Freihofer’s Saratoga Jazz Festival 2010

Taking note of newcomers, up-and-comers
The Saratoga Performing Arts Center’s annual jazz festival in bucolic Saratoga Springs, N.Y., is many different things to the thousands of attendees, some of whom seem to be there every single year.

It’s a chance for summer weekend reunions of families, extended families and groups of friends - who roll in with coolers, lawn chairs, tarps and tents each day and their own branded signage during the last weekend in June.

It’s a chance to experience a village fair-like musical smorgasbord: catch a bit of music (generally jazz, blues, R&B and a bit of world music), on the main stage, bask in the sun or duck for cover during a gentle shower, catch a bit of the afternoon series on the smaller stage up the hill, and wander through the huge arts and crafts tent. Or groove to the drum circle one group of attendees sets up under one of the balcony ramps every year - performing between main stage sets.
George Duke, Al Jarreau ...>

For two days, it feels like a community unto itself. For more mainstream tastes, SPAC’s main stage amphitheatre offers the bigger names, the household names for the most part - Ramsey Lewis, Ahmad Jamal, Ann Hampton Callaway, Taj Mahal, Al Jarreau and George Duke, the contemporary sax team of Gerald Albright and Kirk Whalum, and the weekend closer, Gladys Knight.
Ann Hampton Callaway... >

The Gazebo stage up the hill has evolved through the years to be the up close and personal showcase for fresh talent and newer bands. It’s where you get the energizing, affirmation that jazz will be in good hands for many years to come.

There were several personal highlights among this year’s showcase opportunities at the festival’s 33rd edition:

Trio of Oz - This festival marked the North American debut of this stunning new band with drummer Omar Hakim, pianist Rachel Z and bassist Maeve Royce. You’ll hear an original dropped in here and there, and something by Nicolazzo’s old boss Wayne Shorter, but this is principally a chance to put a terrific jazz twist on rock music that has touched the players deeply – with a songbook that stretches from Alice in Chains to Coldplay, Depeche Mode, Dungen, Police and Stone Temple Pilots. The way they stretched

“King of Pain” and “Angry Chair” was fascinating. Royce’s powerful and rock-solid bass notes are the glue for Hakim and Z to dig deeper into the music.

Trumpeter Mario Abney, > who calls New Orleans and Chicago his home bases. His hard bop-rooted sextet bubbled with hip-hip energy and enthusiasm, the three-man horn line working the crowd second-line-style twice to close the Saturday Gazebo schedule - once on “Rollin” and on the encore, “When the Saints Go Marchin In” - in a set that went 20 minutes over schedule. People loved it. One woman even jumped atop a picnic table under a nearby tree to grove to the musical energy - with her hula hoop.

Hailey Niswanger, this 20-year-old saxophonist, who hails from Portland, Oregon, is the latest wunderkind to emerge from the Berklee College of Music in Boston. Her sound is anything but derivative. She lets her melodies breathe and is judicious in the notes she opts to play, particularly on soprano. Niswanger >> (pronounced NICE-wonger) does kick her intensity up a bit on alto. She offered her takes on Coltrane, Monk, Ornette Coleman, Ellis Marsalis and three originals. Keep your eyes and ears open. This young adventurer has also been working for the past year in the Boston-based Either/Orchestra big band.

Saxophonist JD Allen’s trio with Gregg August on bass and Rodney Green on drums. This is a rising talent with a great sound, and Saratoga offered him an upstate showcase - outside the New York club scene.

Other Gazebo treats: a chance to hear live the talented young bassist Linda Oh’s trio and Polish trumpeter Tomasz Stanko’s quartet.

On the main stage: clarinetist Evan Christopher provided a beautiful 21st century update to some historic New Orleans fare, including Tommy Ladnier’s “Mojo Blues” from 1929. Taj Mahal presented a long set of global blues and guitarist Al DiMeola added to the world music feel with his New World Sinfonia.
Evan Christopher ... >

Singer Ann Hampton Callaway put a strong jazz twist on her American Songbookfare on Chick Corea’s exotic “Spain” (lyrics by Al Jarreau) and “At Last.” Ramsey Lewis’s longstanding trio celebrated the core of his gospel and Chicago blues grounded sound.

And Juan de Marcos Gonzalez >> presented his 13-piece Afro-Cuban All Stars in a 70-minute energetic set that had many in the crowd up dancing at their seats – or in the aisles.

CDs of Note...

Art Pepper, Unreleased Art, Vol. 5: Stuttgart (Widow’s Taste)
This latest in Laurie Pepper’s series of previously unreleased Art Pepper recordings was compiled from concert material on May 25, 1981. Pepper’s quartet played Stuttgart, Germany on the 14th night of a grueling 18-city, three-week tour of Europe and the U.K. This tight and adventurous band included Milcho Leviev on piano, Bob Magnusson on bass and Carl Burnett on drums. There is nothing new here because the tour focused on Pepper’s favored material, but since it was live jazz, everything was fresh.

The highlight of this two-CD set is the band’s stunning, Pepper-dominated 11-minute version of the beautiful “Yours is My Heart Alone.” Other terrific tracks include a 23-minute exploration of Pepper’s own “Make a List (Make a Wish)” and his shift from alto to clarinet on the chestnut “Avalon.” It sounds like Pepper knew his time was running out. Every note came from the heart - and meant something, just as it should. Thirteen months after this strong musical evening, Pepper died of complications from a stroke. In addition to the great music, the CD is accompanied by Laurie Pepper’s poignant and vivid reflections on the triumphs and challenges of those three weeks on the road in Europe.

Aruan Ortiz, Alameda (Fresh Sound/New Talent)
Cuban-born pianist Aruan Ortiz newest CD is a beauty. Currently a member of trumpeter Wallace Roney’s quintet, Ortiz is featured here on seven originals plus a jazzy new take on Chopin’s “Etude No. 6, Op.10” with his own quintet. The band includes saxophonists Antoine Roney and Abraham Burton, bassist Peter Slavov and drummer Eric McPherson. My favorites: “Liz’s Flower,” “Slow Motion” and “Green City,” which features a spirited musical conversation between Roney and Burton. Ortiz shifts to Fender Rhodes for his surrealistic “Landscape of a Dry Watermelon.”

