#John F. Kennedy Center for the Performing Arts

[greendayauthority]

Mark Twain Prize Award Ceremony, John F. Kennedy Center for the Performing Arts, Washington, D.C., 23 October 2011

[goodblacknews]

MUSIC MONDAY: "Speak No Evil: The Best of Wayne Shorter" Playlist (LISTEN)

by Marlon West (FB: marlon.west1 Twitter: @marlonw IG: stlmarlonwest Spotify: marlonwest) Happy Music Monday, you all. This collection celebrates another recently departed great, Wayne Shorter. He was a giant of jazz for six decades. He was a well-regarded improviser, bandleader, composer, and thinker. [spotifyplaybutton…

[krispyweiss]

Album Review: Chicago - Chicago at the John F. Kennedy Center for the Performing Arts, Washington D.C. (9/16/1971)

For decades, Chicago at Carnegie Hall had been the go-to album for fans of the band’s improvisational, politically charged approach to music making.

Now, there’s another option: Chicago at the John F. Kennedy Center for the Performing Arts, Washington D.C. (9/16/1971). Where the horns were often bleating on Carnegie, they’re crystal-clear on JFK; where the former was occasionally sloppy, the latter is tight.

JFK doesn’t replace Carnegie, it complements it. The long-gestating, archival LP is a gift to those who revere the early days of Chicago and its change-the-world mission and an ear-opener to those who may regard the band as a milquetoast purveyor of pop that didn’t feature one of rock most under-appreciated guitarists, Terry Kath, among his members.

As the band takes the stage at the then-new D.C. venue, it tells tapers they can turn off their machines as the show will be recorded via mobile truck. What the group didn’t say is it would wait 53 years to put the thing out.

It was worth the wait, but the lag is inexplicable.

Though At the John F. Kennedy Center captures the the original septet at a crossroads, it was still a daring live act, playing cuts from its first three studio albums and previewing V with the unfinished “Dialogue” and the debut performance of “Saturday in the Park” with Peter Cetera on vocals.

Wah-wah master Kath is ablaze throughout, adding his soulful rasp to the progressive jazz of “Loneliness is Just a Word;” crying for a cessation of hostilities in Southeast Asia on “It Better End Soon” and giving a six-string clinic on the 3rd Movement, parenthetically titled “Guitar Solo;” and generally torching the stage on such vocal and instrumental showcases as “In the Country,” “I’m a Man” and “25 or 6 to 4.”

Not to be outdone, Robert Lamm improvises a lengthy piano into to “Does Anybody Really Know What Time it Is?;” drummer Danny Seraphine gets the spotlight on “I’m a Man” and “Beginnings;” and Walt Parazaider takes a long flute solo on the 2nd Movement of “IBES.”

“A Song for Richard and His Friends,” a scathing rebuke of Nixon that never received the studio treatment, combines elements of a Grateful Dead “Space” segment with the adventurism of Frank Zappa’s jazz period. “A Hit by Varèse,” meanwhile, finds the band cooking while mocking the pop stars they could become just a few years down the line.

Yes, there were hits at this point - most notably “Make Me Smile” and “Colour My World” as part of the multi-track “Ballet for a Girl in Buchannon.” But Chicago at the John F. Kennedy Center for the Performing Arts is really just a reminder that Chicago was once a kick-ass rock ’n’ roll band that sought to reorder society with its music.

The endeavor failed. The music was - and remains - successful.

Grade card: Chicago - Chicago at the John F. Kennedy Center for the Performing Arts, Washington D.C. (9/16/1971) - A

11/4/24

[niyasruledbyvenus]

Arudha Lagna in the Signs

Arudha Lagna is how others perceive us (especially society/public/media). It is our projected and illusionary personality. Referred to as “the seat of Maya” Maya=illusion/Rahu. Which usually differs from our true personality represented by our Lagna/ Ascendant.

How to calculate Arudha Lagna?

1. Find your Lagna/ascendant the Lord (Aries ascendant-> Mars)

2. Count how many houses from your ascendant Lord to your ascendant. (ex. how many houses mars is from ascendant= 8 houses)

3. Count that same number from Ascendant lord. That is your Arudha Lagna (ex. 8 houses away from mars= Aquarius AL)

Benefics sitting in the Arudha can give a positive public image. Making one appear good and trustworthy, even if they aren’t.

Malefics sitting in the Arudha/or ruling the sign can tarnish one’s reputation, making the public distrustful or critical.

For example- Saturn, Mars, Rahu, Ketu sitting in AL can tarnish one’s reputation

Signs ruled by Malefics such as Scorpio (Mars & Ketu), Aries (Mars), Capricorn & Aquarius ( Saturn) doesn’t have as severe of an effect as a malefic siting in AL. But it does make one appear controversial or questionable to public at some point in time.

