-
Center for Black Music Rerearch, Columbia College Chica Spring 2 0 0 0 Tracing U.S. Black Vernacular Musical Styles
[hicago musician, collector, and educator Charles E. Walton has worn many hats during his long areer. Many knew him as the house-band dnnnmer of Von Freeman's long-running South Side jam session at
Club Enterprise on 75th Street or, per- haps, as a member of the Johnny Pate
Trio. Others have experienced his edu- cational philosophies during his tenure as a professor at Malcolm X College, a local junior college. And within the small circle of black music hihliophiles in the city, Walton is known as a col- lector of rare black music memorabilia.
These experiences have given Walton a
-
.
nersoective
A of Chicam's black music history of the last fifty years. At age seventy-five, he shows little sign that his passion for music is abating.
Raised in what was known as
I
1
community on Chicago's South Side,
Walton heard the popular musical styles of the day. However, his musical career did not begin in earnest until 1945 when he entered
Chicago's Roosevelt
University to pursue a music degree in voice. While study- ing at Roosevelt, Walton begru gigging with smaU bands around town and became fasci- nated with the drums. He soon invested in his first drum set.
After brief tenures at Kentucky State
College and Maryland State University in pursuit of a degree in music educa- tion-a switch from his voice major-
Walton returned to Chicago because he decided that the freelance work that
1
BY MONICA MCPHERSON
(as available to him in lentucky and Maryland wuld not adequately sup- port the lifestyle he desired.
In 1949, in an attempt to become a more b p o n s i - blew man, he dropped out of chool and landed a regular job. But his musical interests were too great to completely abandon his dream of a music career. By day, he worked for the Board of Health, and, by night, he freelanced, playing with an array of musiciansa veritable who's who of the Chicago music scene.
The Johnny Pate Trio ca. 1950. Top to bottom:
Charles Walton, Johnny Pate, Lionel Bright. Photograph murtey of @'?e Vivian G. H a d Resean-h CoIi~'on
Amwidn W i r y a d Chicago Pubik library.
Eventually he realized that the "respon- sible adult" in him was too much in love with music to settle for anything less than his full commihnent to music.
Like many musicians before him,
Walton decided to "try New York," and in 1957, he moved to New York City.
But the Big Apple's crowded streets and fast-paced lifestyle did not appeal to Walton, and he soon refurned to
Chicago to f i ~ s h college degree.
He gradnated from Roosevelt
University with a degree in music edu- cation and soon began graduate study.
At the same time, he worked as the director of a community music founda- tion that still exists today. By 1970,
Walton had established a career as a professor at Malcolm X College. There he taught music theory and composi- tion for nineteen years. His unique and quite varied perspectives, gained from his experience as a practicing musician, served him and his students well.
Today, the energetic Walton is con- centrating on a project he calls
"Bronzeville," a collection of inter- views and photographs of Chicago's
African-American music community. It features numerous musicians, particu- larly Walton's contemporaries. Walton says that he is attempting to capture the spirit of the 1940s and 1950s when
Bronzeville was "happening." This kind of work is invaluable as more and more of these musicians pass away,
(continued on page 2)

taking with them memories of an important historical moment. Over the years, Walton has collected numerous pieces of memorabilia to document his lifelong mterest in Chicago music. His collection is now permanently housed in the Vivian G. Harsh Research
Collection of Afro-American History and Literature at the Carter G.
Woodson Regional Branch of the
Chicago Public Library. The collection has among its holdings rare pho- tographs, recordings, and taped oral histories. Belinda Jones, an archivist at the Harsh Collection, states that the value of Walton's
is its 'pefsonal touch."' It is one of the few collections by a musician that documents African-
American involvement in the Chicaga jazz scene. It includes fare photos of a young Miles Davis performing at an after-hours jam session and Duke
Ellington participating in an early Bud
Billiken parade. Photos from the
Walton Collection are featured at the pellter for Black Music Research in a
The Johnny PateTrio at theSuthedand Hotel. 1955. Johnny Pate (bas), Lionel Bright (piano). Charles WaNon
(drums). Phofcgrapb murtesy of tbe Yivian G H&'Ra~eaIrh Co~enion HMoryend lhfatum, airago
FuMir Ubraw montage timefine. librarian a d
Black Music Research, says that
'
Wdton is unusual because he is "a practicing musician who
archivally-he knows the import*-- of saving things." Indeed, we can
thank Walton for helping to preserve for posteriiy a vital part of our nation's n mdergroduaie df the
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Robert PNter
R&B Mitn, Goldmlne, and writer,
Charles D. Spencer and Associates, Chitauo
Tabatha
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Chicago Patk District's
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Tabatha Russell-Koylass is Center
Director of the Chicago Park District's
South Shore Cultural Center. She teaches courses in dance and arts man- freelance choreographer. Russell-
Koylass holds a master's degree m interdisciplinary arts from Columbia
College Chicago and was a faculty member in the dance department for three and one-half years. She has per- formed nationally and abroad with the
Chicago-based Gus Giordano Jazz
Dance Chicago, Joseph Holrnes
Chicago Dance Theatre, Mordine and
Company Dance Theatre, and with
Robin Lakes Rough Dance and David
Rousseve.
