It’s gonna be a Charlie Haden kind of weekend opening the Healdsburg Jazz Festival this year, with big names like Ravi Coltrane, Lee Konitz, Jason Moran, Charles Lloyd, Fred Hersch, Bill Frisell and many, many more performing at the best little jazz festival in the world running May 31–June 9.
Haden, who made his name with Ornette Coleman‘s famed quartet, will be the subject of a two-day tribute on June 1-2 featuring his Liberation Music Orchestra with Carla Bley and his Quartet West with Ravi Coltrane. Who else is playing the opening weekend? Try atmospheric guitar phenom Bill Frisell, invigorating pianist Geri Allen, saxophone legend Lee Konitz, Cuban pianist Gonzalo Rubacalba and more.
The second weekend sees Healdsburg favorite Charles Lloyd teaming up with personal fave Jason Moran in a duo setting, the Fred Hersch Trio, the Marcus Selby Orchestra with the HJF Freedom Jazz Choir and others.
Many of the headliners this year have played in Healdsburg before and are returning to the festival, but one name’s new: Lee Konitz, who made his name with Lennie Tristano and pioneered much of the “cool” jazz sound that would go on to revolutionize the music. He conducted a student workshop at SSU in 2010, and though it was a little bit unusual, his tone and conception were as good as ever.
For more info. and ticket information as it comes along, see the festival website.
We’ve already reported that Roy Haynes, Vijay Iyer and Sheila Jordan will be at this year’s Healdsburg Jazz Festival, but today’s announcement of the full festival lineup brings in another big name in jazz: Kenny Burrell.
Burrell’s a towering figure in jazz guitar whose bio is too extensive to do justice here. His Blue Lights albums for Blue Note are iconic (love that Andy Warhol cover!). His album with John Coltrane, impeccable. Even local blues guitarist Volker Strifler once asked be to track down a copy of his Bluesin’ Around record, citing it as a major influence. And my personal favorite Kenny Burrell album is Asphalt Canyon Suite, a sublime masterpiece.
Now 80, Burrell plays both solo and in a trio on Saturday, June 9, at the Raven Theater.
Other festival highlights include Calvin Keys Organ Quartet, a quartet led by Freddy Cole (that’s Nat “King” Cole’s brother to you), a concert on the plaza featuring Azesu with Orestes Vilato and Maria Marquez, the Michele Rosewoman Trio, the Lorca Hart Trio, Healdsburg wunderkind Kai Devitt-Lee, the Shotgun Wedding Quintet and many, many more. See the full schedule here.
The Healdsburg Jazz Festival is back. And so is Jessica Felix.
After the outpouring of support for Felix, the current Board of Directors of the Healdsburg Jazz Festival has voted unanimously to reinstate Jessica Felix to the Board and to elect her Chairperson. All five members of the current Board are resigning, effective immediately. Felix will book a jazz festival in 2011, and will form a new Board.
This isn’t just great news—it’s incredible news. How rare is it that an entire Board of Directors resigns over public outcry? Over a small little town’s jazz festival?
I called Felix, who’d just returned from signing papers and putting her name back on the bank account. “I’m so glad,” she told me. “I’m just overwhelmed by all the support. It’s been heartwarming to know how much people care.”
As reported earlier, Felix was fired five weeks ago from the Healdsburg Jazz Festival, which she founded in 1999, and the Festival Board announced a hiatus for the 2011 season. Multiple media outlets covered the actions taken by the Board, including this one, and comments protesting the decision piled up at the festival’s website. The Board bluntly erased them all, apparently oblivious to Google cache; this only prompted more online comments from fans and musicians alike, including George Cables, David Weiss, Charlie Musselwhite, Bennett Friedman, Adam Theis and many more.
Key among the responses were those from Kathy Martin of Santa Rosa Systems, pledging to cancel her annual $25,000 sponsorship, and Babatunde Lea, who vowed without Felix not to participate in the Operation Jazz Band program in area schools, the only activity the Board had planned for 2011.
Felix said she heard the news by email.
