{"id":3080,"date":"2021-08-04T22:41:17","date_gmt":"2021-08-05T03:41:17","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=3080"},"modified":"2021-08-18T14:18:38","modified_gmt":"2021-08-18T19:18:38","slug":"2021-newport-jazz-i","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/2021-newport-jazz-i\/","title":{"rendered":"Observations from Day One of the 2021 Newport Jazz Festival"},"content":{"rendered":"\n

After a year canceled by COVID-19, audience members on July 31st, the first day of the 2021 Newport Jazz Festival could feel the lingering effects of the pandemic. There was a sixty percent cap on attendance. Half of the stages were closed for business. The Harbor Stage became an area for a tent with picnic tables and folding chairs for attendees to enjoy the food from nearby vendors. The indoor Storyville space was closed off entirely, accessible only to Festival staff.  Even the two stages which remained were not their ordinary selves. Organizers cut the Quad in half to provide severely limited covered seating in a space usually covered in folding chairs. The massive Fort Stage was renamed the Lawn Stage and made into a generally scaled-down operation. But the consequences of the coronavirus were perhaps best felt in the music and commentary in each artist\u2019s set. Specifically, two major themes emerged which tie directly back to the pandemic: the importance of family and the meeting of technology and tradition. <\/p>\n\n\n\n

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The day started with Arturo O\u2019Farrill on the Lawn. While the pianist-bandleader recently announced an album, \u2026dreaming in lions…<\/em> (Blue Note, 2021) out in September, he did not perform any compositions from the recording in the fiery set. His renowned Afro Latin Jazz Ensemble was reduced to only a quintet with percussionist Victor Pablo Garcia Gaetan, bassist Bam Rodriguez, and Chico\u2019s sons Adam on Trumpet and Zack on drums. One is likely to note that a slight majority of the group has the last name O\u2019Farrill. Obviously, during a time of worldwide calamity, people often clung closer to their families. The bandleader has regularly performed with both Adam and Zack, and their third piece, \u201cGonky Gonky,\u201d appropriately derives its title from a long-standing family joke. Relatedly, \u201cPure Emotion,\u201d a slow ballad between piano and trumpet, was penned by Arturo\u2019s father, Chico. <\/p>\n\n\n\n

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But the band partly shifts the focus on family by questioning how we define the important relationships in our lives. \u201cCompai Doug,\u201d a wild ride up and down the piano, extended the concept to friends. An avant-garde inspired piece composed by Carla Bley pushed it yet further to one\u2019s influences. Another song, once played at the US-Mexico border, draws equally from jazz and Tejano music to suggest that we all view one another as a singular people. Concluding remarks also honed in on the interaction between musicians and listeners: \u201cWhere does music exist? It is not in the written music or the beautiful instruments but in the communication between the artist and the audience.\u201d<\/p>\n\n\n\n

With A Christian McBride Situation, the Festival\u2019s Artistic Director subdued some of the sentimentality of O\u2019Farrill\u2019s set in favor of time-hopping funkiness. Although aesthetically drawing primarily from jazz-funk and soul of the 1970s, a more accurate analysis would interpret the group\u2019s performance as critically evaluating the interplay between tradition and technology. In large part, this comes from the presence of two artists – DJ Logic and Jahi Sundance – on very modernistic turntables and laptops, though old jazz standards comprised a substantial portion of their repertoire. <\/p>\n\n\n\n

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An incredibly funky version of Dizzy Gillespie\u2019s eighty-year-old \u201cNight in Tunisia\u201d bridging a gap between bebop, as represented by Alyson William\u2019s scatting, and a George Clintonesque vibe.  McBride\u2019s switching between acoustic and electric basses<\/a> only further strengthened the ability to bridge eras. So did James Francies\u2019 transitions between piano and keyboard. Though confined to one instrument, tenor saxophonist Ron Blake similarly weaved between older jazz sounds and those of the late 20th Century. As to the latter, at times sounding reminiscent of Grover Washington, Jr. Even something as subtle as the band starting before McBride joined them is possibly a reference to the theatricality of the Godfather of Soul with whom the bassist once worked. <\/p>\n\n\n\n

The use of technology to coalesce time periods was also present in Makaya McCraven\u2019s Quad set. With \u201cI\u2019m New Here\u201d from We\u2019re New Again <\/em>(XL Recordings, 2020), the beat scientist\u2019s group with Junius Paul, and Matt Gold built off the raspy vocals of late proto-rapper Gil Scott Heron, made possible by Marquis Hill\u2019s operation of a Macbook. McCraven, one of today\u2019s most compelling bandleaders, often blurs the line between sampling and live production. As such, the introduction of recorded audio should be unsurprising. However, the approach\u2019s expansiveness was even more on display than the version documented on vinyl when Hill rejoined on a mellow flugelhorn. <\/p>\n\n\n\n

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The piece also provided an opportunity to showcase Paul\u2019s underrepresented vocal chops. While increasingly well-known for his skills as a bassist, his \u201860s soul-inspired voice was a welcome surprise to most in the audience. In vocalizing, \u201cturn around, turn around, come full circle,\u201d he fully closes the loop back to Heron\u2019s statement. A subsequent tune, Tony Wiliam\u2019s \u201cThere Comes a Time,\u201d similarly found a space between Miles Davis\u2019 iconic 1955 Newport performance of \u2018Round Midnight – with Hill donning a Harmon mute and pressing it tight to the mic – and a heavy R&B influenced groove. <\/p>\n\n\n\n

Following McCraven was Robert Glasper\u2019s acoustic trio with bassist Vicente Archer and drummer Justin Tyson, augmented by turntablist Jahi Sundance. The first of the keyboardist\u2019s three performances as the Festival\u2019s Artist-in-Residence tackled both of the themes prevalent throughout the day. <\/p>\n\n\n\n