AL In Aries- Bold, competitive, intimidating, leader, pioneer, aggressive, action oriented, sexual/ promiscuous

Women tend to be accused of competing with other women or men competing with other men

Ex. Marilyn Monroe, Christina Aguilera, Muhammad Ali, Tyra Banks

AL in Taurus- Stable, grounded, Sensual, refined, gentle, patient, charismatic, trustworthy, noticed for voice, stubborn

Usually seen as harmless or down to earth. Like Libra, Venus ruled, they tend to be known for their sensuality & looks

Ex. Keanu Reeves, Rihanna, Michael Jackson, Bruno Mars

AL in Gemini- intellectual, witty, youthful, curious, versatile, social, communicative, recognition from siblings

Tend to be recognized for their unique voice

Ex. Beyoncé, Madonna, Rita Hayworth, Mariah Carey

AL in Cancer- Sensitive, Gentle, Homebody, Comforting, Nurturing, Proud of country/heritage/family, Protective, intuitive, Caring, Empathetic, Moody, emotional

Home dynamics or family life can be put on the spotlight. Others see them a caring, mother like figure (unless malefic influence)

Ex. Princess Diana, JonBenét, Brandy

AL in Leo- Charismatic, Authoritative, creative, dramatic, Natural Leader, Arrogant, Center of Attention, Performer/arts, fashionable, someone of importance, Extroverted

Spotlight is always on them so they tend to gain fame & attention in whatever they do. Type to feel like all eyes are on you when entering a room.

Ex. Al Capone, Catherine Hepburn, Halle Berry, The Weeknd

AL in Virgo- Analytical, practical, intelligent, resourceful, reserved, health conscious, detail oriented, logical, rational, educated

They come off as controlled and put together. Can’t get them to react easily.

Ex. Prince Harry, Bruce Lee, Jennifer Lawrence

AL in Libra- Charming, diplomatic, balanced, harmonious, sociable, peaceful, intellectual, good at negotiating/comunicating, influential, Justice seeking

Tend to be either known for their beauty, charisma, or justice/law industry.

Ex. Monica Bellucci, Oprah, lady Gaga, Aubrey Hepburn, Barack Obama

AL in Scorpio- Mysteroius, intense, powerful, secretive, magnetic, respected, morally grey, dark, sexual/sexy, controversial, sensual, occultist/witch/astrologer, taboo, hiding secrets, Spiritual dangerous, seductive

Due to malefic Mars/Ketu influence they do tend to be very controversial but despite this they still turn out to be respected

Ex. Angelina Jolie, Sharon Stone, Pamela Anderson, John F Kennedy, Jim Morrison, Bill Gates

AL in Sagittarius- Optimistic, philosophical, adventurous, independent, wise, free-spirited, benevolent, Justice seeking, educated, Humorous, experienced, travels a lot

They are seen as knowledgeable and in-tune with other cultures. They make good comedians, business owners, teachers

Ex. Jeff Bezos, Jacqueline Kennedy, Adam Ant, Demi Moore, Hugh Hefner

AL in Capricorn- Ambitious, disciplined, responsible, structured. authoritative, grounded, serious, mature, dignified, sturn, wiser than age, melancholy, pessimistic, cold

The list is questionable because Saturn influence can, like I said, make one appear questionable depending on other influences. But they make good leaders, business owners.

Ex. Lana del Rey, Adolf Hitler, Charlie Chaplin, Angela Merkel, Brad Pitt

AL in Aquarius- Innovative, unconventional, intellectual, humanitarian, forward-thinking, eccentric, unorthodox, friendly, good with media/technology, rebellious, cares about welfare of society/world, leader, influencer

People usually say their style, ideas & attitude are ahead of their time, due to Rahu.

Ex. Steve Irwin, Cher, Tamera Mowry

AL in Pisces-Spiritual, imaginative, empathetic, dreamy, otherworldly, artistic, siren like, mysterious, gentle, kind, serious, spiritual/devoted, adventurous, open-minded, philosophical, interested in higher learning/knowledge, introverted, emotional

Seen as creative, artistic (music, art, acting etc). Inventing/creating something new. Emotional imbalance/mental illnesses might get public attention

Ex. Denzel Washington, Will Smith, Elon Musk, Picasso, Ariana Grande

Disclaimer- some of the people I listed have two Arudha Lagnas (ie Scorpio Asc or Aquarius Asc) ex Princess Diana Cancer & Aquarius AL

I tried to find both positive & negative representations

Astromartine has a very knowledgeable playlist; going more in depth for each Arudha Lagna & Arudha houses

[faded-florals]

Always look on the bright side of life! 🌤️

Monty Python’s Spamalot The John F. Kennedy Center for the Performing Arts May 13th, 2023

[littlespringsongbird]

The 1st US nation tour of Hadestown has reacted the end of line playing it’s final show in Toronto at the Ed Mirvish theatre on 5/26/24 the tour first ever show was at John F. Kennedy Center for the Performing Arts on 10/15/21 the tour has travelled around US and Canada for 124 weeks, visited 85 different city’s, performed over 900 shows, for nearly 3 years.

Happy trails!

[camisoledadparis]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … November 5

1698 – England: William Minton, a 19 year old servant, is used as bait to entrap Capt. Edward Rigby, the first homosexual victim of entrapment by the Society for the Reformation of Manners. He was tried for sodomy. These Societies were formed in tower hamlets, London, in 1690, with their primary object being the suppression of bawdy houses and profanity. A network of moral guardians was set up, with four stewards in each ward of the City of London, two for each parish, and a committee, whose business it was to gather the names and addresses of offenders against morality, and to keep minutes of their misdeeds. By 1699 there were nine such societies, and by 1701 there were nearly 20 in London, plus others in the provinces, all corresponding with one another and gathering information and arranging for prosecutions.

