Thanking Hank A Salute to Hank Jones Sunday April

Thanking Hank: A Salute to Hank Jones Sunday, April 10, 2005, 7 PM Sanders Theatre Harvard University Photo: K. Abé Tonight we celebrate 25 years of jazz concerts in Sanders Theatre, presented by the Office for the Arts and Harvard Jazz Bands. Artists such as Benny Carter, Illinois Jacquet, Jim Hall, John Lewis, Max Roach, J.J. Johnson, Gerry Mulligan, Bill Evans, Randy Weston, Lester Bowie, and Steve Lacy have participated. The goal is to honor artists who have made a significant contribution to jazz, provide opportunities for Harvard students to work with masters of the art form, and share the resulting music with the public. “Thanking Hank: A Salute to Hank Jones” is made possible by the Richard J. Scheuer, Jr. Fund and the Office of the President, Harvard University. Joe Lovano, left, with Hank Jones at a recording session for the 2004 album “I’m All For You.” Photo: Jimmy Katz, Courtesy of Blue Note Records. Upcoming Office for the Arts Events Except where noted, admission for all events is free and open to the public (tickets/reservations not required). For more information call 617.495.8676 or visit www.fas.harvard.edu/ofa/ Thursday, April 14-Saturday, April 16, 8 PM: DANCERS’ VIEWPOINTE V presented by the OFA Dance Program, Rieman Center, Radcliffe Yard. Performance of student dance works and new works choreographed by Elizabeth Bergmann, Susan Shields, Michael Foley, and Brenda Divelbliss. Tickets: $10 public, $8 students and seniors. Harvard Box Office: 617.496.2222 or online at www.fas.harvard.edu/tickets Wednesday, April 20, 7 PM: “Spirits of the Noh Stage,” a lecturedemonstration on Noh theater featuring actor HARUHISA KAWAMURA, moderated by JAY RUBIN, Takashima Professor of Japanese Humanities. Lowell Hall, Kirkland and Oxford Streets. Presented by OFA Learning From Performers and the Department of East Asian Languages and Civilizations at Harvard University. Friday, May 6, 4 PM: A Conversation with Poet MAXINE KUMIN ‘46, Bunting Institute ‘63, recipient of the 2005 Harvard Arts Medal, hosted and moderated by JORIE GRAHAM, Boylston Professor of Oratory and Rhetoric. Thompson Room, Barker Center, 12 Quincy St. (limited seating). Presented by OFA Learning From Performers and the Harvard University Board of Overseers. Thursday, May 5-Sunday, May 8: ARTS FIRST 2005, Harvard University’s annual spring celebration of the arts featuring more than 200 music, theater, dance, and visual arts events. Information and complete listings: www.fas.harvard.edu/arts. Thursday, May 19-Sunday, May 22: CERAMICS PROGRAM SPRING SHOW & SALE, 219 Western Ave., Allston. Functional pottery and sculptural ceramics made by over 40 students and professional affiliates of the Ceramics Program. Information: 617.495.8680 or 617.497.7923. Office for the Arts at Harvard and Harvard University Jazz Bands Tom Everett, Director Mark Olson, Assistant Director present Thanking Hank: A Salute to Hank Jones No Flash Photography or Recording PROGRAM Yardbird Suite (1946)……………..…….........Charlie Parker (1920-1955) Arrangement by Mark Taylor Sunday Jazz Band Passing Time (c.1986)………………………..…..….Hank Jones (b. 1918) Arrangement by Kyle Nasser ’05 Kyle Nasser ’05, tenor saxophone; Jacob Bor ’05, baritone saxophone; Jay Bacrania ’05, trumpet; Mike Ramos ’05, guitar; Eric Wehrenberg-Klee ’05, bass; Charlie Frogner ’06, piano; Jeremy Lawrence ’06, drums Flying Home (c.1939)………………....Lionel Hampton (1909-2003) and Benny Goodman (1909-1986) Arrangement by Eddie Barfield Dedicated to Illinois Jacquet (1922-2004) Featuring Georges Joseph ’06, tenor saxophone Three and One (1965)...……………….…………Thad Jones (1923-1986) Monday Jazz Band Piano Solo Hank Jones These Jones (2004)…...……………….........