As to the importance of family, Glasper began the set by proclaiming a happy birthday to his one-year-old daughter, Lola, who was on hand for the occasion. Later, in a sprawling rendition of \u201cStella by Starlight,\u201d he circled the Birthday Song along with several others. And later, he deconstructed the traditional piece\u2019s structure as a tribute to her.<\/p>\n\n\n\n

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\u201cStella\u201d was also a centerpiece in showing the use of technology to transcend time. Glasper made a Jarrett-like solo around the theme while citing \u201cSomeday My Prince Will Come\u201d as Jahi Sundance\u2019s whirs and scratches weave in and out. Later in the tune, the leader\u2019s keys and voice add snippets of \u201cThe Look of Love\u201d and \u201cIn a Sentimental Mood,\u201d sounding as if sampled from an earlier recording while turntables increasingly repeat \u201cJ Dilla\u201d and \u201cJay Dee,\u201d referencing one of the most significant composers of the late 20th Century. As Glasper warned before the piece began: \u201c[w]e kinda fucked [the song] up a little bit\u2026 [it] may not be by starlight anymore, and her name may not be Stella. Maybe it\u2019s Stacy by the Stairs.\u201d<\/p>\n\n\n\n

His humor permeated the entirety of the performance, from claiming to sell an artist pass to the Festival for $200 of bitcoin to jokingly castigating the crowd for not sufficiently cheering for his album, Covered<\/em> (Blue Note, 2015), and Jahi Sundance responding to the castigation with a pre-recorded audience effect. The interaction – including a young child yelling at Glasper to \u201cjust play already\u201d- is of the type possible during only live performances. In some ways, it also harkened back to the long lineage of artists – Louis Armstrong comes to mind – who saw humor as an essential part of getting across their far more serious messages.<\/p>\n\n\n\n

Back on the Lawn Stage, Cory Wong led his large ensemble project, the Wongnotes. Hailing from the Twin City area, the influences from the Minneapolis Sound were apparent. The band\u2019s bassist, Sonny T. – who previously recorded with Prince and, to some extent, taught the late Purple Rain guitarist his craft – further underscored these influences. Another of the undeniably talented band\u2019s standouts could be found in Austin-based baritone saxophonist Sly5thAve, who previously created an excellent orchestral tribute to Dr. Dre<\/a>. But, at times, it seemed like both Sonny T and Sly5thAve were underutilized. The result, though energetic, felt a little flat. <\/p>\n\n\n\n

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While no one seeks a sloppy band, funk has always been a little rough around the edges. Although Prince was capable of beautiful balladry, he knew when to hit hard and go a little outside of the comfortable range. But with Wong, the blasts and strikes were, if anything, too clean. Too precise. Too polished. Most of the audience seemed to appreciate the set. However, it could have hit a higher mark if the group was a little looser and, frankly, a little nastier. <\/p>\n\n\n\n

Friday\u2019s closer was genre-destroying Khruangbin. Although the electric guitar, electric bass, and drums have been around for decades, the Houston power trio provides a sound truly possible only in the post-internet age; one in which ideas from across the globe are accessible with the click of a button. Rock, funk, soul, surf, dub, Eastern, and Middle Eastern ideas all invariably emerge with bassist Laura Lee\u2019s grooving lines as the glue that holds them all together. At times the steadiness of DJ Johnson\u2019s drums even suggests the sampled rhythms of hip hop. At times they sounded like some radio broadcasts of some exotic long-lost culture, one foreign yet familiar. <\/p>\n\n\n\n

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The audience generally loved the group\u2019s music, calling for, and receiving, an encore. The only criticism for the group was that it did not appear they fully understood the significance of performing at the Newport Jazz Festival. In Cory Wong\u2019s performance, he spoke of how important the event was to music and how humbled he was for organizers to add him to that lineage. In response, Khruangbin guitarist Mark Speer joked that the Jazz and Folk Festivals are essentially the same. It seemed like a missed opportunity to acknowledge the Jazz Festival\u2019s extensive history of pushing the envelope, including its presentation of various artists like Led Zeppelin in 1969<\/a>. But that the most significant criticism lies in on-stage banter should speak volumes on the superior quality of the music presented; Khruangbin was an excellent end to the first day of festivities. <\/p>\n\n\n\n

Observations on Day Two of the 2021 Newport Jazz Festival can be found here. <\/a><\/strong> Day Three can be found here.<\/a><\/strong> <\/p>\n\n\n\n

Except as otherwise noted, all photos by T. Jordan Hill of PostGenre Media<\/p>\n","protected":false},"excerpt":{"rendered":"

After a year canceled by COVID-19, audience members on July 31st, the first day of the 2021 Newport Jazz Festival could feel the lingering effects of the pandemic. There was a sixty percent cap on attendance. Half of the stages were closed for business. The Harbor Stage became an area for a tent with picnic […]<\/p>\n","protected":false},"author":2,"featured_media":3081,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":23,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[16,1159],"tags":[],"class_list":["post-3080","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-live","category-newport-jazz-history"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/Friday1.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-NG","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2709,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ix\/","url_meta":{"origin":3080,"position":0},"title":"A History of the Newport Jazz Festival \u2013 Chapter IX: Homecoming, 1981-1983","author":"Rob Shepherd","date":"April 4, 2021","format":false,"excerpt":"\u201cWe\u2019re Back\u201d announced the front page of The Providence Journal, complete with a photo of a smiling George Wein, upon the news of the Newport Jazz Festival\u2019s return to America\u2019s First Resort. 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