Phil Wilson and Makoto Ozone, Live!! (Capri)
It is rare when you find a duo recording that ranks as truly exceptional. This one is exceptional for its instrumentation - piano and trombone, and because it was pretty much a career-maker. Twenty-eight years after its recording and LP release, Live!! at the Berklee Performance Center has been issued as a CD. Wilson, a longtime Berklee College of Music faculty member with an adventurous musical spirit, teamed up with then-student Ozone. The pianist shows right from the get-go on this recording that he was a fully formed, highly imaginative musician even at age 21. Savor every one of its six amazing tracks, for it really introduced him to the world. Sensitivity, imagination, rambunctiousness, swing, empathy. They’re all here in large doses - from both musical partners. If you missed it the first time, you have a chance to make up for that aural transgression.

2010 JJA Awards kudos

Congratulations to all of this year's winners at the 14th annual Jazz Journalists Association's Jazz Awards, which many consider the jazz industry's version of the Grammys, Oscars and Tonys.

It is a wonderful jazz hang as well as a tribute. Sadly, this is one of those years when the day job kept me from attending this splendid event (Monday, June 14) in the Big Apple.

I want to spotlight the many associates - fellow scribes, photographers and publications (with whom I have had the privilege of working or contributing over the past 25+ years).

You'll find the full list of winners, starting with musicians and event producers, here.

Below are those from the journalism categories:

Periodical of the Year
JazzTimes

Web site of the Year
AllAboutJazz.com

Blog of the Year
Rifftides, Doug Ramsey

Best Book about Jazz
"Thelonious Monk: The Life and Times of an American Original," Robin D.G. Kelley, Free Press

Best Liner Notes
The Complete Louis Armstrong Decca Sessions (1935-1946), by Dan Morgenstern

Photo of the Year
Tom Harrell at the Moscow International Performance Arts Center by Lena Adasheva

The Helen Dance-Robert Palmer Award for Review and Feature Writing
Nate Chinen: The New York Times; JazzTimes

The Willis Conover-Marian McPartland Award for Broadcasting
Josh Jackson, Host of “The Checkout," “Live at the Village Vanguard," WBGO.org, Newark

The Lona Foote-Bob Parent Award for Photography
Mitchell Seidel: Hot House, JazzTimes, Down Beat, Jazz Journal International, Swing Journal, Musica Jazz; album covers.

Lifetime Achievement in Jazz Journalism
Don Heckman: The International Review of Music, Notes from the Left Coast; the Los Angeles Times, JazzTimes; The New York Times, Village Voice, Down Beat, Metronome, the Jazz Review, liner notes.

The heft of Miles

How much musical weight do you give to trumpeter Miles Davis’s 30 years of recordings for Columbia?

Everyone may have a different answer, depending on the stylistic preferences of the listener, since Davis was always a groundbreaker in pushing style and sound.

While it clearly doesn’t include everything he recorded for the label, Columbia/Legacy this fall (September 24 at last word) will release a hefty package that is likely to appeal to the compleatists among us. Even though most of those compleatists likely have many of the individual components - and much more.

It’s called The Genius of Miles Davis, a 43-CD limited-edition box set. The packaging is designed as a trumpet case, which will house all eight of the eight deluxe multi-CD box sets that have been part of the Miles Davis Series of reissues over the past 15 years. Plus an exact replica of the “Gustat” Heim 2 model mouthpiece used by Miles. Plus a previously unavailable fine art lithograph chosen by the Miles Davis Estate. Plus a boutique-quality T-shirt manufactured for this package by Trunk Ltd.

Seven of the eight deluxe CD sets will be included in their distinctive gilt-edged metal spine packaging. The eighth, The Complete In a Silent Way Sessions, was never issued with the metal spine.

The others are:

● Miles Davis & Gil Evans: The Complete Columbia Studio Recordings

● Miles Davis Quintet 1965-’68: The Complete Columbia Studio Recordings ● The Complete Bitches Brew Sessions

● Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961

● The Complete Jack Johnson Sessions

● Seven Steps: The Complete Columbia Recordings of Miles Davis 1963-1964

● The Complete On The Corner Sessions

It’s curious that Davis’s classic Plugged Nickel session is not represented. Perhaps there was no room for more in the case. This new compilation may appeal to elitist compleatists. Time will tell. While it’s not available until September 24, it can be pre-ordered at MilesDavis.com or here.

The price: $1,999.99. It’s great to see they’re keeping the price under two grand. Such a deal. Hopefully, shipping is included. Oh, and back to the weight question. The package weighs 21 pounds.

Does Columbia/Legacy have the forklifts ready? Will it need them?

CDs of Note

Yotam, Resonance (JLP)
Tel Aviv-born, New York-based guitarist Yotam Silberstein is out with his third disc as a leader. It’s a gem, and he’s got some terrific players along for the ride, including pianist Aaron Goldberg, bassist Christian McBride, drummer Greg Hutchinson and, as special guest on two tracks, trumpeter Roy Hargrove. Hargrove is featured on versions of Clifford Brown’s “Daahoud” and Joe Henderson’s “Mamacita.” Every track is wonderful in its own way, featuring Yotam and Co.’s splendid improvisations and the leader’s warm, distinctive tone. My favorite: their take on the reggae-based Monty Alexander tune “Renewal.” But there is much, much more to savor on the other 10 tracks as well.

Dana Lauren, It’s You or No One (Dana Lauren Music)
Connecticut native Dana Lauren is a singer on the rise. At age 21, this Berklee College of Music student is out with her second CD – and it shows that she has a vocal maturity and understanding of songs far beyond her years. She’s got great intuitive chops and presents a wonderful interpretation of jazz standards on this project. Her band for the session features Joel Frahm on tenor, Manuel Valera on piano, Luques Curtis on bass, Jake Goldbas on drums, with guitarist Will Graefe on five tracks. There is one very different gem here: Lauren plus Christian McBride on a voice and bass duo version of “On the Sunny Side of the Street.” Lauren’s dusky voice also shines on her arrangement of “Give Me the Simple Life.” Frahm, Graefe and Valera stand out among the support team. McBride is one of her musical mentors. Another is trumpeter Arturo Sandoval, who produced her 2008 debut, Stairway to the Stars. Keep your eyes - and ears - on this wonderful talent.

Odean Pope, Odean’s List (In+Out)
Saxophonist Odean Pope is out with a dandy, and perhaps his most powerful recording - as a leader. This longtime member of drummer Max Roach’s bands assembled an all-star octet for this session. It consists of eight originals plus Eddie Green’s “Little Miss Lady” and the Jimmy McHugh-Frank Loesser standard “Say It (Over and Over Again.)” The band includes saxophonists James Carter and Walter Blanding, trumpeters Terell Stafford and David Weiss, drummer Jeff “Tain” Watts, bassist Lee Smith and pianist George Burton. My favorite: their take on Pope’s “Phrygian Love Theme,” which gets a Spanish-tinged treatment that features Carter and Stafford. To my ears, this one is highly creative, perhaps more as a showcase for Pope as bandleader rather than his playing. Carter, Blanding, Stafford and Weiss provide the most interest.

