Philanthropists Judson and Joyce Green are supporters of the arts center’s jazz initiative. Judson Green, a former Disney executive, is a composer, musician and jazz aficionado. SUMMER 2017 | artsLife 15 Kathy Ramsberger, the arts center’s pres- ����������������������������������������������������������������������������������- sidering the diversity of the school system’s students, who come from about 200 countries and speak more than 150 languages. “Jazz is a great bridge,” she says. “They all speak the language of music.” Although other major arts centers identify specialty areas in which to concentrate — Tampa’s Straz Center for the Performing Arts, for example, presents its own opera season — formation of a resident jazz orchestra is a monumental commitment. “The combination of the full spectrum of jazz offerings from early childhood to high school through professional performances ���������������� �������� ���������������������� ������ ���������� �������� �������� global arts community,” Ramsberger adds. The initiative is supported by Orlando residents Joyce and Judson Green, who have pledged $5 million to the arts center. Judson Green, a former Walt Disney Company executive, is an accomplished jazz pianist with several CDs to his credit. With part of the donation, the arts center will build The Green Room. It will be an intimate venue tucked behind Steinmetz Hall, a world-class acoustical theater being built on the arts center’s downtown campus adjacent to the Walt Disney Theater and the Alexis & Jim Pugh Theater. “We believe that the arts center is the heartbeat of our great city, and we look forward to providing opportunities to bring international, national and local musical talent together,” says Judson Green. “Our entire community will be able to experience jazz in many ways, and for many years to come.” Adds Joyce Green: “We’re honored to combine our love of music and our desire to contribute to the mission of the arts center to further enrich and educate the community about the importance and the value of jazz.” A MUSICAL FORCE The new orchestra — which was assembled following a highly competitive audition process — won’t simply accompany big-name guest artists. It’ll be a musical force in its own right, says Whitaker, whose home base is in East Lansing, Michigan. With a nod to pioneering orchestras led by Ellington, Lionel Hampton, Stan Kenton and Benny Goodman, Whitaker and his ensemble will mine jazz’s gilded canon for its own performances. “We’ll play America’s music — jazz,” Whitaker says. “We’ll celebrate its 100-plus years of history.” ������������������ ���������������� ������������ �������� ���������� ���������� ���������� people would name as a likely location for a jazz renaissance. More obvious choices would be such longstanding jazz meccas as New Orleans, Kansas City, Washington, D.C., or Whitaker’s hometown of Detroit. But Whitaker gives the Sunshine State its due props. “Florida is known for having great jazz performers, such as Cannonball Adderley, Nat Adderley, Junior Cook, Sam Jones and Blue Mitchell, just to name a few,” Whitaker says. In addition, Walt Disney World has attracted a plethora of powerful players to the region, which is also home to the Glenn Miller Orchestra, the Tommy Dorsey Orchestra and the Orlando Jazz Orchestra. “Orlando has stellar musicians who perform at the level of New York musicians,” adds Whitaker, whose earliest inspiration was legendary bassist James Jamerson, a member of the Funk Brothers. Jamerson laid �������������������������������������������������������������������������������� No. 1 Motown hits, and is regarded as per- ������������������������������������������������������������������������������������������ “For me, it was always about the groove,” Whitaker says. Later, other great Detroit ������������������������������������������������������������������������������������- er, Doug Watkins and Cecil McBee. But none had more impact on Whitaker than Paul Chambers. As a middle schooler, Whitaker played the violin as well as the acoustic bass — until the age of 13, when he heard Chambers on John Coltrane’s 1958 album, Soultrane. “I thought, ‘That’s it. I want to be a bassist.’” Whitaker continued pursuing the groove
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