1884 – Born: James Elroy Flecker (d.1915); English poet, novelist and playwright. Born in London, and educated at Dean Close School, Cheltenham, where his father was headmaster, and Uppingham School, he studied at Trinity College, Oxford, and Caius College, Cambridge. While at Oxford he was greatly influenced by the last flowering of the Aesthetic movement there, under John Addington Symonds.

He died of tuberculosis in Davos, Switzerland. His death at the age of thirty was described at the time as "unquestionably the greatest premature loss that English literature has suffered since the death of Keats".

His Collected Poems (1916) were published the year after he died at age 30. His poetry shares one trait in common with that of his contemporary, Rupert Brooke: the sexuality is ambiguous. There is no question, however, that Flecker was Gay. His lover was the classicist J.D. Beazley, one of the world's great authorities on Greek vases.

His most widely known poem is "To A Poet A Thousand Years Hence". The most enduring testimony to his work is perhaps an excerpt from "The Golden Journey to Samarkand" inscribed on the clock tower of the barracks of the British Army's 22nd Special Air Service regiment in Hereford.

Bryan Lourd (R) and husband Bruce Bozzi

1960 – Bryan Lourd is an American talent agent. He has been partner, managing director and co-chairman of Creative Artists Agency (CAA) since October 1995.

Lourd was born in New Iberia, Louisiana. His brother, Blaine Lourd, is an investment advisor. He attended New Iberia Senior High School, where he played the lead in several high school musicals. He earned a degree from the USC Annenberg School for Communication and Journalism in 1982.

Lourd and actress Carrie Fisher were together from 1991 to 1994. They have one daughter, actress Billie, born in 1992. Lourd married Bruce Bozzi, the co-owner of The Palm, on October 12, 2016, and Lourd legally adopted Bozzi's daughter, Ava. They divide their time between a penthouse apartment in the West Village, in Lower Manhattan, New York City and a house in Beverly Hills, California.

Lourd was elected to the board of trustees of the Los Angeles County Museum of Art in 2011. He serves on the Board of Directors of the Lincoln Center for the Performing Arts in New York City. He was appointed to the President's Committee on the Arts and Humanities in 2009 by President Barack Obama and to the board of the John F. Kennedy Center for the Performing Arts in 2015.

Lourd 's clients include George Clooney, Robert De Niro, Brad Pitt, Robert Downey, Jr., Drew Barrymore, Jimmy Fallon, Matthew McConaughey, Sean Penn, Madonna, Naomi Watts, Natalie Portman, Robin Williams, Arnold Schwarzenegger, David Duchovny, Helen Hunt, Oprah Winfrey, Tom Cruise, Penelope Cruz, Taraji P. Henson, and Peter Jöback.

1969 – The Homosexual Information Center protested at the offices of the Los Angeles Times to protest the newspaper's refusal to print the word "homosexual" in ads after it refused to print an ad announcing a group discussion on homosexuality.

1979 – Leonardo Nam is an Australian actor. He made his breakthrough as Roy in The Perfect Score (2004), and gained further recognition for his roles as Morimoto in The Fast and the Furious: Tokyo Drift (2006) and Brian McBrian in The Sisterhood of the Traveling Pants 2 (2008). In 2016, Nam began starring as Felix Lutz in Westworld (2016–present) which brought him widespread recognition.

Nam was born in Buenos Aires, Argentina, to South Korean immigrant parents. At the age of six, he moved to Sydney, Australia. Nam attended Sydney Technical High School and studied architecture at the University of New South Wales. Nam left Sydney to follow his dreams of an acting career in New York City, United States, at the age of 19. He studied with several acting teachers in New York, including Austin Pendleton and William Carden at HB Studio.

Before his Hollywood success, Nam travelled to New York City to pursue his acting career. His first few nights he slept in Central Park and then found jobs working as a waiter and bartender. His breakthrough role came in his performance of Roy in The Perfect Score (2004).

He had a small role in the 2005 film The Sisterhood of the Traveling Pants as Brian McBrian, a hardcore gamer. He played Brian again in The Sisterhood of the Traveling Pants 2; in the sequel, his character has a larger role. In 2016, he joined the cast of the HBO series Westworld. In 2018 he was featured in the music video "Waste It on Me" by Steve Aoki featuring BTS.

Nam is married to Michael Dodge. They have twin sons (born 2017) together. The family lives in San Diego.

1983 – Andrew Hayden-Smith, born Andrew John Smith, is a British actor and television presenter best known for his work with CBBC.

Auditions for popular CBBC children's serial drama Byker Grove were held at his school and he won the part of Ben Carter, making his first appearance in the eighth series of the show in 1995.

Initially just using the name Andrew Smith, he appeared as a guest on Saturday morning CBBC show Live & Kicking with several other characters from the show. Smith soon became a regular guest on the show. This led to appearances on other shows and also in teen-magazines, as well as two pantomime appearances. In 2001 he applied for Equity membership and was accepted under the name Andrew Hayden-Smith (Hayden being another surname in his family), as the name Andrew Smith was already taken.

