Trumpeter Wynton Marsalis |
I don’t envy
the artistic director of the Detroit Jazz Festival Chris Collins one bit.
Collins a working jazz saxophonist and an educator put together one of the most monumental Detroit jazz fest in recent memory. What the hell I’ll go one
better. Collins put on the best jazz fest ever. Few, if any, longtime Detroit
jazz fest goers would disagree with that statement.
This was Collins’ first shot at the helm. At the height of the festival’s popularity Collins stepped in. Under the former jazz fest director Terri Pontremoli’s leadership the festival became an international hit. So, Collins had a lot to live up to, and he didn’t choke.
This was Collins’ first shot at the helm. At the height of the festival’s popularity Collins stepped in. Under the former jazz fest director Terri Pontremoli’s leadership the festival became an international hit. So, Collins had a lot to live up to, and he didn’t choke.
Sonny Rollins, Terence Blanchard, Joe Lovano, Wayne Shorter, Charles
McPherson, Pat Metheny, Wynton Marsalis, Kenny Garrett and Louis Hayes were
headliners. Plus, Collins did some of Detroit’s leading jazz musicians a big solid. He made them a major part of the festival, vowing to continue that as
long as he’s running things.
For years, many Detroit jazz musicians have complained
the former director’s shunned them, getting on the bill was damn near
impossible. Well, Collins fixed that by booking more Detroit acts. Marcus
Belgrave, Charlie Gabriel, George “Sax” Benson, Ursula Walker and Buddy Budson,
Noah Jackson and Spencer Barefield were some of the Detroiter’s Collins showed love,
and they showed they were deserving by being at top form.
For the first
time, in years the Detroit jazz fest felt real. Midway through, his Saturday
afternoon set, trumpeter Wynton Marsalis acknowledged that, and pointed out the
Detroit Jazz Festival was truly an authentic jazz happening. Who better to make
such a claim than Marsalis, the ambassador of jazz, who 's played at every important national and international jazz festival on earth?
Collins served the festival straight with no chaser. There was no obligatory tribute to Motown, no crossover acts such as the Blind Boys of Alabama, and no jazz acts featuring big time rappers. In street parlance, Collins kept the jazz fest one hundred.
So, why aren’t I envious of Collins because he has the immense task of upping the antes next year? Collins set the bar really high, and the question must be asked did Collins blow his load prematurely.
Time will tell. But, I bet future Detroit Jazz Festivals will be just as monumental because Collins showed unequivocally he has the passion and vision to grow the festival.
Collins served the festival straight with no chaser. There was no obligatory tribute to Motown, no crossover acts such as the Blind Boys of Alabama, and no jazz acts featuring big time rappers. In street parlance, Collins kept the jazz fest one hundred.
So, why aren’t I envious of Collins because he has the immense task of upping the antes next year? Collins set the bar really high, and the question must be asked did Collins blow his load prematurely.
Time will tell. But, I bet future Detroit Jazz Festivals will be just as monumental because Collins showed unequivocally he has the passion and vision to grow the festival.
Charles L.
Latimer top jazz fest picks
The Wynton
Marsalis’ Quintet: The trumpeter is a right wing jazz conservative. Love or
hate him, Marsalis always delivers a great show. Detroiter Ali Jackson,
Marsalis’ go-to drummer, had a good game and so did saxophonist Walter Blanding.
Fundamentally, Jackson is solid, and he’s built a high swing sensibility piece
by piece.
The Mack
Avenue Super Band:
This could’ve
been an epic miscalculation Tia Fuller, Sean Jones, Rodney Whitaker, Kevin
Eubanks, Aaron Diehl, and Gary Burton crammed on the stage, trying to prove
who’s the top of Mack Avenue Record’s artist but this Super Band never turned
into a battle of egos. It was one of my favorite main stage shows. Besides, it
proved that Tia Fuller is indeed a formidable voice on alto saxophone, and
Aaron Diehl has an aggressive streak under those hand tailored conservative suits
he sports.
Uncle June:
That’s the
title of native Detroiter and drummer Gerald Cleaver's latest album, and he
dedicated it and his Sunday afternoon show to his parents. For this project,
Cleaver put together an ensemble that included a few of his longtime running
buddies pianist Craig Taborn and saxophonist Andrew Bishop. The highlight of
the hour plus set was the suite “Fence and Post,” which was part storytelling,
part free-jazz and part swing. Unfortunately, the crowd for Cleaver’s set was small.
Sometimes, Cleaver can be way out there and deeply experimental. I was totally
into his music, but I did wonder if it would’ve worked better at the Pyramid
stage where free-jazz acts have historically performed.
No comments:
Post a Comment