The Best in Blues and Jazz

RENÉE AND HENRY SEGERSTROM CONCERT HALL May 7 & 8, 2016 Saturday at 7:30 p.m. & Sunday at 3 p.m. Jazz Weekend 2016 The Best in Blues and Jazz Saturd...
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RENÉE AND HENRY SEGERSTROM CONCERT HALL May 7 & 8, 2016 Saturday at 7:30 p.m. & Sunday at 3 p.m.

Jazz Weekend 2016

The Best in Blues and Jazz Saturday:

Charlie Musselwhite Bettye LaVette John Mayall

The Center applauds:

Media Partner:

Sunday:

Ms. Lisa Fischer and Grand Baton Dr. Lonnie Smith Trio Gregory Porter

Out of courtesy to the artists and your fellow patrons, please take a moment to turn off and refrain from using cellular phones, pagers, watch alarms and similar devices. The use of any audio or videorecording device or the taking of photographs (with or without flash) is strictly prohibited. Thank you. 1

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About the Artists Charlie Musselwhite With an induction into the Blues Music Hall of Fame, 35 Blues Music Awards (including three wins in 2014!) and 11 Grammy® nominations (including a 2014 win!), American electric blues harmonica player and bandleader Charlie Musselwhite has truly earned legendary status as one of blues Music’s most important artists. One of the non-black bluesmen who came to prominence in the early 1960s (alongside Mike Bloomfield and Paul Butterfield, among others), Musselwhite was reportedly the inspiration for Dan Aykroyd’s character in The Blues Brothers. He was born in Mississippi but spent his formative years in Memphis, TN, during the period when rockabilly, western swing, electric blues and other forms of African American music were combining to give birth to rock and roll. Musselwhite supported himself by digging ditches, laying concrete and running moonshine in a 1950 Lincoln automobile. This environment was Musselwhite’s school for music, as well as life, and where he acquired the nickname “Memphis Charlie.” In true bluesman fashion, Musselwhite then took off to Chicago, where he continued his education on the South Side, making the acquaintance of even more legends including Lew Soloff, Muddy Waters, Junior Wells, Sonny Boy Williamson, Buddy Guy, Howlin’ Wolf, Little Walter, and Big Walter Horton. Musselwhite immersed himself completely in the musical life, living in the basement of Big Joe Williams and forging a lifelong friendship with John Lee Hooker. In time, Musselwhite led his own blues band and in 1966 released the legendary Stand Back! Here Comes Charley Musselwhite’s Southside Band. Since then, Musselwhite has released over 25 albums, as well as guesting on albums by many other notable musicians including Bonnie Raitt, INXS, Tom Waits and The Blind Boys of Alabama, among others. Musselwhite recently teamed up with Ben Harper on Get Up!—the long-time-coming collaboration that took home the Grammy for Best Blues Album in 2014.

Betty LaVette

Charlie Musselwhite

Bettye LaVette Three-time Grammy-nominee Bettye LaVette was born Betty Jo Haskin on January 29, 1946 in Muskegon, Michigan. Bettye is an interpreter of the highest order. Whether the song originated as country, rock, pop or blues, when she gets through with it, it is pure R&B. She gets inside a song and shapes and twists it to convey all of the emotion that can be wrought from the lyric. In 1962, at age 16, she became Bettye LaVette. Her first single was “My Man – He’s a

John Mayall

Loving Man” on Atlantic Records. She worked alongside Charles “Honi” Coles, and Cab Calloway in the Tony® Awardwinning Broadway musical, Bubbling Brown Sugar in the role of Sweet Georgia Brown. Her CD, A Woman Like Me won the W.C. Handy Award in 2004 for “Comeback Blues Album of the Year.” She was also given a prestigious Pioneer Award by The Rhythm & Blues Foundation. She has received the Blues Music Award for “Best Contemporary Female Blues Singer.” She performed a critically acclaimed version

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of “Love Reign O’er Me” at The Kennedy Center Honors in a tribute to The Who. The producers had her perform “A Change Is Gonna Come” with Jon Bon Jovi for President-elect Barack Obama on HBO’s telecast of the kick-off Inaugural Celebratory concert, We Are One. In 2012 she released her autobiography, A Woman Like Me, co-written with David Ritz. In 2015 she worked again with producer Joe Henry on her latest CD, Worthy, which has received her third Grammy nomination. She is one of very few of her contemporaries who were recording during the birth of soul music in the ’60s and is still creating vital recordings today.