Charles R. Sherrell II is Chief Executive
Officer of Mariner Broadcasters, Inc., president of CD 1570-AM radio sta- tion, and president of the Chatham
Business Association in Chicago. He is past president and chairman of the
National Institute of Corporate
Responsibility. Sherrell is very active in developing jazz music appreciation by African-American adults and chil- dren. He is a former high school and college instructor and holds doctorates in linguistics and anthropology.
Hazel B. Steward is Region Three
Education Officer with the Chicago
Public Schools. She provides services and resources for and oversees the daly operations of more than 100 schools and serves over 55,QOO
Chicago elementary and high school students. Steward is a member of the
National Education Association, the
Chicago African-American Teachers
Association, the American Association of School Admhstrators, as well as
- tions. She serves on the boards of the
Consortium of Chicago School
Research Constituent Advisory group,
Project Serve, and the Principals
Coalition for the arts. Steward has puh- lished extensively and lectured throughout the United States.
CBMR Staff
%mud A. Floyd Jr.
Ihreetor
Marsha 1. Heizer
Asmiate Dmctor
Morris A. Phibbs
&@or of Developmrot P ranne Flandreau u u m a n and Arehim'
Johann 5. Buis
Edueaut
Coleridge-Taylor Perkir.,.. o r b h n of Periomance Acuv~ueS
Marcor Sueiro
Sound Specialist
T. 5. Galloway bled Stop-Time Coordinator and Music h
Guthrie Ramsey Jr.
Editor. StopRme!
R~chard Wang
Consuitmg Edaor, SiopTW
-
Trenace V, Ford
Manaping Editor, Stop-Em!
Axie Breen
' T
;fi
I
It was a show of love and enjoymm? The Mdcolm X College President's that took place on
in Gala Committee would like to extend
&rovidence-St. Mel's Auditorium. The its heaafelt appreciation for the perfor-
Ewsemble Stop-Time did a beautiful perSmmance. After the mance of Ensemble Stop-Time on
" 7 -
: Friday, Febrvary 4,2000. assembly, students axid st?#
%
The entire evening was a mne up to me, or sent e- m i l s t e h g how much they enjoyed the
The Dean of Students said the Lower
~ ~ w ~ ~ - # ~ d
-
-
- wonderful blend of music tation of the preserr
African-
American styles, and
School in the balcony even enjoyed tbmelves. I was sitting on the main
Beverly A. Hadley, Executivtiveaiector of exceptional musicianship. The variety of sounds frop ensemble was a true floor, and I could see teachas, stu- testimony to the legacy of our people dents, 4ministcatoi8, and a few outside past, present, and future. Thanks for pests doing the same. I think Maggie continuing to make CBMR a p o w e m
Bwwn really stole the show. force the archive of musical history
Keep up the good work and we hope and preservation to our musk. to have Ensemble Stq-Time back May you experience continued suc- again. Give thaalrs to all the crew. We cess in your future programs and love you and wekdme you m our fami- endeavors. ly at Providence-St. Mel. (
Randall hQ. h h n a ~ n ,
Progrms, x
College
@Career
Admlrsims, PmvLlence-St. ikisl School
1
I
,.
,, of Stop of charge nmef we avalable free
To recave your issue or to
,"form us of a change of address, send your name and address m
Stop-Tuner
Cenier for Black Music Researcl
Columbia College &=ago
600 South Mtchaan Avenue arcall (312) 3G7559, fax (312) 344-8029, e-mail wlum edu. Vls~t home page at www
I

I a
A
to
the
' W ith the death of Cnrtis
Mayfield in December 1999, the music indusuy lost one of its most innovative and influ- entil voices. A Chicago native son,
Mayfield was born June 3, 1942. He will be remembered for bringing a social consciousness to soul music.