…...Jacob Bor ’05 (b. 1983) Dedicated to Hank Jones Hank Jones with Kyle Nasser ’05, tenor saxophone; Jacob Bor ’05, baritone saxophone; Mike Ramos ’05, guitar; Eric Wehrenberg-Klee ’05, bass; Charlie Frogner ’06, piano; Jeremy Lawrence ’06, drums Sanders Theatre in Memorial Hall is managed by the Office for the Arts at Harvard. All inquiries should be addressed to: Memorial Hall/Lowell Hall Complex 45 Quincy Street, Room 027, Cambridge, MA 02138 Phone: 617.496.4595; Fax: 617.495.2420 CALENDAR OF EVENTS online: www.fas.harvard.edu/tickets SMOKING: There is no smoking allowed in Memorial Hall. RESTROOMS AND PUBLIC TELEPHONES: Located on the Lower Level PARKING: THERE IS NO PARKING AT SANDERS THEATRE. Free parking for Sanders Theatre events is available at the Broadway Garage, corner of Broadway and Felton Street, from one hour pre-performance to one hour post-performance. For some student events, patrons will be asked to park at 38 Oxford Street. LOST AND FOUND: Call 617.496.4595 or visit Memorial Hall room 027. Memorial Hall and Harvard University are not responsible for lost or stolen property. LATECOMERS: Latecomers will be seated at the discretion of the management. ELECTRONIC DEVICES: Please silence all cell phones, pagers and electronic devices. PHOTOGRAPHY AND RECORDING: Use of cameras and audio and video recording equipment is prohibited. Film and tape will be confiscated. EMERGENCY EXITS: Please take a moment to identify the nearest emergency exit. In addition to the six regular exits, there are emergency exits located at the rear of the mezzanine and balcony levels. ACCESS FOR PATRONS WITH DISABILITIES: Wheelchair accessible seating is available through the Harvard Box Office by telephone at 617.496.2222, TTY 617.495.1642, or in person. Sanders Theatre is equipped with Assistive Listening Devices, which are available at the Box Office, one-half hour before performance time. For information about parking for disabled patrons, call Marie Trottier, University Disability Coordinator, at 617.495.1859, TTY 617.495.4801, Monday through Friday 9am to 5pm. Please call at least two business days in advance. HARVARD BOX OFFICE: Phone: 617.496.2222; TTY: 617.495.1642 Advance Sales on-line and at Holyoke Center Arcade, Harvard Square, 1350 Mass Ave. Open Tuesday-Sunday 12 noon to 6pm. Closed Mondays, some holidays and limited summer hours. Pre-Performance Sales: Sanders Theatre in Memorial Hall, Open on performance days only, at 12 noon for matinees and 5pm for evening performances. Open until one-half hour after curtain. To inquire about ushering opportunities, contact the Production Office at 617.495.5595. INTERMISSION Harvard Box Office Tina Smith, Box Office Manager Jason Govostes, Associate Box Office Manager; Manager of Student Ticketing Services Bob Bartosch, Box Office Associate Heather Hughes, Box Office Assistant Amy LeBrun, Box Office Associate Wes Matthews, Box Office Assistant Michael Van Devere, Box Office Assistant Leah Zaguroli, Staff Assistant OFA-Affiliated Conductors Thomas Everett, Director, Harvard University Bands; Jazz Adviser, OFA Allen Feinstein, Conductor, Harvard Pops Orchestra Akiko Fujimoto, Conductor, Mozart Society Orchestra Kevin Leong, Associate Conductor, Harvard-Radcliffe Choruses Jameson Marvin, Director, Choral Activities Robert Mealy, Director, Harvard Baroque Chamber Orchestra Mark Olson, Assistant Director, Harvard University Bands Sheldon Reid, Director, Kuumba Singers of Harvard College Sarah Whitten, Choral Administrator; Instructor, Choir in Progress Michael Barrett, Assistant Conductor, Collegium Musicum; Director, Holden Chamber Ensembles Michael McGaghie, Assistant Conductor, Harvard Glee Club Katie Woolf, Assistant Conductor, Radcliffe Choral Society Peedlum (c. 1989)…………………………………….……….Hank Jones Arrangement by Darryl Campbell ’06 Hank Jones with Sunday Jazz Band Standards from the American Songbook Hank Jones, piano, and Joe Lovano, tenor saxophone, with student rhythm section Sittin’ In With The HUB (1989)……………..Buck Clayton (1911-1991) Commissioned in 1990 by the Office for the Arts Guest Artists with Monday Jazz Band Video Excerpts: “Norman Granz Presents Improvisation” (1950, Toshiba EMI). “Wolf Trap Salutes Dizzy Gillespie… An All-Star Tribute to the Jazz Master” (1987, PBS Great Performances). “Carnegie Hall Salutes the Jazz Masters” (1997, Verve/PolyGram). Special thanks to: David Berger, the Milton J. Hinton Photographic Collection; Michael Davenport, the Merlin Company; Gordon Jee, Blue Note Records; Harvard Band Foundation; Mary Graham; Len Trioli. Technical Crew for Tonight’s Concert: Production Supervisor: Tina Bowen Assistant Stage Manager: David Kessler Lighting: Stephen Buck Photography: Paula Lerner Sound: Myrna Johnston Audio Video Production: LightSpeed Media, Inc. Archival Video Recording: LightSpeed Media, Inc. Video Projection: Harvard