“We have a victory—we’ve got a festival back with a tremendous debt,” she laughed. “It was a fight for jazz, and jazz won, and we haven’t won the battle yet, but jazz really won out here.”
Winning the economic battle means erasing the $30,000 debt that the festival faces, and to that end, Felix is planning the 2011 Festival as a benefit. She also says she’ll increase her outreach to area restaurants and wineries. “Now people realize finally that this festival cannot be taken for granted, and that it meant something,” she said. “That’s what shocked me. How much it meant to people.”
As reported earlier, the Healdsburg Jazz Festival’s Board of Directors last month fired festival founder and artistic director Jessica Felix. And guess what? People were mad! Musicians who played the festival vowed to return only if Felix was back on as artistic director, sponsors who contributed $25,000 per year pledged to cease their financial support in Felix’s absence, and fans lamented the very plain and obvious fact that firing Felix is tantamount to ripping out the heart of the festival.
All this happened in the comments section of the Healdsburg Jazz Festival’s website. It was a lively forum of voices—mostly smart, some funny, all of them upset—but apparently, it was too much for the Board of Directors to handle. All the comments were removed from the site yesterday. Says the home page: “For further comments, please email us at email@example.com.”
I’ve made my opinions on the matter of Felix’s firing pretty clear so far, but this latest action of erasing people’s public comments is completely atrocious. So with the aid of Google cache, here’s the collected 46 comments that were taken down from the Healdsburg Jazz Festival’s site. Click through below to read them all, and feel free to continue to comment below.
[UPDATE: It worked! Felix is back and so is the festival. Read here.]
In a shocking, upsetting announcement, the Board of Directors for the Healdsburg Jazz Festival announced today that there will be no Healdsburg Jazz Festival in 2011.
What’s more, festival founder and Artistic Director Jessica Felix has been voted out by the Board, and will no longer be a part of the Healdsburg Jazz Festival she started 12 years ago.
Citing the poor economy, the Board says they’ll focus instead on their music education program which for 10 years has brought jazz to area schools. “There also seems to be a more limited audience for pure jazz in the community as evidenced by lower ticket sales,” Board president Pat Templin says. “There may be an opportunity to broaden the offering in the future. We need to find a winning model that will interest more people and businesses in the community to get involved, provide financial support and to attend a revised music festival.”
A “revised music festival.” A “limited audience for pure jazz.” An “opportunity to broaden the offering.” These are not good harbingers of things to come.
I called Felix to find out what happened. She said she couldn’t comment until she spoke with a lawyer, a bad sign. “I was totally surprised,” she said.
Reached by phone, Board president Pat Templin told me that there are “no plans” to reinstate Jessica Felix in 2012, adding that it was decision not made lightly, and one borne of finances instead of artistic vision (the festival, she stresses, will not move in a smooth jazz direction).
“She’s an amazing person, she’s done an amazing thing, and we’re trying to build on her legacy,” Templin says. “We’re committed to jazz, and to maintaining that reputation. And we’re also interested in some of what the community has told us, that there might be other genres that support the kind of jazz we do.” What other genres might those be? “One is blues,” Templin says.
If Felix can’t comment, then I will: The Healdsburg Jazz Festival as we know it is committing artistic suicide.
As a journalist, I’ve butted heads with Felix a couple times, but one thing I’ve never, ever questioned is her top-quality booking for the festival. I assume this so-called “limited audience for pure jazz” wasn’t part of the sold-out crowd this year for Ravi Coltrane and Charlie Haden, the sold-out crowd for Esperanza Spalding, or the full crowd for Jason Moran and Bill Frisell.
And that’s just in the last year alone. Previous festivals have hosted, to great acclaim, Joshua Redman, Billy Higgins, Andrew Hill, Bobby Hutcherson, Jim Hall, Dave Holland, McCoy Tyner, Pharoah Sanders, Jackie McLean, Joe Lovano, Kenny Garrett, Frank Morgan and Dave Brubeck. Look at those names—and then find me another jazz festival booker in a town with a population of only 10,000 who can attract such stature.
