s c h o o lp E R F O R M A N C E S E R I E S time jon batiste and stay human Generous support for SchoolTime provided, in part, by NEW JERSEY PERFORMING ARTS CENTER
about the performance The purpose of Stay Human isn t really about the genre of music that we re playing, but more about bringing people together from all different backgrounds and cultures to share an experience through the power of live music. Jon Batiste JON BATISTE is considered by many to be one of the most exciting and progressive new jazz crossover talents on the scene today. His modern take on the American songbook, through the channels of a virtuosic pedigree in jazz and classical music, is attracting critical acclaim as well as audiences across all demographics. Together with his band Stay Human, Jon is creating a unique grassroots movement that encourages accessibility and appreciation through the art of live performance. Apart from his natural focus, Jon is also a noted advocate for music education (Traveling Ambassador for Music Unites, Associate Artistic Director for the National Jazz Museum) and a regular figure in television and film (HBO s Treme, Spike Lee s Red Hook Summer). Jon provides vocals and plays the piano and harmonica board. EDDIE BARBASH is one of the most exciting, sought-after young alto saxophonists of his generation. He has performed at major clubs and festivals worldwide, principally as a member of Stay Human, but also as a multi-reed man for drummer legend Chico Hamilton in Chico s sextet, Euphoria. In 2009 he founded The Tres Amigos, a sax-guitar-accordion trio that performs diverse repertoire using close-harmony vocal arrangements and instrumental improvisation. Eddie has performed with a range of artists, including Wynton Marsalis, Wycliffe Gordon, Terrence Blanchard, Paquito D Rivera, and Kurt Elling. He is a graduate of The Juilliard School. Eddie provides vocals and plays the alto sax. IBANDA RUHUMBIKA is quickly becoming one of the most recognized tuba players in the United States. A native of Athens, Georgia, he has won numerous national and international music competitions, in addition to being featured on several nationwide television and radio broadcasts. Ibanda has been a soloist with members of the New York Philharmonic brass section as well as with The President s Own Marine Band. Classically trained, he is well versed in jazz and other styles of music. He is a member of Jon Batiste and Stay Human, where he is helping to revolutionize the role of the tuba in the modern-day jazz ensemble. In addition to the tuba, he plays the trombone. JOE SAYLOR is quickly being recognized as one of the country s most dynamic and exciting percussionists. Playing music since the age of three, Joe has performed with jazz legends such as Roy Hargrove, Wynton Marsalis, Dwayne Dolphin, Steve Wilson, Joe Lovano, Jon Faddis, Slide Hamptom, and Ellis Marsalis. An avid advocate of music education, Joe has conducted jazz education workshops at many of the country s finest institutions, including Stanford University. In 2010, he was featured in the second season of HBO s hit show Tremé, a television series about the lives of New Orleans in the wake of Katrina. Joe is a member of Stay Human and a graduate of both the Manhattan School of Music and The Juilliard School. 2
a crossover talent activity page Jon Batiste is one of the most exciting new jazz crossover talents today. He has created a grassroots movement that encourages accessibility and appreciation in the art of performance. STAR SPANGLED BANNER Jon Batiste: www.youtube.com/watch?v=ve-2ijdt4te Standard Version of the National Anthem: www.youtu.be/wvzbq7azq3g Explain the differences in mood and tempo of each version. What emotion does the song evoke in Jon Batiste s version versus the standard version? Boogie Woogie is the style of Jazz piano used by Jon Batiste during his interpretation of the Star Spangled Banner. Is Jon Batiste s version still the Star Spangled Banner? What words or images come to mind when you hear each version of the song? Which version of the song do you prefer and why? If you were going to interpret the song in a new way, how would you go about it? Jon Batiste and Stay Human www.njpac.org/education 3
P.E.R.F.O.R.M. The P.E.R.F.O.R.M. activities will enable students to get the most out of a SchoolTime performance. PREPARE for the performance Who is Jon Batiste? Introduce students to Jon Batiste, a young musician who is known for bringing jazz to millennials. Allow students to watch the video A Conversation with Jon Batiste, and ask them to take notes using the following questions as guide. Why is New Orleans important to Jon Batiste? What five facts do you learn about jazz? What other jazz artists are mentioned in the interview? Why? EXPERIENCE Jon Batiste and Stay Human READ FOCUS on the performance ORIGINATE REHEARSE MAKE magic! Watch the Jon Batiste and Stay Human videos. Show students Social Music, Express Yourself and Let God Lead. Discuss: How would you describe the music of Jon Batiste? How is the music in each video similar? How is the music in each video different? Ask students to write a one-page article describing the music of