2024 EMORY JAZZ FEST
February 1 - 3, 2024
This concert is presented by the Schwartz Center for Performing Arts and is made possible by the Donna and Marvin Foundation Schwartz Artist-in-Residence program. 404.727.5050 | schwartz.emory.edu | boxoffice@emory.edu
Please turn off all electronic devices. Photography, recording, or digital capture of this concert is not permitted. Audience Information The Schwartz Center welcomes members of Mu Phi Epsilon and a volunteer usher corps of about 40 members each year. Visit schwartz. emory.edu/volunteer or call 404.727.6640 for ushering opportunities. The Schwartz Center is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Schwartz Center Box Office at 404.727.5050, or by email at boxoffice@ emory.edu. The Schwartz Center wishes to gratefully acknowledge the generous ongoing support of Donna and Marvin Schwartz.
Design and Photography Credits Bobby Broom photos by Andrew Feller Cover Design: Nick Surbey | Program Design: Lisa Baron
ARTIST IN RESIDENCE
SCHWARTZ 2023 | 2024
Emory Jazz Fest 2024
Gary Motley, director of jazz studies
Bobby Broom, guitar, and the Gary Motley Trio Gary Motley, piano Kenny Davis, bass Kobie Watkins, drums
Friday, February 2, 2024, 8:00 p.m.
Emory Big Band
Saturday, February 3, 2024, 8:00 p.m. Emerson Concert Hall Schwartz Center for Performing Arts
Friday, February 2, 2024 Jazz Fest 2024 Guest Artist Program Bobby Broom, guitar, and the Gary Motley Trio
Gary Motley, piano; Kenny Davis, bass; and Kobie Watkins, drums Tonight’s selections will be announced from the stage.
Schwartz Artist-in-Residence Program The Donna and Marvin Schwartz Foundation Artist-in-Residence program at Emory seeks to substantially increase the depth, diversity, and profile of performing arts education in the Emory and greater Atlanta communities by providing opportunities for meaningful contact with performing artists, composers, and art scholars from throughout the world. To learn more about performances and interactive learning workshops with Schwartz artists in residence, visit schwartz.emory.edu/SAIR.
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Bobby Broom, guitar Bobby Broom was born in Harlem, New York, on January 18, 1961, and raised on Manhattan’s Upper West Side. He began studying the guitar at age 12, concentrating on jazz under the aegis of Harlem-based guitar instructor Jimmy Carter. As a 16-year-old prodigy at the High School of Music and Art (now known as the LaGuardia High School of Performing Arts), he played in the jazz ensemble and was awarded for Outstanding Jazz Improvisation during his senior year. Chaperoned by Weldon Irvine (an early mentor of his, composer for Freddie Hubbard and Horace Silver, bandleader for Nina Simone, and lyricist of To Be Young, Gifted and Black), the 16-year-old Broom found himself in an East Side New York City jazz club for the purpose of being taught to “sit in.” That lesson became a reality for Broom when Al Haig, pianist for Charlie Parker, invited him to join in for a couple of tunes. Impressed by the youngster’s playing, Haig offered him the chance to play with him at Gregory’s on the Upper East Side whenever he wanted. Broom ended up playing two or three times a week there, and also got to play with awe-inspiring, notable Bird keyboardist, Walter Bishop Jr. In 1977, Broom was pursued by an even greater jazz legend, Sonny Rollins, whose guitarist at the time, Aurell Ray, saw Broom play in Irvine’s musical, Young, Gifted and Broke, in Brooklyn. Ray arranged to have him meet Rollins, and after playing with the tenor colossus at a rehearsal, Broom was asked to go on the road with Rollins. Still in high school, Broom (and his parents) declined. Later that year, Rollins invited Broom to perform with him at a Carnegie Hall concert, initiating a long musical relationship between the two. Four years later, Broom began a six-year stint as a member of Rollins’s band, to which he would return in later years, appearing on Rollins albums including No Problem; Reel Life; Sonny, Please; and three volumes of the live Road Shows series. “Bobby is one of my favorite musicians,” says Rollins. “He explains why I like the guitar. He’s got a strong musical sixth sense. That makes a lot of explanations and directions unnecessary.”