From the late 1950s to the mid-1960s, his work helped to develop the
"Chicago Sound'' during his tenure with the popular quintet, the
Impressions. Writer and lead singer
Mayfield penned such memorable hits as "People Get Ready," "Keep ou
Pushing," and "We're a
These songs showcased themes of racial uplift and spiritual inspiration for blacks in the midst of the civil rights struggle, and, at the same time, forecasted the stylistic shift from rhythm and blues to soul. Like the spirituals a century before, Mayfield's music spoke to the hearts of African Americans, encourag- ing them to persevere and to m s c e n d and, most important, to change their circumstances. Mayfield's artistic activism caused many to consider his work "the soundtrack to the Civil
Rights movement."
When he left the hnpressions in 1970 to pursue a solo cmer, Mayfield achieved critical acclaim as the creative force behind tl platinum-selling soundtrack to
Supeifry (1972). a definitive blaxploitation film of the , early 1970s. The film chroni- cled the life of a drug dealer entangled in the undenvorld of ghetto drug culture.
Mayfreld's soundtrack was stunning. His mellow falsetto voice glides over exquisitely crafted arrangements of
I lending his lyrics about life in the' drug strings, horns, and percussion, game soulful yet strident tenor. Hits such as the film's title track, Treddie's
Dead," and "Pusheman" secured
Mayfield's status and the Supel-fy soundtrack as cultural icons of the
Black Power Movement.
Arguably, the idealism and advocacy for social change tbat characterized much of the music of the 1960s was lost on the disco and the dance floors of the 1970s. However, Mayfield worked against the tide and contmued to write music with a political con- sciousness, capturing the mood of the historical moment. Lyrics from his first solo single, "(Don't Wow) If There's a
Hell Below We're All Going to GO" typify Mayfield's tone during that time:
I
Blacks and the crackers
Police and their backers
They'te all political actors
His bold exploration and illumination of America's racial politics are c a p tured on other songs such as 'We
People Who Are Darker Than Blue" and "Mighty Mighty (Spade and
Whitey)."
With hit singles whose themes range from sensual love ballads to reflections on ghetto life, he remained commer- cially viable. Mayfield also continued his work on film scores, receiving acclaim for the soundtrack to Claudine
(1974). and Let's Do ItAgain (1975).
Perhaps his greatest film contribution after Supel-fy was the soundtrack to the
1976 Pllm Sparkle. His collaboration with Aretha Franklin on
"'Hooked on Your Love," one of the hit singles from
Sparkle, was a crowning achievement. Over the next two decades, Mayfield was extremely prolific, releasing more than a dozen albums.
To my ears, much of
Mayfield's creative verve can be amibuted to his innova- tive use of patterns and char- acteristics that have always been qualities of black music.
Wl.--.-: in the interplay of his vocals and instrumental mangements or in those passages in which Mayfield allows the instruments to "do the talk- ing," there is a constant, although var- ied, pattern of call-and-response. The recording of "Move on Up," a hit from his solo career that is reminiscent of his civil rights anthems from his days with the Impressions, concludes with an exknded instrumental passage in which the horns dominate the sound- scape over a driving percussion sec- tion. When a saxophone solo enters along with Maytield's own impeccable guitar work, the instruments
C O ~ U N - cate powerfully with each other and with the listeners. s o from the Supeifry soundtrack also show Mayfield's use of
African-American music traditions.
The liner notes to the soundtrack cite the call-and-response between the horns and piano on "Junkie Chase!'
And the second instrumental, 'Think," like much of his work, references or signifies on the blues and gospel gen- res.
In today's musical milieu, in which the popular music industry generates a lot of dollars but little creativity,

Mayfield's name may not be familiar to younger listeners. However, they are indirectly exposed to his work through a new generation of artists who, like
Mayfield, also use concepts from the black musical traditions and recognize his influence on their own styles. If imitation is truly the highest form of flattery, then the hip-hop community has paid great homage to Mayfield through countless covers and samplings of his work. Hip-hop producer Sean
"Puffy" Combs sampled "Give Me
Your Love," the theme from SuperjZy's infamous bathtub love scene, and incorporated it into Mary 1. Blige's
"I'm the Only Woman." Rapper Ice-T cites Mayfield as one of the artists who directly influenced his work. Hip-hop poets, such as Nas and the Notorious
B.I.G., who rap about surviving as black men in the urban underclass, are referencing Mayiield's musical lamen- tations on ghetto life.
