Ku-umba Frank Lacy © Andrea Canter

The 16^th annual Toyota Scion Iowa City Jazz Festival was presented for the first time as a component of the new Iowa City Summer of the Arts under the direction of Katie Roche; long-time festival director and guitarist Steve Grismore remains on the scene as festival coordinator. Summer of the Arts brings several big events under one umbrella and calls attention to Iowa City as the cultural mecca it has become, featuring music, dance, theater and creative arts of all sorts throughout the summer (and, in fact, all year long). But the biggest draw to this college community in eastern Iowa is the jazz festival, bringing an average of 25,000 each summer to the heart of downtown and the University of Iowa campus. Now held on the partially shaded lawn of the famed Pentacrest (the center of the U of I administration anchored by “Old Capitol”—Iowa’s first statehouse), the festival has grown from a one-day local showcase in 1991 to a three-night/two-day jazz menagerie combining the highest level of international touring artists with local, college and high school bands, late night jams at the Sheraton Hotel, radio interviews, school clinics, and more.

Because side stage bands are scheduled during down time on the main stage, festival attendees do not have to pick and choose from among the featured performances; and during mainstage breaks, the three side stages are in close enough proximity to allow for a sampling of all, particularly since the scheduled groups typically perform twice. It is easy to grab a plateful of African vegetable stew, pulled pork flautus, some samosas or just a burger and fries and wander from stage to stage before heading back (across the street) for the next act on the Pentacrest. Hot? (Of course, this is Iowa in July!) Line up for a cone or cup of mango gelato, a smoothie, or make your own ice cream sundae, the perfect accompaniment to Geoffrey Keezer’s sublime piano trio or the Mingus Dynasty brass-laden septet. More adventurous? Try something from the Ethiopian menu to go with the electronica wizardry of Tim Hagans’ Immediate Left.

Robin Eubanks © Andrea Canter

We didn’t get to everything, but we heard two full days of some of the best sounds anywhere in Jazzland this year:

Robin Eubanks and the U of I Jazz Faculty Ensemble

There are few families other than Marsalis who have had as much impact on contemporary jazz as the Eubanks, who include brothers Robin (trombone), Kevin (guitar), and Duane (trumpet) as well as uncle, pianist Ray Bryant. On the front line for the Dave Holland Quintet and Big Band as well as with his own groups, Mental Images and EB3, Robin Eubanks is a perennial “trombonist of the year” in readers’ and critics’ polls. On stage Saturday afternoon, Eubanks was in the fine company of the U of I stellar faculty ensemble, including trumpeter Brent Sandy, guitarist Steve Grismore, drummer Jim Drier, bassist Mark Urness, saxophonist Paul Scea, and pianist Evan Mazunik. But first and foremost, this was a showcase for the many facets of Robin Eubanks, acoustic and electronic, and the high tech magic drew the most applause.

After a reasonably straight-forward read of “What Is This Thing Called Love?”, Eubanks set off the first round of fireworks on Paul Scea’s “Psychopathology,” going “solo” for the first 15 minutes. “Solo” here is a relative term as Eubanks managed to electronically clone himself, playing as a duo and more as he created a choir of trombones with his pre-designed loops and echos, adding drum pads to the arsenal to form a one-man band. Ultimately Scea joined in on soprano. The multi-talented Scea pulled out the flute for “So in Love” which featured delightful percussion and Latin-tinged passages, and a stand-out solo from guitarist Grismore. An a cappela trombone solo opened “Lover Man,” this time evolving as a cacophony of electronica in battle with the otherwise acoustic band. Eubanks had the following composition (an original?) all to himself, accompanying his trombone loops with drum pads, an overall Latin vibe. Another apparently original composition closed the set with a volley of soloing among the horns and a continuous assault from drummer Jim Drier.

Much of this was unexpected and surprisingly accessible. Robin Eubanks on a single trombone is a formidable artist, but Eubanks as a simultaneous multi-instrumentalist? Don’t be surprised if his next recording is a solo affair, the Robin Eubanks Electronic Orchestra.