Media and Technology Services Band Members Sunday Jazz Band Mark Olson, Director Saxophones John R. Adler III ’06, alto Ted Lechterman ’08, alto Michael Swita ’07, tenor Jonathan Siegel ’08, tenor Mike Coulter ’08, baritone Trumpets Elizabeth Maguire ’08 Josh Rissmiller ’06 Daniel Ross-Rieder ’08 Noel Swanson ’08 Trombones Justin Caram ’08 Dan Tapia ’06 Brett Wortzman ’06 Office for the Arts at Harvard Monday Jazz Band Tom Everett, Director Saxophones Marcus Miller ’08, alto Gordon Stewart ’06, alto *Kyle Nasser ’05, tenor Georges Joseph ’06, tenor Jacob Bor ’05, baritone Trumpets Jay Bacrania ’05 Karl Procaccini ’05 *Darryl Campbell ’06 Mike Corayer ’06 Trombones *Brett Wortzman ’06 Anna Rosenblum ’06 Sheel Ganatra ’06 Frances O’Donnell ’07 Rhythm Section *Charlie Frogner ’06, piano Eric Wehrenberg-Klee ’05, bass Mike Ramos ’05, guitar Jeremy Lawrence ’06, drums Staff Georges Joseph ’06, Manager Sheel Ganatra ’06, Treasurer *section leader Main Office, 74 Mt. Auburn Street Jack Megan, Director Cathleen McCormick, Director of Programs Deena Anderson, Program Assistant, Learning From Performers Sally Bond, Financial Associate Kelley Johnson, Assistant to the Director Thomas Lee, Program Manager, Learning From Performers Scott Lozier, Administrative Coordinator Ingrid Schorr, Associate Project Manager, ARTS FIRST Teil Silverstein, Project Manager, ARTS FIRST and Public Art Stephanie Troisi, Program Associate Jessica Tyler, Information Resource Agassiz Theatre Alan Symonds, Technical Director for College Theatre Programs Anthony Phelps, Production Supervisor, Dance; Assistant Technical Director, Theatre Ceramics Program Nancy Selvage, Ceramics Director Shawn Panepinto, Ceramics Coordinator Nathan Sherman, Ceramics Assistant Dance Program Elizabeth Bergmann, Dance Director Susan Larson, Dance Coordinator Claire Mallardi, Lecturer on Dramatics Arts, Artistic Director Emerita Patricia Ramiciotti, Dance Assistant Memorial Hall/Lowell Hall Complex Eric Engel, Director Raymond Traietti, Assistant Director Tina Bowen, Production Manager Dana Feder, Production Associate Ruth Polleys, Program Manager Jonathan Salz, Production Associate Rhythm Section Patrick Quinn ’08, piano Chase Mohney ’08, bass Neil Sawhney ’08, guitar Mike Drake ’08, drums Staff Brett Wortzman ’06, Manager Mark Olson, Assistant Director of Harvard University Bands, conducts the Sunday Jazz Band, co-conducts the Wind Ensemble, advises the Harvard University Band, and assists in the administration of the Band Program. Olson was previously Visiting Professor and Interim Director of Bands at Graceland University in Iowa, where he directed the Concert Band, Jazz Ensemble, and taught courses in music education and jazz history. He taught in public schools in Minnesota for nine years and has served as a guest conductor and clinician in Minnesota, North Dakota, Iowa, and Massachusetts. Olson received his B.M. from Concordia College, Moorhead, MN, and M.A. in Music Education and is completing a Ph.D. in Music from the University of Minnesota. In addition to teaching and conducting, Olson is an active trumpet performer. He has been a member of the Mankato and Austin Symphony Orchestras in Minnesota as well as various other ensembles. He is currently a member of the Charles River Wind Ensemble. Program Notes by Tom Everett Yardbird Suite Hank Jones was influenced early on by the independent use of hands of Earl Hines, the Harlem stride mastery of Fats Waller, the linear motion and effortless playing of Teddy Wilson, and the technical endowment and harmonic palette of the “god” of solo piano, Art Tatum. For this reason his involvement with early bebop is often overlooked. In 1944, while playing on New York’s famed 52nd Street with “Hot Lips” Page, Hank was in the center of activity for modern jazz. He explains: “I heard Dizzy at the Three Deuces with Bud Powell and Max Roach or Stan Levy on drums. During that early period I worked across the street from them in the Onyx.” No doubt the repeated exposure to this exciting music affected Hank and he incorporated its extended harmonic vocabulary, horn-like lines, and rhythmic idiosyncrasies. Only three years after his arrival in New York, Hank performed with the Charlie Parker Quintet at Carnegie Hall. His ability to assimilate diverse styles and influences