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Broom’s first two albums were Clean Sweep (1981) and Livin’ for the Beat (1984), pre-smooth jazz efforts that transcended the limitations (and sometimes harsh criticism) of that category. In 1984, for personal reasons, he uprooted himself from New York and moved to the Windy City. There, while maintaining ties with New York groups including Kenny Burrell’s Jazz Guitar Band, followed by a jaunt with Miles Davis’s group, then enjoying a rewarding six-year stint with Dr. John (“For me, that was a lesson in the origins of rock and roll”), and hooking up with Windy Citybased artists such as Charles Earland, Ron Blake, and Eric Alexander, he set out to establish himself as an important artist in his own right. “I had agents tell me that I wasn’t a leader, to basically just accept the role of a sideman,” says Broom. Determined to prove them wrong, he recorded two strong mainstream albums under his name for Criss Cross, No Hype Blues (1995, his last album to feature a pianist, perennially underrecognized Ron Perillo) and Waitin’ and Waitin’ (1997, with Ron Blake). Beginning with Stand! (2001), Broom brought a serious improvisational jazz sensibility to pop classics such as Sly and the “Every modern jazz guitarist in Family Stone’s Stand!, the Mamas and the Papas’ Monday, Monday and Jimmy Webb’s Wichita Lineman. Chicago is indebted to Bobby “I wanted to connect with a more mainstream, non-musician audience, without dumbing down Broom . . . he opened up the my presentation,” he says. Modern Man, a blowing session with Dr. doors of perception for us all— Lonnie Smith and Ronnie Cuber released at around the same time, he is a master jazz stylist and a included inspired interpretations of Derek and the Dominos’ Layla and Stevie Wonder’s Superstition. On the live The Way I Play, a set of musical visionary.” classic jazz standards from 2008, Broom documented his weekly gig — Jeff Parker, with his trio at the now-legendary guitarist/composer, Los Angeles Pete Miller’s steakhouse, which ran for more than a dozen years. He then spun his creative wheel again, and again, and again—first 6
“connecting with my musical heritage” with Bobby Broom Plays for Monk, an acclaimed collection of songs by and associated with Thelonious Monk featuring “small gems of musical discovery” (Downbeat); then creating “an ode to where I’m from” on Upper West Side Story, his first collection of originals, and then returning to standards on the lovely My Shining Hour. Parallel to Broom’s achievements with his trio was his success with the collective Deep Blue Organ Trio, featuring organist Chris Foreman— who, along with Dr. John, put him back in touch with the blues roots of jazz that he feels he had neglected early in his career. “I kind of dismissed the blues after I became a ‘jazz student,’ thinking that it was somehow beneath jazz intellectually,” he says. “I know now that the intellect can operate within different formats and that the vocabulary of the blues is as rich and deep as a person is willing to make it.” Before disbanding, the Deep Blue Organ Trio recorded four albums, going out in a big way in 2001 with the Stevie Wonder salute, Wonderful! The success of that album got them an offer to open concerts for Steely Dan. Subsequently, Broom’s own Bobby Broom Organi-Sation featuring organist Ben Paterson, which released Soul Fingers in 2018, toured with the beloved pop group. Of all his achievements, Broom is most proud of his appointment as associate professor of jazz guitar and jazz studies at Northern Illinois University. Awarded a BA in music from Columbia College and an MA in jazz pedagogy from Northwestern University, he has long been involved in music education, previously teaching at the University of Hartford’s Hartt School of Music, DePaul University, Roosevelt University, and the American Conservatory of Music. He also has instructed music students in public high schools throughout Chicago as part of a jazz mentoring program sponsored by the Ravinia Festival organization and has been an instructor and mentor with the Herbie Hancock Institute. “Of the many revelations and memories that this recording brings to mind about my musical relationship with the piano,” observes Broom, “none is clearer than the simpatico that can exist within it. As a jazz professor, I see questions about incompatibility often coming up. Young, impressionable students have seemingly been forewarned about an inherent difficulty that can exist between guitar and piano. So, I find myself reprogramming students by advising them to seek out positive recorded examples all throughout the jazz lexicon. I hope this record will help to support that cause.”