Metheny's starry homecoming

Two nights before concluding phase one of his Orchestrion tour, Pat Metheny stopped by Boston to provide a glimpse of his project to make ambitious, multi-layered music in which he is responsible for every note.

There’s Metheny and a few of his custom guitars and an Orpheum Theatre stage filled with four levels of instruments triggered either by pneumatics or electronic solenoids that are controlled by a MIDI system. Metheny keys it all with foot pedals, guitar knobs and a small electronic touchpad.

In a city where he has been revered as a guitar god since the early 1970s, the crowd was fascinated – and riveted to his playing and his explanations/demonstrations of how it works. Sort of a musical Mr. Wizard.

Metheny described the project as “my brain at 9 years old taken to the 21st century,” a reference how as a youngster he was fascinated at the mechanics involved when he crawled under his grandfather’s antique player piano to see how it worked. Today’s technology enabled him to develop the possibilities into a new reality.

Metheny opened his set with a half-hour of music from his songbook on solo guitar, including his 46-string Pikasso hybrid. Then he shifted to guitar plus one robotic drum, before the curtain rose on the entire Orchestrion.

He worked his way through the entire five-part suite that comprises his Orchestrion CD (Nonesuch). All of those works featured Metheny playing his distinctive guitar work on top of the MIDI-programmed tunes he had developed. Close your eyes, and it sounded like Metheny playing dozens of instruments at once. Beautiful, complex, deeply layered.

He had twinkling white lights added to each instrument, so we in the audience could visualize what had been triggered. It was a starry night – indoors.

To give the audience a sense of how it all works, he played three pieces that were improvised on the spot. He’d set a melody with one pedal, play a melody or counter melody on his MIDI-guitar, then assign it to one or more instruments (There were two Yamaha Disklaviers, countless percussion pieces, four guitarbots, two cabinets full of blown bottles that created B-3 like tones, marimbas and vibraphones in his arsenal.) Then he’d add more layers…. Then when he liked the backing, he soloed over it.

It was all Metheny - a blend of melodicism and intensity - and it was all good. He even took his older tune “Unity Village” and played multiple guitar layers – something he had to do by overdubbing when it was first recorded.

Metheny stretched this show to more than two hours. “There are more than a million reasons why it’s always special to be here,” he said of his Boston stop. “Primarily it is you people.”

Metheny is not going solo with this project all the time. In fact, he’s taking Pat Metheny Group back on the road in June. This was just a new chapter in his musical imagineering.

Seeking fresh talent – and honoring Dr. Fast Hands

This is the 16th consecutive year that faculty members from Boston’s Berklee College of Music will jet to San Juan for one of its (now global) outreach programs. Berklee in Puerto Rico will provide classes and award $300,000 in scholarships for young musicians to attend Berklee. Saxophonist Miguel Zenon, a participant in Berklee in Puerto Rico’s first year, is one of more than 100 such scholarship recipients from Puerto Rico.

This year, more than 200 young musicians will take part in the program June 1 to 6 at Escuela de Bellas Artes de Carolina. And on the final day of the jazz education program, a group of top students will perform as the opener at the Puerto Rico Heineken JazzFest’s final evening at the Tito Puente Amphitheater in San Juan. (This year’s festival runs June 3 to 6.)

Berklee will also honor Puerto Rico’s strong musical roots that evening by awarding an honorary doctor of music to percussionist, composer and bandleader Giovanni Hidalgo (pictured).

The Puerto Rico native is considered one of the best conga players of his generation - and possibly the fastest. Hidalgo, a member of late trumpeter Dizzy Gillespie’s adventurous United Nation Orchestra, taught in Berklee’s percussion department from 1992 to 1996.

Hidalgo will receive his honorary degree in a terrific festival spotlight: between sets of the festival’s finale. It is a big band extravaganza featuring 10 special guests: Eddie Gomez, Dave Valentín, Paquito D’Rivera, Michel Camilo, Alex Acuña, Eddie Palmieri, Chick Corea, Andy González, Gato Barbieri - and conguero Hidalgo.

That evening figures to be a dandy - and a great way to put a wrap on the festival's 20th annual edition.

CDs of Note…

Aldo Romano, Origine (Dreyfus Jazz)
If triskaidekaphobia is the fear of the number 13, the best descriptive for Italy-born, French-reared Aldo Romano’s newest project might be triskaidekamoré. The drummer’s fourth Dreyfus project, Origine, recorded with a 13-piece European band, is a dandy. My favorites: his 10/4 rhythm exploration on “Gamelan,” as well as the gorgeous ballads “Touch of a Woman” and “Starless Night.” Brothers Stephane (trumpet) and Lionel (saxes, flute and arrangements) Belmondo shine here. Pianist Eric Legnini is spotlighted on “Touch of a Woman.” The leader changes gears a bit on the closer, switching to guitar and vocals for “Jazz Messengers” a tribute of sorts with lyrics (in French) by Yves Simon.

Ellen Rowe Quartet, Wishing Well (PKO Records)
Pianist Ellen Rowe explores nine originals (plus the standard “Alone Together”) with her quartet and two special guests: trumpeter Ingrid Jensen and tenor player Andy Haefner. Rowe’s originals are vivid sound paintings that happen to swing mightily. Jensen is a wonderful addition on two tracks: the Rachel Carson-inspired “That Which Was Living, Lost” and the Kenny Wheeler-influenced “Longing.” Other favorites: “Night Sounds” and the title track, “Wishing Well.” The pensive “For Donald,” written in memory of late saxophonist Donald Walden, features two of his students, Haefner and Andrew Bishop. The quartet members featured throughout are Rowe, Bishop, bassist Kurt Krahnke and drummer Pete Siers. This is a gem in every respect, revealing much to savor on every track - and a well-above-average sound quality. Rowe is a University of Michigan School of Music faculty member. Go Blue.

Ken Peplowski, Noir Blue (Capri)
This latest from clarinetist and tenor saxophonist Ken Peplowski finds the Swingman in great company - and stretching the stylistic range beyond what his fans may be used to. His quartet mates include pianist Shelly Berg, bassist Jay Leonhart and drummer Joe La Barbera. My favorites: their take on Berg’s “Home With You,” Duke Ellington’s little-heard “Bourbon Street Jingling Jollies,” Strayhorn’s title track and Peplowski’s own “Little Dogs” - an off-kilter blues. This is a tasty session.