and filter them internally produces his remarkable versatility. Passing Time Hank Jones recalls, “I was touring through Europe playing jazz festivals with a small group of all-stars. On those tours, you travel a lot and are always waiting in a station, hotel, or backstage. You wait more than you play. While sitting around, I thought about how time passes and so I wrote the tune.” Senior Kyle Nasser, who created tonight’s arrangement, describes the tune: “Hank Jones’ ‘Passing Time’ eloquently integrates a classic bebop swing feel with modern modal harmony and angular horn lines.” Flying Home Illinois (Jean-Baptiste) Jacquet, who passed away last July, was a guest of the Office for the Arts more times than any artist in any field. His first big-band residency, organized by drummer Joyce Kouffman ’79 in 1983, resulted in a student performance of swing music in Agassiz Theatre. Illinois’ high standards and passion for music-making and teaching inspired the Harvard ensemble to exceed his expectations. As a result of this interaction with young musicians he formed his own big Staff Photo band, which included several Harvard alumni. One of the major “Texas Tenors” of the 1940s, Illinois was launched to fame in 1942 with his fiery solo on Lionel Hampton’s recording of “Flying Home.” Illinois’ career continued as a member of the Count Basie Band, Norman Grantz’s Jazz at the Philharmonic (JATP), and later with his own band. Three and One Thad Jones, one of Hank’s younger brothers, made his reputation as a trumpeter, composer, and arranger in the 1950s with the Count Basie Band. His “Thad Jones/Mel Lewis Band,” founded in 1965, featured Hank Jones as its original pianist. Thad’s compositions retained Basie’s swing while adding Duke Ellington’s colors and his own melodic voice. The most unique aspect of the band was the manner in which Thad created the spirit and spontaneity of a small group by juxtaposing soloists with the large ensemble. For over ten years his exciting and challenging music drew many top New York musicians to play weekly with the ensemble at the Village Vanguard. These included Phil Woods, Pepper Adams, Joe Farrell, Bob Brookmeyer and, of course, Hank Jones. These Jones Jacob Bor, a senior Social Studies concentrator at Harvard, first performed “These Jones” this year at the Harvard Club of Boston’s 9th Annual Jazz Combo Festival. In 2003 visiting trumpeter/composer Dave Douglas encouraged several Harvard students to get involved in jazz composition. That interaction resulted in Jacob’s “A Cow Named Moo,” which was performed in Sanders Theatre. “These Jones” is a thirteenbar structure (with a two-bar tag). The tune centers on the Key of F with chromatic ventures that reflect the influence of Thelonious Monk, Jackie McLean, and Jacob’s own harmonic sensibility. Peedlum by Hank Jones is a slow funky blues with an unexpected melodic twist in the first measure. “I wrote ‘Peedlum’,” Hank explains, “in ‘dishonor’ of a non-conforming character I used to know from Pontiac.” Tonight’s band arrangement by Darryl Campbell ’06 is based on Hank’s 1989 quartet album. “I tried to capture the small-group sound of the quartet’s recording for the first few choruses,” says Darryl. “The sax soli are basically the second chorus of Hank Jones’ piano solo. Small parts of the larger ensemble passages are borrowed from [the Conductors Tom Everett, Director of Harvard University Bands and Jazz Adviser to the Office for the Arts, founded jazz programs at Harvard in 1971. He taught the first jazz course for academic credit at Harvard in 1972. He has also taught at the New England Conservatory, Brown University, the International Trombone Workshop, Indiana University Summer School, and the Franz Liszt Academy (Budapest). As a trombonist, he performed with the Bolshoi Ballet, Boston Ballet, Boston Pops, and Boston Opera Orchestras, the Cantata Singers (conducted by John Harbison), and the jazz bands of Clark Terry, Phil Wilson, Dizzy Gillespie, Tommy and Jimmy Dorsey, and Ray Charles. Everett conducted on J.J. Johnson’s 1996 CD, “The Brass Orchestra” (Verve), which was nominated for three Grammy Awards. He has served as assistant to jazz composers/ historians Andrè Hodeir and John Lewis and has been published in The Instrumentalist, Black Perspectives in Music, Cadence, Journal