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Gary Motley, piano Gary Motley is a jazz pianist, teacher, composer, arranger, and author who has been a prominent figure in the jazz scene of the southeastern United States since he began his solo career in 1994. He is renowned for his exceptional skills as a pianist and composer across various genres, such as straight-ahead jazz and chamber music. Motley’s talent has been recognized by multiple organizations including the American Composers Forum, the National Endowment for the Arts, and the Great American Jazz Piano Competition. In 2015 he was inducted into the Alabama Jazz Hall of Fame. Throughout his career, Motley has collaborated with many leading jazz artists and released more than 30 albums. His latest album, Spectrum (2024), features Edwin Livingston (bass) and Clarence Penn (drums). He has appeared as a guest on NPR’s Piano Jazz with Marian McPartland and performed with renowned musicians including Dave Brubeck, Regina Carter, Mel Tormé, and Bob Mintzer. Motley’s compositions span multiple genres and have premiered at national and international festivals. Apart from his artistic work, Motley is committed to jazz education. He is a professor of practice and the founding director of jazz studies at Emory University. He authored Harmonic Development and Contrapuntal Techniques for the Jazz Pianist (Taylor & Francis, 2024).
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Kenny Davis, bass Kenny Davis is a native of Chicago, Illinois. Davis’s career began with listening to such great R&B artists such as Earth, Wind & Fire, Brothers Johnson, and the Temptations, just to name a few. At first self-taught, he then studied music theory with David Holder Sr. Davis then attended Northeastern Illinois University, where he earned a bachelor of arts degree in music education. Upon entering Northeastern University, Davis discovered jazz music and he quickly became part of the Chicago jazz scene, playing with Von Freedman, Ari Brown, and Fred Anderson. Later, he went on to study classical bass with Warren Benfield of the Chicago Symphony and had a number of lessons with Jeffrey Bradetich. Some of his other jazz influences are Ray Brown, Paul Chambers, and Ron Carter. In addition, Davis is influenced by electric bass musicians Jaco Pastorius and Verdin White. Davis moved to New York in 1986, where he played with Out of the Blue (OTB), while quickly adapting to the New York scene. He made a living by doing sessions and jingles and appearing with such artists as Freddie Hubbard, Cassandra Wilson, Abbey Lincoln, Diane Reeves, and Art Farmer, while also studying music with Ron Carter. One of the highlights of Davis’s career was being a music arranger for a song on the Grammy Award–winning CD by artist Cassandra Wilson, Blue Light Till Dawn. Throughout the 1990s, Davis toured with such notable jazz artists as Herbie Hancock, Dianne Reeves, and Art Farmer. In 1999, Davis got the call from Kevin Eubanks, then band leader/music director of The Tonight Show band. Davis was the bassist of The Tonight Show band from September 1999 through March 2002.
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Kobie Watkins, drums Known for his fiery, emotive drumming from the last decade of touring and recording with Sonny Rollins, Bobby Broom, and Kurt Elling, Kobie Watkins is at the same time visualizing musical concepts for his own compositions and group. First explored on his 2009 solo debut, Involved, Watkins’s new formation was created from the inside out, born and cultivated from his travels and experiences, and realized through his several year performing relationship with pianist Justin Nielson and his creatively
connected bandmates. A native of Chicago, Illinois, Watkins began as a small child listening and watching his father, Alious C. Watkins, playing drums in church. Watkins started with pots and pans as a toddler, and over time has developed a personal system of timely discipline and structure for music and life skills. He has progressed into who he is today—professional drummer/percussionist and music/jazz educator. Watkins has cultivated dynamic relationships with his peers in and out of the jazz, Latin, and gospel communities as a drummer, percussionist, and mentor. Living out his commitment to music, Watkins has played and recorded with a long list of great musicians including jazz legends Sonny Rollins, Joe Lovano, Branford Marsalis, Terence Blanchard, Curtis Fuller, Bob Mintzer, John Patitucci, Arturo Sandoval, George Coleman, Ira Sullivan, Sonny Fortune, Roy Haynes, Kurt Elling, Fred Anderson, Bobby Broom, Christian McBride, Roy Hargrove, Orbert Davis, Ken Chaney, Ron Perrillo, Bethany Pickens, Ryan Cohan, Jarrard Harris, and James Austin. Additionally, Watkins has performed with gospel singer Kim Burrell, R&B and neo soul artists Julie Dexter, Javier, Kendra Ross, Chris Robinson, and many others. Watkins has toured extensively in Africa, Europe, Asia, Canada, South America, and the United States. Watkins is currently a product level artist with Sabian cymbals, Sonor Drums, Aquarian Drum Heads, and Vic Firth Drum Sticks.