Gregory Porter

John Mayall For over 50 years, John Mayall has served as a pioneer of blues music, rightly earning him the title, “The Godfather of British Blues.” In 2013, John signed with producer Eric Corne’s label, Forty Below Records, and has since been experiencing a true artistic and career renaissance. This revival continues with the release of a brilliant new studio album titled Find a Way to Care, produced by John and Eric at famed House of Blues Studios in Encino, California. He is joined by his killer touring band: Rocky Athas (guitar), Greg Rzab (bass) and Jay Davenport (drums). The release of Find a Way to Care comes on the heels of Mayall’s internationally acclaimed, A Special Life was released in 2014. Earlier this year, John and Forty Below thrilled the blues world with the release of the historical Bluesbreakers album, Live In 1967, featuring the three original members of Fleetwood Mac: Peter Green, John McVie and Mick Fleetwood. A second set is slated for a 2016 release. John Mayall was born on the 29th of November 1933 and grew up in a village not too far from Manchester, England. It was here as a teenager that he first became attracted to jazz and blues 78s in his father’s record collection. Initially it was all about guitarists such as Lonnie Johnson, Brownie McGhee, Josh White and Leadbelly. However once he heard the sounds of boogie woogie piano giants Albert Ammons, Pete Johnson and Meade Lux Lewis, his desire to play in that style was all he could think of. At the age of 14 when

Lisa Fischer he went to Manchester’s Junior School of Art, he had access to a piano for the first time and he began to learn the basics of this exciting music. He also found time to continue learning the guitar and a couple of years later, the harmonica, inspired by Sonny Terry, Sonny Boy Williamson and Little Walter. After his two years at art school, he joined the art department of a major department store while starting to build up his own record collection that was to be his source of inspiration to play the blues. At age 18 when he was due for National Service he spent three years in the

Dr. Lonnie Smith Royal Engineers as an office clerk in the south of England and in Korea, all the time playing whenever he got a chance. As no-one seemed to be interested in this type of music, John felt pretty much of an outsider throughout his twenties until 1962 when the news broke in the British music magazine Melody Maker that Alexis Korner and Cyril Davies had opened a club in Ealing devoted to blues music. After Britain’s 10 year traditional jazz boom had about run its course, a new generation was ready for something new. Out came the amplifiers, guitars and harmonicas and out came 3

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young enthusiasts from all over the country eager to sit in and form their own groups. This was all the encouragement 30-year-old John needed and, giving up his graphic design job, he moved from Manchester to London and began putting musicians together under the banner of the Bluesbreakers. Although things were rough at first, the music quickly took off thanks to the popularity of The Rolling Stones, Georgie Fame, Manfred Mann, The Animals and Spencer Davis with a young Steve Winwood. John also backed blues greats John Lee Hooker, T-Bone Walker, and Sonny Boy Williamson on their first English club tours. After a couple of years and many personnel changes, Eric Clapton quit the Yardbirds and John quickly offered him the job as his new guitarist. Although John had previously released a couple of singles and a live LP for Decca, the now-classic collaboration between Eric and John resulted in the all-time best-selling classic album, John Mayall’s Bluesbreakers featuring Eric Clapton. However, by the time it was entering the charts, Clapton and bassist Jack Bruce had left to form Cream. So began a succession of future stars who would define their roots under John’s leadership before leaving to form their own groups. Peter Green, John McVie and Mick Fleetwood became Fleetwood Mac. Andy Fraser formed Free, and Mick Taylor joined the Rolling Stones. In 1969, with his popularity blossoming in the USA, John caused somewhat of a stir with the release of a drummer-less acoustic live album titled The Turning Point, from which his song, “Room To Move” was destined to become a rock classic. He received a gold record for this album. Attracted by the West Coast climate and culture, John then made his permanent move from England to Laurel Canyon in Los Angeles and began forming bands with American musicians. Throughout the ’70s, John became further revered for his many jazz/rock/blues innovations featuring such notable performers as Blue Mitchell, Red Holloway, Larry Taylor, and Harvey Mandel. In 1982, motivated by nostalgia and fond memories, John decided to reform the original Bluesbreakers. Mick Fleetwood was unavailable at the time so John hired drummer Colin Allen to join with John McVie and Mick Taylor for a couple of tours and a