of Jazz Studies, The Music Educators National Journal, Brass Bulletin, The College Band Directors’ National Association Journal, The Journal of the International Trombone Association and Massachusetts Music News. A charter member of the International Association of Jazz Educators, Everett is a founder and first president of the International Trombone Association and past president of the New England College Band Association. He has been a panelist for the New England Foundation for the Arts and Massachusetts Cultural Council and continues to organize the Harvard Club of Boston’s Annual Jazz Combo Competition. He holds degrees from Ithaca College and studied bass trombone at the Eastman School of Music. Photo: Joey Libby Joe Lovano, a 2000 Grammy Winner, is a prodigious contributor to jazz. In 2001 Lovano received “Jazz Artist of the Year” honors for the third time in both critics and readers polls in Down Beat magazine. In 2003, he released two Blue Note recordings: “On This Day… At The Vanguard,” by his Grammy-winning Joe Lovano Nonet, and “Oh!” by ScoLoHoFo, a cooperative statement with John Scofield, Dave Holland and Al Foster. His 2004 “I’m All For You: Ballad Songbook,” with collaborators Hank Jones, bassist George Mraz, and drummer Paul Motian, was his first “all ballads” recording and has received critical raves. In 2003, Lovano was named Artistic Director at the acclaimed Caramoor Jazz Festival in New York. His DVD/VHS instructional video “Jazz Standards: Solo Interpretations & Expressions” features an intimate recital with Lovano playing a variety of horns on classic tunes. Photo: John Abbott bassist] Dave Holland and [drummer] Keith Copeland. I’d also been listening to a lot of Thad Jones before writing the chart, which inspired some of the voicings, especially the sax soli and final chord.” On Hank’s original recording of “Peedlum” (“The Touch”, Concord Records) he created a solo remarkable for its symmetry, shape, and easy flow of lines. Standards from the American Songbook Hank Jones’ solos are deceiving: they are not based on volume, flashy technique, or attention-getting devices. He does not dominate. The playing is a model of elegance and refinement, and organically serves the voice of the music and soloists. To quote Stanley Dance’s liner notes on Hank’s 1966 recording “Happenings” (Impulse): “Hank Jones is one the most respected and experienced pianists in Jazz. His taste, touch, imagination and technique have won him the admiration of musicians, critics, and listeners of every kind of opinion. The complete professional, he equates himself well in any jazz context, big band or small band, old style or new style, and as soloist or accompanist. His modesty and unassuming manner disguise the fact that he is one of the greats of our time and perhaps the most gifted pianist to appear since Art Tatum.” Hanks Jones’ oeuvre has served as a creative encyclopedia of American popular song, most recently with the acclaimed album “I’m All for You” with tenor saxophonist Joe Lovano. “I think I first played with Joe Lovano,” recalled Hank, “at the University of Idaho where they have the Hampton Festival. Joe is a consummate musician—he has great energy and is a humanist.” Sittin’ In With the HUB Buck Clayton was commissioned to write several pieces for the Harvard Jazz Band for his artist residency here in 1990. A result was “Sittin’ in With the HUB” (Harvard University Band). Buck’s music sets the stage for a coming-together of musicians, a jam session—in tonight’s case, Harvard students and jazz masters Jones and Lovano. To close, let me add one more from Hank: “I don’t see any point in retirement. If you stop playing, you stop learning. And then your fingers fall off.” Joe Lovano attended Berklee College of Music in Boston, where he met and began playing with such future collaborators as John Scofield, Bill Frisell, and Kenny Werner. At Berklee he discovered modal harmony: “My training was all bebop, and suddenly there were these open forms with deceptive resolutions.” His first job after Berklee was with organist Lonnie Smith, which brought him to New York for his recording debut and was followed by a stint with Brother Jack McDuff. He toured with the Woody Herman Thundering Herd from 1976 to 1979. He joined the Mel Lewis Orchestra