirts, the 2016 Jazz in June Market events are only about a half a block away has the most diverse group of vendors it has seen thus far. Each of the market’s 19 ven- from each other. “We love when people come down and dors offers a wide variety of handmade and locally produced goods, and all of this year ’s have dinner with us,” she said. “And shop market vendors are Nebraska-based produc- for jewelry and handmade crafts, too.” The newest vendors ers. included in the market “Every one of them We love when are Big Luv’s BBQ and is popular,” said Linda Helping Oats gourmet Hubka, the market manpeople come down oatmeal. ager. “We always get a and have dinner with us, Big Luv’s BBQ is a good turnout.” barbeque catering resFrequent vendors and shop for jewelry and taurant that also moseen at the market for bilizes itself during more than 15 years in- handmade crafts, too.” the summer season. clude Manila Bay, servLINDA HUBKA Opened in April 2013, ing lumpia, spring rolls jazz in june market manager the business specializes and crab rangoon, and in smoked meat and all The Parthenon, which things BBQ. Their food specializes in Greek truck opens in June of every year, popping food. Salads, fruit smoothies and Golden up in Lincoln during the weekends. Their Kernel Kettlecorn popping kettlecorn have menu includes pulled pork sandwiches, baby also been present for many years. back ribs and pulled pork nachos. Other popular vendors are Rolling Fire Helping Oats is a gourmet oatmeal comPizza, which wood fires pizza to order, and

pany based out of Lincoln launched on April 6, 2016. Currently the business only serves farmer ’s markets with pop-ups in the works. The “Helping” part of its name stems from the company’s desire to help the community and local businesses using local ingredients and produce. The biggest recruiting platform for the Jazz in June Market comes from the Haymarket Farmer ’s Market, where each of those vendors are invited to the Jazz in June Market. Year after year, more than a dozen of the vendors snag a spot. After passing an application process and a health department clear, a small fee is given to each of the vendors based on the kinds of services they offer. There’s a homebaker rate and a commercial cooking rate. After that, Linda Hubka, the Market Manager for Jazz in June, finds a place to fit the vendor and they’re ready to roll. The Market, which opens at 5 p.m. each Tuesday before Jazz in June, is located at 12th and R streets in front of the Lied Center for Performing Arts on UNL’s City Campus. JAZZINJUNE@ DAILYNEBRASKAN.COM

Beaded and semi precious stone jewelry

Nebraska Repertory Theatre

Free season brochures and postcards

Ollyox

Original art, apparel and accessories

Pastabilities

Array of meat sandwiches

Rolling Fire Catering Wood fired pizza

Stonecrest Designs

Original beadwork and jewelry

The Parthenon

Greek food, salads, fruit smoothies

The Root Beer Guy Homemade root beer

UNL Dairy Store

Hand dipped ice cream and frozen shakes

Vousalou

Original designs on upcycled and vintage apparel

12 DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

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Annual exhibition serves as reunion for alumni artists JACOB ELLIOTT DN More than three decades’ worth of University of Nebraska-Lincoln art and art history alumni have been featured in the Eisentrager-Howard Art Gallery in Richards Hall over the last three summers. Once again, paintings adorn the walls as this year ’s Alumni Artists show features artist from 1974 to 1978. The first exhibition in 2014 showcased the art of UNL graduates from 1945 to 1969, and last year ’s exhibition included those who graduated from the art and art history department during the early 1970s. After the success of its first year, Peter Pinnell,chair of the Department of Art and Art History, said the opening and closing events began to serve as reunions for alumni and staff. “We started this show to re-connect with our alumni,” said Peter Pinnell, Department Chair at Richards Hall. “No one who teaches in the department now was here as a professor before the late 80s. So all of these people, who went here as students before then, we had no direct memory of them. This was a chance for the faculty and staff to meet these

SEPTEMBER Sounds of China ......................Sept. 28 An Evening With Idina Menzel ...............Sept. 30

OCTOBER Once..................................... Oct. 7 & 8 Travis Wall’s Shaping Sound ....Oct. 12 The Capitol Steps .....................Oct. 21 Clint Black .................................Oct. 23 Twyla Tharp: 50th Anniversary Tour ...........Oct. 25 Sandy Hackett’s Rat Pack Show .....................Oct. 28

