Spring 2 0 0 0 Tracing U.S. Black Vernacular Musical Styles - Center for Black Music Rerearch, Columbia College Chica

[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 sineniar nersoective of Chicam's black - . A - music history of the last fifty years. At I age seventy-five, he shows little sign that his passion for music is abating. 1 local Musician Sptlight

Raised in what was known as

community on Chicago's South Side, Walton heard the popular musical 1 BY MONICA MCPHERSON 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

(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 bpons 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 o f A h Amwidn W i r y a d L,teratUR. 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 his 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 work 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 ofAfn-Amehm HMoryend lhfatum, airago FuMir Ubraw

montage timefine. ~uzanne Flan@u, of saving things." Indeed, we can all librarian a d ndchivia of the Centerfor thank Walton for helping to preserve Black Music Research, says that ' for posteriiy a vital part of our nation's Wdton is unusual because he is "a musical heritaee. " practicing musician who thinks

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Sterling Plump Profenerof dkawher iaan Studiff andEegiisb, UniveniTj of llfincisa Chicago

Robert PNter R&B Mitn, Goldmlne, and writer, Charles D. Spencer and Associates, Chitauo

I Tabatha RusseU.Koyias Center Directo~ Chicago Patk District's South Shore Culwral tenter

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Members of Project Stop-Time Advisory Committee Tabatha Russell-Koylass is Center in developing jazz music appreciation Director of the Chicago Park District's by African-American adults and chil- South Shore Cultural Center. She dren. He is a former high school and teaches courses in dance and arts man- college instructor and holds doctorates agement and administration and is a in linguistics and anthropology. - 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

- . -.

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 manv other local and national organiza- - 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.

It was a show of love and enjoymm? The Mdcolm X College President's that took place on Feb~ary $,200D, 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 mance of Ensemble Stop-Time on perSmmance. After the "7- : Friday, Febrvary 4,2000. assembly, students axid st?# % The entire evening was a mne up to me, or sent e- wonderful blend of music m i l s t e h g how much they ~ ~ w ~ ~ - # ~ d knowledge, music preserr enjoyed the show. The Dean - - - - tation of the African- of Students said the Lower American styles, and School in the balcony even enjoyed exceptional musicianship. The variety tbmelves. I was sitting on the main of sounds frop the 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 b 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 , Dean @Career Beverly A. Hadley, Executivtiveaiector of Progrms, ~alcolrn x College Admlrsims, PmvLlence-St. ikisl School

CBMR Staff I %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 C 0 o ~ t o r of Edueaut

Coleridge-Taylor Perkir.,.. o r b h n of Periomance Acuv~ueS

Marcor Sueiro Sound Specialist

(rill

T. 5. Galloway bled Stop-Time Coordinator and Music h

Guthrie Ramsey Jr. Editor. StopRme!

R~chard A. Wang Consuitmg Edaor, SiopTW -

Trenace V, Ford Manaping Editor, Stop-Em! ' T

Axie Breen ;fi

,,,. of Stop nmef we avalable free of charge 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 I 600 South Mtchaan Avenue

1 arcall (312) 3G7559, fax (312) 344-8029, e-mail cbmrecbmr wlum edu. Vls~t om home page at www columedulcbmri I

"He's I a Winner"

A Retrospective Tribute to Chicago's Curtis Mayfield from

the Hip-Hop Generation

ith the death of Cnrtis Mayfield in December 1999, ' W 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 Wmw." 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 mscend 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 strings, horns, and percussion, I lending his lyrics about life in the' drug 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 instrumentals 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.

Curtis Mayfield Resources

The following selections are available in the CBMR Library and Archives, open Monday through Fr iday f im 9 AM. to 5 P.M.; telephone: (312) 344-7586.

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 (CmmCRS 8601). 1975. Let's do i f aaatn (Curtom CU 5005). 1975. There's no ;ace like America today

(Curtom CU 5001). 1976. Give, pet. take, and have (Curtom CU

1963. The ~ ~ ~ r e s s r o n s (ABC ABC-450). -

5007) 1964. Keep on pushing (ABC ABC-493). 1977. Never say you can't survive (Curtom 1964. Never endcna lm~ressions (ABC ABC- CU 5013). - .