After a tragic accident in 1990 left
Mayfield a quadriplegic, the music industq began to recognize his accom- plishments with various honors and tributes. But the industry only con- firmed what many of us have known for years: Mayfield was one of a hand- ful of artists who was "right on time" and will continue to he timeless. His work will live on as an inspiration to
1 future generations.
Tract Curry 1s a senror at the Universrty of Pe~syiwnin.
The following selections are available in the CBMR Library and Archives, open
Monday through F r i d a y f i m 9 AM. to
5
P.M.; telephone: (312) 344-7586.
1963. The ~ ~ ~ r e s s r o n s ABC-450).
1964. Keep on pushing (ABC ABC-493).
1964. Never endcna lm~ressions ABC-
468).
- .
1965. One by one (ABC ABC-523).
1965. People get ready (ABC ABC-505).
1966. Rzdin'high (ABC ABC-545).
1967. The fabulous Impressions (ABC ABC-
606).
1968. This is my country (Curtom CRS
8001).
1968. We're a winner (ABC ABC-635).
1969. The versattle Impressions (ABC ABC-
668).
1969. The young rnods'forgotten story
(Curtom CRS 8003).
1970. Check our your mind (Curtom CRS
8006).
Solo
1970. Curtis ( C u m 8005).
1971. Curtis live (Curtom CRS 8008).
1971. Roots (Curtom CRS 8009). I
1972. Superfly (Curtom CRS 8014).
1973. Back to the world (Curtom CRS 8015).
1973. Curtrs in Chicago (Curtom CRS 8018).
1974. Got tofurd a way (Curtom CRS 8604).
1974. Move on up (Buddah 4015).
1974. Sweet exorcist ( C m m C R S 8601).
1975. Let's do i f aaatn (Curtom CU 5005).
1975. There's no ;ace like America today
(Curtom CU 5001).
1976. Give,
- take, and have (Curtom CU
5007)
1977. Never say you can't survive (Curtom
CU 5013).
1977. Short eyes (Curtom CU 5017).
1978. Do tt all night (Curtom CU 5022).
1979. Heartbeat (RSO 3053).
1980. The right combination [with Linda
Cldford] (RSO 3084)
1980. Something to believe in (Cmom CUR
3077).
'
1981. Love 1s the place (Boardwalk NB1-
33239).
1982. Honesry (Boardwalk M-33256-1).
1985. We come in peace with a message of love (CRC CRC 2001).
1988. Live in Europe (Curtom CUR 2901).
1990. Take it to the street (Curtom CUR
2008).
1996. New world order (Warner Brothers
9-46348-2).
B l b ~ a p l i v
Alexander, Michael. 1969. The
Impressions. Rolling Stone 49: 28-30,
Blum, Russ. 1999. Soul legend Curtis
Mayfield, 57, dies. [Albany, N.Y.] Times
Union, December 27: B8.
Cummings, Tony. 1974. The gentle genius writes on. Black Music 1, no. 10 (Sept.):
19-20.
Flanagan, Bill. 1993. Black history: Speech meets Curtis Mayfield. Musician 176:
60-67.
Gonzales, Michael A. 1998. The legend of soul: Long live Curtis Mayfield. In Soul:
Black powel; politics, and pleasure. New
York: New York University Press.
Gradwell, Ian. 1990. Curtis Mayfield.
Feber 2 50-58.
Hewitt, Paolo. 1983. So proud: The moral standard of soul. New Musical Express
(July): 24-26, 43.
Hoekstra, Dave. 1995. Honors for a native son: Mayfied returns for a star-studded tribute. Chicago Sun-Times, February 23:
32.
Holtzberg, Maggie. 1996. Curtis Mayfield.
In Portrait of spirit: One story at a time.
Oakville, Ont., Canada: Disability Today
Publishing Gmup.
Kening, Dan. 1990. Keep on pushing:
Friends say injured Mayfield "can't stop
-. now." Chicago Tribune, September 2: sect. 13, 16.
Kot, Greg. 1993. An unfettered soul: C d s
Mayfield won't let hard times stop the music. Chicago Tribune, April 11: sec.
13, 10.
1996. Theme songs: Curtis
Mayfield answers the call with a new album. Chicago Tribune, October 1.
Mayfield, Curtis. 1996. Poetic license in poem and song. Beverly Hills, Calif.:
Dove Books.
Obrecht, Jas. 1994. Keep on pushing: A
Curtis Mayfield tribute. Guitar Player 28
(June): 71-72.
Ofari, Earl. 1972. Curtis Mayfield: A man for all people. Soul Illustrated 3, no. 5:
19-20.
