Announcements for the 2012 Healdsburg Jazz Festival are trickling in, and the first one so far lives up to the festival’s reputation of excellence. On June 10, a jaw-dropping lineup of Roy Haynes, the Vijay Iyer Trio and Sheila Jordan headline Rodney Strong Vineyards in Heladsburg.
I say: Goddamn, Jessica Felix has done it again.
Let’s start with Roy Haynes. The master drummer has played with every jazz great imaginable, starting with Lester Young and Charlie Parker and moving through a you-name-it sea of greats: Coltrane, Dolphy, Getz, Miles, Dizzy, Monk, Rollins, Bud, Art Pepper, Jackie McLean, Andrew Hill. I saw him a few years ago at Yoshi’s with Kenny Garrett and John Pattitucci, and even in his mid-80s, the guy hasn’t lost one drop of power in his thunderous, commanding playing. For reals. He’s a marvel to watch.
Vijay Iyer made what was without a doubt my favorite jazz album of 2009, Historicity—a dense, inventive slab of forward-thinking playing. It wasn’t just the cover of M.I.A.’s “Galang”; it was the completely unique harmonic conception, the static-laden solos, the unpredictable in every minute. Think the Bad Plus, minus some of that trio’s more overt showiness. He’s a must-see.
Not to let an already star-studded show suffer from a lack of further lumination, there’s Sheila Jordan. I found the singer’s 1962 Blue Note album Portrait of Sheila a couple years ago, and it wound up on my 2010 year-end jazz list. After its release, she didn’t record for over a decade. I never thought I’d ever see her, and yet here she is, playing Healdsburg. Just like everyone else who you never thought you’d see. Of course.
The show is on June 10, 2012, at Rodney Strong Winery, made possible in part by a $10,000 NEA Jazz Masters grant that’s only given out to 12 nonprofits nationwide. The fact that the Healdsburg Jazz Festival is one of that small pool of recipients doesn’t surprise me, but it does make me proud for the festival’s ongoing success in the wake of its near-death in 2010 and the irritating fake-jazz festivals it has had to compete with over the years. True art always survives, one way or another, doesn’t it?
Further announcements for the 2012 festival will be made at www.healdsburgjazzfestival.org.
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.”
I talked with jazz pianist Jason Moran a couple weeks ago for a feature on the Healdsburg Jazz Festival, and I gotta say, the guy’s really smart and down-to-earth—and a hell of a piano player. His soon-to-be-released album Ten is easily the best, most natural-sounding album he’s made, and he plays Sunday afternoon at Rodney Strong Vineyards with Bill Frisell. I urge you to check it out. How many jazz pianists can you name who are planning to record a duets album with Ghostface, MF Doom and Jay Electronica?
For those who missed out on Esperanza Spalding’s sold-out show last night at the Healdsburg Jazz Festival, or who can’t make it to the Charlie Haden / Ravi Coltrane show tonight, be advised that Craig Handy is playing for free in the Hotel Healdsburg lobby tonight from 9-midnight with “special guests.” I’ve seen Craig Handy both chewed out by Sue Mingus for showing up late to a Mingus Big Band show and suffering behind an irascible Freddie Hubbard, so be nice to the guy, okay?
It’s not free, but this year’s Festival del Sole features a performance at Daryl Sattui’s crazy $30 million, 121,000–sq.-ft. Castello di Amorosa by 16-year-old Canadian singing sensation Nikki Yanofsky. You might have heard of Yanofsky through her involvement with the nutsy-cuckoo “We Are The World”-like re-recording of K’naan’s “Wavin’ Flag” to benefit Haiti, or for singing a laid-back version of the Canadian national anthem for the 2010 Olympics. But you should really just go to her MySpace page, ignore the goofy press photos that look like Blossom, and listen to her insane scat-scattered version of “I Got Rhythm.” Damn!