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 CRS 8005). 1971. Curtis live (Curtom CRS 8008).

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).

1971. Roots (Curtom CRS 8009). I

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 C., 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.

Members of Ensemble Stop-Time

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, Chanev moved to Chicago, where he - 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,

on March 31, 1992. Chaney's recordmgs include Funky

Duck, Superfly, Soulful Strut, and Young and Holtful, w~th Young-Holt Unlimited; Brand New Feeling, Hear Sense and Feel, and Mirage, with The Awakening; When We Were Lovers, with John Klemmer; and ~ i b e and Alive, with the Ken Chaney Xperience.

Chaney can be heard on the sound- trachs of the movies Trial Run, The Last Affair; Cold Justice, and Hoodlums.

Ken Chanev I he appeared at 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 Dav~s, Dianne Reeves, and Nancy 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

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 of Excellence Award, presented by WMAQ-TV Chicago.

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Trumpeter Burgess 1. Gardner has performed with various jazz greats, Andy Goodrich is one of Chicago's including Count Basic, sts. For two con- Ray Charles Orchestra (as lead trum- secutive years, he was named winner

nist" award at the pet), Max Roach, and Horace Silver, with whom he toured. Gardner has Notre Dame Jazz Festival, and the late appeared in concert at the bassist W. 0. Smith cited Goodrich as AspedSnowmass Jazz Festival in "one of the finest alto sax players I Aspen, Colorado; the Chicago Jazz have heard" (Side Man: The Long Gig

Festival with the Bill of W 0. Smith, 1991). Russo Orchestra; In 1981, along with and the Ojai Jazz Freddie Hubbard, Festival in Ojai, Tony Bennett, Betty California. Carter, Art Blakey, Gardner's television Clark Teny, Zoot studio orchestra Simms, Stephanie credits incluae 150fh Mills, David Brubeck, Birthday Party of and Louie Bellson,

Chicago (1987) and Goodrich was invited Yesterday, Today, to participate in a trib- Forever: Motown's ute to Lionel Hampton 25th Anniversary at the Kennedy Center television special for the Performing (1983). Burgess Gardner Arts.

His recordings Goodrich performed include The M-Squad (1968) with the with Langston Hughes in one of his Count Basie Orchestra; Burgess early Jazz and Poetry concerts at Fisk Gardner: Music Year 2000 (1982), his University and has also performed in

concert in clubs, in theaters, and on college campuses with Cannonball Adderley, Thad Jones, Hank Crawford, Louis Smith, Andrew White, W. 0. Sm~th, and 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 Jazz 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.

Buntrock Hall. Symphony Center

Symphony Center box office. ' Call (312) 294-3000.

May 13. 2000, 230 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

Tracing U.S. Black Vernacular Styles

Introduction to 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 fi 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) Traditional Search Me Lord (gospel song, 1948) Thomas A. Dorsey me Bo Dlddley (R&B, 1955) Bo D~ddley What'd I Say (R&B/soul, 1959) E C q Charlm Shining Star (soul, 1975) W h i t ~ ~ l e y ~

Earth, Wind and Fire Message (rap, 1982) Fl&her/Glover/ChaselR~$on

Grandmaster Flash and the Furious F ~ v e

Stretch Coleridge-Taylor Perkinson

CBMR Community Culture Council 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.

Ernest Dawkins AACM

Lisa Duncan Chameleon Company

Emily Hooper-Lansana Youth Theater Coalition of Chicago

Membcrr of the CBMR CaJnmunitpCxr~ Canncll

Darlene Blackburn Darlene Blackburn Dance Troupe

Joe Ann Bradley Community Action Group

Lucia Cruz Neon Street Programs

Anastasia Davis Chicago Park District

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

Performance Spectacular at Symphony Center

he Center for Black Mnsic Research is pleased to announce that Ensemble Stop-Time and the T 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 th~s extraordinary musical experience in the intimate and superb acoustic environment of Symphony Center's Bnutrock Hall.