Mel Rhyne © Andrea Canter

Mel Rhyne—Organically, Straight Ahead

The main stage had barely cooled down following Eubanks when the festival switched gears in the persona of long-time Hammond B-3 soul/bop specialist Mel Rhyne. Nearing 70, Rhyne started his career with Roland Kirk, got his blues feet wet with T-Bone Walker and BB King, and may be best known for his work with Wes Montgomery in the early 60s. He hibernated a few decades in Wisconsin before Herb Ellis brought him back to the national scene in the early 90s. With Russian guitarist Ilya Lushtak and veteran drummer Ray Appleton, we were treated to an hour-plus of standards and originals that served as a master class in mainstream jazz trio performance. Rhyne bubbled and swung through a diverse repertoire from Hancock (“Canteloupe Island”) to Eckstein (“I Want to Talk About You”) and his own “Night Vision,” turning on the funk with Hank Crawford’s “Mister Magic,” turning up the elegance with “It’s Too Late Now,” and adlibbing the blues on the encore, “Things Ain’t What They Used to Be.” Lushtak was a pleasing surprise with his Joe Pass-colored sound and attack, and Appleton was the perfect foil for Rhyne at any tempo.

Left Turn with Tim Hagans and Scott Kinsey

Immediate Left is the current project of creative trumpeter Tim Hagans and keyboardist Scott Kinsey. Hagans built his reputation as a hard bopper with big band experience; work in Europe and back in the states with Joe Lovano, Fred Hersch and Maria Schneider has helped to push his musical vision farther out, as has his collaboration with keyboardist Scott Kinsey who toured with Tribal Tech. Know for his imaginative synth efforts, Kinsey has recorded with James Moody and Joe Zawinul. Throw in bassist Dave Carpenter and drummer Gary Novak, and you have an Immediate Left.

Immediate Left, Tim Hagans © Andrea Canter

The set Saturday night was heavily electronica, without doubt the loudest band of the weekend and a long way from Hagan’s self report that his earliest attraction to trumpet can be traced to the film version of the Music Man. Kinsey’s “Che Che” (or maybe “Chez Chez”?) had a rock-based groove suggesting a digitized calliope. Other unnamed, most likely original works included a balladly piece featuring Hagans’ trumpet and an acoustically leaning bass solo from Carpenter. Although still infused with plenty of sustain pedal, Kinsey glistened on a more lyrical piece in tandem with a Milesian tone from Hagan’s muted horn.

Like much of the crowd, my reaction to Immediate Left was neither immediate nor extreme, but rather uncertain. I liked the more melodic compositions and the opportunities to hear each musician’s ideas. But some of those ideas failed to engage me and only with ear plugs did I find the volume tolerable 50 feet from the stage. And the chanting on several pieces lost me and seemed the least convincing of the many sounds of Immediate Left. Nevertheless I applaud the festival organizers for bringing in music that rocks one’s definition of jazz and helps to expand the audience. Many gave the ensemble a standing ovation while others left quickly, perhaps fearing the Bad Plus would go even farther out into the jazz blue yonder. That would have been an unfortunate and inaccurate assumption.

Dave King, Bad Plus © Andrea Canter

The Bad Plus

Bringing a surreal yet symphonic approach to an original and “borrowed” repertoire, this acoustic trio features Ethan Iverson’s charming, percussive piano, Reid Anderson’s often-melodious, never laid-back acoustic bass, and the incredible menagerie of rhythm and sound from percussion whiz Dave King, all united in the spirit of true collaboration. Their Midwest roots run deep--Anderson and King grew up in Minneapolis and played together as teenagers; Iverson is a Wisconsin native. While Anderson and Iverson have been finding plenty of outlets in New York, King has maintained a high profile in the Twin Cities, including holding the drum chair for “youth oriented” Happy Apple. But they don’t stay home for long, touring across the US and finding considerable success with European audiences. There was no question that the Bad Plus would play to a large crowd in a town that caters to youth. This night, that crowd probably reached 5,000.

Steve Grismore © Andrea Canter

The trio generally plays original tunes and covers that implant new energy and a jazz sensibility into rock/pop classics. Having heard the Bad Plus live at least five times previously, I typically have found that the balance favors the drums; here, however, it was the piano amp that challenged the sound barrier—and not because Iverson had developed a leaden fist; one consequence was that the often elegant basslines of Reid Anderson were sometimes lost in the night air. After opening with a new tune (“Mint”) from Iverson, Anderson and King took worthy solo turns on Anderson’s “Rhinocerous is My Profession.” The Lennon/McCartney anthem “Live and Let Die” featured Iverson’s purely acoustic rendering of a sound much like the electronic calliope effects of Scott Kinsey. The pianist’s repeating phrases were pushed faster and faster by King’s insistent drumkit. Another Anderson composition, “Lost of Love” had the majesty of Liszt supported by a steady percussion dirge; Anderson maintained a steady march throughout. Anderson also contributed “Knows the Difference,” in which Iverson’s bop chops were at the fore, forsaking his usually spartan comping with elegant fill between the lines that evolved into a rambunctious vamp.