NOVEMBER Ingrid Fliter, Piano .....................Nov. 13 Sara Watkins..............................Nov. 30

DECEMBER Rhapsody in Black .....................Dec. 5 Brian Regan ...............................Dec. 9 Canadian Brass Christmas .....Dec. 10 Mannheim Steamroller Christmas by Chip Davis ....Dec. 20

JANUARY

ALUMNI: SEE PAGE 13

Rodgers + Hammerstein’s Cinderella .......................Jan. 27–29

PHOTO COURTESY OF ZORA J MURFF

A NEW PICK-ME-UP!

FEBRUARY Lucas Debargue, Piano............ Feb. 7 Late Nite Catechism ............Feb. 8–12 Into the Woods ................Feb. 16 & 17 Elephant & Piggie’s “We Are In A Play” .............. Feb. 22 Gabriel Kahane ...............Feb. 23 & 24

MARCH MAMMA MIA! ........................ Mar. 3–5 Heather Henson’s Crane: On Earth, In Sky...................... Mar. 9 Trinity Irish Dance Company ............................. Mar. 17 An Evening With Buddy Guy .................. Mar. 18 Riders in the Sky ....................... Mar. 24 Boston Pops Esplanade Orchestra .......... Mar. 26 TAIKOPROJECT Interlocking Rhythms........... Mar. 31

one way

APRIL Richard Goode, Piano .............. Apr. 2 Momix Opus Cactus .................. Apr. 4 The Midtown Men ...................... Apr. 7 Defying Gravity ........................ Apr. 20 Itzhak Perlman .......................... Apr. 22 Russian National Ballet Theatre: Sleeping Beauty................... Apr. 30

12 AIRPORT SHUTTLES

NEBRASKA UNION PICK-UP

DAILY TO OMAHA LOCATION AT 14TH & R

MAY Joey Alexander Trio................. May 18 Roald Dahl’s Matilda The Musical............. May 31–June 3

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DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

ALUMNI: FROM 12 students and welcome them back to the department.” This year ’s exhibition, which opened May 16, showcases a variety of mediums – from onion-shaped vases to a digital photograph of a building in Cuba. Lawson Smith’s “Potentilla” was a unique mixed medium, as a small tree seemed to be enveloped in a web of glass shards. Bill Shaffer ’s “Flash Gloria” was a realistic pastel of a Roller Derby Girl, glaring intensely at a passerby. Most of the pieces at the gallery are contemporary; however, a few of the pieces came from the decade their creators graduated in. Sandra Zieg’s “Woman Waiting” was initially made in 1978 and is a beautiful bronze sculpture of a pregnant woman, covered in a bluish green patina.

Don’t miss these Sheldon exhibitions

This was a chance for the faculty and staff to meet these students and welcome them back to the department.” PETER PINNEL

chair, department of art

& art history

Another piece, painted in 1975, is entitled “The Blue Hog.” An impressionistic piece, it features two portly pigs drawn in vivid blues and whites. According to the artist, Greg Eilers, the hogs represented some social issues during the time. “We had a lot of social unrest, and there was the Vietnam War.” Eilers said. “We have the two hogs, the rear hog, which is more of the students and protesters during the time. The blue hog is more of an authority as it turns and engages you. I just wanted to give a good representation of college and what I experienced at the college and what I did at the time.” One of the unique aspects of the piece is the frame, which Eilers made specifically for the picture. In order to incorporate the agricultural feel, the blue wooden frame is reinforced with barrel metal. The art show also invited individuals who missed the first two events to submit their work, as the main purpose of the show was to re-connect with alumni. Pinnell also said that the show paid tribute to many of the instructors who had passed away over the years. Their students carry on their legacy, as their styles show off the inspiration from both the time period and those who taught within them. Visitors are welcome to stop by room 120 of Richards Hall between 8 a.m. and 5 p.m. Monday through Friday for access to the gallery. A closing reception will be held Aug. 5 from 5 p.m. to 7 p.m. JAZZINJUNE@ DAILYNEBRASKAN.COM

