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January 22 , 2007
Arts at Emory
Nickel Creek’s mandolinist Thile, bassist Meyer fuse musical styles
Crossing traditional boundaries of style, world-renowned double-bassist Edgar Meyer and Nickel Creek’s celebrated mandolin player Chris Thile join forces for a program of original music at the Schwartz Center’s Emerson Concert Hall on Saturday, Jan. 27, at 8 p.m. For tickets, ($48; faculty, staff, alumni, Friends of Music members, $36; Emory students $5) call 404-727-5050 or visit
www.arts.emory.edu.
This concert, part of the Flora Glenn Candler Concert Series, is one of only 12 stops on Meyer and Thile’s tour of the United States. Their concert was described by the Los Angeles Times as “a remarkably broad musical landscape that touched on the passion and forcefulness of rock, the spontaneity and symbiotic interplay of jazz and the unabashed emotion of folk music.”
As Emory Coca-Cola Artists in Residence, Meyer and Thile will hold double bass and mandolin masterclasses on Jan. 27, at 2 p.m. in the Emerson Concert Hall and Tharp Rehearsal Hall, respectively. Immediately following the masterclasses, Thile will join Meyer in the concert hall for a question-and-answer session from 2:45 to 3:30 p.m.
Both events are free and open to public observation.
Vocalist Jon Hendricks headlines Feb. Jazz Fest
The “Father of Vocalese,” jazz vocalist Jon Hendricks, teams up with the Gary Motley Trio, featuring pianist Motley, drummer Pete Siers and bassist Paul Keller, for a performance at the Schwartz Center for Performing Arts, Emerson Concert Hall, on Feb. 2, at 8 p.m. The concert is followed by an artist reception hosted by the Caucus of Emory Black Alumni. For tickets ($15; $10 faculty, staff, alumni and Friends of Music members; Emory students free) call 404-727-5050 or visit
www.arts.emory.edu.
On Feb. 3 at 8 p.m. the Emory Big Band, under the direction of Gary Motley, closes the Jazz Festival with a free performance in the Schwartz Center featuring classic and contemporary jazz standards.
Hendricks is one of the originators of the art of setting lyrics to recorded jazz instrumental standards then arranging voices to sing the parts of the instruments, a technique called “vocalese.” Jazz critic and historian Leonard Feather has called him the “poet laureate of jazz,” while Time dubbed him the “James Joyce of jive.”
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