Alper Yilmaz, Over the Clouds (Kayique Records)
Turkish-born electric bassist Alper Yilmaz, now based in New York, has produced his second CD as a leader and the followup to 2007’s Clashes is quite intriguing. He’s got a great feel for sound – and composes a range of creative works. Alto saxophonist David Binney is aboard for this project and I particularly like the way “Misir with Grandma” showcase his melodic side. Yilmaz’s extended piece “Straight Up” opens rather pensively but gradually builds in momentum to close with great ferocity. “Cagdas’ Tune” (based on a theme by Cagdas Arpac) and “Over the Clouds” are fine ballad treatments. Guitarist Nir Felder, drummers Bodek Janke and Volkan Oktem, with a couple of guest artists joining on the sonically-enhanced title track. This is a May 18 release.

Sarah Partridge, Perspective (Peartree Productions)
The duo can be challenging, particularly with two instrumentalists. But this CD shows how wonderful the format can work for a singer and a pianist who understands the interplay required - as a musical partner, not merely an accompanist. Singer (and actress in the `1980s and ‘90s) Sarah Partridge teamed with pianist Daniel May to explore a dozen tunes they both enjoy from some of the Great American Songbook writers. Partridge also added two heart-felt originals - “Perspective” and “I Just Won’t Let You Go.” Perspective is tasty and dreamy from an artist who knows how to communicate - and not over-sing. May’s support is just that: strong backing filled with subtleties, some great solos - and never intrusive. My favorites: “I’ll String Along With You,” “’Tis Better to Have Loved and Lost,” and “I Ain’t Got Nothin’ But the Blues.” This is a May 18 release.

Double dose of a fresh talent

More often than not, one of the great aspects of the jazz festival format is a listener’s opportunity to hear fresh talent - players who for one reason or another have not yet reached their musical radar. It's a chance to hear how these voices - perhaps fresh talent, perhaps from another region, are carrying forward the music.

One of this year’s most interesting newcomers at Freihofer’s Jazz Festival in Saratoga Springs, N.Y., during the last weekend in June figures to be trumpeter Mario Abney. Attendees on Saturday, June 26 have a chance for a double dose of Abney’s sextet (actually billed as a quintet plus one).

The band will be featured early in the day on the SPAC Main stage, and later in the afternoon closes the more intimate Gazebo stage up the hill.

Not a bad gig for a 32-year-old player who doesn’t have his own Web site yet, a CD in distribution, or even a computer. He does have talent, a tight band - and a quality horn that was partly subsidized by Wynton Marsalis. There is a CD in the works called Spiritual Perception.)

Freihofer’s Jazz Festival Artistic Director/Co-Producer Dan Melnick, who developed his production chops as part of George Wein’s Festival Productions team, now runs his own firm called Absolutely Live Entertainment, LLC.

Melnick first heard Abney last year while working as backstage manager at the New Orleans Jazz and Heritage Festival’s Jazz Tent. (Abney photo by Reed Hoffmann)

“Mario opened the tent there last year and completely tore it up. He is exciting, intense, beautiful and leads a great, great band. As soon as he got off the stage (I had no idea who he was or what he was about when he arrived), I literally bear-hugged him and told him he was coming to Saratoga this year,” Melnick said. “He's from Chicago, lived in Ohio for a few years, and has been in New Orleans for a few years. He plays hard-bop/funk/modern jazz all wrapped up into one high-fueled package.”

Abney leads three different bands [The Avante Garde, The Abney Effect and The Mario Abney Quintet], and gigs with other bands. The Abney Effect has been performing at all-night sessions in New Orleans at the headquarters of the Mardi Gras Indians Brothers & Sisters Association owned by Ivory Holmes.

His band at Saratoga will include Kaliq Woods on clarinet, Josh Atkin on alto saxophone, Jessy Morrow on bass, Jason Butler on piano and keyboard,s and Julian Addison on drums. You can get a little taste of his music here…

The lineup at this year’s 33rd annual Freihofer’s Saratoga Jazz Festival also includes Gladys Knight, Al Jarreau and the George Duke Trio, Taj Mahal, Al Di Meola, Ramsey Lewis and Ahmad Jamal. More than half of this year’s bands are performing at the festival for the first time.

Here is the full lineup: (performing generally in reverse order of listing)

Saturday, June 26, 2010 (noon to 10:30 p.m.)
Main Stage
Al Jarreau and the George Duke Trio
Sax for Stax - Gerald Albright and Kirk Whalum
Ahmad Jamal
Taj Mahal
Al Di Meola - World Sinfonia
Evan Christopher
Mario Abney Quintet
Gazebo Stage
Tomasz Stanko Quartet
Alyssa Graham
JD Allen Trio
Steve Kroon Sextet
Mario Abney Quintet

Sunday, June 27, 2010 (noon to 8:30 p.m.)
Main Stage
Gladys Knight
Juan De Marcos and The Afro Cuban All Stars
Ramsey Lewis Trio
Ann Hampton Callaway
Stefon Harris and Blackout
Trio of Oz featuring Rachel Z and Omar Hakim
Gazebo Stage
Linda Oh Trio
Kendrick Scott Oracle
Ralph Lalama Quartet
Hailey Niswanger
Trio of Oz featuring Rachel Z and Omar Hakim

Montreal ready to rock again with creative programming

How do you top your 30th anniversary blowout?

At the Montreal International Jazz Festival, you don’t try to go one better intentionally, you just continue to offer the wide-ranging and imaginative programming that got you to your fourth decade.

That seems to be the philosophy, and you can’t argue with success. It’s a success that can be viewed as a multi-block block party, indoors and out, that draws 2.5 million visitors to 650 concerts (370 free outdoor shows on 12 stages, 180 indoor ticketed concerts at 10 concert halls) featuring an estimated 3,000 musicians from 30 countries.

“Last year was an extraordinary year, but I think this year’s programming matches up,” says Andre Menard, the festival’s artistic director and co-founder.

This year’s 31st annual event runs June 25 to July 6 (roughly a week earlier than in 2009).

Last year’s kickoff was a free outdoor concert by Stevie Wonder that drew a crowd that seemed beyond count - with people ignoring day-long rains and streaming into the festival’s Quartier des Spectacles neighborhood just to get within sight - or at least hearing distance, of nearly a dozen large video screens set up to accommodate those who couldn’t get near the prime outdoor stage.

This year’s primary indoor draws including some terrific headline combinations.

• June 25: an opening night pairing of Lionel Ritchie and Cassandra Wilson.


• June 28: Smokey Robinson


• July 1: George Benson’s Nat King Cole tribute show.


• July 2: The combination of Laurie Anderson, Lou Reed and saxophonist John Zorn.
  