PHOTO BY ALLISON HESS | DN

MAURA GILLAN DN

IT WAS NEVER LINEAR: RECENT PAINTING

Throughout the month of June, the sculpture gardens of the Sheldon Art Museum are flowing with vibrant jazz music and the excitement of live concerts. Outside, the white travertine marble walls of the Sheldon backdrop the live musical performances, while inside the Sheldon Art Association and University of Nebraska host an impressive collection of more than 12,000 works of art. The Sheldon is closed on Mondays but open the rest of the week beginning Tuesday from 10 a.m. to 8 p.m., Wednesday through Saturday 10 a.m. to 5 p.m. and Sundays noon to 5 p.m. Stop in before or after each Jazz in June concert to view one, or all, of the museum’s current exhibitions.

It Was Never Linear will exhibit paintings and drawings from 12 artists. The works produced by the invited artists focus on abstraction in contemporary paintings and demonstrates how the act of painting, such gestural marks and attention to surface texture, acts as a primary component in the representation of form and figure. The participating artists include Robert Bordo, Dawn Clements, Lois Dodd, Michelle Grabner, Loren Munk, Colin Prahl, Peter Saul, Barbara Takenaga and Stanley Whitney. Support for this exhibition and its programming has been provided by H. Lee and Carol Gendler Fund.

RE-SEEING THE PERMANENT COLLECTION As an ongoing exploration of museum holdings, two galleries reopened on May 20, both holding new readings of well-known works: Robert Motherwell’s “Atavistic Presence” and Edward Hopper’s “Room in New York.” These galleries are repeatedly redone to highlight newly acquired artwork, showcase rarely exhibited objects and explore and facilitate new interpretations and experiences of the Sheldon’s collection favorites.

BUILDING A LEGACY COLLECTION: A SURVEY OF INVITATIONAL ACQUISITIONS Since 1888, the Sheldon’s growing collection has acquired more than 250 contemporary artworks from collectors, donors and participating artists through these regularly organized exhibitions. This survey will include 20 such pieces of recent masterworks of contemporary art that typify the depth of the Sheldon’s holdings. Support for this exhibition and its programming has been provided by Ethel S. Abbott Charitable Foundation Exhibitions and Programs Fund and the Dillon Foundation.

SHELDON STATEWIDE SHAPE UP! VISUALIZING THE GEOMETRIC WORLD

Shape Up! was brought together by Sheldon Statewide, the art museum’s annual outreach program which allows for original artworks to travel across the state. This year’s exhibition is designed to be a learning resource for STEAM – science, technology, engineering, art and math – curriculum by bridging gallery and classroom environments to foster the development of visual literacy and critical thinking skills. Shape Up! will showcase a variety of mediums such as paintings, photographs, prints and sculpture, all of which will explore four types of geometry and how they influence out world. These areas are geometric abstraction, geometry and the built environment, geometry and the natural world and geometry and the human body. The exhibition features artwork by Kim Abeles, Francis Bacon, Felice Beato, Margaret Bourke-White, Alexander Calder, Chuck Close, René Derouin, Buckminster Fuller, Balcomb Greene, James Lechay, Fernand Leger, Sol Lewitt, Agnes Martin, Marjorie Mikasen, Min | Day, John Pfahl, Pablo Picasso, Bridget Riley, Hadiah Shafie, Joel Shapiro, Marko Spalatin and Walter Wilson. JAZZINJUNE@ DAILYNEBRASKAN.COM

