PoemJazz

Robert Pinsky served an unprecedented three terms as U.S. Poet Laureate from 1997 to 2000. During his tenure he established the Favorite Poem Project, a program that movingly explored poetry’s place in American lives. Among his books are eight award-winning collections of verse, translations of Dante and Milosz, critical works and anthologies. In 2010, Poetry published his libretto to Tod Machover’s groundbreaking opera, Death and the Powers.

Jazz pianist, composer, arranger, producer, Grammy® winner and Yamaha® artist Laurence Hobgood has enjoyed a 40+year career. Highlights include: three consecutive Fellowships to the Aspen Music Festival (1990, ’91, ’92), being chosen as a 1995 Chicagoan of the Year in the Arts, a 2003 Deems Taylor Award given by ASCAP for the year’s outstanding music journalism, multiple Grammy® nominations and a 2010 Grammy® Award. He’s played at many of the world’s most prestigious venues including Carnegie Hall, Lincoln Center, the White House, and the Kennedy Center.

STAN Strickland has performed internationally; been featured on recordings of Bob Moses, Marty Erlich, Webster Lewis and Brute Force; performed with notable jazz musicians Yusef Lateef, Pharoah Sanders, Herbie Mann, Danilo Perez, Shirley Scott and Marlena Shaw; and has opened for Miles Davis and Sonny Rollins. He had leading roles in Boston Art Group, Northeastern University productions, and Vineyard Playhouse Productions, has performed and collaborated with choreographers including Alvin Ailey, José Limón and Bill T. Jones.

Constantly challenging and redrawing boundaries, cellist Catherine Bent has never fit easily into any category. Classically trained on cello and piano, conservatory trained in jazz, and professionally experienced in countless genres, Catherine built a career on the margins while patiently uncovering her unique artistic voice.

In graduate school Catherine started playing choro, the infectious Brazilian hybrid of European dance music and African rhythms. Following the initial interest, she dove deep into the tradition and went on to spend many months in Rio de Janeiro—building her repertoire in jam sessions and alongside masters—and took the choro scene by storm with her virtuosity on the cello and fluency in the style.

Of infinite interest to Catherine is the relationship of phrase—music carried on the breath—and groove—music felt in the body—which she explores in her musical projects and international collaborations. In Macayú Trio, Quebra Tudo, Trio Caxangá and the duo Elis & Catherine, she and her colleagues mix elements of jazz and Latin music with dynamic ensemble interplay and tight arrangements. When the music calls for it, the playing is highly refined; at other times exploratory and free.