In 2004, the ex-Byker Grove actor and CBBC presenter Andrew did the unthinkable for a young man on kids' TV - he told the world he was gay. At the risk of being outed by a newspaper, he beat the tabloids to the punch and did an interview with Attitude magazine:

"Coming out is pretty scary. It's bad enough when you're almost certain that the majority of people around you will be totally cool with it. I was 21 and presenting kids TV at the time and was commended for what everyone kept saying was such a brave step."

It did his career no harm, and he's proved an inspiration - and eye candy - for young gay men across the country.

Andrew has since appeared regularly on stage and in Doctor Who. Hayden-Smith appeared in the episodes "Rise of the Cybermen", "The Age of Steel" and "Doomsday" as Jake Simmonds in the 2006 series of Doctor Who. He returned to CBBC having completed the filming, but decided that he wished to concentrate on acting. His final day of presenting was on 7 July 2006, the day before his third and final Doctor Who appearance.

[gorbigorbi]

Tiler Peck and Román Mejía, "Rubies", choreography by George Balanchine, music by Igor Stravinsky (Capriccio for Piano and Orchestra), costume by Barbara Karinska (Varvara Jmoudsky). From "Jewels" ("Rubies", "Emeralds" and "Diamonds"), Opera House, John F. Kennedy Center for the Performing Arts, Washington DC, USA (June 8, 2024).

Photographer Erin Baiano

[freddiemercurylegendabovelegends]

Today - February 24th, 1975 - Queen Story!

Washington, D.C., USA, John F. Kennedy Center for the Performing Arts

'Sheer Heart Attack' tour

Queen Live!

Freddie Mercury performing on stage in 1975, during 'Sheer Heart Attack' tour

📸 Photo by Michael Putland

➡ The photo comes from this tour but not from this concert ⬅

[juanza23]

@reallyndacarter attending the premiere of "Superman, The Movie" at the Eisenhower Theatre in the John F. Kennedy Center for the Performing Arts, Washington, D.C., December 10, 1978.

[kevinmchalenews]

The John F. Kennedy Center for the Performing Arts revealed the complete cast and creative team for the Broadway Center Stage production of The 25th Annual Putnam County Spelling Bee featuring music by two-time Tony Award winner William Finn and a book by Tony Award winner Rachel Sheinkin.

Directed and choreographed by Danny Mefford (Kimberly Akimbo, Dear Evan Hansen) with musical direction by Roberto Sinha (New York, New York; Hamilton), the all-star cast includes Philippe Arroyo (& Juliet, Aladdin) as Chip Tolentino, Beanie Feldstein (Drive-Away Dolls, Booksmart) as Logan Schwartzandgrubenierre, Noah Galvin (Dear Evan Hansen, Booksmart) as Leaf Coneybear, Alex Joseph Grayson (Parade, Into the Woods) as Mitch Mahoney, Taran Killam (Spamalot, Saturday Night Live) as Vice Principal Douglas Panch, Kevin McHale (Glee, American Horror Stories) as William Barfee, Tony Award® winner Bonnie Milligan (Kimberly Akimbo, Encores! Titanic) as Rona Lisa Peretti, Nina White (Queen of Versailles, Kimberly Akimbo) as Olive Ostrovsky, and Anna Zavelson (Encores! The Light in the Piazza, 13 Reasons Why) as Marcy Park. The 25th Annual Putnam County Spelling Bee plays the Kennedy Center’s Eisenhower Theater October 11–20, 2024.

Tickets for Broadway Center Stage: The 25th Annual Putnam County Spelling Bee are now on-sale via the Kennedy Center website, in-person at the box office, or by calling 202-467-4600.

[greendayauthority]

Mark Twain Prize Award Ceremony, John F. Kennedy Center for the Performing Arts, Washington, D.C., 23 October 2011

[jf-freaking-k]

some of my fav pieces of the “Art and Ideals: President John F. Kennedy” exhibit at the Kennedy Center for the Performing Arts in Washington, DC <3

[a-bold-departure]

"The John F. Kennedy Center for the Performing Arts announced today that the uproarious, irreverent, Tony Award®-winning Best Musical, Monty Python's Spamalot is the latest star-studded Broadway Center Stage production, running May 12-21, 2023 in the Eisenhower Theater.

Directed and choreographed by Josh Rhodes, who helmed the critically-acclaimed Broadway Center Stage (BCS) production of The Who's Tommy, Monty Python's Spamalot stars two-time Tony Award® nominee Alex Brightman (Beetlejuice, School of Rock) as Sir Lancelot, Tony Award® winner James Monroe Iglehart (Aladdin, Hamilton, BCS: Guys and Dolls) as King Arthur, Drama Desk Award nominee Leslie Rodriguez Kritzer (Beetlejuice, Elf, Something Rotten!) as Lady of the Lake, and two-time Tony Award® nominee Rob McClure (Mrs. Doubtfire, Beetlejuice) as The Historian. John Bell (Into the Woods) will music direct the production which features the Kennedy Center Opera House Orchestra on stage. Additional casting will be announced at a later date."