The Wells Fargo Center has announced their upcoming season, including the return of both Wynton Marsalis and Tony Bennett. Marsalis is playing with the full Lincoln Center Orchestra, and you’ve got time to plan your evening—the show’s next February, in 2011! Bennett slips in a little sooner, on September 21, and I’ve said it before and I’ll say it again: at 83, the guy hasn’t lost an iota of his voice, talent, or showbiz class. I met him briefly at the then-Luther Burbank Center after a show about ten years ago; he was flanked by Mafia-looking bodyguards and incredibly kind to me, a then-young, googley-eyed fan. Go see him if, and while, you can.
Spring is anon, meaning festival announcements and venue bookings are being shot down the pipe faster than the flowers can bloom. In a quick overview, there’s Classics of Love (with Operation Ivy’s Jesse Michaels) at the Last Record Store (Mar. 28); bass-heavy knob twiddlers Crystal Method at the Phoenix Theater (Apr. 15); walking freak-folk embodiment Devendra Banhart at the Mystic Theatre (Apr. 17); fado sensation Mariza at the Napa Valley Opera House (Apr. 30); electronic visionary Bassnectar at the Hopmonk Tavern (May 4); soprano legend Kathleen Battle at the Marin Center (May 9); and Lucinda’s right-hand man Gurf Morlix at Studio E (May 16).
What’s that, you say? You like to watch TV more than you like to listen to music? Fear not! The Wells Fargo Center has the interminably funny Joel McHale, he of dryly absurd wisecracking on The Soup (Apr. 11); and hang on to your thong straps—the Sonoma-Marin Fair in Petaluma has glam-metal washup-turned-reality show “star” Bret Michaels (June 27) to attract a slutsational crowd good for copious dead-drunk bikini-clad hoochie watching beneath the ferris wheel. Look what the cat dragged in, indeed!
Sounding a different note entirely, Napa’s beautiful Festival del Sole steps forward this year with young violin sensation Sarah Chang (Jul. 18-19) and the return booking of Renée Fleming (pictured above, Jul. 23), who in the festival’s first year was forced to cancel her performance of Richard Strauss’ Four Last Songs due to illness. Iran’s most famous composer, Anoushirvan Rohani, will appear for a dinner and concert (Jul. 20), and the dashing Robert Redford—be still our throbbing hearts!—benefits his Sundance Preserve by narrating a piece to be announced (Carnival of the Animals? Peter and the Wolf? An interpretive tone poem of The Horse Whisperer?) at Castello di Amarosa (Jul. 21). Full lineup here.
In economic-crisis news, the Russian River Jazz Festival and the Russian River Blues Festival this year will be combined into one solitary September weekend as the Russian River Jazz & Blues Festival preserves a 30+ year tradition of great music on Johnson’s Beach in Guerneville. “This allows us to keep the Russian River festival tradition alive,” says Omega Events president Rich Sherman, “while enabling music fans to still enjoy their love of jazz and blues outdoors in this picturesque setting.” Saturday’s jazz lineup and Sunday’s blues lineup (Sept. 12-13) will be announced in April. Check here for updates.
After the Masada show at Yoshi’s, I overheard a guy talking to bassist extraordinaire Greg Cohen, who along with accompanying Ornette Coleman as of late was part of the great New York band on Rain Dogs, Frank’s Wild Years and Swordfishtrombones. “Hey, guess who I played with the other week?” the guy asked. “Waits. Went up to his place and rehearsed.”
“Oh?” asked Cohen. “New material?”
It seems so. In addition to finally releasing Orphans on vinyl soon, Tom Waits’ publicist confirms that he is writing, rehearsing, mangling, fixing and re-mangling new material for an album to be released in the sometime-maybe-this-year-who-knows future. Recording is anticipated sometime this summer. Waits, of course, was last seen snapping photos of the brimming crowd that gathered en masse at his daughter Kellesimone’s art show in Santa Rosa.