• July 5: The Steve Miller Band and The Doobie Brothers.

Other major concerts will feature Sonny Rollins, Herbie Hancock, Keith Jarrett’s Standards trio, the Moody Blues, Roy Hargrove’s Big Band, Terence Blanchard, Boz Scaggs, Cesaria Evora, Ahmad Jamal, Joan Armatrading, Richard Bona, John Scofield’s News Orleans-rooted Piety Street Band, Cyndi Lauper and pianist Allen Toussaint’s Bright Mississippi all-star project. The list goes on and on... and on some more.

Taj Mahal and The Fabulous Thunderbirds will team up for a blues evening at the Metropolis on June 28. On the night of July 1, Zorn will host a “Masada marathon” at the Theatre Maisonneuve that features two separate performances - each of which includes Zorn with five different bands (10 bands in all.)

This year’s edition of the acclaimed “Invitation” series spotlights four different artists with multiple nights and guests of their choosing. The four bandleaders are Italian trumpeter Paolo Fresu, French drummer MAnu Katché, pianist Robert Glasper, and Allen Toussaint (solo one night, and with Bright Mississippi the next).

The Theatre du Nouveau Monde (New World Theater) will feature eight nights of performances by jazz artists from Spain, with two nights apiece by Dorantes, Chano Dominguez, Diego and Juan Carmona.

The festival’s own year-round on-site jazz club, Astral, (located in the festival's House of Jazz, which opened last year >>>) will host jams from midnight to 4 a.m. nightly, in addition to being the site of ticketed performances earlier in the night. The outdoor free events program will be made public on June 3.

Also running in Montreal (through August 29) at the Montreal of Fine Arts is the first North American multimedia retrospective on the career of Miles Davis. The “We Want Miles” exhibition-performance, which was designed and organized by the Cité de la Musique in Paris, will also evoke some of Davis’s four memorable Montreal concerts. And this year’s concert schedule also includes Montreal trumpeter Ron DiLauro’s big band revisit of Davis’s “Porgy and Bess” project on June 30 at the Theatre Jean-Duceppe.

One thing is clear. The programming at Montreal never gets stale. That explains why the festival, as Menard puts it, “is now a beacon in Montreal - something people look forward to.”

Jamie Cullum at Montreal, 2009... >
According to tourism research, some 250,000 to 350,000 of the 2.5 million attendees are tourists from elsewhere in Canada, the U.S. or abroad, but he vast majority of people who flock to the festival are from greater Montreal.

CDs of Note...

Jacky Terrasson, Push (Concord Jazz)
“Push” is the perfect name for pianist Jacky Terrasson’s Concord debut. He’s a jazz adventurer who pushes his band, and pushes the music, twisting and turning it into new territory in the process. That’s the case with both originals and his treatment of standard material. Standard, that is, until he starts tweaking it. Take the unlikely combination of Michael Jackson’s “Beat It” and the jazz standard “Body and Soul.” Listen close. Rather than build a front-and back medley as many musicians would, Terrasson borrows key melodic snippets from each tune, then mashes them as building blocks for his own odyssey. First a hint of one, a minute into the tune, then a bit later, the other. Then back and forth.

Monk’s “Ruby My Dear” and “’Round Midnight” get rather straight treatments from Terrason in comparison, though they are a bit wild in their own ways. As an American Songbook reference point, he also tackles “You’d Be So Nice to Come Home To.” This session features his current trio-mates, bassist Ben Williams and drummer Jamire Williams, with guest spots for tenor player Jacques Schwarz-Bart, percussionist Cyro Batista, harmonicat Gregoire Maret and guitarist Matthew Stevens. Terrasson, 1993’s Monk Piano Competition winner, is also strong on his own “Morning,” the ballads “My Church” and “Carry Me Away,” and the bubbling “Say Yeah” and “O Café, O Soleil.”

Vince Guaraldi, Peanuts Portraits (Concord Music)
Starting in the mid-1960s most of America has been treated to substantial doses of jazz, usually around various holidays, even if they didn’t know it. And most likely, most didn’t. Vince Guaraldi wrote and recorded the music for the beloved “Peanuts” TV specials. This compilation features music based on the personalities of the show’s range of cartoon characters. There is some wonderful stretching out here, including an alternate take of “Frieda (With the Naturally Curly Hair) – a tune that was written for a 1963 documentary that was never televised but appeared on a 1964 Fantasy soundtrack. They bring back memories, and dig several blues-based tunes written for the hapless Charlie Brown. The compilation includes two of Guaradi’s “Peanuts”-based compositions that George Winston recorded in the 1990s, two decades after Guaraldi’s death. “Peanuts” producer Lee Mendelson fell in love with Guaraldi’s work when he heard his classic “Cast Your Fate to the Wind.” Most of America did the same through the Charles Schulz cartoon-based TV specials. How could you not?

Various artists, Sachal Jazz (Sachal Music)

This project, subtitled Interpretations of Jazz Standards & Bossa Nova, may be the most unusual/exotic recording of jazz classics that you’ll ever hear. Here are Paul Desmond’s “Take Five,” Tom Jobim’s “Desafinado” and “The Girl from Ipanema” (plus a raga alternate take), Erroll Garner’s “Misty,” Dave Grusin’s “Mountain Dance” and two other tunes performed by the Pakistan-based Sachal Studios Orchestra - sitar, tabla, other Indo-Pakistan percussion, Spanish guitars, accordion and a full string section. There’s even a U.K.-added choir, which sounds superfluous and even distracting when it appears. A take on Burt Bacharach’s “This Guy’s In Love With You” is a bit more straightforward.

Two splendid singers honor a legend

Singer, actress, dancer and civil rights activist Lena Horne turns 93 this June 30. She hasn’t performed since the early 1990s and has been out of the public eye for the past 10 years. But she isn’t out of the hearts of singers - or music fans who loved her work.

That was clear Saturday night (April 24) when “Stormy Weather,” a multi-media tribute show about Horne, premiered at Scullers jazz club in Boston. It featured singers Rebecca Parris and Paula West, and pertinent narrative from author James Gavin, whose book, “Stormy Weather: The Life of Lena Horne,” was published in hard cover last year and is just out in soft cover. The premiere was also scheduled in tandem with the launch of a new Verve CD, Lena Horne Sings: The MGM Singles Collection.

Boston-based Parris and San Francisco-based West had never performed together before but worked well in this setting, with the superb support of pianist George Mesterhazy and bassist Peter Kontrimas. The two-instrument accompaniment provided the intimacy that this sort of show required. Musical director Mesterhazy, an excellent accompanist and arranger who spent more than a decade with Parris before joining Shirley Horn in the last phase of her career, now works regularly with West.

