Jazz at Lincoln Center today announced Cécile McLorin Salvant, Joe Lovano, Tommy Smith, Karolina Strassmayer, Paquito D’Rivera, and Nduduzo Makhathini —six of the world’s finest names in jazz— will lead master classes at Jazz at Lincoln Center’s Summer Jazz Academy, the donation-based, two-week virtual camp from July 20-August 1, 2020.

Jazz at Lincoln Center today announced that long-time Board member and respected business and civic leader Clarence Otis has been unanimously selected by its Board of Directors as its next Board chair, effective September 15, 2020. Mr. Otis will succeed Robert J. Appel, who has served in that capacity since 2012 and will remain a member of the Board.

Due to ongoing concerns surrounding the pandemic, closures have upended Jazz at Lincoln Center’s 25th Anniversary Essentially Ellington High School Jazz Band Competition & Festival—and the opportunity that more than 400 high school students earned this year to perform at Jazz at Lincoln Center’s Frederick P. Rose Hall in New York City.

–Blue Engine Records, Jazz at Lincoln Center’s in-house record label, will release The Fifties: A Prism by the Jazz at Lincoln Center Orchestra with Wynton Marsalis. Composed and arranged by Jazz at Lincoln Center Orchestra trombonist Christopher Crenshaw and recorded live at Jazz at Lincoln Center’s Frederick P. Rose Hall–also known as the House of Swing–in February 2017, the suite combines many of the different styles and movements that made the jazz of the 1950s so creatively vital.

Today, Jazz at Lincoln Center re-launched JAZZ.ORG, an entirely new website designed for people around the world to easily access the organization’s wealth of programming, educational materials, and more valuable resources during these challenging times.

In response to the COVID-19 pandemic, Jazz at Lincoln Center is making available a robust, curated and weekly program of offerings to reach people all over the world and bring the healing power of jazz music into homes and communities. The effort, which will grow to include jazz masters from every corner of the globe, will also serve as a “virtual commons” whereby people can find and access live webcasts from musicians and directly support their work and livelihood.