[fancycolours]

"25 or 6 to 4" is out today as a continuation into the upcoming 'Chicago At The John F. Kennedy Center For The Performing Arts, Washington D.C. (9/16/1971)' release! The track was the band's first song to reach the top five in the US, and to this day closes out Chicago encore sets.

The historic concert has been re-mixed from the original multi-track tapes and features 26 live tracks. The songs span a range of styles and includes songs from the band's first three albums, underscoring the band’s ability to blend genres seamlessly.

Available on 4xLP and 3xCD's everywhere on September 27th.

[jpbjazz]

LÉGENDES DU JAZZ

DOREEN KETCHENS, LA REINE DE LA CLARINETTE

‘’It’s a passion. Even if you’re successful, it’s not easy. You have to practice and be ready to perform at the drop of a hat. Listen to other people, find what stimulates you. Listen, listen, listen! There are so many good clarinetists out there, and they want the jobs too. Even if you get told no, keep pursuing your dreams. You need to find your voice so that your personality can come out in your playing. You don’t want to sound like you’re playing an etude book. This is for all types of music – even classical. You want to move the audience, you want to touch them.’’

- Doreen Ketchens

Née le 3 octobre 1966 à La Nouvelle-Orléans, Doreen J. Ketchens avait commencé à étudier la clarinette durant ses études à la Joseph Craig Elementary School. Ketchens était entrée dans la musique un peu par hasard, en répondant à un appel de candidatures pour venir jouer avec le groupe de l’école. Elle expliquait:

‘’I started playing clarinet in the fifth grade. It wasn’t like a dream, I was really trying to get out of a history test! We had a pop quiz one day. It was a brutal test, each student was asked questions – you were either right or wrong, pass or fail. When the first question came to me, I got it wrong. So, I looked out of the window, like I did most days, and I prayed, saying, “God, if you can get me out of this test, I’ll do anything!” Almost simultaneously, the principal spoke over the loudspeaker, and she said, “Anyone interested in joining the band, report immediately to the bandroom.” I was “saved by the bell”!’’

Même si elle n’était pas issue d’une famille musicale, le père de Ketchens aimait énormément la musique. Ketchens précisait: ‘’None of my family members were musicians, but my dad was a member of a social aid and pleasure club, and he used to Second Line all the time. He played the stereo constantly, so I’m sure that’s where my musical influence came from.’’

Ketchens avait aussi vu plusieurs musiciens de La Nouvelle-Orléans durant son enfance. Elle avait précisé: ‘’Roger Lewis, with the Dirty Dozen Brass Band, lived five doors away from me, and they used to practice at his apartment, so I heard them a lot! They would practice marching, and pass right in front of my house. At that time, there were four funeral homes within three blocks of our home, so Second Lines would pass constantly, passing my house and my school several times every week.’’

Lorsqu’on lui avait demandé de se choisir un instrument à l’école, Ketchens avait d’abord opté pour la flûte. Les autres jeunes filles ayant fait main basse sur toutes les flûtes disponibles, Ketchens s’était finalement rabattue sur clarinette. Ketchens poursuivait: ‘’Back then, girls played certain instruments and boys played certain instruments. I sat on the side where the girls had congregated, and I saw a poster of a flute. I thought to myself, “Man, that instrument is pretty, I want to play that!” By the time it got to me, the flutes had been all accounted for, so I chose the next instrument on the poster. I didn’t even know what it was called, it just looked pretty, so I chose the clarinet!’’

Après avoir constaté le talent de Ketchens pour la musique, le directeur du groupe de l’école avait invité Ketchens à pratiquer durant de nombreuses heures. Ketchens ne s’était d’ailleurs pas fait tirer l’oreille puisqu’à l’époque,  elle avait l’oeil sur un jeune garçon qu’elle avait tenté d’impressionner par ce moyen. C’est finalement en pratiquant que le talent de Ketchens avait commencé à émerger.

Après avoir joué avec le groupe du John F. Kennedy High School à La Nouvelle-Orléans, Ketchens avait été admise au NOCCA (New Orleans Center for Creative Arts), le conservatoire de La Nouvelle-Orléans, où elle avait obtenu une formation plutôt classique. L’audition de Ketchens était dirigée par le légendaire clarinettiste Alvin Batiste, qui était éventuellement devenu son mentor. Ketchens expliquait:

‘’I used to call Alvin Batiste “Uncle Al,” because I went to NOCCA (the New Orleans Center for Creative Arts) with his niece Rachel. I remember we were auditioning for the Louisiana Music Educators Association honor band, and I was feeling low because I didn’t think I did very well on the audition. I was walking around, feeling sorry for myself, and I heard a clarinet being played in a room. I looked in, and there was Mr. Batiste. He caught my eye and said, “Come in!” We started talking about Rachel, music, and my audition earlier that day. He told me, “You know, you probably didn’t do as badly in that audition as you think you did. You must have confidence when you are playing music!” Mr. Batiste was a rocket scientist. I don’t care what you were talking about, he was a genius. He had ways of communicating which flew over your head, but you might actually catch a few stars, you know? So, he said, “You must think positively. How are you thinking?” I told him I was positive. He said, “There you go, you got it!” And, that was that. I won first chair in that audition! So, he was “Uncle Al” after that. I considered him my guardian angel, and it set the course for me to think positively for the rest of my life!’’