Jon Batiste. Require students to use examples from each video as evidence. Read about Jon Batiste. Ask students to read the following articles: Jon Batiste: Jazz for a New Generation and Sampling New York as a Music Buffet. After reading ask students to revise the bio found on the opening page by adding details from the two articles. Write a review of the performance. Jon Batiste is quoted as saying, You get a real feel for the connectivity for all of the traditions of music (hip-hop, rock n roll, electronica, jazz) and the humanity that connects everybody. It becomes communal, so to speak. Ask students to write a review of the performance in response to the questions: What genres of music are reflected in Jon Batiste and Stay Human s performance? Did you feel a sense of connection to the music? Why or why not? Create a 15-minute musical inspired by Jon Batiste. Split students in groups of 3-5. Ask each group to: Create a short musical based on the work of Jon Batiste and Stay Human. Using the videos, performance, and CD for inspiration, invite students to create a script. The script must incorporate the spirit and music of Jon Batiste and Stay Human within the story. Use these details to get started: Characters: Jon Batiste and any real or fictional collaborator. This collaborator can dance, sing or make music. Setting: New Orleans or Harlem. Situation: Jon is creating a new song. He and his collaborator are working together to make jazz appealing to teens. Students can remix the music or use actual recordings. Practice several times and receive feedback. Film your performances. 4 Jon Batiste and Stay Human www.njpac.org/education
the new sound of New Orleans activity page COMPARE THREE GREAT LEGENDS FROM NEW ORLEANS. Louis Armstrong, Wynton Marsalis, and Jon Batiste are all from New Orleans, the birthplace of jazz. Each one of these legendary musicians has their own unique sound. Compare and contrast their interpretations of jazz standards. SONG ONE What a Wonderful World Louis Armstrong www.youtube.com/watch?v=e2vcwbzgdpm Jon Batiste www.youtube.com/watch?v=v--gre4jxvo SONG TWO St. James Infirmary Louis Armstrong www.youtu.be/qzcpudbw7gs Wynton Marsalis www.youtube.com/watch?v=7kkh37kv9uy Jon Batiste www.youtu.be/_imhau2amvo DISCUSSION QUESTIONS What mood did each musician want to convey? How did each musician put a bit of their own personalities into the song? How would you describe the tempo of each version of the song? Paint a picture while listening to each interpretation of the song. How did the music influence your painting? What words or images come to mind when you hear each version of the song? Jon Batiste and Stay Human www.njpac.org/education 5
NJ core curriculum content standards & common core standards ENGLISH LANGUAGE ARTS Grade 6 SL.6.1: Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 6 topics, texts, and issues, building on others ideas and expressing their own clearly. SL.6.2: Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study. Grade 7 Grade 8 Grades 9 & 10 Grades 11 & 12 SOCIAL STUDIES Grades 9 12 SL.7.1: Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 7 topics, texts, and issues, building on others ideas and expressing their own clearly. SL.7.2: Analyze the main ideas and supporting details presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how the ideas clarify a topic, text, or issue under study. SL.8.1: Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 8 topics, texts, and issues, building on others ideas and expressing their own clearly. SL.8.2: Analyze the purpose of information presented in diverse media and formats (e.g., visually, quantitatively, orally) and evaluate the motives (e.g., social, commercial, political) behind its presentation. SL.9-10.1: Initiate and participate effectively in a range of collaborative discussions (oneon-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively SL.9-10.2: Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source. SL.11-12.1: Initiate and participate effectively in a range of collaborative discussions (oneon-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others ideas and expressing their own clearly and persuasively. SL.11-12.2: Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data. 6.1.12.D.14.f: Determine the influence of multicultural beliefs, products (i.e., art, food, music, and literature), and practices in shaping contemporary American culture. VISUAL AND PERFORMING ARTS Grades 6 12 1.1: The Creative Process 1.2: History of the Arts and Culture 1.3: Performance 1.4: Aesthetic Responses & Critique Methodologies 6 Jon Batiste and Stay Human www.njpac.org/education