The community needs the Healdsburg Jazz Festival, but in particular it needs the festival as booked by someone well-connected, passionate and knowledgeable about jazz. That someone is and always has been Jessica Felix. She’s taken creative risks that have paid off—such as two sold-out shows with the decidedly avant-garde Trio 3 last year—and that’s because over the last 12 years she’s cultivated an audience for jazz in Sonoma County. She’s even saved the festival money by putting up musicians in her home, and finding other local hospitable jazz fans to do the same.
As for ticket sales? The slump isn’t just in Healdsburg—concert ticket sales have been down significantly nationwide; Templin admits she’s aware of this too. So sure, a scaling back on the festival makes sense. A focus on music education is good for attracting new sponsors. A one-year hiatus in 2011, painful as it may be, may be necessary.
But in reorganizing, there’s one thing the Board shouldn’t overlook, and that’s the respect Felix has earned from the artists and fans in the jazz world. Every musician playing the Healdsburg Jazz Festival who I’ve interviewed for the Bohemian in the last six years has praised Felix’s devotion, without my asking. The national reputation of the festival speaks to her great work.
If she wants to continue booking the festival she founded—and it seems like she does—I can’t think of any reason to stop her from doing so.
[UPDATE: The Board of Directors have removed all public comments from their website. I’ve reposted them here.]
[UPDATE: It worked! Jessica’s back and so is the festival. Read here.]
The piece began slowly. “Something acknowledging Hank Jones,” Geri Allen had announced. Her fingers fluttered over the piano keys, evocative of Jones’ intro to “Love for Sale,” a tribute that even in its sparest moments echoed throughout the sold-out Raven Theater.
The music took a slight turn to Allen’s “Swamini,” written in remembrance of Alice Coltrane, whereupon Ravi Coltrane made his entrance from the wings. Off-mic, he eased his sax into a sobering moan, then gradually unfolded his tone to fill one of the many open spaces in an inspired, unaccompanied cadenza.
Into the stage lights then walked Charlie Haden, a frequent Hank Jones collaborator, steering the suite to his “For Turiya,” an elegy first recorded as a duet with Alice Coltrane 35 years ago. All together, the trio comprised a suite of angular nuance, and after 14 minutes, in the moment between the final note and the audience’s applause, the history of these three musicians with those who’ve left this world hung in the air.
All three have played in far feistier settings (famously, Allen and Haden with Ornette Coleman, acknowledged in the set by “Lonely Woman”), but perhaps time and loss have tempered the pace. The ballad standard “What’ll I Do” was caressed softly by Coltrane, but for most of the material he seemed to be pulling along Haden’s languorous playing, which relied substantially on open strings, into more upbeat territory. Alas, it never followed.
The concert hadn’t started so somberly—in fact, the crowd had spontaneously sung “Happy Birthday” to Allen—but the drumless trio carried on in slow tempos and ruminative passages throughout the remainder of the set. This was nuanced music for closing one’s eyes and listening, a sublime jazz suited to the hot wine country evening.
I overheard someone remark that the show was “very Healdsburg,” by which they meant unchallenging and smooth, but the tag doesn’t fit. Meanwhile over in the Healdsburg Hotel lobby, Craig Handy played his guts out with George Cables to a packed, whooping crowd. The next day, the unstoppable Dafnis Prieto played drums like a car on five tanks of gas before Jason Moran and Bill Frisell dissected the very concept of music with otherworldly improvisations. Earlier at the Raven, the Healdsburg High School jazz band had torn through gutsy versions of Stanley Turrentine’s “Sugar,” Eddie Harris’ “Listen Here” and Sonny Rollins’ “St. Thomas.”
Oh, and about that podunk little high school jazz band you thought you could show up late to miss? Count me among the many minds blown by the miraculous Kai Devitt-Lee, staring out over the crowd while unfolding incredible solos and inventive, angular backing on guitar. “This guy’s gotta be a guest artist,” I thought, but nope–he’s 16 years old and a marvel to behold. Get used to the name, folks.