14 DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

UP NEXT: TIZER QUARTET

COURTESY PHOTOS

NEXT WEEK’S PERFORMERS ARE NO STRANGERS TO JAZZ IN JUNE. WHILE THE TIZER QUARTET WILL FEATURE GRAMMY-WINNING SAXOPHONIST ERIC MARIENTHAL MAKING HIS DEBUET JAZZ IN JUNE PERFORMANCE AS WELL AS A NUMBER OF NEW BAND MEMBERS, LAO TIZER – WHO PREVIOUSLY PERFORMED IN 2008 AND 2012 – WILL MAKE HIS THIRD JAZZ IN JUNE APPEARANCE NEXT TUESDAY, JUNE 14. THE FOLLOWING IS A DAILY NEBRASKAN ARCHIVED STORY FROM TIZER’S MOST RECENT JAZZ IN JUNE PERFORMANCE. THE STORY HAS BEEN EDITED FOR CLARITY. JACK SAMPSON JUNE 5, 2012 “Success is not a destination; it’s a journey.” A few years ago, Lao Tizer was sitting in a bar with a few friends when he saw that quote posted on the wall. The words resonated with lead keyboardist, composer and creator of the world/fusion jazz band, Tizer. “It’s a great thing to keep in mind,” Tizer said. “I think as artists we’re always thinking about where we want to be. Now I realize everything’s just apart of the process.” As an artist in his early 30s, Tizer could be considered young by jazz standards. But for a man his age, it seems as though he’s already lived a lifetime. Tizer was born and raised in Boulder, Colorado, where he became fascinated with his sister’s piano at the age of five. He immediately began tinkering with the instrument and, after pleading with his parents, they set up his first formal lessons when he was nine years old. From there, Tizer began composing with the influence of his parents, who realized their son’s knack for songwriting. “They always encouraged me to write my own,” he said. “Because that’s where my best talent laid.” By junior high, Tizer was composing music for a school play. He began playing live at the age of 14. His first manager recognized him in the fall of 1996 while Tizer was playing in Denver. It didn’t take long for Tizer to kick-start his career. In early 2007, he uprooted his talents to Los Angeles, where he quickly began playing at Universal Studios. “I was fortunate to get some pretty cool

gigs early on,” Tizer said. “I used to play up at Universal Studios a lot, which was a very high-profile gig, especially for an 18-year-old kid. That was a blessing.” Tizer admits his early success alleviated the culture shock so many aspiring artists encounter upon their arrival in the City of Angels. He began working with his first songwriter, Norman Saleet, shortly after moving to Los Angeles. Saleet was primarily a pop songwriter who wrote hits for large-scale bands such as Air Supply. Saleet’s success with writing hit pop songs wasn’t the best fit for Tizer, who was dabbling with classical material as a keyboardist. Eventually Saleet referred him to a producer who exposed the young artist to the Emmy-winner and renowned jazz guitarist Chieli Minucci. Shortly after, Tizer and Minucci began collaborating on compositions. “We just kind of hit it off,” Tizer said. “He just kind of knew where I was coming from musically.” At the time, Tizer was still on his classical, new-age kick, but Minucci opened him up to the idea of using drum programming with his music. The new sound became an inspiration for Tizer to form his own band, which was an idea he hadn’t considered before. Minucci’s experience in the music industry allowed him to serve as a mentor to Tizer and the two became close friends. “He helped show me the ropes of the business over the years so I feel very fortunate to have made that connection early on,” Tizer said. “For anyone who’s aspiring to have a career in this realm, I think it’s really meaningful and helpful to have someone with expe-

rience and success to help guide you along.” Tizer’s career began to take off after his first collaborations with Minucci. In 2001, Tizer released “Golden Soul,” his first studio record with a full band. The record’s first single, “Her Poetry,” garnered attention, reaching the Billboard Contemporary Jazz Album chart. Unfortunately, due to his manager’s personal and business issues, promotion was cut short after about six weeks. Tizer said the lack of promotion might have hurt the album from breaking through on a much larger scale. Regardless, he considers the song to be the springboard for his career and is quick to acknowledge it opened many doors for him. After “Golden Soul” spurred a larger fan base for Tizer, he moved on to his next project, “Diversify.” Tizer’s friend and guitarist David Kollman produced the 2006 album. It features Minucci, as well as Tizer’s current violinist, Karen Briggs. Tizer admits the record was targeted at commercial success, but it didn’t do as well as he had hoped, despite its continued appearance on the Billboard Contemporary Jazz Album chart. In hindsight, Tizer said he is a little disenchanted with the project. His most recent studio record, “Passages” was released in 2009. Tizer decided to take on the project after being approached by an Australian fan who wanted to hear a more solo piano-oriented record. After “Diversify,” Tizer’s most recent album has brought him back to his roots. “I reconnected with the fact that my personal path to success is to stay true to my unique voice and what makes me successful,” Tizer said. “Some people in music achieve success because they have a knack for achieving success on a commercial level but other