resources VIDEOS A Conversation with Jon Batiste www.jonbatiste.com/the-future-of-american-music-a-conversation-with-jon-batiste/ Jon Batiste and Stay Human in performance www.jonbatiste.com/videos/ Ken Burns Jazz Documentary www.pbs.org/jazz/index.htm History of New Orleans Style Music: www.pbs.org/jazz/lounge/listen_new_orleans.htm History of New Orleans www.neworleansonline.com/ ARTICLES New Orleans Birthplace of Jazz www.neworleansonline.com/neworleans/music/musichistory/jazzbirthplace.html Sampling New York s Musical Buffet www.nytimes.com/2013/10/20/travel/sampling-new-yorks-musical-buffet.html Jon Batiste: Jazz for a New Generation www.online.wsj.com/news/articles/sb10001424052702304402104579149462921656026 Jon Batiste on Social Music www.carnegiehall.org/blogpost.aspx?id=4295000023 VOCABULARY Artistry Quality creative work. Emotional Response A reaction with a feeling such as joy or sadness. Harmony The result of certain musical intervals or chords that relate to one another. Improvisation Composing or performing music without previous preparation. Inclusiveness Open to all. Jazz A syncopated style of music developed in the United States (New Orleans) in which improvisational skills and complex harmonic structures are explored. Melody An organized succession of single musical notes arranged in a related and recognizable pattern; a tune. Montage Combine different elements into a collage. Rhythm A regular pattern produced by the length of strong and weak musical sounds at a particular speed or tempo. Syncopation stressing the normally unaccented beats Uplifting Inspirational. Jon Batiste and Stay Human www.njpac.org/education 7
why arts education? CHAMPIONS OF CHANGE: THE IMPACT OF THE ARTS ON LEARNING STUDY The ultimate challenge for American education is to place all children on pathways toward success in school and in life. Through engagement with the arts, young people can better begin lifelong journeys of developing their capabilities and contributing to the world around them...the arts can play a vital role in learning how to learn, an essential ability for fostering achievement and growth throughout their lives. Young people can be better prepared for the 21st century through quality learning experiences in and through the arts. Richard Riley, former Secretary of Education An extensive study performed by Judith Burton, Robert Horowitz and Hal Abeles of the Center for Arts Education Research at Columbia University looked into the effects of arts education on cognitive development and overall academic success. The study revealed that students at high arts schools out-performed students at low arts schools in several key areas: CREATIVE THINKING Solutions: a greater number of ideas or approaches to solve problems. Originality: more innovative approaches to solving problems. Elaboration: mentally constructing more detail in formulating solutions. Resistance to closure: tendency to keep an open mind, to avoid rushing to premature judgments or being satisfied too quickly with a possible solution. GENERAL COMPETENCIES Expression: better able to express thoughts and ideas to teachers and peers and to do so in different ways. Risk-taking: an increased willingness to try new things, use new materials and approaches, even at the risk of failing; more willing to risk expressing novel ideas to peers and parents. Cooperation: worked better with peers and with teachers. Synthesis: better at unifying divergent thoughts, feelings and facts. PERCEPTION OF SELF AS LEARNER Higher self-concept in reading, math and general academics. Teachers rated them as having more self-confidence. njpac arts education William J. Marino and John R. Strangfeld, Co-Chairs, NJPAC Board of Directors John Schreiber, President & CEO Alison Scott-Williams, Vice President, Arts Education Kristina Watters, Administrative Assistant & Office Manager Jennifer Tsukayama, Senior Director of Arts Education Christopher Phillips, Administrative Assistant & Office Manager Caitlin Evans-Jones, Director, Partnerships & Professional Development Eyesha Marable, Manager, Sales & Partnerships Rosa Hyde, Manager, Arts Education Performances Marcus George, Customer Care Coordinator Rebecca Hinkle, Director of Arts Education Patricia Sweeting, Coordinator, After School & Summer Programs Michele Wright, Director, Music Programs & New Initiatives Alexis Almeida, Program Coordinator, Music Programs & New Initiatives Jamie M. Mayer, Director, In-School Programs Erika Hicks, Program Manager, In-School Programs (Music) Rochelle Herring-Peniston, Curriculum Consultant Michelle Vames, Editor of Teacher s Resource Guides Lia Di Stefano, Graphic Designer THE FOUNDATION McCRANE FOUNDATION, INC., care of Margrit McCrane NJPAC Arts Education programs are made possible through the generosity of our endowment donors: The Arts Education Endowment Fund in honor of Raymond C. Chambers, Randi and Marc E. Berson, Joan and Allen Bildner, Toby and Leon Cooperman and Albert and Katherine Merck Generous annual support for NJPAC Arts Education Programs is provided by: The Star Ledger, McCrane Foundation, Inc., care of Margrit McCrane, Surdna Foundation, John and Suzanne Willian/Goldman Sachs Gives, MCJ Amelior Foundation, The Johnny Mercer Foundation, Joan and Allen Bildner, Jennifer A. Chalsty, Johnson & Johnson Family of Companies, Panasonic Corporation of America and The Sagner Companies/The Sagner Family Foundation For more information or to schedule an appointment, please call our education sales team at 973-353-7058 or email us at artseducation@njpac.org. Visit us at www.njpac.org/education. New Jersey Performing Arts Center One Center Street Newark NJ 07102 NEW JERSEY PERFORMING ARTS CENTER