1)  Music:                      Carolina Shout (Johnson) :32 sec (from M22 @ 22:54                              

Mus.comp ID #03 M. Roberts Solo Pno - Silence in (Length 3:43)

            cross to            Yamekraw  (Johnson) :50 sec (from M22 @32:15-M comp ID 05                           

Roberts w/Concordia.   light aplse going in (tot. length 19:48)

2)  Vox:                         Marin Alsop: (Int #26 02 50:10)

"He was revered by other musicians.  They thought he was the greatest....I mean, everyone went to James P. Johnson to study.  They wanted to learn this, this piano playing style that he had.... You know, his 'Carolina Shout' became the test for every single piano player after him.  If you couldn't play 'Carolina Shout,' you couldn't play.  And that was it."

                                    Marcus Roberts: (Int #25 01 27:45)

                                                "James P. Johnson, you know, he's a composer, man.  His bottom line is 'I'm writing it for whoever can play it.  Just let them deal with it for the next hundred years.  It's here.'"

3)  Bradley:

                        JAMES P. JOHNSON IS ONE OF THE UNSUNG HEROES OF JAZZ.  HE IS CONSIDERED THE FATHER OF THE PIANO

STYLE KNOWN AS STRIDE, HE GAVE THE WORLD THE CHARLESTON AND HE WAS ONE OF THE FIRST PEOPLE TO COMPOSE

MUSIC THAT TOOK A FULL SCALE SYMPHONIC APPROACH TO JAZZ.  YET TODAY, MANY PEOPLE DON'T EVEN KNOW HIS NAME.

MARCUS ROBERTS, MARIN {MAR-in}  ALSOP AND CONCORDIA  PERFORM THE MUSIC OF A JAZZ GIANT, JAMES P. JOHNSON---ON

THIS EDITION OF JAZZ FROM LINCOLN CENTER.  I'M ED BRADLEY.     (music fades)

4)  Music:   Carolina Shout J.P Johnson piano (:47 under)

                                                            Classic Records CD # 658

5)  Bradley:

                        STRIDE PIANO, ALSO KNOWN AS HARLEM PIANO, IS ONE OF THE MOST JOYFUL KINDS OF JAZZ.  IT'S ALSO ONE OF THE MOST DIFFICULT TO PLAY.  JAMES P. JOHNSON WAS THE FIRST ACKNOWLEDGED MASTER OF THE ART. 

6)  Vox:             Marcus Roberts: (Int #25 01 1:43)

                                    "The basic thing is that you have a pulse that is established in the left hand, and against that the melody in the right hand is stated ...which provides...a wonderful sound as far as that pulse between the two hands and the two different registers of the piano coming together..."

7)  Bradley:

                        TODAY, A CENTURY AFTER JOHNSON WAS BORN, YOUNG PIANISTS LIKE MARCUS ROBERTS ARE CARRYING ON THE STRIDE LEGACY. 

8)  Vox:             Marcus Roberts: (Int #25 01 1:43)

                                    "There will be a basic main melody that's being interpreted, but against that there will be other melodies and other themes that are going on in both hands, that are also being developed throughout the piece."

9)  Bradley:

                                    MARCUS ROBERTS TACKLES JAMES P. JOHNSON'S----"KEEP OFF THE GRASS."

10)  Music:                    Keep Off The Grass (Johnson) 3:33 (M23 @1:09:23)                                            

Mcomp ID 09 Marcus Roberts Solo Piano

11)  Bradley:

                         JOHNSON'S STRIDE CLASSIC "KEEP OFF THE GRASS." PERFORMED BY MARCUS ROBERTS ON STAGE AT AVERY FISHER HALL. 