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Saturday, February 3, 2024 Emory Big Band Program by Wayne Shorter arr. Mark Taylor
On the Ginza
by Gil Evans and Miles Davis arr. Mike Tomaro
Boplicity
All the Things You Are
by Jerome Kern and Oscar Hammerstein II arr. Mark Taylor
The following two selections are performed with Gary Motley, piano; Kenny Davis, bass; and Kobie Watkins, drums. Tangerine
by Johnny Mercer and Victor Schertzinger arr. Sammy Nestico
Lady Bird
by Todd Dameron arr. Mark Taylor
Speak No Evil
by Wayne Shorter arr. Mike Tomaro
“Jazz music is the power of now. There is no script.
It’s conversation. The emotion is given to you by musicians
as they make split-second decisions to fulfill what they feel the moment requires.” —Wynton Marsalis 11
Emory Big Band Personnel Gary Motley, big band director and director of jazz studies Randy Hunter, assistant big band director Justin Powell, ensemble coach Griffin Trejo Noble, student assistant
Saxophone Randy Hunter (artist affiliate), Robert Schmidt, Jay Hammond, Kai Zhao, Clement Leung
Trombone Shiven Sinha, Griffin Trejo Noble, Aiden Amaya, Tim Brewer
Trumpet Joey Chen, Jeffrey Zheng, Satya Thota, Henry Donath, Andy Blumberg
Rhythm Section Aaron Tyutyunik, piano; Evan Covey, guitar; Justin Hahm, bass; Tommy Parker, drums
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Emory Jazz Studies
The Emory Jazz Studies program features courses in improvisation and history, as well as private instruction and performance opportunities. Our mission is to educate students about the rich tradition of American jazz while providing insight into the creative process through performance and analysis. The program includes undergraduate and graduate students spanning the liberal arts. Musicians develop skills in performance through the study of classic repertory in smaller ensembles or in the big band, which focuses on traditional works of the past and present.
Emory Jazz Faculty and Artist Affiliates Gary Motley, Director of Jazz Studies Since launching a solo career in 1994, Gary Motley has been at the forefront of jazz in the southeastern United States, establishing himself as both a keyboard virtuoso and a composer. His captivating performances transport audiences back in time as Motley blends musicianship, creativity, and tradition. Recognized by Downbeat magazine, the American Composers Forum, the National Endowment for the Arts, and the Great American Jazz Piano Competition, Motley was recently cited by his home state for his artistic and educational achievements with his induction into the Alabama Jazz Hall of Fame. Motley is also committed to jazz education and awareness. In his role at Emory, Motley developed the Robert Strickland Jazz Studio—an innovative, interactive teaching facility that integrates the rich heritage of American jazz with today’s technology practices. 13
Dan Baraszu, Guitar Detroit-born, guitarist-composer Dan Baraszu started playing guitar at age nine. Early in his career, he explored many different styles of music. However, when he first heard the genius of jazz guitarist Wes Montgomery, Baraszu devoted himself to becoming a die-hard jazz artist. His major influences include guitarists Joe Pass, Pat Martino, Pat Metheny, and John Scofield, as well as other instrumentalists like Bill Evans, Horace Silver, John Coltrane, Sonny Rollins, and Charlie Parker. Baraszu received a bachelor’s degree from the renowned Berklee College of Music, where he majored in jazz composition and arranging, and a master’s degree from the University of Miami with a major in jazz pedagogy.
Justin Chesarek, Drums After earning a bachelor’s degree in music education from Slippery Rock University, Justin Chesarek attained a master of music degree in jazz studies at Georgia State University. He performs regularly with Joe Alterman, Trey Wright, Gary Motley, Joe Gransden, Sam Burchfield, and the ATL Collective. Chesarek has appeared at the Iridium and the Blue Note in New York City; the Kennedy Center in Washington, DC; a TED Talk; the Juneau Jazz and Classics Festival in Alaska; the North Sea Jazz Festival in the Netherlands; and the Montreaux Jazz Festival in Switzerland. Chesarek also teaches jazz percussion at Kennesaw State University. He is a board member of the Atlanta Lovers of Music Association, and he endorses Vic Firth drum sticks.
Randy Hunter, Saxophone Randy Hunter is a professional saxophonist, educational author, and private music instructor from Marietta, Georgia. He studied music education with an emphasis in jazz pedagogy at Valdosta State College. Focused on generating educational jazz material, Hunter developed a series of étude, duet, and combo method books titled Complete Jazz Styles, that has been endorsed by several well-known jazz artists including Joe Lovano, Jerry Bergonzi, Randy Brecker, Bobby Shew, and John Fedchock. He also created jazz improvisation-oriented instructional material in multimedia format, including several eBooks. At Emory, Hunter teaches jazz saxophone and is the assistant director of the Emory Big Band.