Phillips, Chuck, and Andy Widders-Ellis.
1991. Curtis Mayfield: The soul of an
R&B genius. Guitar Player 25 (August):
52-56.
Ptuter, Robert. 1993. Curtis Mayfield and
-. the impressions. Goldmine 331 (April 2):
12-20.
1999. Curtis Mayfield. In
International Dictionary of Black
Composers, vol. 2: 789-793.
Turner, W~lliarn Jr. 1992. Keep on pushing: The Impressions. In Sacred
Music of the Secular Cily.. From Blues to
Rap. Black Sacred Music 6, no. I:
206-217.

Ken Chaney began his music career as a teenager, playing piano with hands in his hometown Edmonton, Alberta,
Canada. After a short stay in Detroit,
- studied composition at Roosevelt
University and also worked with jazz greats Milt Jackson, Donald Byrd,
Slide Hamuton. Harold Land, Bobbv
Hutchison, Max
Roach, Randy
Crawford, Chet
Baker, John
Klemmer, and many others.
Chaney has performed at major venues throughout the world. As a member of the
Young-Holt
Unlimited trio, he appeared at
Ken Chanev
Camegle Hall, Madison Square
Garden, the Apollo Theatre, and the
Montreaux Jazz Festival in
Switzerland; at the Chicago Jazz
Festival in Grant Park with The
Awakening; and at the Ravinia Jazz
Festival and throughout Europe and
Singapore with his own group the Ken
Chaney Xperience.
The Ken Chaney Xperience has appeared in concert with many fine musicians, including Roy Ayers,
Angela Bofill, Natalie Cole, Miles
I
Wilson. Voted the best jazz group in
Chicago by the Ninth Annual Reggae
Awards, the Ken Chaney Xperience was also awarded first prize in the
Hennessy Best of Chicago Jazz Search on March 31, 1992.
Chaney's recordmgs include Funky
Duck, Superfly, Soulful Strut, and
Young and Holtful, w~th
Unlimited; Brand New Feeling, Hear
Sense and Feel, and Mirage, with The
Awakening; When We Were Lovers, with John Klemmer; and ~ i b e
Alive, with the Ken Chaney Xperience.
Chaney can be heard on the sound- trachs of the movies Trial Run, The
Last Cold Justice, and Hoodlums.
Trumpeter Burgess 1. Gardner has performed with various jazz greats, including Count Basic,
Ray Charles Orchestra (as lead trum- pet), Max Roach, and Horace Silver, with whom he toured. Gardner has appeared in concert at the
AspedSnowmass Jazz Festival in
Aspen, Colorado; the Chicago Jazz
Festival with the Bill
Russo Orchestra; and the Ojai Jazz
Festival in Ojai,
California.
Gardner's television studio orchestra credits incluae 150fh
Birthday Party of
Chicago (1987) and
Yesterday, Today,
Forever: Motown's
25th Anniversary television special
(1983).
His recordings
Burgess Gardner include The M-Squad (1968) with the
Count Basie Orchestra; Burgess
Gardner: Music Year 2000 (1982), his debut solo album, which he produced; and Oops!!! (19831, the debut album of the California State University-
Fullerton Jazz Ensemble, which he recorded and produced.
A former Chicago high school band duector, Gardner was the 1988 recipi- ent of the Certificate of Appreciat~on for Outstanding and Dedicated Service from the Austin Community Academy
High School Band, and, in 1992 he received the F'rinc~pals Excellence
Award, presented by WMAQ-TV
Chicago.
.
-,...,,
/ . : in
Andy Goodrich is one of Chicago's sts. For two con- secutive years, he was named winner nist" award at the
Notre Dame Jazz Festival, and the late bassist W. 0. Smith cited Goodrich as
"one of the finest alto sax players I have heard" (Side Man: The Long Gig of W 0. Smith, 1991).
In 1981, along with
Freddie Hubbard,
Tony Bennett, Betty
Carter, Art Blakey,
Clark Teny, Zoot
Simms, Stephanie
Mills, David Brubeck, and Louie Bellson,
Goodrich was invited to participate in a trib- ute to Lionel Hampton at the Kennedy Center for the Performing
Arts.
Goodrich performed with Langston Hughes in one of his early Jazz and Poetry concerts at Fisk
University and has also performed in

Buntrock Hall. Symphony Center
' Symphony Center box office.
Call (312) 294-3000.
May 13. 2000, 2 3 0 P.M.
