Every spring I drool over the line-up and concept of the Mary Lou Williams Women in Jazz Festival, held at the Kennedy Center in Washington, DC. The 2005 festival, held May 19-21, featured such luminaries as Geri Allen, Hiromi, Rene Marie, Alison Miller, and Ingrid Jensen.

The Mary Lou Williams Piano Competition

The festival honors a true legend of jazz and role model for countless women seeking to make their mark in a genre dominated by men. A formidable performer, composer, and arranger, Mary Lou Williams (1910-1981) was a child prodigy who held the piano chair for such orchestras as Duke Ellington’s Washingtonians and the Andy Kirk Band; she was staff arranger for Ellington and also provided arrangements for many of the top Swing-era bandleaders, including Benny Goodman, Bob Crosby, Cab Calloway, the Dorseys, Louis Armstrong, and Earl Hines. Throughout her life, her music evolved with the times, from swing to bop and “modern” styles; she was also a source of inspiration and support to such artists as Thelonious Monk, Bud Powell, Miles Davis, Tadd Dameron, Charlie Parker, and Kenny Dorham. Publishing and recording her own works, she penned over 350 compositions, most notably the “Zodiac Suite” which was performed by the New York Philharmonic at Carnegie Hall (and commemorated at the 2005 festival by a performance by Geri Allen). The recipient of many honorary degrees, Williams was awarded two Guggenheim Fellowships, performed at the first International Women in Jazz Festival in Kansas City, and performed at the White House for President Jimmy Carter. At the time of her death, she was artist-in-residence at Duke University.

To commemorate its tenth anniversary, this spring the festival featured the first Mary Lou Williams Women in Jazz Piano Competition. From a pool of 80 applicants, five finalists were selected to perform during the 2005 festival—and Minnesota (and all jazz strongholds west of the Hudson River) was proudly represented by Mary Louise Knutson. Although she did not emerge as the winner, the competition was a winning experience for this accomplished pianist and she has graciously shared her efforts and thoughts with the Jazz Police.

Meet Mary Louise

Photo by Andrea Canter

The Competition Experience

Many jazz musicians frown on the notion of a competition as it seems the antithesis of the personal freedom and openness of the genre. So why would a well-established artist like Knutson enter an international contest? “Truth be told,” she said, “I really don't like competitions....especially when music is so subjective. And who likes to be judged? I'm already my own worst critic. But, I thought that it would be a good career move. The winners usually get a fair amount of publicity and are offered more opportunities to perform, either as a featured artist or with major artists. So it was a move on my part to create more opportunities for myself.”

And how does one prepare for such a performance? The competition occurred at a time when Knutson was “so swamped with other concerts and activities…that I just chose tunes that I was working on for the other performances.” In fact, the night before the finals in Washington, DC, Knutson performed for an audience of about 1,000 at the Grand Theater in her hometown, Wausau, WI. Her flight out of the Central Wisconsin Airport was at 3:30 am—about eight hours before her scheduled set at Kennedy Center.

Each of the finalists was required to play three trio and two solo pieces. “I had planned on playing a solo stride version of ‘Stompin' at the Savoy’ and was working on it constantly until a week before the competition when I realized how uncomfortable I was with the tune. It's in the key of Db which is not terribly easy for me and the bridge goes into even more unfamiliar territory. I thought, ‘Why am I trying to do something so hard? I should find something much easier to play for the competition.’ So I switched songs right then and there! I ended up putting a few special touches on one of my favorite standards, ‘Have You Met Miss Jones.’ The arrangement was a little simpler than I would have wanted to present, but I felt much more at ease and was able to let the music flow. Also, part of my prep for really important performances is visualizing performing well, just like the pro athletes do when they want to play well.”

Miki Hayama

Knutson did not want to rely on standard fare, however. “We were told that we would be judged on originality and sound, and since the competition was in honor of the late pianist/composer Mary Lou Williams, I chose to include three of my original tunes. I thought I might earn some points for originality. Some of the other pianists played originals as well....but not three! I also was conscious to include a variety of styles (up-tempo, medium swing, ballad, Latin) so the judges could hear my range.” For the first segment of the competition finals, Knutson performed (in order), the classic “On Green Dolphin Street” (trio), and her original compositions, “How Will I Know?” (solo) and “Merle the Pearl” (trio); for the second round, she performed “Have You Met Miss Jones” (solo) and her “Meridian” (trio). The second round, with each of the five finalists playing two compositions, can be viewed and heard at www.kennedy-center.org/programs/millennium/artist_detail.cfm?artist_id=MLWWIJPIAN

On the morning of the competition, Mary Louise arrived at Kennedy Center barely in the nick of time. “My flight was scheduled to arrive at the Washington-National airport at 10:30 am and I was scheduled to rehearse (for only 20 minutes) with a 'mystery' rhythm section at 11:10 am. When my flight touched down, it was 10:48 am...we were late!” Knutson quickly grabbed a cab, and when the driver indicated it would take “only 10 minutes, I said, ‘I need to be there in eight!’ I got there right on time, rehearsed with the rhythm section (Miriam Sullivan on bass and Luciana Padmore on drums), changed clothes in the bathroom, and ate a granola bar while I waited for the competition to begin.”

Daniela Schaechter

The other finalists included pianists living in New York and Boston, natives of Japan and Italy--Rebecca Cline, Miki Hayama, Daniela Schaechter, and Ayako Shirasaki. Selected based on their audio tapes and CDs, these women were introduced to the festival audience as “talented, determined, and driven musicians.” The competition included two parts, early afternoon and early evening, with the order of the five finalists selected at random. “I ended up in the first slot both times!” Of her fellow finalists, Knutson noted that “One of the Japanese women had incredible technique and I was told by audience members between segments that she was my only competition. The other two New Yorkers (from Japan and Italy) shared an edgy, sort of angular style. The Bostonian had a style similar to my own which was more melodic and structured.” Judges for the competition were Kennedy Center’s arts advisor/renowned pianist, Dr. Billy Taylor; the formidable pianist Geri Allen, and Dr. Trudy Pitts. The nod ultimately went to Italian pianist Daniela Schaechter, and no other placements were given. Said Knutson, “I was just relieved that it was over and I could relax...or better yet, go back to the hotel and sleep!”

Ayako Shirasaki

And in the end, it was a good experience. “I'm very proud of myself for having participated. I was pretty nervous just thinking about it, so I could've easily decided not to go. But, I've learned over the years that every time I work through a challenge, I gain confidence in myself and that's the best feeling of all!”

Hear Mary Louise in a live recording session with the Connie Evingson Quartet at the Dakota in downtown Minneapolis on Sunday evening, June 12 (www.dakotacooks.com). For more information about the Women in Jazz Festival at Kennedy Center, visit http://www.kennedy-center.org/programs/jazz/womeninjazz/. Mary Louise Knutson’s website is at www.marylouiseknutson.com