Justin Powell, Trumpet Atlanta-based trumpeter, composer, arranger, and educator Justin Powell has been active in the Atlanta music scene since moving to the area in 2013. Powell has a master of music degree from the University of Cincinnati 14
College–Conservatory of Music, and a bachelor of music degree in jazz performance from Valdosta State University. He stays busy performing and recording with the Terminus Horns. As a performer Powell has been able to share the stage and collaborate with incredible artists including the Gorillaz, Josh Groban, the Floozies, American Authors, Red Wanting Blue, Sister Hazel, the Isley Brothers, Bobby Feeno, Angie Stone, Chuck Israels of the Bill Evans Trio, the Atlanta Pops Orchestra, Balsam Range, and the O’Jays. Powell is well-versed in all styles of music and has worked with several classical orchestras, brass quintets, and pop and rock bands, and is a top call session player in the Atlanta area. In addition to performing live, he has arranged horn parts in a variety of styles for live performance and studio sessions.
Chris Riggenbach, Double Bass and Electric Bass Chris Riggenbach has played bass with Josh Groban, Chloe Agnew, Gary Motley, Wycliffe Gordon, Victor Goines, Audrey Shakir, Karla Harris, Ted Howe, Keith David, Sarah Partridge, Marcus Lewis, Josh Lawrence, Raphael Imbert, Matt Catingub, Jens Lindemann, Steve Moretti, Macon Pops, Atlanta Pops Orchestra, Atlanta Opera, Jazz Legacy Big Band, 4th Ward Afro Klezmer Orchestra, Sweetwater Junction, and Gold Sparkle Band. He has also played bass on Wicked, The Sound of Music, Catch Me If You Can, Dreamgirls, Bonnie & Clyde, and Thoroughly Modern Millie. In 2010, Riggenbach performed in Poland with the Josh Lawrence Jazz 3 at the Sopot Molo Jazz Festival and Piwnica pod Baranami in Krakow. Riggenbach has bachelor’s and master’s degrees in music from Georgia State University. He studied bass with Dee Moses, Ralph Jones, Thomas Thoreson, Neal Starkey, Rich Nanista, and Robert Dickson. Riggenbach teaches bass and directs jazz combos at Emory University.
Penelope Williams, Piano and Vocals Penelope Williams, MM, piano/keyboards/vocals, has performed in countless venues across the globe. A longtime resident of Atlanta, her musical residencies have included the Ritz Carlton Atlanta, Omni Hotel, and Hotel Nikko, among others. Williams’s love of music keeps her active as an instructor of jazz and performance at Emory University, Global Village Project, and the Lovett School. Additionally, she is a creative arts director with the Spiritual Living Center Atlanta and the founder of Gratitude Jazz Foundation, an organization raising awareness of women jazz musicians and composers by providing a positive and supportive environment, i.e., a haven for artistic growth.
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Music at Emory The Department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than 60 nationally and internationally recognized artists and researchers, undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in the department earn a BA in music with a specialization in performance, composition, or research; many simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, faculty members and ensembles also welcome the participation of non-major students from across the Emory campus. Become a part of Music at Emory by giving to the Friends of Music. A gift provides crucial support to all music activities. To learn more, visit music.emory.edu or call 404.727.6280.
Emory Jazz Alliance The Emory Jazz Alliance is devoted to supporting jazz education, awareness, and performance at Emory University. Donations will support Emory Jazz Studies by providing funding for residencies, program development, and community outreach. Students of Emory Jazz have been a part of an exceptional and nurturing space that prepares students to be the next generation of jazz artists and also creates connections and educational experiences with the industry’s top jazz artists. Become a member today by visiting music.emory.edu/home/about/support or scanning the QR code.