people’s gift is to do something that is more eclectic and offbeat. Ever since I made that transition back, my career has definitely blossomed.” The most recent developments with the band involve a new studio album with recordings including all new members of the group. The album has yet to be named, but it is set for a late-July release. With how much the group has evolved, Tizer said he is very excited for its release and expects this album to bring a new and vibrant sound to his discography. Today’s performance marks Lao Tizer’s second Jazz in June performance, but this time he’s playing alongside four members of his new group. Jeff Kollman, who is from Ohio, will play guitar and is the only familiar Tizer musician playing the show. Rufus Philpot, a member from London, will play bass and Raul Pineda, hailing from Cuba, will play drums. “We’re expecting an even better show than they brought last time,” said Martha Florence, who has chaired the Jazz in June committee for 10 years. “His music has evolved a lot so I’m excited to see what he brings to the table this year.” The melting pot of musicians will bring an edgier sound than previous Tizer performances with more world and rock music influences. Tizer said he expects his set to be a highenergy performance with fan interaction. Having played in Jazz in June before, Tizer said he’s looking forward to making his way back to Lincoln. “That show in 2008 was great,” Tizer said.

TIZER: SEE PAGE 15

DAILY NEBRASKAN JAZZ IN JUNE

TUESDAY, JUNE 7, 2016

TIZER: FROM 14 “I have such fond memories from that show. I know it’ll be a great audience. (Jazz in June is) a long-running series that’s well attended and well supported. It’ll be fun to be back in Lincoln.” Tizer’s journey as a musician has included a 2002 nomination for Best New Jazz Artist and a 2011 nomination for Jazz Group of the Year at the Oasis Jazz awards. He’s toured in-

ternationally including stops in Dubai, South Africa, Indonesia and Barbados. “I’m really grateful to have the opportunity to do what I do,” Tizer said. “It’s a gift, despite the ups and downs.” DO YOU HAVE JAZZ IN JUNE MEMORIES TO SHARE? REACH US AT JAZZINJUNE@ DAILYNEBRASKAN.COM

Yoga a welcome addition to Jazz in June JOHNNY KEELY DN Jazz and Yoga go together like hearing a smooth trumpet solo and instantaneously realizing you should probably stretch more often. This unique combo is finally coming together, officially, at Jazz in June this year. Specially trained University of NebraskaLincoln Campus Recreation Group Fitness instructors will guide Jazz in June concertgoers throughout the class to align their shakrah’s and reach perfect zen before hearing the best jazz Lincoln has to offer. The class starts an hour before the concert, from 5:30 p.m. to 6:30 p.m. and will be located in the green space just north of the Wood Arts Building. Sarah Lewis, a fitness coordinator at Campus Recreation, contacted the organizers

of Jazz in June back in January about a possible collaboration. She saw an opportunity to expand the program while also sharing the passion of yoga with people who may not be so familiar with it. “Yoga out on the grass, you can’t really get much better than that, outside in the sunshine,” Lewis said. The class is free, all participants need to do is sign a waiver and bring a mat. Lewis explained that the classes will be very basic and open to people of all different skill levels. “I definitely think it will be a great event,” Allen said. “The girls teaching it are really awesome and welcoming and do a good job of making everyone feel like they can do it.” JAZZINJUNE@ DAILYNEBRASKAN.COM

YE A RS

OF H I STO RY I N L I N CO LN Supporting the arts in Downtown Lincoln, Nebraska Visit the new Artist in Residence Gallery & Studio, found inside The Lincoln Marriott Cornhusker Hotel, featuring local artist Margaret Berry. See her encaustic work, learn about the process or even create a piece of your own! THE LINCOLN MARRIOTT CORNHUSKER HOTEL 333 South 13th Street, Lincoln, NE 68508 402.474.7474 | www.thecornhusker.com #ConnectAtTheCornhusker

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16 DAILY NEBRASKAN JAZZ IN JUNE

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