JAMES P. JOHNSON WAS AN IMMENSELY POPULAR SOLO PERFORMER.  HE ALSO RECORDED A NUMBER OF HISTORIC PIANO

ROLLS AND WROTE MUSICALS.  HIS MOST FAMOUS SONG, "CHARLESTON" WAS FROM HIS 1923 SHOW "RUNNING WILD."   THIS

COMMERCIAL SUCCESS GAVE JOHNSON THE FREEDOM TO CONCENTRATE ON COMPOSING MORE ORIGINAL RAGS, SHOW TUNES,

AND EVEN ORCHESTRAL WORKS.

JOHNSON HAD STUDIED CLASSICAL MUSIC AND BY THE MID-1930s, HE WAS READY TO COMPOSE EXTENDED WORKS THAT WOULD

COMBINE ALL THE MUSIC AROUND HIM---BLUES, RAGTIME, DANCE  AND ORCHESTRAL MUSIC.   HE WROTE SYMPHONIES THAT

WERE WARMLY RECEIVED AT THE TIME BUT WERE SELDOM PLAYED OVER THE YEARS.

MARIN (MAR - in) ALSOP, A REMARKABLE WOMAN AND CONDUCTOR OF AN ORCHESTRA CALLED "CONCORDIA"  SPENT YEARS

TRACKING DOWN THE SCORES.

12)  Vox:           Marin Alsop:  (Int #26 02 45:15)

                                    "I had listened to him playing on record, you know, from the old piano rolls and stuff, and was pretty wowed by his piano playing.  But it wasn't until about 1985, '86, that I even had an inkling that Johnson wrote symphonic music.

                                    (51:25)  "He felt a commitment, in his own words, to somehow represent...he called it America's ethnic heritage - basically the history of...blacks in America, and he felt that he could do that through symphonic music. 

                                    (1:06:33) "I think if we hadn't kept after this music, no one would have ever heard it, and it would have been lost."

13)  Bradley:

                        AND THAT WOULD HAVE MEANT THE LOSS OF JAMES P. JOHNSON'S 1942  "DRUMS:  A SYMPHONIC POEM."

FROM THE LINCOLN CENTER CONCERT BILLED "THE JAMES P. JOHNSON JUBILEE," HERE'S CONCORDIA UNDER THE DIRECTION OF

MARIN ALSOP WITH "DRUMS:  A SYMPHONIC POEM."            

[alternate take:]

                        HERE'S CONCORDIA UNDER THE BATON OF MARIN ALSOP, WITH ONE OF THOSE PIECES---JAMES P. JOHNSON'S

"DRUMS: A SYMPHONIC POEM."

14)  Music:        Drums (Johnson) 9:24 (M22 @ 00:32 2/21/92

                                    Concordia (orchestra) Silence in / aplse out

15) Bradley:

                        JAMES P. JOHNSON'S "DRUMS."  SYMPHONIC JAZZ FROM 1942.  CONDUCTOR MARIN ALSOP AND CONCORDIA.  THIS

IS JAZZ FROM LINCOLN CENTER.  I'M ED BRADLEY.

JAMES P. JOHNSON WAS BORN IN 1894 IN NEW BRUNSWICK, NEW JERSEY. BUT IT WAS IN THE NIGHTCLUBS, TAVERNS AND

DANCE HALLS OF NEW YORK CITY THAT HE PERFECTED HIS OWN DISTINCTIVE VARIATION ON RAGTIME PIANO.                                                                                 

JOHNSON'S MUSIC HAD MUCH IN COMMON WITH THE RAGTIME THAT HAD COME BEFORE, BUT IT WAS MORE PASSIONATE, MORE

POWERFUL, AND RELIED FAR MORE ON IMPROVISATION. 

WE'LL HEAR THAT NOW IN MARCUS ROBERT'S INTERPRETATION OF ONE OF JOHNSON'S EARLIEST COMPOSITIONS.   WRITTEN IN

1917, THE TUNE'S CALLED, "FASCINATION."