Au NOCCA, Ketchens avait aussi étudié avec le clarinettiste Stanley Weinstein. Décrivant sa collaboration avec Weinstein, Ketchens avait commenté:

‘’He was my clarinet teacher, principal clarinetist with the New Orleans Symphony. Still to this day, nobody plays like Stanley. He had this sound! People tell me all the time, “Oh, your sound is so beautiful,” but I’m really still chasing the Stanley sound! He was a perfectionist. If I knew then what I know now, I’d be a much better clarinetist and musician than I am today. I would have known what to concentrate on. You know, God protects little children and damn fools, and I did alright, I just didn’t do as much as I could have. I’m not a child anymore, but I’m going to be okay!’’

Ketchens avait également étudié avec le vénérable Ellis Marsalis, le père de Wynton et Branford. Elle poursuivait:

‘’Ellis Marsalis was my ear training teacher at NOCCA where I was strictly a classical player. He used to call me Ms. Joseph, my maiden name. I wasn’t interested in jazz at all. You know, the jazz clarinetists that I had heard, like George Lewis and others, I appreciated their tones and I respected them, but that was not my concept of tone at all. Their styles at the time were against what I was studying, trying to get a perfect classical clarinet tone. Now, in my class with Mr. Marsalis was another musician, Harry Connick, Jr. The only relief I got in that class was when Mr. Marsalis stopped trashing me in class to start trashing Harry! Mr. Marsalis had a way of looking straight through you when you didn’t do what you were supposed to. If I had been raised by Mr. Marsalis, I would be the greatest clarinetist in the whole world, I’d know everything there is to know about music, and everything, because he had this way of pushing you and making you feel like dirt if you didn’t live up to his standards.’’

Ketchens avait également eu recours à Marsalis dans le cadre d’une de ses premières sessions d’enregistrement. Elle précisait:

‘’I was very intimidated at that recording session. At that time, I wasn’t really educated in improvisation, just playing by ear. I’d find a recording of the song we were supposed to play, and just play along, figuring out the tune, and what to play to sound good. I remember “Honey Child.” It’s a pretty simple song, but, for some reason, I just couldn’t figure it out. I approached Mr. Marsalis, and said, “You know, I need some help. I can’t figure out this tune. He’s a rocket scientist too. He gave me some advice which I didn’t really understand, then he said “retrogression.” I still didn’t understand him, but he said it again, then showed me on the piano. And, it was like a key opening a door, which made me able to play the song!’’

Après avoir décroché son diplôme, Ketchens avait poursuivi sa formation au Delgado Community College, où elle avait étudié sous la direction de George Jensen, un trompettiste du New Orleans Philharmonic. Malheureusement, Jensen avait été victime d’une attaque et avait dû abandonner la musique. Décrivant sa collaboration avec Jensen, Ketchens avait ajouté: ‘’He was a very gifted educator. He could communicate even what he couldn’t demonstrate any longer.’’

Par la suite, Ketchens avait poursuivi ses études à la Loyola University of New Orleans et à la Southern University de La Nouvelle-Orléans. Ketchens avait également obtenu des bourses pour aller jouer avec le New York Philharmonic et étudier à la Hartt School de l’Université de Hartford, au Connecticut, où elle avait étudié sous la direction de Hank Lawson. Principal clarinettiste du Hartford Symphony, Lawson était atteint de la maladie de Lou Gehrig (sclérose latérale amyotrophique ou SLA), et avait dû mettre fin à sa carrière prématurément.  Ketchens avait adoré travaillé avec Lawson. Elle avait déclaré: ‘’He was a wonderful teacher and could explain what you had to do in a way which was so clear. I learned a lot from him! In the meantime, my husband’s father passed away, then shortly after, my father passed away, so we moved back to New Orleans.’’ C’est d’ailleurs grâce à Lawson que Ketchens avait pu faire un stage avec le Hartford Symphony.

C’est en poursuivant sa formation comme chef d’orchestre à l’Université Loyola que Ketchens avait rencontré son futur époux, l’arrangeur et sousaphoniste (le sousaphone est une sorte de tuba) Lawrence Ketchens. C’est sous l’influence de Lawrence que Ketchens, qui avait été formée comme musicienne classique, avait commencé à se tourner vers le jazz. Comme Ketchens l’avait expliqué avec son sens de l’humour caractéristique: ‘’I started playing jazz because I fell in love with a tuba player! Lawrence, my husband, had a jazz band, and all of the sudden, jazz wasn’t so bad. I started to listen to jazz so I could learn the tunes and fit in with his band.’’