Despite a mission statement promising to “present and preserve jazz,” it’s probably time to just roll over and accept that the Sonoma Jazz+ Festival’s gonna book whoever they’re gonna book. We could say, you know, Lyle Lovett has some sax players in his band. Joe Cocker, you know, he might play some solos. And hey, they added that tiny little “+” to their name to represent past headliners like Steve Winwood, Boz Scaggs, Steve Miller, LeAnn Rimes, Michael McDonald, Bonnie Raitt and Kool & the Gang. Who are we to be snobs?
But look, since no other media outlet in the area seems brave enough to protect this American art form—and since local jazz programmers don’t want to be quoted saying “You mean that bullshit thing they call a jazz festival?” (actual quote)—it’s up to us. There are plainly no jazz artists headlining Sonoma Jazz+ 2009 this year. Around here, we’d even be cool if, like, Rick Braun was playing. But Chris Isaak?
Sonoma Jazz+ does many great things, not the least of which is providing support to music programs in area schools. They also have a second stage, and ‘Wine and Song in the Plaza’ with small combos. But in light of the PR assertion that they’ve already booked any jazz headliner who could fill a 3,800-seat tent, our suggestion is to honor jazz and please just call the festival what it actually is: the Sonoma Music and Wine Festival. Joe Cocker, Lyle Lovett and his Large Band, Ziggy Marley, Big Bad Voodoo Daddy, Shelby Lynne and Keb’ Mo’ come to Sonoma May 21-24. Tickets are on sale here.
Simultaneous with the creative definitions emanating from Sonoma is the encouraging news from the Healdsburg Jazz Festival announcing its initial lineup, and it looks great. John Handy, Randy Weston, Airto Moreira, Esperanza Spaulding, Dee Dee Bridgewater, Denny Zeitlin and Julian Lage head up a list-in-progress of bona fide jazz headliners appearing May 29-June 7 this year. For updates, check here.
Hey man, the Harmony Festival is full of good vibes this year! Michael Franti, India Arie, Matisyahu, Cake, Steve Kimock, ALO, Balkan Beat Box, and Sierra Leone’s Refugee All Stars head up the festival June 12-14 at the Fairgrounds. Barring any John Mclaughlin-esque guitar freakouts by Kimock, the weekend should be bereft of maniacal discord. Be harmonious.
The Santa Rosa Symphony announced its rough sketch for the 2009-2010 season today, including a finale performance by Ute Lemper singing Kurt Weill’s Seven Deadly Sins! Also on the slate: returning conductor emeritus Jeffrey Kahane playing Rachmaninoff’s Piano Concerto No. 3 (the one from Shine), performances of Beethoven’s 4th, 5th and 9th symphonies, Mozart’s Requiem, a program celebrating Chopin’s 200th birthday, the Red Violin concerto, and more. I always love the symphony’s Magnum Opus commissions, and Bahzad Ranjbaran’s new work will receive its world premiere next season as well.
On a semi-related note, I listened to Elliott Carter last night—an LP I found years ago, bought for the cover art and loved for the music. It’s his Sonata for Cello and Piano, and I still love it. Unbelievable that he’s 100 years old and still completely lucid about his work. I love the excerpt from this interview, which succinctly captures not only his sense of humor but the reason why I give such a damn about music:
Q: Could you imagine a day when people, concertgoers, would hear your music and walk out humming your music?
A: Well… it’d be hard on their throats!
Q: What would you want the listener to walk away with after hearing your music?
A: Happiness. And pleasure. One of the fundamental things always that music should do is not only give pleasure, but widen one’s horizons, and give new kinds of fantasies, and new kinds of pleasure, and new kinds of surprises, and new kinds of connections between things.
The jazz story of the year isn’t the discovery of some tapes by Charlie Parker and Dizzy Gillespie. It’s not some long-lost recordings of John Coltrane and Thelonious Monk at Carnegie Hall. No, the jazz story of the year—and I’m serving this up to you on a platter, Downbeat—is James Newton’s recent acquisition of unheard-of handwritten sheet music by Eric Dolphy, and his incredible, incredible group with Bennie Maupin that debuted tonight at the Healdsburg Jazz Festival.