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Upcoming Emory Jazz Concerts Many concerts at Emory are free to attend. Visit music.emory.edu or schwartz.emory.edu to view complete event information for all Music at Emory events. If a ticket is required for attendance, prices are indicated in the listings below in the following order: Full price/Emory student price (unless otherwise noted as the price for all students). Tuesday, March 26, 8:00 p.m., Emory Jazz Combos, Schwartz Center, Emerson Concert Hall, free Thursday, April 11, 6:00 p.m., Jazz on the Green, Patterson Green, free Tuesday, April 16, 8:00 p.m., Emory Big Band, Schwartz Center, Emerson Concert Hall, free
Upcoming Emory Music Concerts Many concerts at Emory are free to attend. Visit music.emory.edu or schwartz.emory.edu to view complete event information. If a ticket is required for attendance, prices are indicated in the listings below in the following order: Full price/Emory student price (unless otherwise noted as the price for all students). Thursday, February 8, 8:00 p.m., St. Olaf Choir, Schwartz Center, Emerson Concert Hall, $50/$10, tickets required Friday, February 9, noon, The Three Graces, ECMSA: Cooke Noontime Series, Schwartz Center, Emerson Concert Hall, free Friday, February 9, 7:00 p.m., Chinese New Year Celebration and Pajama Concert, ECMSA: Family Series, Carlos Museum, free Saturday, February 10, 8:00 p.m., CompFest 2024, Performing Arts Studio, free Sunday, February 11, 4:00 p.m., Bach Bowl–Inspired by Bach, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free
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Wednesday, February 14, 8:00 p.m., Emory Youth Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free Friday, February 16, 8:00 p.m., National Symphony Orchestra of Ukraine, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $60/$10, tickets required Wednesday, February 21, 6:30 p.m., and Thursday, February 22, 2:30 p.m., Vocal Master Class, Performing Arts Studio, free Friday, February 23, 8:00 p.m., Emory Wind Ensemble, Schwartz Center, Emerson Concert Hall, free Saturday, February 24, 8:00 p.m., Alexandra Shatalova Prior, oboe, Emory Artist Affiliate Recital, Schwartz Center, Emerson Concert Hall, free Sunday, February 25, 4:00 p.m., Atlanta’s Young Artists, ECMSA: Family Series, Carlos Museum, free Tuesday, February 27, 8:00 p.m., The Merian Ensemble, Schwartz Center, Emerson Concert Hall, free Friday, March 1, noon, Bertrand Giraud, piano, ECMSA: Cooke Noontime Series, Carlos Museum, free, registration required Thursday, March 7, 8:00 p.m., Emory University Symphony Orchestra featuring Eighth Blackbird, Schwartz Center, Emerson Concert Hall, free, tickets required Friday, March 15 and Saturday, March 16, 8:00 p.m., Same Light, Different Lanterns, Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $38/$10, tickets required Friday, March 22, 8:00 p.m., Turtle Island Quartet: Island Prayers, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $45/$10, tickets required Sunday, March 24, 7:00 p.m., Collaborative Piano, Performing Arts Studio, free Tuesday, March 26, 8:00 p.m., Emory Jazz Combos, Schwartz Center, Emerson Concert Hall, free Saturday, March 30, 8:00 p.m., Vega Quartet, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free 18
Schwartz Center Staff Rachael Brightwell, Managing Director Terry Adams, Box Office Coordinator Lisa Baron, Communications Specialist Kathryn Colegrove, Associate Director for Programming and Outreach Lewis Fuller, Associate Director for Production and Operations Jennifer Kimball, Assistant Stage Manager Jeffrey Lenhard, Operations Assistant Brenda Porter, House Manager Caroline Renner, Program Coordinator Alan Strange, Box Office Manager Nicholas Surbey, Senior Graphic Designer Alexandria Sweatt, Marketing Assistant Mark Teague, Stage Manager Matt Williamson, Senior Multimedia Developer The Schwartz Center for Performing Arts offers a variety of jazz, classical, and crossover music each season. Visit schwartz.emory.edu for more event details and up-to-date information.
Next Schwartz Artist-in-Residence Series Event
Emory University Symphony Orchestra featuring Eighth Blackbird Thursday, March 7, 8:00 pm | Schwartz Center, Emerson Concert Hall
In this Schwartz-Artist-inResidence program, the Emory University Symphony Orchestra performs Gustav Mahler’s Symphony No. 1 and Viet Cuong’s newly orchestrated Vital Sines featuring the Grammy Award– winning sextet, Eighth Blackbird.
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2024 EMORY JAZZ FEST February 1 - 3, 2024
EVENT LINE-UP Thursday, February 1 at 2:30 p.m. Lecture/Demonstration with Bobby Broom Friday, February 2 at 8 p.m. Bobby Broom with the Gary Motley Trio Saturday, February 3 at 11:30 a.m. Jazz Clinic | Tharp Rehearsal Hall Saturday, February 3 at 8 p.m. Emory Big Band with Gary Motley, piano; Kenny Davis, bass, and Kobie Watkins, drums
404.727.5050 SCHWARTZ.EMORY.EDU