The evening touched on the full scope of Horne’s musical career with appropriate – and often poignant - material from various phases, with the singers alternating tunes for the most part. “As Long As I Live” (Parris), “Ill Wind” (West), “Honeysuckle Rose” (Parris), “Why Do I Try?” (West), “It’s Alright With Me” (West), “Come Sunday” (Parris ), “A Lady Must Live” (West), “Yesterday When I Was Young” (Parris), and “Stormy Weather” (West). As an encore, Parris and West teamed up on “That Man of Mine.”

There were several mesmerizing moments, and the audience was spellbound by what it heard throughout the evening. Parris and West have that effect. West was particularly powerful on “Why Do I Try?” and “A Lady Must Live.” These tunes really spoke to Horne’s determination.

“Yesterday When I Was Young” was a tune that Horne featured in her two sold-out Carnegie Hall concerts in 1993, telling the crowd: “I think that song belongs to a lot of us.” This night, it belonged to Parris’s poignant interpretation and Mesterhazy, whose extended solo revealed the breadth, depth and passion of his playing.

Gavin shared a bit of insight here and there - particularly the racial challenges that Horne faced - in housing, in travel, and even in multi-racial marriage. The tunes often mirrored what she was going through as she struggled with and against her persona - an elegant black woman who sang songs people adored, but was treated less kindly out of the spotlight.

The night also had humor, particularly with “Bein’ Green,” the Kermit the Frog-associated tune that Horne chose to sing in an appearance as herself on “Sesame Street” in the 1970s. She identified with its hopeful and uplifting message about being different. Parris has been battling health issues over the past decade, which, thankfully have not diminished her voice or spirit. She drew much laughter when she improvised a bit, throwing in the line “or tall - like I used to be” - without missing a beat.

Horne made two brief appearances via recording - one in song, one in archived interview about her life and times.

From Boston, Parris, West, Gavin, Mesterhazy and Kontrimas headed to Maine’s Camden Opera House for a late Sunday afternoon performance and have two nights scheduled at Blues Alley in Washington D.C. There will be a video element in larger venues.

Many attendees at Scullers lingered long after the show Saturday to urge the singers to take it on the road on a more ambitious scale. We’ll watch with interest to see how that develops. Scullers entertainment director Fred Taylor, a longtime Boston jazz impresario, said this was the first show of this scope in the club’s 20-year history. He was thrilled by the full house - and the reactions to the performance. Consider it a Jazz Week highlight in greater Boston.

Cape May review

My review of last weekend's 33rd edition of the Cape May Jazz Festival, with multiple photos, was posted today on JAZZTIMES.COM. There was much to enjoy on a fine spring weekend.

The musical treats included the mega-talented young blueswoman Shemekia Copeland (pictured), making her third Cape May appearance, and pianist Chuchito Valdés, son of Chucho and grandson of Bebo).

Also strong: saxophonist Tim Warfield's organ quintet tribute to the late Shirley Scott, and Spyro Gyra's first Cape May visit, which drew a full house.

CDs of Note...

Joe Chambers, Horace to Max (Savant)
Drummer Joe Chambers has found a way to tip his hat to a range of classic and contemporary jazz composers, and showcase his under-acknowleged mallet playing on this project. And he brought a splendid team along for the ride: tenor player Eric Alexander, pianist Xavier Davis and bassist Steve Berrios, with pianist Helen Sung, bassist Dwayne Burno and bassist Richie Goode subbing on the Max Roach/Abbey Lincoln tune “Lonesome Lover.” Nicole Guiland adds vocals to that track and Roach’s clever “Mendacity.” My favorites: their takes on “Mendacity,” Horace Silver’s “Ecaroh,” Chambers’ own “Afreeka” and Marcus Miller’s “Portia,” which was one of Miles Davis’s finest late-career recordings. I particularly like Alexander’s interplay with Chambers when the leader takes to the vibes and marimba.

Thomson Kneeland, Mazurka for a Modern Man (Weltschmerz Records)
Bassist Thomson Kneeland has delivered a modern jazz gem, containing purely original material (plus his arrangement of a traditional Polish folksong, “Moja Tesknota”) that is delivered by his 2007 quintet. The band at this session included guitarist Nate Ridley, trumpeter David Smith, alto saxophonist Loren Stillman and late percussionist Take Toriyama. There is an eclectic vibe to this session with spirited playing. Radley, Smith and Stillman are wonderful foils for each other. My favorites: “Hyperion,” ”Libretto” and “Nebuchadnezzar.” Another fine piece, the poignant “Rhapsody” is dedicated to Toriyama, a close musical collaborator who took his own life two weeks after the session.

organissimo, Alive & Kickin’! (Big O Records)
Michigan-based organissimo has been presenting its take on modern soul-jazz for 10 years. Alive & Kickin’! is the trio’s first live CD and was released simultaneously with a 75-minute DVD that has two additional tracks. All CD tracks, except Frank Zappa’s “Blessed Relief,” are collaborative compositions by organist Jim Alfredson, guitarist Joe Gloss and drummer Randy Marsh. My favorites: “Jimmy Smith Goes to Washington” (compete with a Smith-like greasy funk), “Groovadelphia,” “Blessed Relief” and the extended jam “Pumpkin Pie.”

Other worthy listens:

• Wallace Roney, If Only For One Night (HighNote) – Whether or not you dig his technique on uptempo material, the trumpeter knows his way around a ballad. Check out “I Have A Dream” and Let’s Wait A While.”

• Christian Scott, Yesterday You Said Tomorrow (Concord Jazz) – The young trumpeter is out with a blend of hard bop, hip hop and musical commentary on life in the 21st century as he sees it. His take on Radiohead frontman Thom Yorke’s solo debut title track “The Eraser” is a balm for the surrounding Scott edginess.

Helping here, helping there

It’s time to open your wallets, jazz fans, for two great, intertwined causes.

The Jazz Foundation of America is getting ready to present its 9th annual “A Great Night in Harlem” gala concert May 9 at The Apollo Theater to benefit the organization’s amazing Jazz Musicians Emergency Fund. The concert is a principal fundraiser for JEMF, run by jazz angel Wendy Oxenhorn, the JFA’s executive director, who year after year finds innovative ways to help with medical bills, eviction threats, stolen instruments and myriad other challenges faced by principally older jazz and blues musicians.