16) Music:                     Fascination (Johnson) 4:18  (M23 @ 1:00:11 Mcomp ID 07)                                              

Marcus Roberts - Solo Piano

17) Bradley:

                        JAMES P. JOHNSON WAS BEST KNOWN AS A SOLO PIANIST, BUT HE ALSO DID SOME NOTABLE WORK AS AN

ACCOMPANIST - INCLUDING A RECORDING SESSION IN 1927 WITH ONE OF THE GREATEST OF ALL BLUES SINGERS, BESSIE SMITH.                                           

SIXTY-FIVE YEARS AFTER BESSIE SMITH AND JAMES P. JOHNSON RECORDED "PREACHIN' THE BLUES," CARRIE SMITH AND

MARCUS ROBERTS BROUGHT THEIR OWN DUET TO THE STAGE OF LINCOLN CENTER'S AVERY FISHER HALL.

HERE'S "PREACHIN' THE BLUES."

18) Music:                     Preachin' The Blues (Smith) 3:04 (M22 @0:27:35)Mcomp ID 04

                                    Marcus Roberts (Piano) and Carrie Smith (Vocals)

                                    Applause tight on out

19) Bradley:

                        "PREACHIN' THE BLUES"--- CARRIE SMITH WITH MARCUS ROBERTS ON PIANO.

THE BLUES WAS CLOSE TO JAMES P. JOHNSON'S HEART.  THE BLUES, HE ONCE SAID, "ARE THE FEELINGS OF THE PEOPLE,

THEIR PROTESTS, HOPES, LOVES, HATES; A MINGLING OF FEELINGS ALL ROLLED TOGETHER."   

THE BLUES INSPIRED HIS "AMERICAN SYMPHONIC SUITE," COMPOSED IN 1941, WHICH WAS A THREE-PART ORCHESTRAL SETTING

OF W.C. HANDY'S FAMOUS "ST. LOUIS BLUES."  THE ONLY PART OF THE SYMPHONY THAT HAS SURVIVED IS THE FIRST

MOVEMENT, PLAYED HERE BY CONCORDIA CONDUCTED BY MARIN ALSOP.  

JAMES P. JOHNSON'S "AMERICAN SYMPHONIC SUITE."

20) Music:         American Symphonic Suite (Johnson-Handy) 9:07 (M22@12:21)               

Mcomp ID 02  @0:10:57 appl. w/stage annc. by Alsop w/intro

                        1st. Movement of American Symphonic Suite played by the Concordia. 

21) Bradley:

                        MARIN ALSOP AND CONCORDIA.  THE SYMPHONIC BLUES, JAMES P. JOHNSON STYLE.

                        [applause fades - crosses to music under as Bradley continues]

22) Music:         Yamekraw  (James P. Johnson)  use 2:26 (M22 @32:15) Mcomp ID 05

                        M.Roberts w/ Concordia - light applause in / applause out

                        (goes under midbreak copy and station ID

23) Bradley:

                        PRODUCTION FUNDS FOR JAZZ FROM LINCOLN CENTER COME FROM THE CORPORATION FOR PUBLIC

BROADCASTING, THE NATIONAL ENDOWMENT FOR THE ARTS, AND A MAJOR GRANT FROM THE LILA (LYE-La) WALLACE READER'S

DIGEST FUND----CONNECTING ARTISTS AND COMMUNITIES THROUGH JAZZ.  ADDITIONAL SUPPORT COMES FROM THE NORMAN AND

ROSITA WINSTON FOUNDATION, THE TRIBUNE NEW YORK FOUNDATION AND NATIONAL PUBLIC RADIO MEMBER STATIONS,

THROUGH THE N-P-R CULTURAL PROGRAMS FUND.     

YOU CAN WRITE TO JAZZ FROM LINCOLN CENTER AT:  70 LINCOLN PLAZA, NEW YORK, NEW YORK 10023.

YOU'RE LISTENING TO JAZZ FROM LINCOLN CENTER.  I'M ED BRADLEY.