Ketchens avait été particulièrement influencée par Louis Armstrong, mais aussi par des clarinettistes comme Edmund Hall, Buster Bailey, Barney Bigard et Jerry Fuller. Elle précisait:

‘’I started listening to Louis Armstrong. He is my biggest influence. Some people call me Mrs. Satchmo, I guess because that concept is in my head. I’ll hear something he plays, which I’ve heard thousands of times, and I’ll think, “What? How did he do that?” Then, I listened to the clarinetists who played with him: Edmund Hall, Buster Bailey, Barney Bigard. Those cats were awesome too! Edmund Hall had this thing he could do, where it sounds like he was playing two tones at the same time. People today might hum while they play to achieve something similar, but I don’t think that was what he was doing. Buster Bailey had a similar background to me, starting out with classical music, then learning jazz. Early on, I emulated Jerry Fuller, clarinetist with the Dukes of Dixieland. I would steal so many of his solos just so I could keep up with my husband’s band. Eventually, I realized what he was doing, and it translated into me being able to improvise. I’d start out transcribing solos, then playing by ear, copying what those clarinetists were doing. I don’t remember those solos now, but I’m sure that I still play snippets of them that creep into my improvisations.’’

Même si Ketchens n’avait jamais rêvé de devenir musicienne professionnelle, elle l’évait devenue par la force des choses. Elle poursuivait:

‘’It’s a passion. Even if you’re successful, it’s not easy. You have to practice and be ready to perform at the drop of a hat. Listen to other people, find what stimulates you. Listen, listen, listen! There are so many good clarinetists out there, and they want the jobs too. Even if you get told no, keep pursuing your dreams. You need to find your voice so that your personality can come out in your playing. You don’t want to sound like you’re playing an etude book. This is for all types of music – even classical. You want to move the audience, you want to touch them.’’

DÉBUTS DE CARRIÈRE

Ketchens avait livré sa première performance dans le domaine du jazz dans le cadre de la convention nationale républicaine en 1987. Ketchens se produisait dans les rues avec son époux lorsqu’elle avait commencé à réaliser qu’elle pourrait gagner sa vie comme musicienne de rue. Le couple avait présenté sa première performance dans les rues de La Nouvelle-Orléans la même année. Par la suite, Ketchens avait joué à Jackson Square avec son propre groupe, les Jackson Square All-Stars. Éventuellement rebaptisé Doreen's Jazz New Orleans, le groupe avait d’abord dû faire face au traditionnalisme des propriétaires de clubs peu enclins à engager un orchestre dirigè par une femme (on n’en sort pas !), avant de finir par trouver sa niche en se produisant dans les rues et dans les festivals de jazz. L’intersection des rues Royal et St. Peter où Ketchens avait amorcé sa carrière est aujourd’hui connue sous le nom de “Doreen’s Corner.’’ Décrivant ses débuts dans le quartier français de La Nouvelle-Orléans, Ketcheens avait précisé: ‘’It’s been 30-35 years, 4 days a week. Early on, 12 hours a day. We’d start at 9 in the morning and play until 9 or sometimes even until 11 at night! As we got older, we realized how to make more money in less time, so now, we play for about 5 hours a day. When it’s really busy, sometimes we’ll still play for 8 hours. It’s crazy, but it’s what you do!’’

Même si le fait de jouer dans les rues et dans les festivals n’était pas toujours très lucratif, Ketchens avait pu augmenter ses sources de revenus en vendant sa musique et ses vidéos sur internet, ce qui lui avait permis de faire connaître le jazz traditionnel à travers le monde, que ce soit en Afrique, en Asie, au Canada, en Europe, en Amérique du Sud ou en Russie. Ketchens s’était aussi produite dans des émissions commanditées par Jazz at Lincoln Center ainsi que par le Département d’État. La fille de Ketchens, Dorian Ketchens-Dixon, avait neuf ans lorsque sa mère l’avait invitée à monter sur scène pour une interpréter une chanson dans le cadre du New Orleans Jazz & Heritage Festival. La fille de Ketchens est aujourd’hui devenue une des batteuses régulières du groupe. Commentant l’arrivée de sa fille avec le groupe, Ketchens avait ajouté: ‘’Dorian, my daughter has been playing with us since she was 4. She is our main drummer. That’s a godsend!’’

ÉVOLUTION RÉCENTE

Ketchens continue toujours de se produire dans les festivals de jazz de La Nouvelle-Orléans et dans d’autres festivals à travers le monde. Elle effectue également des prestations dans les expositions agricoles et dans le cadre de différents événements internationaux. En plus de s’être produite un peu partout sur la planète, Ketchens avait également joué devant quatre présidents américains: Bill Clinton, George H.W. Bush, Ronald Reagan et Jimmy Carter.

En 2006, Ketchens avait participé à un échange culturel avec l’Afrique du Sud dans le cadre d’un événement organisé par la Field Band Foundation. L’échange, qui était commandité par le service éducatif et culturel du Département d’État et par Jazz at Lincoln Center, avait permis à Ketchens de se produire dans les principales villes d’Afrique du Sud comme Johannesburg, Durban et Cape Town.

En janvier 2020, Ketchens enregistrait une bande sonore de film avec le saxophoniste Branford Marsalis lorsque son ancien mentor Ellis Marsalis était passé en studio. Deux mois plus tard, Ketchens devait se produire avec le Louisiana Philharmonic Orchestra, mais le concert avait été remis à plus tard en raison de la pandémie de la Covid-19. À l’époque, Ketchens était un peu nerveuse, car elle n’avait pas l’habitude de jouer avec des orchestres symphoniques. Ketchens avait donc fait appel à Ellis pour qu’il lui donne des conseils. Elle expliquait:

‘’I needed some rehearsals, I thought! I had rarely played with a symphony, and it had been a long time since I had played with him. So, I went to his house for the rehearsal. We were going to play Duke Ellington’s “Caravan.” “Caravan” has two bridges, and he played one, while I played the other. Of course, he knew all of that, but he said to me, “I kind of remember your bridge, but show me what you’re doing.” I said, “You want me to teach you something?” So, I showed him, and he nailed it, of course. He was just being kind to me, I think, and showing that sometimes the teacher can become the student. He was a special man and musician! Then he said, “But, you still have to practice!” I was really looking forward to that performance.’’

