Arts, Culture, and Humanities
The mission of Jazz at Lincoln Center is to entertain, enrich and expand a global community for Jazz through performance, education and advocacy. We believe Jazz is a metaphor for Democracy. Because jazz is improvisational, it celebrates personal freedom and encourages individual expression. Because jazz is swinging, it dedicates that freedom to finding and maintaining common ground with others. Because jazz is rooted in the blues, it inspires us to face adversity with persistent optimism.
From our first downbeat as a summer concert series at Lincoln Center in 1987, to the fully orchestrated achievement of opening the world's first venue designed specifically for jazz in 2004, we have celebrated this music and these landmarks with an ever-growing audience of jazz fans from around the world.
Representing the totality of jazz music, Jazz at Lincoln Center's mission is carried out through four elements—educational, curatorial, archival, and ceremonial—capturing, in unparalleled scope, the full spectrum of the jazz experience.
In the mid-1980s, Lincoln Center, Inc. was looking to expand its programming efforts to attract new and younger audiences, and to fill its halls during the summer months when resident companies were performing elsewhere. Long-time jazz enthusiasts on the Lincoln Center campus and on the Lincoln Center Board recognized the need for America's music to be represented, and lobbied to include jazz in the organization's offerings. After four summers of successful Classical Jazz concerts, Jazz at Lincoln Center (JALC) became an official department of Lincoln Center in 1991. During its first year, JALC produced concerts throughout New York City, including Brooklyn and Harlem. By the second year, JALC had its own radio series on National Public Radio, and the Lincoln Center Jazz Orchestra (now known as the Jazz at Lincoln Center Orchestra) began touring, and recording and selling CDs. By its fourth year, the program reached international audiences with performances in Hong Kong and, the following year, in France, Austria, Italy, Turkey, Norway, Spain, England, Germany and Finland. In July 1996, JALC was inducted as the first new constituent of Lincoln Center since The School of American Ballet joined in 1987, laying the groundwork for the building of a performance facility designed specifically for the sound, function and feeling of jazz.
“The whole space is dedicated to the feeling of swing, which is a feeling of extreme coordination," explained Jazz at Lincoln Center's Managing and Artistic Director Wynton Marsalis of his vision for the new home of jazz, or the “House of Swing." “Everything is integrated: the relationship between one space and another, the relationship between the audience and the musicians, is one fluid motion, because that's how our music is." Under Marsalis's direction, JALC sought out world-renowned architect Rafael Viñoly and a team of acoustic engineers to create Frederick P. Rose Hall, the world's first performance, education and broadcast facility devoted to jazz, in New York City. As the centerpiece of a $131 million capital campaign drive, the 100,000-square-foot facility opened in fall 2004 and features three concert and performance spaces (Rose Theater, The Appel Room and Dizzy's Club Coca-Cola) engineered for the warmth and clarity of the sound of jazz.
Mr. Greg Scholl
Mr. Wynton Marsalis
3 Columbus Circle, 12th Floor
New York, NY 10019 USA
jazz, education, music, youth
Arts Education/Schools (A25)
Performing Arts Centers (A61)
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What are the organization's current programs, how do they measure success, and who do the programs serve?
SOURCE: Self-reported by organization
Concerts in New York City and in tour locations around the world; Essentially Ellington High School Jazz Band Competition & Festival; Jazz for Young People Concerts; Jazz in the Schools tours; Band Director Academy; Swing University for learners of all ages; Jazz at Lincoln Center Radio; pre-concert discussions; and Listening Parties. Jazz at Lincoln Center also annually transcribes and publishes works by seminal jazz composers such as Duke Ellington, and commissions new works by emerging and established jazz artists.
Essentially Ellington High School Band Competition & Festival
Held each May, the Competition & Festival is the culmination of the yearlong Essentially Ellington program, during which participating bands are invited to submit a recording and 15 finalist bands are selected through a rigorous screening process. Each finalist band receives an in-school workshop led by a professional musician before coming to New York to put up their “Dukes” and perform before Wynton Marsalis and a panel of esteemed judges.
The festival concludes with a concert and awards ceremony featuring the three top-placing bands and the Jazz at Lincoln Center Orchestra with Wynton Marsalis.
Youth/Adolescents only (14 - 19 years)
Jazz for Young People on Tour
Let Freedom Swing brings outstanding jazz artists and performances to school audiences. Based on Wynton Marsalis and Sandra Day O’Connor’s conversations on jazz and democracy, Let Freedom Swing includes three in-schools jazz concerts throughout the year: Jazz and Democracy, Jazz and the Great Migration, and Jazz and Civil Rights.
Jazz at Lincoln Center’s education programs drive our organization’s efforts to advance the appreciation, understanding, and performance of jazz. Our programs have been developed under the guiding vision of Managing and Artistic Director Wynton Marsalis, who during his visits to schools throughout our nation observed that the caliber of jazz education was often inferior to that of other fine arts. In response, Jazz at Lincoln Center offers a continuum of jazz education programs that are designed to suit the varied interests and capabilities of children, teens, and adults. Students learn about jazz’s distinctly American heritage and history as well as its greatest musicians and compositions; they explore its connection to other art forms and study how to play jazz. Today, over two-thirds of Jazz at Lincoln Center’s programming is educational—reaching more than 1,000,000 individuals of all ages and experiences in all 50 states through concerts, webcasting, and direct musical instruction and distribution of music scores free of charge.
Children Only (5 - 14 years)
Free Concert Webcasts
Each year, Jazz at Lincoln Center broadcasts over 200 free, HD quality webcasts via livestream.com/jazz and Facebook Live from it's three venues: Rose Theater, The Appel Room, and Dizzy's Club Coca-Cola, all housed within Frederick P. Rose Hall in New York City. This major audience development initiative reaches hundreds of thousands of viewers in almost every country on the planet, expanding and enriching the jazz community one concert at a time.
Children and Youth (infants - 19 years.)
Where we workNew!
Jazz at Lincoln Center, Inc.
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The people, governance practices, and partners that make the organization tick.
as of 6/2/2017
Mr. Bob Appel
Charles E. Phillips, Jr.
Alan D. Cohn
David J. Stern
Paul C. Schorr, IV
Richard M. Cashin
Gail May Engelberg
H. Marshall Sonenshine
Diane M. Coffey
Jay M. Furman
Jonathan F. P. Rose
Edward T. Lewis
Gordon J. Davis
Hughlyn F. Fierce
June Noble Larkin
Michael D. Fricklas
Dr. Henry Louis Gates, Jr.
Robert H. Burns
Stephen S. Daniel
Bill de Blasio
Mayor of the City of New York
President of the Borough of Manhattan
Speaker of the New York City Council
SOURCE: Self-reported by organization
GuideStar worked with BoardSource, the national leader in nonprofit board leadership and governance, to create this section, which enables organizations and donors to transparently share information about essential board leadership practices.SOURCE: Self-reported by organization
Does the board conduct a formal orientation for new board members and require all board members to sign a written agreement regarding their roles, responsibilities, and expectations?
Has the board conducted a formal, written assessment of the chief executive within the past year?
Have the board and senior staff reviewed the conflict-of-interest policy and completed and signed disclosure statements in the past year?
Does the board ensure an inclusive board member recruitment process that results in diversity of thought and leadership?
Has the board conducted a formal, written self-assessment of its performance within the past three years?