                        [Midbreak (ca. 33 min.) - (:10 as bed for local station ID's)

                                                [Yamekraw fades to actuality)]

24) Vox:             Marcus Roberts: (Int #25 01 22:40)

                                    "They're certainly important works...They just show the expansive personality of a great musician and a great artist, and I think also they just show from an American standpoint how our music can sound in an orchestral context."

25) Bradley:

                        MOST OF THE ORCHESTRAL PIECES PLAYED AT LINCOLN CENTER'S JAMES P. JOHNSON JUBILEE HAD NOT BEEN

HEARD IN CONCERT FOR HALF A CENTURY.  THE PIECE WE'RE GOING TO HEAR NEXT HAD APPARENTLY NEVER BEEN HEARD IN

CONCERT.  IT'S A SYMPHONIC TREATMENT OF A PIECE JOHNSON ORIGINALLY RECORDED WITH A SMALL GROUP IN 1944. 

MAKING THE TRANSITION FROM A PIECE DESIGNED FOR AN ENSEMBLE OF JAZZ PLAYERS TO A PRESENTATION BY A

CLASSICALLY TRAINED ORCHESTRA IS NOT NECESSARILY A SIMPLE PROPOSITION.    

ORCHESTRA LEADER, MARIN ALSOP.

26) Vox:            Marin Alsop:  (Int #26 02 1:11:40)

                                    "I find sometimes with orchestral players who...don't play a lot of jazz, that it's very hard to get them to play - bad.  You know, not that you want them to play bad, but they've got to, you know, "Don't sound so good on that....It's got to be dirtier, it's got to be grittier."...This orchestra is special in that way, 'cause they really can do almost anything."

27) Bradley:

                        WITH SOLOS BY CHUCK WILSON ON ALTO SAXOPHONE, JAMES PUGH ON TROMBONE AND MARCUS ROBERTS ON

PIANO, HERE'S JAMES P. JOHNSON'S "VICTORY STRIDE."

28) Music:                     Victory Stride (Johnson) 4:09 (M23 @55:11) Mcomp ID6

                                    MRoberts w/Concordia. Silence in /aplse out

29) Bradley:

                        "VICTORY STRIDE."  JAMES P. JOHNSON'S UNIQUE FUSION OF JAZZ AND ORCHESTRAL MUSIC. 

AND NOW, TWO MORE PIECES OF JOHNSON'S PIANO MUSIC, AS PLAYED BY MARCUS ROBERTS.   FIRST, THERE'S "SNOWY

MORNING BLUES," AN OUTSTANDING EXAMPLE OF JOHNSON'S AFFINITY FOR THAT BASIC MUSICAL FORMS.             

                        THEN, WE'LL HEAR ONE OF THE MOST CELEBRATED OF JOHNSON'S PIANO PIECES---THE ONE THAT EVERY

ASPIRING PIANIST OF THE TWENTIES AND THIRTIES HAD TO MASTER IF HE WANTED TO BE TAKEN SERIOUSLY.  IT SERVED AS A

RITE OF PASSAGE FOR JOHNSON'S TWO BEST-KNOWN  DISCIPLES, FATS WALLER AND DUKE ELLINGTON---"CAROLINA SHOUT."

HERE'S "SNOWY MORNING BLUES." 

30) Music:  Snowy Morning Blues (Johnson)  4:08 (M23 1:04:53) Mcomp ID 08

                        Roberts - Solo Piano - Silence in /aplse out

                        Carolina Shout (Johnson) 3:43 (M22 22:54) Mcomp ID 03

                        Roberts Solo Piano - Silence in /aplse out

31) Bradley:

                        JAMES P. JOHNSON'S "SNOWY MORNING BLUES" AND "CAROLINA SHOUT."  MARCUS ROBERTS AT THE KEYBOARD.

THIS IS JAZZ FROM LINCOLN CENTER.  I'M ED BRADLEY.

32) Vox:            Marin Alsop:  (Int #26 02 51:25)

                                    "He was the guy that didn't get the break.  And what would have happened if he had gotten the break and people had heard his music?...Maybe James P. Johnson's name would be just as big as Gershwin's.