from 1980 to 1992 for its Monday nights at the Village Vanguard, and recorded six albums with Lewis. He joined the Paul Motian band in 1981 and has worked with Herbie Hancock, Elvin Jones, Hank Jones, Charlie Haden, Carla Bley, Bobby Hutcherson, Billy Higgins, McCoy Tyner, Jim Hall, Bob Brookmeyer and many more. In 1994 Berklee gave Joe Lovano the “Distinguished Alumni Award” and in 1998, an honorary doctorate. In 2001 Berklee installed Lovano as the first “Gary Burton Chair for Jazz Performance.” He continues today as a professor at Berklee. Guest Artists Hank Jones is a giant in jazz. The Boston Globe recently quoted pianist Kenny Barron in describing Jones’ playing as “understated… a very elegant style. Very clear and logical and pristine.” Born in 1918 in Vicksburg, Mississippi, Jones grew up in Pontiac, Michigan in a legendary musical family that included brothers Thad Jones (cornetist/band leader/composer/arranger) and Elvin Jones (drummer). According to Jones, “When you listen to a pianist, each note should have an identity, each note should have a soul of its own.” For nearly six decades Jones has taken his own words to heart, playing every one of his notes with a unique and deeply personal Photo: Jimmy Katz, Courtesy of Blue Note Records style. “Hank never repeats himself, and the first melody sends him into a beautiful meditation on the song he’s playing,” says Joe Lovano. “He reharmonizes every chorus.” A performer by the time he was 13, Hank Jones played in territory bands in Michigan and Ohio. He met Lucky Thompson, who got him a job in the “Hot Lips” Page Band in 1944. This prompted Jones to move to New York. Always open to new approaches to music, Jones was one of the first pianists to take on the language of bebop. He recorded with Charlie Parker, and fast became an influential presence on the emerging bebop scene. He took jobs with such band leaders as John Kirby, Coleman Hawkins, Andy Kirk, Billy Eckstine, and Howard McGee. Touring with Norman Granz’s Jazz at the Philharmonic in 1947 led to Jones becoming Ella Fitzgerald’s pianist. He toured with her from 1948 to 1953. Jones’ versatility enabled him to do freelance work with such artists as Benny Goodman, Artie Shaw, Milt Jackson and Cannonball Adderly as well as becoming staff pianist with CBS from 1959 through 1975. This included backing such guests as Frank Sinatra on “The Ed Sullivan Show.” His range and ability also landed him in Broadway pit bands, where he served as pianist and conductor for such shows as Ain’t Misbehavin’. Jones was the first regular pianist in brother Thad’s orchestra (co-led with Mel Lewis) beginning in the 1960s. Throughout the 1970s, 1980s, and 1990s, he was in demand for record dates and tours, including “The Great Jazz Trio,” a cooperative unit with bassist Ron Carter and drummer Tony Williams (and later, among many legendary players, Elvin Jones). “Jones has amassed one of the most formidable yet unheralded leader catalogues in jazz” (Jazztimes). His dynamic and diverse recordings, many on the Savoy, Verve, and Pablo labels, reinterpret jazz in all of its varieties. He continues today to expand his musical palette, collaborating with a West African group, fusing American jazz with African traditional folk music, and bringing his stunning harmonic sensibility to an array of compositions that Joe Lovano chose for their timeless beauty and melodic fortitude on “I’m All for You” (2004). Jones’ discography includes “The Jazz Trio of Hank Jones” (Savoy, 1955), “The Oracle” (EmArcy, 1989), “Bop Redux” (Muse, 1977), “Lazy Afternoon” (Concord Jazz, 1989), “Upon Reflection” (Verve, 1993), and “Steal Away” with Charlie Haden (Verve, 1994). A new Blue Note recording, “A Joyous Encounter” with Joe Lovano, will be released this month. Hank Jones received 1978 and 1981 Grammy nominations for “Best Jazz Performance by a Soloist” (“Bop Redux”, “I Remember You”), and a 1980 Grammy nomination for “Best Jazz Instrumental Performance, Group” (“Love for Sale”). In 1989, he received the National Endowment for the Arts Jazz Masters Award, America’s highest honor in jazz. In recognition of a lifetime of achievement he was inducted in 2003 into ASCAP’s Jazz Wall of Fame. This year, in addition to Harvard’s salute, he received the New School University’s Beacons in Jazz Award.