The gala entertainment includes Roberta Flack, Jimmy Scott and four-dozen others. The hosts include Chevy Chase, Danny Glover, Michael Imperioli and David Johansen. Part of the evening will also celebrate the 100th birthday of Max "The Saxman" Lucas, who played with Louis Armstrong, Billie Holiday, Charlie Parker, Thelonious Monk and Muddy Waters, and, Oxenhorn says, still rides the subway to get to his gigs.

For several years, JEMF’s outreach support has also landed in New Orleans, where music is the heart and soul of the community, and there was much need among musicians post-Katrina. And there still is. Since Katrina, the Jazz Foundation has housed and created work for more than 1,000 musicians and keeps displaced musicians across the U.S. working to this day.

In recent weeks, there has come word that the New Orleans Musicians’ Clinic, effective this August, will see a stopgap federal grant run out, cutting its overall budget by 90 percent. Some 800 area musicians and their families rely on the clinic for the medical gamut – from checkups to major surgery.

The clinic’s work, and its need for a helping hand have not gone unnoticed. In late March, the cast and crew of the new HBO series “Treme” held an auction fundraiser (with music) at Generations Hall to benefit the clinic. As actor Wendell Pierce told the Times-Picayune: “Musicians are the heartbeat of New Orleans. We have to take care of them. We actually don’t do a good job of it sometimes. The Musicians’ Clinic is a lifeline to so many people. You couldn’t do a show like ‘Treme’ here in New Orleans without identifying a group to create a charity partnership with, and we couldn’t pick a better group than the New Orleans Musicians’ Clinic.”

It is nice to see people stepping up to help music’s makers, no matter where they are. And I get the feeling JEMF will be right there in the thick of saving the clinic and its essential work.

CDs of Note...

Lisa Engelken, Caravan (Little Angel)
Lisa Engelken may not have a household name when it comes to jazz singers, but this CD proves that she is most deserving of that stature. The Kansas-born, California-based singer’s sophomore CD is a gem. Key ingredients: an intriguing voice, a great mix of material avoiding the “tired tune” syndrome that dogs so many aspiring singers, and the ability to find material that she can imbue with her own strong jazz touch and feel. My favorites: her takes on “Caravan,” “Afro Blue,” and “Detour Ahead,” as well as a bluesy remake of Billy Idol’s “White Wedding.” Then there’s “From The Earth,” a rendition of Freddie Hubbard’s “Red Clay” that features her own intriguing lyrics. This is a winner, pure and simple. Savor it all.

Gerry Gibbs and The Electric Thrasher Orchestra Play the Music of Miles Davis 1967-1975 (Whaling City Sound)
Yes, the title is a mouthful, but drummer Gerry Gibbs, son of vibes great Terry Gibbs, didn’t bite off more than he could chew. He created what may be one of the year’s most ambitious recording projects to revisit and celebrate Miles Davis’s prolific first electric and rock-influenced phase (with 22 selections from more than a dozen Davis albums, principally from “Sorcerer” through “Bitches Brew” to “On the Corner.” Gibbs assembled a strong and talented group of top West Coast players including trumpeter Brian Swartz and saxophonist Doug Webb (plus acoustic bassist Essiet Okon Essiet). They tip their hats to Davis and carry his music forward in their own way. It is spirited and very well done.

Adriano Santos Quintet, In Session (Kingjazzad Music)
Drummer-percussionist Adriano Santos’s recording is a strong and energetic blend of works by top Brazilian composers that intertwine his homeland’s exotic rhythms with a modern jazz twist. Saxophonist David Binney adds a lot of the edgy flair, while the rhythm section teams Santos with pianist Helio Alves, bassist David Ambrosio and percussionist Dende. My favorites: their takes on “From the Lonely Afternoons” by Milton Nascimento and Fernando Brant, Toninho Horta’s “De Ton Pra Tom,” Airto Moreira’s “Xibaba” and Moacir Santos’s “Amphibious.”

Other worthy listens:

• The Britton Brothers, Uncertain Living (Record Craft)


• Nnenna Freelon, Homefree (Concord Jazz)


• Fabian Zone Trio, Keys in Ascension (Consolidated Artists Productions)

April showers us with jazz appreciation

Just as we emerge from the winter doldrums, there’s a lot of jazz appreciation going on throughout April.

In 2001, The Smithsonian launched Jazz Appreciation Month, which has grown to include celebrations in all 50 states and 40 countries that the music as a living treasure. It is designed to spotlight the music and, one would hope, extend the depth of that appreciation to casual listeners, and introduce it to fresh ears that have been tuned elsewhere. It is a movement that has a lot of variations and offshoots.

Last June while meeting here in Rhode Island, the U.S Conference of Mayors proclaimed April 9 as Jazz Day. Jazz at Lincoln Center is using that day for its inaugural A Taste of Jazz event in Manhattan, which will feature music and food at the Time Warner Center to celebrate the cuisine of some of the country's greatest jazz cities, including New Orleans. The musical set and discussion that night will feature a septet led by saxophonist Walter Blanding.

Oh, but there is much more here and there. As they say in the TV genre, check local listings.

From April 23 to May 2, the nonprofit JazzBoston is celebrating Jazz Week with 230 events at more than 80 venues to celebrate the special role the Boston jazz scene plays as incubator and stage for a lot of creative musicians. Only in greater Boston, it seems, can a “week” have 10 days. But that 10-day period, Made in Boston, Played in Boston, will include a lot of great programming, including rare films, jazz dance, and children’s events. Here is the schedule.

But wait, there’s more

SIRIUS XM Radio is paying tribute to the rich history of jazz with a lot of Jazz Appreciation Month programming. Its Real Jazz channel, SIRIUS channel 72 and XM channel 70, kicked off the month on April 1 with bassist Christian McBride hosting a three-hour JAM preview, and to introduce the debut of his SIRIUS XM show, The Lowdown: Conversations with Christian, which premiered yesterday and will air every Saturday at 1 p.m. ET on Real Jazz.

Also on April 9 - Jazz Appreciation Day - on Sirius, Jazz at Lincoln Center Artistic Director Wynton Marsalis will unveil the 2010-2011 season of Jazz at Lincoln Center at 3 p.m. ET on RealJazz, and Nancy Sinatra will present a special edition of Nancy For Frank, showcasing the jazz side of American Songbook legend and her father, Frank Sinatra, on April 9 at 3 p.m. ET on Siriusly Sinatra, SIRIUS channel 75 and XM channel 73. There is much more to discover on the Sirius channels. (For more information, visit http://www.sirius.com/ or http://www.xmradio.com/.)

Jazz Day, Jazz Week, Jazz Appreciation Month. (The latter may have the only acronym I can tolerate.) All of this is admirable. It also begs the question - How much of this is just preaching to the choir? Some of us would argue that in our in our hearts, in our psyches, in our ears, and in the venues to which we go... every day is jazz day. And that’s just the listeners. It certainly is true for the musicians, at least as a goal.