Dave King’s “Anthem for the Earnest” was predictably heavily percussive, Iverson contributing Tyner-turned phrases yet the whole was relatively swinging. The trio then turned to, of all composers, Burt Bacharach, dissecting “This Guy’s In Love With You” in grand fashion. Anderson began with a somber bass solo, Iverson joining in with a relatively melodic line over King’s chiming bell. With phrases that sounded more like Fender Rhodes than acoustic piano, Iverson let the team into an improvised section with a post bop structure, again playing straight man to King’s slamming percussion. A newer composition, “Physical Cities” had a very heavy three-way vamp, Iverson running up the keyboard as if conjuring scales from Pluto; Anderson’s basslines joined Iverson’s in unison. Closing with their crashing intergalactic march from These Are the Vistas, “Big Eater” brought the crowd to its many feet.

Rachel Price © Andrea Canter

Worth the Price: Rachael Channels Ella

One of the reasons I enjoy jazz festivals—large or small—is the opportunity to hear musicians I would not likely find on my own, at least not so early in their careers. I “discovered” Patricia Barber at the 2004 Iowa City Jazz Festival and have been a fan ever since. I first heard pianists David Berkman and Bruce Barth in Iowa City, although I was already aware of their music. Last year I was introduced to the very hip Jacob Fred Jazz Odyssey and the stellar chops of trombonist Conrad Herwig. But no unheralded artist has hooked me as quickly as did 20-year-old songstress, Rachael Price. A native of Nashville currently enrolled at the New England Conservatory of Music, Price admitted that this was her first visit to Iowa. She got hooked on jazz early, when she first heard Ella Fitzgerald’s rendition of “The Lady is a Tramp” at age five. Maybe this early encounter explains Price’s uncanny scatting ability and her sophisticated phrasing—skills that caught the ear of Grammy nominee Nnenna Freelon and won accolades when she was the youngest participant in the 2004 Thelonious Monk Vocal Competition.

Main Stage, Keezer Trio © Andrea Canter

Price brought a trio of young lions along to Iowa City, including masterful Warren Wolf on piano, Eric Prevert on bass, and David Brophy on drums. The repertoire encompassed standards that allowed Price to display a wide range of vocal emotion: “Comes Love,” “Trolley Song,” “Out of This World,” “Stairway to the Stars,” “People Will Say We’re in Love,” etc. By the third or fourth tune, she was comfortably scatting like a pro, on “Stairway to the Stars”, on the bridge to “I Only Have Eyes for You,” not overdoing it and not afraid to cut loose. Price also included some less common tunes, “Whisper Not,” “Serande in Blue,” “You Hit the Spot” (her encore). At times her phrasing—the way she would stretch a word or syllable—recalled a higher-register Diana Krall, at other times Ella; her voice seemed elastic, her pitch generally true although not as dead-on as Monheit. Yet Monheit at this age, even now, was less inclined to take the chances that propel a great voice into the realm of jazz interpretation. Rachael Price has the confidence and ears of a more seasoned singer. I have no idea what this voice will be like in ten years, but it is both scary and thrilling to wonder.

Digital Tech + Rapp = Dapp Theory

Is Dapp Theory, led by electronic keyboardist Andy Milne, really a “Weather Report for the New Milennium?” That description led me to consider a dinner break away from the Pentacrest but in the end, I stayed on, and mostly I appreciated the opportunity to hear yet another high tech, cutting edge band comprised of a group of leading practitioners of the avant garde—Milne, saxophonist Loren Stillman, vocalist/poet John Moon, bassist Janek Gwizdala, and drummer Sean Rickman. In total, the instrumental ensemble reminded me somewhat of Chris Potter’s current Underground Project minus guitar with its modal melodicism. Moon was featured prominently on two compositions, his rap riveting, even hynotic; Stillman was particularly engaging on soprano, and Milne’s percussive chords boldly informed much of the set. Compositions written by band members included “SOS, “Déjà vu”, and “After the Fact.” I have never been attracted to rap, but putting it into a jazz context brings it closer to my ears.