Jazz lovers can pick their jaws off the floor with the announcement of the Healdsburg Jazz Festival (June 4–13), which delivers a rich lineup of vibrant jazz talent. Charlie Haden leads a group with Ravi Coltrane and Geri Allen; Jason Moran plays with Bill Frisell; and red-hot sensation Esperanza Spalding returns. Other names include George Cables, Dafnis Prieto, Pete Apfelbaum and more.
This year’s Sonoma Jazz+ Festival (May 21–23) features headliners Crosby, Stills & Nash, Earth, Wind & Fire and Elvis Costello & the Sugarcanes. Openers Lizz Wright, Poncho Sanchez and the Neville Brothers also appear. Hope for jazz springs obligatory when Costello will doubtless sing Charles Mingus’ “Weird Nightmare.” . . . The Kate Wolf Festival (June 25–27) has Ani DiFranco, Steve Earle, Robert Earl Keen, Greg Brown, Little Feat, David Grisman, the Waifs and many more up at Black Oak Ranch in Laytonville. . . . The Harmony Festival (June 11–13) has confirmed some initial performers, including Steel Pulse, Galactic, Rebelution, Slightly Stoopid, Dweezil Zappa, Jai Uttal, the Jazz Mafia, the Expendables and Fishbone. A “very special headliner” will be announced this week.
While the Santa Rosa Symphony hosts Ute Lemper singing Kurt Weill’s Seven Deadly Sins (May 8–10), the Wells Fargo Center bounces back from recent personnel shakeups with John Prine (April 11), David Spade (May 20), the Barenaked Ladies (May 25) and the still-fantastic Smokey Robinson (May 28). The cozy Napa Valley Opera House brings Elvis Costello playing a solo evening (April 8th) as well as jazz guitar legend Pat Metheny (April 25) performing with an ensemble of animatronic instruments controlled by Metheny’s guitar. Crazy!
The Sonoma County Blues Festival, long a staple of the Sonoma County Fair, moves to the Earle Baum Center (July 31), which already has headliners Dave Alvin and James McMurtry confirmed for its EarleFest in September. . . . Resurrected local favorites Victims Family play a free in-store to celebrate the re-release of White Bread Blues at the Last Record Store for Record Store Day (April 17). . . . Fret-tapping phenomenon Kaki King plays the Mystic Theatre (May 20) and Joan Jett rides the popularity wave of The Runaways starring Kristen Stewart by playing at the Sonoma-Marin Fair (June 25).
I’ve had quite a few people ask me for recommendations on the Healdsburg Jazz Festival, and what I’ve found is that most people in the world are interested in jazz but simply uninformed. There’s no better place to brush up on your jazz than this year’s festival, which, as I’ve mentioned before, is a grand slam as far as festival booking goes. Every show’s a winner, but here’s a quick run-down of the shows that I personally am planning on attending; keep in mind that everyone has their own idea of what’s cool and what blows.
First of all, any newcomer to jazz is virtually required to see Mark Cantor’s Jazz Night at the Movies (June 1 at 7:30pm, Raven Theater). The impact of Cantor’s amazing collection of 16mm jazz reels (he’s got over 5,000 at this point) is incredible, providing a cinematic history of live jazz from almost every era. Cantor’s personal introductions provide connect-the-dots context, and every single clip is moving in its own way; either hilarious, like Joe Venuti and Eddie Lang trading call-and-response eights, or downright poignant, like Billie Holiday singing “My Man” from a 1950s television special. Plus it’s only $10!
I’m stoked on finally seeing Charles Lloyd (May 31 at 7:30pm, Jackson Theater), who’s been making interesting records on ECM lately with a great group. He’s got this really great pianist, Jason Moran, and an excellent, rock-solid drummer in the form of Eric Harland. He’s getting older, but he’s an innovator from within, and those people never run out of ideas, regardless of age. Charles Lloyd was lucky enough to be booked onto Fillmore shows in the late ’60s by Bill Graham, and his searing solos fit in nicely with the psychedelic scene in San Francisco; if you’re looking for envelope-pushing jazz, check this one out.