Très proche d’Ellis Marsalis, Ketchens avait été très attristée lorsque celui-ci était décédé de la pandémie le 1er avril suivant.

Le 12 mai 2023, Ketchens avait réalisé un vieux rêve lorsqu’elle s’était produite au John F. Kennedy Center for the Performing Arts de Washington, D.C. Ketchens était accompagnée sur scène par Stephen Walker au trombone, par Dave Hammer à la guitare, par Herman LeBeaux Jr. et par son époux Lawrence au sousaphone. À la fin du concert, Ketchens avait fait l’objet d’une ovation debout et était retournée sur scène pour un rappel.

Le projet remontait à décembre 2022. À l’époque, le journaliste Ted Koppel s’était rendu à La Nouvelle-Orléans afin d’interviewer Ketchens et le contrebassiste et tubiste Ben Jaffe pour l’émission CBS Sunday Morning. Dans le cadre de l’entrevue qui avait principalement pour but de décrire les contraintes auxquelles étaient soumises les musiciens pendant la pandémie de la Covid-19, Koppel avait demandé à Ketchens dans quelle grande salle elle avait toujours rêvé de jouer. Le choix de Ketchens s’était fixé sur le Kennedy Center de Washington, D.C. 

Après avoir regardé l’entrevue, le directeur de la programmation jazz de Kennedy Center, Kevin Struthers, s’était assuré que le rêve de Ketchens ne demeurerait pas lettre morte et l’avait transformé en réalité. Durant la pandémie, comme la plupart de musiciens de jazz, Ketchens avait fait preuve d’une grande débrouillardise et avait trouvé des facons indédites de pratiquer son métier, que ce soit en donnant des cours de clarinette sur YouTube ou en donnant des concerts sur Facebook à partir de la salle à manger de sa résidence. Ketchens avait ajouté: ‘’Most mornings, I get up in the morning, play some etudes, then we record some tunes. We haven’t played on the street since March, but we have been playing. It’s nothing like before the pandemic, but we are surviving.’’

Artiste très populaire, Ketchens avait fait des apparitions dans plusieurs documentaires portant sur la culture et la musique de La Nouvelle-Orléans. Ketchens avait également fait l’objet de plusieurs profils à WWOZ, la station de jazz de La Nouvelle-Orléans, ainsi que dans des émissions audio et vidéo (dont Treme, sur le réseau HBO). Ketchens avait aussi été en vedette dans des douzaines de reportages publiés par des journaux et des magazines à travers le monde. Très sociable, Ketchens invitait souvent de jeunes musiciens (et même des aînés !) à venir la rejoindre sur scène. Elle expliquait:

‘’People would come to sit in, and they could play circles around me. We’re very approachable, and give everyone an opportunity to play. It’s their privilege to lose. Someone will come up and say, “Can I sit in?” And, we’ll say, “Sure, you can play one or two songs.” Sometimes we have to say, “Thank you, thank you,” just to get them to not play any more. Sometimes people surprise you! We’ve had 80-year-olds sound like they are 17, and we’ve had 17-year-olds sound like they’re 80! As long as people don’t overstay their welcome. Sometimes having someone sit in is a pleasure, and other times, you’re looking at your watch, waiting for them to leave!’’

Ketchens se produisant le plus souvent en plein air, elle avait dû souvent remplacer ses instruments. Elle précisait: ‘’I recently got a Shine clarinet, a composite instrument from Korea. It plays really well, and I don’t have to worry about the heat or cold. Before that, I played Buffet and Selmer, but I played them so much that they fell apart. I have a gold-plated Selmer that I had pinned so many times my repairman said, “Doreen, you need to retire this instrument.” So, I did. The weather really does wreak havoc on instruments. I was destroying these beautiful instruments in the weather, so I’m glad I found this composite clarinet.’’

Surnommée alternativement “Lady Louis’’ (en raison de son habileté à jouer des notes hautes et puissantes), “the Female Louis Armstrong” et de ''Reine de la clarinette’’, Doreen Ketchens est une des dernières ambassadrices du jazz de La Nouvelle-Orléans à être toujours active de nos jours. Le site Nola.com avait d’ailleurs qualifié Ketchens en 2012 d’ambassadrice culturelle de La Nouvelle-Orléans. Au cours de sa carrière, Doreen Ketchens s’est produite avec de grands noms du jazz et de la musique poupulaire comme comme Ellis Marsalis, Jon Faddis, Trombone Shorty, Al Hirt, Dorothy Donegan, les Black Crows et Jennifer Warnes. Elle a également fait la première partie d’artistes renommés comme Macy Gray et Dr. John.

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