video concert film titled Blues Alive. Featured greats were Albert King, Buddy Guy, Junior Wells and Etta James. By the time Mick and John had returned to their respective careers, public reaction had convinced Mayall that he should honor his driving blues roots. In Los Angeles, he selected his choices for a new incarnation of the Bluesbreakers. Officially launched in 1984, it included future stars in their own right, guitarists Coco Montoya and Walter Trout. Throughout the ’80s and ’90s, John’s popularity went from strength to strength with a succession of dynamic albums such as Behind The Iron Curtain, Chicago Line, A Sense of Place, and the Grammy-nominated Wake Up Call that featured guest artists Buddy Guy, Mavis Staples, Albert Collins and Mick Taylor. In 1993, Texas guitarist Buddy Whittington joined the Bluesbreakers and for the next ten years energized the band with his unique and fiery ideas. Making his recording debut on Mayall’s Spinning Coin album, he proved to be more than equal to following in the footsteps of his illustrious predecessors. Other modern classics followed. Blues For the Lost Days and Padlock on the Blues, the latter co-produced by John and his wife Maggie, featured a rare collaboration with his close friend John Lee Hooker. On Along for the Ride, Mayall re-teamed with a number of his former mates, including Peter Green, Mick Taylor, Mick Fleetwood and John McVie, as well as ZZ Top’s Billy Gibbons, Steve Miller, Billy Preston, Steve Cropper, Otis Rush, Gary Moore and Jeff Healey. The younger generation was well represented by teenage guitar sensations Shannon Curfman and Jonny Lang. In 2002, Stories debuted the Billboard blues charts at #1. At a 70th Birthday celebration in aid of UNICEF in Liverpool, a concert was filmed, recorded and released as a DVD and double CD in December 2003. Along with the Bluesbreakers, it featured old friends Eric Clapton, Mick Taylor and Chris Barber. The BBC also aired an hour-long documentary on John’s life and career titled The Godfather of British Blues and to coincide with the release of Road Dogs in 2005, John was awarded an OBE by The Queen’s Honours list. In the Spring of 2007, John Mayall’s 56th album release, In The Palace of the King, was an entire studio album

that honored and paid tribute to the music of Mayall’s long-time hero of the blues, Freddie King. All garnered great reviews, critical and popular acclaim and represent Mayall’s ongoing mastery of the blues and his continuing importance in contemporary music. In addition, over the last 10 years, Mayall released live recordings on his own online label, Private Stash Records. (Some still available from his website johnmayall.com.) They included Time Capsule (containing historic 1957–62 live tapes), UK Tour 2K, (from a 2000 British tour), Boogie Woogie Man, (a selection of solo performances), Cookin’ Down Under, (a live DVD from Australia) No Days Off, (another British live show) and a three volume set of Historic Live Shows. By October 2008, the years of heavy touring were beginning to take their toll on John and he reluctantly announced his decision to take an indefinite break and permanently retire the name “Bluesbreakers.” It was a sad occasion to say farewell to Buddy and the guys after 20 years of great music and camaraderie but things had reached another turning point. This caused quite a stir in blues circles and led to rumors about total retirement. Happily for the fans, early in 2009 Eagle Records called upon John to come up with a new album. Feeling much revived after months away from music, he put together a new band for the project. A few years ago, Buddy Whittington had introduced John to a fellow Texas guitarist, Rocky Athas and he recalled how impressed he’d been at the time. Luckily he answered the call and was eager to come on board for the proposed album. With the need for a rhythm section of dynamic strength, John turned to bassist Greg Rzab who recommended his fellow Chicagoan Jay Davenport on drums. Finally, the three guys were put together with keyboardist Tom Canning and within two days of meeting up in Los Angeles, the album Tough was in the can. It had taken all of three days in the studio and ever since its release and a growing schedule of world tours, a new era was born. Soon after its release Tom left to pursue other projects. A leaner four piece line-up gave John more room to stretch out as an instrumentalist and the band’s chemistry hit new heights. For the next five years (and counting) John and the

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band continue to tour. www.johnmayall.