                                    (54:15)  "You know, Gershwin would go and visit Harlem, but Gershwin didn't live in Harlem. ..It's a different feeling when you come from those roots, and that's in your blood and that's...in your bones."

33) Bradley:

                        WE CONCLUDE OUR TRIBUTE TO JAMES P. JOHNSON ON THE HUNDREDTH ANNIVERSARY OF HIS BIRTH IN 1894 BY

TURNING ONCE MORE TO HIS SYMPHONIC MUSIC.  THIS IS THE LAST MOVEMENT OF HIS "HARLEM SYMPHONY."  JOHNSON TAKES

LISTENERS ON A MUSICAL JOURNEY THAT BEGINS WITH A SUBWAY RIDE FROM PENN STATION AND CONCLUDES ON A NOTE OF

GREAT EXCITEMENT AND DEEP EMOTION, AS WE'LL HEAR, WITH A VISIT TO THE BAPTIST MISSION.

34) Music:  Harlem Symphony, fourth movement (Johnson)  6:08 (M23 @ 1:17:07)              Mcomp ID10 Concordia - (length 17:30) [4th mvmt Begins @15:20)

35) Bradley (as applause fades under):

                        CONCORDIA, UNDER THE DIRECTION OF MARIN ALSOP, PERFORMING THE ROUSING FINAL MOVEMENT OF THE "HARLEM SYMPHONY."   MARCUS ROBERTS PLAYED THE PIANO. 

ONE OF THE GREAT COMPOSITIONS OF ONE OF THE NEGLECTED GENIUSES OF JAZZ, JAMES P. JOHNSON.

36) Music:                     Keep Off The Grass  (as necessar) M23 @1:09:23 Mcomp id 09

                                    Marcus Roberts Solo Piano  - (total Length 3:33)

37) Bradley:  (Credits)

                        JAZZ FROM LINCOLN CENTER IS PRODUCED BY MURRAY STREET ENTERPRISE, NEW YORK WITH THE JAZZ DEPARTMENT AT LINCOLN CENTER. OUR PROGRAM WAS WRITTEN BY PETER KEEPNEWS (KEEP-nooz) AND EDITED BY LAUREN KRENZEL. SENIOR PRODUCER IS STEVE RATHE.          

THE MUSIC WAS RECORDED BY JIM ANDERSON AND MARK WILDER WITH EFFANEL MUSIC.  THE ORCHESTRA WAS RECORDED BY JIM ANDERSON AND LOUISE DELLA FUENTES.   DIGITAL POST PRODUCTION BY STEPHEN ERICKSON AND RICK BRADLEY.                           

OUR PRODUCTION TEAM INCLUDES ROB GRADER, BILL BROWER, EILEEN DELAHUNTY, JANA JEVNIKAR (JEV-nih-car), AND JERRY LA ROSA.

SPECIAL THANKS TO ALEXA BIRDSONG, LEO GAMBACORTA (gam-ba-KOR-ta), THE CREW AT AVERY FISHER HALL, AND W-C-R-B, BOSTON.                      

THE  DIRECTOR OF JAZZ AT LINCOLN CENTER IS ROB GIBSON.    ARTISTIC ADVISORS ARE WYNTON MARSALIS AND STANLEY CROUCH.       

I'M ED BRADLEY.

38) Vox             Marcus Roberts: (Int #25 02 35:00)

                                    "If you are a pianist, if you plan on being on a certain level of proficiency and articulation of the power of your instrument, you got to deal with him.  Duke Ellington dealt with him.  Thelonious Monk dealt with him.  Fats Waller dealt with him.  Now, those are three geniuses of the piano right there.  So my philosophy has always been, man, if Duke Ellington did that, you know, what am I supposed to do?"

39) Bradley:

            THIS IS N-P-R, NATIONAL PUBLIC RADIO.