The show I can fully recommend to everyone—and especially those with kids—is the suave-lookin’ guy pictured above, clarinetist Don Byron (June 2 at 1pm and 7pm, Raven Theater), whose Ivey Divey was my #1 jazz album of 2004. Combining klezmer, jazz, and classical styles, in a word, Byron’s music is fun. The show he’ll be presenting is great: old Merrie Melodies and Looney Tunes cartoons get projected on the Raven Theater’s screen while his group plays music from his 1996 album, Bug Music. Both Raymond Scott—whose music will be represented in great supply—and Byron have that element of surprise that kids love, but he’s innovative enough (and has a great band, with Billy Hart on drums) to appeal to anyone. It’s $25, but bring a kid and it’s only $15 for the both of you!
One of my all-time favorite jazz musicians is Eric Dolphy, who played the saxophone, bass clarinet, and flute like no one else who walked the planet. He died in 1964, but his music was so great that it takes two people to resurrect it properly: saxophonist and clarinetist Bennie Maupin and flutist James Newton (June 6 at 8pm, Raven Theater). Maupin played on Miles Davis‘ Bitches Brew, and most people only know Newton from his highly publicized Supreme Court case with the Beastie Boys over sampling rights (“Pass the Mic”—the Beasties won). Newton is a hell of a flute player, on par with Dolphy and Rahsaan Roland Kirk, and he and Maupin have unearthed some sheet music that Dolphy left behind. It’ll be out there, but in the best sense—Dolphy never wanked for wanking’s sake—making this the show I’m probably most excited about.
How can you go wrong with the lineup for ‘A Night in the Country‘ (June 7 at 7:30pm, Raven Theater)? Charlie Haden is one of jazz’s most intuitive bassists, having helmed the Ornette Coleman quartet, the Liberation Music Orchestra, and the Quartet West (he’s also a great interview). Kenny Barron is the one pianist that no one I know hates, and saxophone superstar Joshua Redman is going to thrive in this setting. Also on the bill is Julian Lage, who I cannot say enough good things about (and that’s not just because I sold him his copy of Everybody Digs Bill Evans when he was 12). Simply put, Lage is a miracle, a supremely talented guitar player with gallons of taste. He’ll be playing with monster bassist Ray Drummond to boot!
Jazz has always been nighttime music to me, but if you can hang with the sunny outdoors at a winery, then by all means, go see Bobby Hutcherson (June 8 at 3pm, Rodney Strong Vineyards). Always terrific, Hutcherson is also a complete crowd-pleaser, hovering over his vibes and making wild body movements as he plays. He’s played on some seminal albums, including Dolphy’s Out to Lunch, and he was the saving grace of Freddie Hubbard’s disastrous performance last month at Yoshi’s. Also on the bill is Cedar Walton, who played on the John Coltrane album Giant Steps, and Craig Handy, an outstanding tenor player from Berkeley who always blows me away.
The complete Healdsburg Jazz Festival lineup is here. Say whassup if you see me around.
The lineup for the 10th Annual Healdsburg Jazz Festival has just been announced, and it’s totally out of this world. Charlie Haden, Kenny Barron, and Joshua Redman together. The Bobby Hutcherson Quartet. Bennie Maupin and James Newton playing Eric Dolphy. The Cedar Walton Trio. Even Don Byron, in some configuration or another, makes an appearance.
It doesn’t stop there: also dropping in this year are Eddie Palmieri and Pete Escovedo, Fred Hersch and Kurt Elling, the Julian Lage Trio, the John Heard Trio, a Sunday morning concert of gospel spirituals, the awaited return of Marc Cantor’s killer jazz films, and an All-Star Alumni Band on the festival’s last day.
The looming question: who is the secret “beloved and internationally-acclaimed saxophonist” performing on May 31 whose name, for contractual reasons, cannot be unveiled until April 1?
(Pssst. . . be a flatfoot: Check SFJazz’s lineup and find the guy playing with Jason Moran, Eric Harland and Reuben Rogers, all of whom have been announced in Healdsburg without their headliner.)
So kudos to the Healdsburg Jazz Festival, and stay tuned to City Sound Inertia for further coverage.