There are certain works of art which we assume are too unique to ever be re-created. A stage play of Nights of Cabiria, say, or maybe a life-size sculpture of the Leaning Tower of Pisa—no one would attempt these things, because the originals are so distinctly their own. Eric Dolphy’s music is in this same echelon. By honing through incessant practice his immediately identifiable tone and stylistic approach, Dolphy ensured that when he died at age 36, no one would dare follow in his wake. People talk about jazz players having their own style. Eric Dolphy had his own language.
The flutist James Newton came into possession of Dolphy’s handwritten manuscripts through his teacher Hale Smith, a close friend of Dolphy’s with whom the great saxophonist/bass clarinetist/flutist deposited his trove of original sheet music days before he left for Europe with Charles Mingus in 1964, never to return. Now in fading health, Smith recently phoned Newton to entrust him with the collection. His instructions to Newton were simple: “You gotta take care of this.”
Tonight at the Raven Theater, James Newton and his quintet faced a huge challenge: how to present this music as Dolphy might have played it, when Dolphy himself would have presented it differently each time? Rising to the challenge of immersing themselves in another language, Newton’s group didn’t just re-create the music of Eric Dolphy. In twists and turns, they brought to life the fiery spirit, the adventurousness, the emotional resonance and the boundless optimism so prevalent in Dolphy’s muse, and they did so with both skillful prescience and loving warmth. One could close their eyes and easily imagine that Dolphy himself was in the house.
The concert opened with an Eric Dolphy composition, unrecorded and unheard in public before tonight, titled “Boycott.” In a low moan on his bass clarinet, Bennie Maupin introduced a slow solo figure. Soon, he conversed in tight harmony with bassist Darek Oleszkiewicz. Drummer Billy Hart crawled around the notes in a noteless manifestation of Dolphy’s eeriness, and Maupin, at the end of his solo, began beating out quiet rhythms by attacking the keys on his instrument. With otherworldly overtones and harmonic growls, Newton burst into the song on flute, the instrumental equivalent of a human cry, and eventually brought everyone back around to the slow, haunting theme.
If the afterlife exists, then Dolphy was watching over this premiere, caressing his beard and smiling widely.
The quintet played largely from Dolphy’s seminal Blue Note recording Out to Lunch, with each and every player perfectly filling their predecessor’s shoes. Hart absolutely nailed Tony Williams’ free horse-clop rhythms of the album’s title track, and the “new” head to “Straight Up and Down,” with the famous theme expanded and chopped, was an inspired addition to Dolphy’s exciting voicing for two instruments. During “Something Sweet, Something Tender,” Newton bent a note on his flute to the heavens while vibist Jay Hoggard ended a sensitive solo with a serendipitous cymbal crash from Hart. Magic was in the air.
The apex of the evening, however, was Out to Lunch‘s “Gazzelloni” (which, Newton told me afterwards, incredibly exists arranged for strings in the piles of Dolphy’s sheet music). Fully inhabiting the music, Hoggard gave a purely lyrical and possessed solo on the vibes, full of unstoppable ideas. Not to be outdone, Maupin followed with a ferocious unleashing of long, circular lines and inspired conception on soprano sax. The applause at the end was impulsive, grateful, and long.
After Maupin’s original composition “Equal Justice” on the piano and the blues “245” from Outward Bound, the group left the stage and the house lights came up. Lights be damned, the audience’s applause refused to die, and the quintet came out for one final number: “The Madrig Speaks, the Panther Walks,” appropriately chosen from Last Date, and appropriately earning a standing ovation.
The importance of this group’s project cannot be underestimated—in the lobby afterwards, people were overheard asking to touch Dolphy’s original charts—and their authority in Dolphy’s realm will soon be known to the world through an album on ECM, with Herbie Hancock signed on as a participant. Newton says there’s “a whole lotta stuff” in the collection of Dolphy’s sheet music he has yet to adapt, and tonight’s concert was just the first of many thrilling performances to come.
Sound the clarion call. The Scripture According to Dolphy awaits. “This is the first time we’ve played anywhere in the Universe,” said Newton, “and we thank you.”