Unusual Street Food © Andrea Canter

Stompin’ on Mars With the Geoffrey Keezer Trio

Speaking of prodigies, this one has more than lived up to his early accomplishments. Holding the piano chair for Art Blakey when he was a mere 18, Geoffrey Keezer today, in his mid 30s, has a remarkable discography as leader and key partnerships with the likes of Jim Hall and Joe Locke. His trio for this weekend included bassist Matt Clohesy (who appears on the fall 2005 release, Wildcrafted) and first-call drummer, Jon Wikan. A late substitution for the originally scheduled Lee Konitz, the Keezer Trio was hardly a back-up band and treated the audience so the most sophisticated small ensemble work of the weekend.

The trio got off to a swinging start with Jimi Hendrix’ “May This Be Love,” then tackled a Keezer original, “Mirram.” Following an orchestra introduction worthy of McCoy Tyner, Keezer was off into improve land with a heavy bassline in his lefthand, lyrical lines flowing from the right. Wikan was all over the drumkit. As if in cahoots with the Bad Plus, Keezer offered his “Bud Powell” translation of David Bowie’s “Life on Mars,” with a 21^st century glimmer to the introduction spiced with Wikan’s brushwork before the long languid lines with twisting fills and chiming phrases brought forth Bud. Keezer continued to build with crescendo swirls and chunky chords while Clohesy created a vibrating undertow. Another massive deconstruction involved Wayne Shorter’s “Footprints,” given a Latin touch as Keezer engaged in a three-way conversation with Clohesy and Wikan, adding some Rhodes-like phrases without any of his usual companion keyboards. Following a rippling montuno, some fragments were readily identified as falling from the original melody. Back to the pop/rock songbook, Keezer and company created a Lennon/McCartney medley of “Across the Universe” and “Give Peace a Chance,” initially featuring some structurally complex piano soloing as Keezer layered phrases and arpeggios, then evolving into a blues-tinged hymn as bass and drum joined in, hints of Keith Jarrett along the way. Keezer’s “Beneath the Volcano” oozed danger and excitement with what seemed like a quote from “Rhapsody in Blue” thrown in toward the final measure.

Geoffrey Keezer Trio © Andrea Canter

Two Keezer “classics” closed the set, his rendition of Maria Schneider’s “Gush” with its harpish keyboard cascades and a heavily corrupted “Stompin’ at the Savoy”—filled with dynamic shifts, melodic detours, sudden changes in velocity, and finally fragments of the original theme. Keezer, in his own innovative way, creates small symphonies for three instruments, a fitting set falling between Dapp and Mingus.

Festival Finale: Mingus Dynasty

Charles Mingus’ widow Sue Mingus has made sure that the musical legacy of the great bassist is preserved. The seven-piece Mingus Dynasty band was the first of several projects that also include the Mingus Big Band. Dedicated to performing the massive repertoire of Mingus compositions, a number of artists rotate through the Dynasty and Big Bands, but always the performances feature the very best of today’s musicians. Having listened all weekend to music reflecting both straight ahead mainstream and experimental electronics, the Mingus Dynasty’s allegiance to acoustic innovation seemed well suited to the final main stage event.

Mingus Dynasty © Andrea Canter

An unexpected treat was the chance to hear pianist George Colligan, along with the fast-surging altoist Jaleel Shaw and such veteran performers as Seamus Blake (tenor), Alex Sipigian (trumpet) Ku-umba Frank Lacey (trombone), Boris Koslov (bass) and Donald Edwards (drums). Together, the septet easily created the symphonic atmosphere of a big band. Blake was featured on “Sweet Sucker Dance,” proving to be a fine balladeer with his slightly gurgling vibrato and hard edge, backed by the harmonic majesty of the ensemble. Lacey, whose vocals brought cheers throughout the set, tossed off some wild tromboning on “Boogie Stop Shuffle” while Colligan countered with equally wild keyboarding. Shaw, whom I heard recently with the Roy Haynes Quartet, had some near-the-edge spiraling solos throughout the night, as did Sipigian. But the whole was greater than the sum of its parts, and the Dynasty promises to expand its reign in the name of Mingus. Big bands (and smaller ones) tend to be popular among broad audiences, and to see 5,000 enjoying a band devoted to the complex music of a modern icon such as Charles Mingus gives one much hope that jazz will indeed survive—and thrive—in its second century.

The last notes dissipating in the evening air, we gathered up our lawn chairs and headed to the parking lot, a bit of Mingus in our step, wondering how the 2007 Iowa City Jazz Festival could top this one.

For more information about the Iowa City Jazz Festival, visit www.iowacityjazzfestival.com. The ICJF is held on the first weekend of July every summer.