Chicago Park Dirict's Douglas Park
1401 South Sacramento Avenue
Free and open t o the public
Co-sponsored by the Office of
Community Arts Partnerships
I
U.S.
Introduction t o Project Stop-Time
The StopmTime Devi-Jan Bevelopment (1906-1999)
King Porter Stomp Ferdmand "Jell,
Onginal Plano Compofiition (1906)
New Orleans/Chlcago Style Jazz (m the style of Loms Armstrong)
New York Style JazzlSwng (m the style of Fletcher Henderson)
Late Swing (m the style of Teddy f i l l )
Bopesque (an onginal bebop compos~tlon)
Avant-Garde (in the style of the AACM)
Black Music Forms in tk United States (19th century-1999)
I"ve Been 'Buked (Negro spmtual, late 19th century)
Search Me Lord (gospel song, 1948) me
Bo Dlddley (R&B, 1955)
What'd I Say (R&B/soul, 1959)
Shining Star (soul, 1975)
Message (rap, 1982)
Traditional
Thomas A. Dorsey
Bo D~ddley
E C q Charlm
W h i t ~ ~ l e y ~
Earth, Wind and Fire
Fl&her/Glover/ChaselR~$on
Grandmaster Flash and the Furious F ~ v e
Stretch Coleridge-Taylor Perkinson concert in clubs, in theaters, and on college campuses with Cannonball
Adderley, Thad Jones, Hank
Crawford, Louis Smith, Andrew
White, W. 0. Sm~th, many others.
He has appeared as guest soloist and clhcian at the Madison College Jazz
Festival, Hamsonburg, Virginia; fea- tured soloist for "An Afternoon of
Jazz" with the Universny of Maryland and Howard Univers~ty
Ensembles; guest c h c i a n and soloist at Aquinas College's Annual
Intercollegiate Big Band Jazz Festival,
Grand Rapids, Michigan; and featured artist at the Memphis in May Beale
Street Music Festival.
CBMR
The CBMR Community Culture
Councll 1s an active and supportive committee of community and organiza- tlon leaders that will assist the Center in reaching communities throughout
Chlcago.
of the CBMR
Darlene Blackburn
Darlene Blackburn Dance Troupe
Joe Ann Bradley
Community Action Group
Lucia Cruz
Neon Street Programs
Anastasia Davis
Chicago Park District
Ernest Dawkins
AACM
Lisa Duncan
Chameleon Company
Emily Hooper-Lansana
Youth Theater Coalition of Chicago
Paul Kelly
Dyett School
Michelle Lawrence
Little Black Pearl Workshop
Nalani McUendon
Center for Communications Resources
Efe McWorter
Chicago Park District
Jackie Samuels
Bethel Cultural Arts Center
Mary Young
Grand Boulevard Community Arts Initiative

at
T he Center for Black Mnsic
Research is pleased to announce that Ensemble Stop-Time and the
New Black Music Repertory
Ensemble will be presente&in a joint performance at Symphony Center on
Friday, May 5, and Saturday, May 6.
This will he the first and only chance to hear both of these stellar ensembles in a combined performanceand one of the last chances to hear Ensemble
Stop-Time in a formal concert setting before the end of Project Stop-Time.
This special concert will provide a hint of the things to come in the
Center's performance activities. Since
1987, the Center has presented nearly
150 performance events by the original
Black Music Repertory Ensemble,
Ensemble Kalinda Chicago, and
Ensemhle Stop-Tie. At the conclusion of the current year's performance sea- son, the missions and repertoires of all these groups will be merged into a sin- gle large ensemble--the New Black
Music Repertory Ensemble, which began its gradual introduction during the past year.
Although Ensemhle Stop-Time and the New BMRE will perform separate sets at the May 5 and 6 performances, you will get a taste of the widely varied repertoires that will become common fare for future presentations of the New
BMRE. You will hear music of Jelly
Roll Morton, Duke Ellington, Thomas
A. Dorsey, and Earth, Wind, and Fire, paired with a violin concerto by the
Chevalier de St. Georges (a composer and violin prodigy in the royal courts of 18th-centnry France) and concert works written by composers of the 20th century. dl tickets are $15 (general adrnis-
, n) and may be purchased at the
Symphony Center box office, 220
South Michigan Avenue. The box office is open Monday through
Saturday 10 A.M. to 6
P.M. and Sunday
11
A.M. to 4 P.M. Credit card orders may be placed by calling (312) 294-
3000.
Don't miss this opportunity! Please join us for t h ~ s musical experience in the intimate and superb acoustic environment of Symphony
Center's Bnutrock Hall.