If the April spotlight in some way brings more serious listeners to the music - and more opportunities for musicians to play jazz - these initiatives are doing what their creators and supporters are seeking.

The best jazz night in town

Anyone with a solid interest in the music who is within an hour of Providence RI ought to make a visit to a neighboorhood knotty-pine bar in East Providence any Monday night – and be rewarded with what is consistently the best jazz night of the week. And anyone planning a weekend visit to southern New England ought to stretch the trip to include a Monday night - and experience Bovi’s Tavern.

For 41 years, Bovi’s has hosted big band jazz as its Monday fare. The John Allmark Orchestra draws from an exceptionally strong and talented cadre of players from Rhode Island, Massachusetts and sometimes Connecticut, depending on who’s available to play on a normally slow weeknight for beer money.

Trumpeter Allmark, stylistically tied to the Freddie Hubbbard lineage, has a thick book of big band charts that add a hard-bop edge to swing. And he is a formidable brass arranger in his own right. Any Monday, the material can vary from tunes by John Coltrane, Dizzy Gillespie, Hubbard, Oliver Nelson, Clifford Brown Thad Jones and many more, including more than a few Buddy Rich Band charts. Even when a song is revisited, you noticed that Allmark has tweaked the arrangement since the last time you heard the band do it.

The Allmark band’s mainstays when they’re in town and available, include tenor aces Dino Govoni and Bill Vint, alto saxophonists Mark Zaleski and/or Bob Bowlby, electric bassist Bill Miele, pianist Eugene Maslov and drummer Vinny Pagano.

This week, on a nasty rainy night when even waterfowl didn’t want to be out traveling, the JAO still drew two-thirds of a house. As the downbeat hit for the band’s theme song, George Gershwin’s “Soon,” the 16-piece outfit was barely outnumbered by audience. But that soon changed. Soggy latecomers made their way in, forking over the $6 cover. At that price, or some would argue any price, the gig is a musical bargain.

Those who braved the weather were rewarded towards the end of the 90-minute first set with stunning version of Trane’s “Central Park West” and a friendly alto sax battle between Zaleski and Mark Pinto on Buddy Greco’s “The Rotten Kid,” a Buddy Rich band staple.

Allmark formed his band 17 years ago and worked at a variety of clubs - some less than memorable - before succeeding the Duke Belaire Orchestra at Bovi’s 11 years ago. “I think we’ve got the gig now,” he said with a chuckle. “The band keeps changing and sounding better. As soon as we start playing, it’s all good. I’m still finding new players - and great players.”

Can’t get there on a Monday anytime soon? Opt for the next-best thing. At least 20 of the band’s performances can be savored on youtube.

Spring has arrived – and so have the lineups

Jazz festival regulars at Newport and its longtime progeny, in upstate New York can start figuring out their challenging dance between multiple stages.


George Wein’s team today released the full CareFusion Newport Jazz Festival schedule for the August 6 to 8 weekend in the Rhode Island resort city. It’s a wide-ranging musical agenda – from mainstream jazz to Latin, traditional swing, instrumental pop, the avant-garde and a jazzy take on hip-hop. The lineup is peppered with a lot of up-and-comers. See the link for a full schedule, but I will note some groupings of interest.

By the way, ticket sales start on Friday, March 26 – and there is a great discount for something new – advance walkup sales at the Newport Convention and Visitors Bureau downtown before April 9 ($50 per day instead of the usual $69).

George Wein... >
So here’s my take on the Newport schedule:

English piano jazz poster Jamie Cullum is the Friday night headliner at Newport Casino, with teenage alto sax phenom/vocalist Grace Kelly opening. Cullum is also back at Fort Adams on Saturday afternoon. Let’s hope he avoids the 2008 Chris Botti faux pas – when the trumpeter played the exact same set in both venues, right down to the stage patter. And let’s hope Botti brings some new music and conversation for his Sunday appearance rather than rehash 2008.

Chick Corea, Kenny Garrett, Christian McBride and Roy Haynes headline Saturday as the Freedom Band. The main stage opens with Jazz Mafia's Brass Bows & Beats - a 45-piece Hip Hop Symphony. Ahmad Jamal and the Maria Schneider Orchestra complete the main stage on day one. There is lots to savor on the two supplemental stages, including the trio Fly, Darcy James Argue’s Secret Society big band with special guest Bob Brookmeyer, and saxophonist J.D. Allen’s trio. Wein also performs Saturday with his Newport All-Stars.

Now here’s something cool for Sunday. Herbie Hancock closes out the afternoon with his band. Earlier in the afternoon on the Harbor Stage, Conrad Herwig’s band presents the “Latin Side of Herbie.” The day also includes a return appearance by Ken Vandermark, whose trio tore up the Harbor Stage two years ago, as well as Jason Moran, Matt Wilson and Ben Allison and their always-interesting bands. As I noted earlier, check out the lineup for much more to appeal to a wide variety of tastes.

Looking west
Also this week, producer Danny Melnick released the lineup for the 33rd annual Freihofer’s Saratoga Jazz Festival, which is scheduled June 26 and 27 at the scenic Saratoga NY Performing Arts Center. Headliners include Gladys Knight, singer Al Jarreau & The George Duke Trio, Taj Mahal, Al Di Meola, Ramsey Lewis, Ahmad Jamal, and Juan De Marcos & the Afro Cuban All Stars. Full details and the lineup are at here.


Bettye Lavette at Saratoga, 2009... >
Wein created the festival at SPAC in 1978, seven years after rowdies sent the Newport Jazz Festival packing – and he found a 10-year exclusive home in Manhattan. It was a move that kick-started Wein’s career as a global jazz impresario. (Wein returned to Newport in 1981.)


Saratoga’s atmosphere has made it an annual must-do for loyalists who arrive year after year with their coolers, blankets, tents, umbrellas, friends and families. Melnick has been its artistic director and producer since 1999 - for most of that time as a member of Wein’s team.

Like Newport this year, Freihofer’s Jazz Festival has a nice mix of established and rising talent. The latter includes the bands of J.D. Allen, singer Alyssa Graham, trumpeter Mario Abney and bassist Linda Oh. While Grace Kelly shows off her talent at Newport as one of the Berklee College of Music’s prominent undergrads, at Saratoga, the showcase falls to 20-year-old saxophonist Hailey Niswanger (pronounced “NICE–wonger”), another Berklee student getting significant attention.

Two dandy weekends. I can’t wait.