Dr. Lonnie Smith Dr. Lonnie Smith not only stands as the preeminent Hammond B-3 organist in jazz today, but at the age of 73 he’s still progressing as an artist, as witnessed by his remarkable new album, appropriately titled Evolution. Teeming with his trademark accent marks, finesse caresses, bright sparks and jagged lines, Evolution finds Smith in the company of his regular band and special guests Robert Glasper on piano and Joe Lovano on saxophones. What’s even more notable is that the Doctor has returned to Blue Note Records for the first time in 45 years, bringing him home to the label where he made a name for himself in the late 1960s, first as a sideman with saxophonist Lou Donaldson, and soon after as a leader with his own soul-jazz classics such as Think! and Turning Point. “It’s like those old western movies where the cowboys brand the cattle,” the amiable Smith jokes before switching into new similes. “Blue Note has always been in my blood. It’s like good wine that has lasted for all these years. When they called me, I was very pleased to be back in their company. After all, Blue Note and jazz is like Motown and soul. Imagine how a label like Blue Note stood the test of time and recorded all these great musicians. For it to still be here and for me to still be here, well, it’s an honor.” A master of foot-tapping grooves, sophisticated harmonic voicings and indelible melodicism, Smith is the latest Blue Note legend from yesteryear to rejoin the classic label with vital new music, along with such titans as Wayne Shorter, Bobby Hutcherson and Charles Lloyd. Blue Note president Don Was signed Smith and produced Evolution, which is a robust and spirited collection of seven tunes, including fresh takes on Dr. Lonnie’s favorite originals and standards as well as brand-new excursions that he had never recorded before. Joining Smith is a top-notch band of musicians including tenor saxophonist/bass clarinetist/flautist John Ellis, trumpeters Maurice Brown and Keyon Harrold, guitarist Jonathan Kreisberg, and the powerhouse double drummer team of Joe Dyson and Johnathan Blake (appearing together on five of the seven numbers).

Was became reacquainted with his prowess at his appearance at the Monterey Jazz Festival in 2013, remarking that he was playing these “incredible, exciting grooves and he was totally rocking the place. He came back for an encore and started slapping his walking stick to create these insane, wah-wah polyrhythms. He was awesome—clearly in peak form and without peer.” Born in Buffalo, NY in 1942, Smith was introduced to the Hammond organ as a teenager and began immersing himself in the records of Wild Bill Davis, Bill Doggett and Jimmy Smith as well as paying rapt attention to the church organ. Smith’s first gigs were at the Pine Grill, a Buffalo club where he came to the attention of Lou Donaldson, Jack McDuff and George Benson, eventually joining Benson’s quartet and moving to New York City. After the stint with Benson, Smith released his debut album Finger Lickin’ Good for Columbia in 1967 before joining Donaldson’s band and making his first Blue Note appearance on the alto saxophonist’s hit 1967 album Alligator Boogaloo. Two more Donaldson dates followed (Mr. Shing-A-Ling and Midnight Creeper) before Smith was offered his own Blue Note deal, making his label debut with Think! in 1968. Smith went on to record another four Blue Note albums over the next two years including Turning Point, Move Your Hand, and Drives. After his first run of Blue Note albums Smith recorded for many labels, most recently his own label Pilgrimage, and his wide-ranging musical tastes have found him covering everyone from John Coltrane to Jimi Hendrix to Beck. Earlier in 2015 when he was touring music from the new album in clubs, The New York Times caught his performance at the Jazz Standard and wrote that Smith “really seems to be up to something bigger than music, and older, and deeper. An hour and a quarter in his presence, and you start thinking about the nature of time, ancestors, the circulatory system. His tunes are relatively simple and his gigs are small-club casual, but they are done with so much care and attention that they seem to slow down the heart rate.” The Doctor, in talking about his unique organ style, says, “It’s an extension of my being. It’s a part of my lens. It breathes for me; it speaks for me. I feel every bit of the organ.

It’s like electricity—a fire that goes through my body. You can feel it vibrate. There’s nothing like it. It lifts me up, it crawls through the pores of the room.” That was certainly the case when recording Evolution, which leads off with the catchy groove of “Play It Back,” a tune that Smith recorded in 1970 for the album Live at Club Mozambique, which Blue Note released later in 1995. Robert Glasper catches the groove on the acoustic piano while the double drums enlarge the beat and drive the tune and the organist zips into funky B-3 licks. “People keep asking me to play this song,” he says. “I had never played with Robert before, but it was wonderful. It really fit. We melded together.” The slower, looser grooved “Afrodesia” comes from the 1975 album of the same name. On that session, a young tenor saxophonist named Joe Lovano made his auspicious recording debut. “Joe Lovano is an extraordinary player,” Smith says. “He still plays with that same feeling of joy as when he was young. He was already bad as a youngster and knew where he was heading. He did a great job playing a different horn [G Mezzo soprano saxophone], and he brings different colors into the song.” The third tune is the ballad “For Heaven’s Sake,” which features Lovano on tenor. It opens with Kreisberg’s lyrical guitar then blooms with the three horns (Lovano, Ellis and Brown) harmonizing in an emotive vein. “I wrote that beautiful song a long, long, long time ago,” says Smith. “It’s about people taking me into oblivion. I remember when I was living in Hawaii, and I played this on a tape but never recorded it.” Other originals showing up for the first time on a recording is the funky blues “Talk About This,” featuring ecstatic trumpeting from Brown and a band chant, and the haunting end song “African Suite” with Smith on Korg keyboard. Of the former Smith says that the tune is about “doing all the talking without saying something,” while the long-form finale is highlighted by the double drum bash and Ellis’s wafting flute melody. The Doctor also delivers his reinventions of two classic standards, both in a guitar-drum trio setting. Thelonious Monk’s treasure “Straight No Chaser” gets taken for an uptempo ride. “It has a different flavor so 5

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we wouldn’t bore people,” he says. “It has to become yours at that moment. It’s like moving into a house that someone’s been living in, so you bring in your own furniture to make it yours. With Monk, you just hope you don’t destroy the beauty of what he was saying. We feel we achieved that.” As for “My Favorite Things,” a favorite of Smith’s live set, the Doctor cooks up an orchestral swell on the Korg that opens into a bright guitar joyride. “I’m playing life itself,” he says. “It’s funny. Music is to be played. That means if a song comes up to you, the first thing you do is shake hands and then you feel the vibration of silence. You never know what’s going to happen, but it’s got to be soulful, which no one can teach you.”

Ms. Lisa Fischer and Grand Baton Ms. Lisa Fischer is stepping into the spotlight at last. After four decades of singing background for icons like the Rolling Stones, Tina Turner, Chaka Khan, and Nine Inch Nails, Lisa is finally offering her own humble, heartfelt song, accompanied by her inventive new band, Grand Baton. The breakout success of the Oscar®-winning documentary Twenty Feet from Stardom (2013) altered the course of Lisa’s musical journey. Featuring clips of Lisa’s 1991 Grammy-winning R&B hit “How Can I Ease The Pain” and her legendary duet with Mick Jagger on “Gimme Shelter,” and glowing testimonials from famous colleagues like Sting, Patti Austin, and Chris Botti, the film showcased her virtuosity and vulnerability, earned her a second Grammy award, and left audiences eager to see and hear more. “Ms. Fischer has become the unexpected star of Mr. Neville’s film,” said The New York Times. Lisa set out on tour with no recordings or video to help book and promote shows, headlining first in small clubs then at the Newport and Monterey Jazz Festivals, then at concert halls in major cities. In performance, she draws from an eclectic palette of influences, putting her stamp on Led Zeppelin and Little Willie John, recasting rock anthems from her tours with the Stones and Tina Turner. Grand Baton’s organic fusion of African, Middle Eastern, and Caribbean rhythms, psychedelic soul, and progressive rock ignites Lisa’s flexibility and freedom of expression. 6

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“Transcendental!” (The Huffington Post) “The single best show I’ve seen in the many years I’ve visited Birdland.” (The New York Times) “The hair on the back of your neck stands up. The display of vocal magic was mesmerizing.” (The Edmonton Sun) “[A] wondrous instrument that can seamlessly blend classical, jazz, soul, gospel, rock and folk.” (Minneapolis Star Tribune). “Her glamorous-girl-next-door quality makes fans all over the world think she’s their own secret discovery.” (Broadway World) Lisa’s range is legendary, but her greatest gift is the ability to reach the hearts of her listeners. Raised in the Fort Greene neighborhood of Brooklyn, she emerged from New York’s studio scene in the early-1980s and quickly became session singer royalty. Lisa’s career revolved around supporting other artists, including her mentor Luther Vandross and a constellation of music legends including Aretha Franklin, Chaka Khan, Bobby McFerrin, Grover Washington, Patti LaBelle, and other major recording artists. Lisa joined the Rolling Stones on tour for the first time for their 1989 Steel Wheels tour; she has graced their stage for 26 years. Fronting her own band or collaborating with other artists, Lisa’s passion for music leads to growth and experimentation. She recorded the title track for Billy Childs’ Map to the Treasure (2014), collaborated with YoYo Ma and Gregory Porter, and created music with J.C. Maillard for the Alonzo King LINES Ballet. “It’s an exciting new chapter for an artist who had early career success but eschewed the trappings of celebrity in favor of making honest music every night,” Broadway World observes. Ms. Lisa Fischer is on a creative journey, destination unknown.

Gregory Porter An artist whose music is at once timeless

yet utterly of its time, Gregory Porter solidifies his standing as his generation’s most soulful jazz singer-songwriter with the release of Take Me to the Alley, the much-anticipated follow-up to his million-selling Grammywinning 2013 Blue Note debut Liquid Spirit.. “Holding On” was premiered on Apple Music’s Beats 1 and finds Porter presenting his decidedly different version of the Disclosure single that he was the featured vocalist on and co-wrote for their album

Caracal. “I decided to do the song the way that I would have recorded it on my record,” Porter says. “It’s a way of saying that a song is a song is a song. The lyrics and the intention of the song come through no matter what kind of bells and whistles are going on.” The rousing, bluesy stomp “Don’t Lose Your Steam” is dedicated to Porter’s three-year-old son with encouraging lyrics about staying committed one’s goals regardless of hardship. Liquid Spirit—which followed Porter’s critically acclaimed and Gramy-nominated albums Water (2010) and Be Good (2012)—was released in the fall of 2013 and quickly grew into a global phenomenon, selling a million albums worldwide and becoming the most streamed jazz album of all-time with over 20 million streams. The album sold Platinum in the U.K. and Germany, and in the U.S. Porter made his first-ever national TV appearances on The Tonight Show and Jimmy Kimmel Live while ESQUIRE and NPR Music both declared him “America’s Next Great Jazz Singer.” Liquid Spirit also won Porter his first Grammy Award in 2014 for Best Jazz Vocal Album while also earning him a Best Traditional R&B Performance nomination for his affecting ballad “Hey Laura.” In the fall of 2015 Porter finally found the time to return to the studio in New York City to record Take Me To The Alley. As he’s done on his previous three albums, Porter teamed with producer Kamau Kenyatta to craft a collection of stirring originals that juxtapose the personal and political. His partnership with Kenyatta started in the mid-1990s when he was a student at San Diego State University (Porter began his college years playing football on a full athletic scholarship before a shoulder injury diverted him into a music career). It was through Kenyatta’s mentorship that Porter’s professional musical career began. Reinforcing their well-honed rapport is the return of Porter’s core accompanying musicians—pianist and music director Chip Crawford, bassist Aaron James, drummer Emanuel Harrold, alto saxophonist Yosuke Sato, and tenor saxophonist Tivon Pennicott. Singer Alicia Olatuja, trumpeter Keyon Harrold, and organist Ondrej Pivec also make appearances throughout.

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DANCE SERIES

ROYAL SWEDISH BALLET: JULIET AND ROMEO A romantic story in a brutal environment. A clash of people and power. A struggle between generations. Love, hate and jealousy. Who can win? The Royal Swedish Ballet returns to the Center for the second time since 1999 to perform Mats Ek’s compelling and daring version of the world’s most celebrated love story, envisioned by Ek as revelatory and, as critics agree, haunting. Johannes Ohman, Artistic Director Choreography by Mats Ek Music by Peter Tchaikovsky SEGERSTROM HALL Date: June 10 – 12, 2016 Tickets: $29 and up

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Photo by Matthew Murphy.

BROADWAY SERIES

THE SOUND OF MUSIC The hills are alive in this brand new production of The Sound Of Music, directed by three-time Tony Award -winning director Jack O’Brien. The spirited, romantic and beloved musical story of Maria and the Von Trapp family will once again thrill audiences with its Tony-, Grammy - and Academy Award winning Best Score, including “My Favorite Things,” “Do-Re-Mi,” “Climb Ev’ry Mountain,” “Edelweiss” and the title song. ®

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®

SEGERSTROM HALL Date: July 19 – 31, 2016 Tickets: $29 and up

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