Hank Jones receives Jazz Guardian Award from DJF Director Teri Pontremoli©Andrea Canter

If my first Detroit Jazz Festival (2008) was a revelation, my second last weekend was at least as much an ear-opening and even more inspiring experience. Celebrating its 30th anniversary with a focus on Detroit’s jazz lineage, the theme “Keepin’ Up With Joneses” not only recognized the legacy of native sons Hank, Elvin and Thad Jones, but brought “home” famed Detroiters Sheila Jordan, Dee Dee Bridgewater, Charles McPherson, Geri Allen, Louis Hayes, Bennie Maupin, Karriem Riggins, Rodney Whitaker and Carlos McKinney, and a few more who made the Detroit area home, including Gerald Wilson and Marcus Belgrave. But it was not all about Detroit, as the festival sought to celebrate other musical families—the Brubecks, the Heaths, the Coryells, the Pizzarellis, the Escovedos, the Claytons. Last year’s Artist in Residence Christian McBride appeared in several configurations, as did the 2009 Artist in Residence and another noted bassist, John Clayton. In further tribute to Detroit and the festival’s long history, there were world premiers of commissioned works by Gerald Wilson and John Clayton; a recreation of Detroit legend Donald Byrd’s Blue Note recording, A New Perspective; and recognition of four of Detroit’s “Jazz Guardians” (Hank Jones, Marcus Belgrave, festival founder Robert McCabe, and longtime Detroit jazz educator Ernie Rodgers). 

Dave Brubeck©Andrea Canter

Experiencing the friendly efficiency and artistic integrity of the 2009 DJF, it’s hard to remember that only three years ago, the attainment of a thirty-year anniversary seemed unlikely. In 2006, a jazz angel in the form of Carhartt heiress/Mack Avenue Records owner Gretchen Valade offered a ten million-dollar endowment to ensure the future of jazz in Detroit and stimulate further funding efforts. Valade was a familiar presence throughout the festival, as was Festival Executive Director Terri Pontremoli and an army of spirited, usually smiling volunteers. Having convinced several friends to try Detroit this year, I am confident my recommendations are still credible. In particular, the Detroit festival boasts:

• Only free music—no ticketing of selected headliners, everything is free to everyone.
• Mostly open seating--there are a few rows reserved for VIP seating (for donors) at the three largest venues, otherwise its first come, first seated, and comfort in setting up your own chair if you prefer. Like other outdoor festival’s I’ve attended, I’ve never had a problem leaving my chair to hit another stage or concessions, always finding it where I left it. There’s an etiquette among jazz festival attendees that seems universal.
• Diverse music largely within the umbrella of “jazz”―and leaning more toward bebop and post bop mainstream eras with a small smattering of Detroit’s “other” sounds that often find their way into jazz—Motown, soul, gospel, blues, hip-hop.  None of the smooth palp that confuses naïve audiences about the difference between Kenny Garrett and Kenny G.
• More headline acts per day than any one individual can attend (or absorb!)
• Strong emphasis on “passing it on” via performances from middle and high school bands, area and national college bands, even a “Kid Bop” tent for the youngest fans to enjoy some hands-on experiences. College student musicians appeared on the main stages with such luminaries as Dee Dee Bridgewater, Stefon Harris and Eddie Daniels.

A Dozen Cool Things at the 2009 DJF

John and Bucky Pizzarelli©Andrea Canter

• The emphasis on jazz families: Not only did we enjoy 89-year-old Dave Brubeck and his famed quartet (with Bobby Militello, Michael Moore and Randy Jones), we enjoyed his sons’ ensemble, The Brubeck Brothers, performing their own set and then turning up as Dad’s guests an hour later. Drummer Dan in particular is a fiery presence. Other family outings included the totally delightful dueling father/son duo of Bucky and John Pizzarelli, the energizing McKinfolk (family of late Detroit jazzman Harold McKinney), the tireless Heath Brothers (headed by 81-year-old Jimmy and 74-year-old Tootie), and the Clayton Brothers Quintet featuring bassist John, saxophonist Jeff, and John’s son, pianist Gerald, on stage with the Scott Gwinnell Orchestra to premiere John’s concerto grosso.

• The performances of sacred Old Lions: Piano legends Dave Brubeck and Hank Jones (see below); Sheila Jordan (always telling stories, sometimes in song, sometimes as stand-up comic); the never-tiring Gerald Wilson, leading his orchestra through a new work appropriately titled “Detroit” and telling tales with each tune, arms flailing and mouth grinning; Jimmy Heath, appearing with the DJF Orchestra only a few minutes after ending his set with the Heath Brothers; Louis Hayes, still leading the “youngsters” of the Cannonball Adderley Legacy Band.

• The performances of a new generation of jazz tigers: Pianist Gerald Clayton, on stage with Dad John and Uncle Jeff with the Clayton Brothers Quintet but even more spectacular in a guest slot with the Brubeck Institute Quartet; the Brubeck Institute Quartet, four of the most promising high school graduates nationwide, who were finding their stride on the Mack Avenue Stage and reported to have gone far beyond boundaries in an after-hours jam at the Marriott; the many college bands but particularly the Michigan State Jazz Band (led by Rodney Whitaker) which ably backed Dee Dee Bridgewater; the small band from Western Michigan U backing Stefon Harris, and the Wayne State University Jazz Band, up to the task of supporting Eddie Daniels; young swinging singer Jesse Palter, a Detroit native who should soon receive wider attention; the young members of the Alma College Percussion Choir, with five vibraphones engaged simultaneously and enough energy to fuel the Ford Plant; and singer Jose James and pianist Alfredo Rodriguez who deserve special mention (below).

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  Chick Corea©Andrea Canter
  91-year-old Hank Jones, opening the festival with a trio featuring the very elegant George Mraz on bass and “house drummer” Carl Allen: They moved with exquisite feel and precision through “Nica’s Dream,” “Speak Low,” and “Stella by Starlight;” swung with gusto through “Twisted Blues” and “Blue Minor,” and capped the set with a luscious “Round Midnight.”

• The “Return to Forever” trio of Chick Corea, Stanley Clarke and Lenny White, following Hank Jones with a mostly fusion-less display of pure post bop chops: Clarke might be known as one of the grand masters of electric bass but this was a strictly acoustic set marked by supreme empathy among three friends, the crowd-pleasing rendition of “Spain” conjuring old Seville one moment, an ultra-modern urban scene the next. White was alternately a powerhouse and a subtle pacesetter; Clarke showing that his electric wizardry translates with great charm and beauty to the upright bass; Corea dazzling, graceful, and generous.

• The Wayne Shorter Quartet: Surely one of the strongest ensembles working today. Some of the crowd apparently expected a more conservative set, but most remained and were amply rewarded with some of the most exciting improvisational journeys of the festival that only increased in intensity over 90 minutes of music. Take Shorter’s flights of imagination on tenor or soprano, add the creative antics of Danillo Perez, John Patitucci and Brian Blade..... and try to contain it! (I recall Shorter presenting a 45-minute set for $40 ticketholders at Ted Mann Auditorium in Minneapolis a few years ago; in Detroit we had twice as much music, no cover. Go figure.)

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  Dee Dee Bridgewater©Andrea Canter
  Geri Allen, here, there, and everywhere: Geri Allen is one of the less heralded but most critically acclaimed pianists of her generation, and her projects just get more and more interesting. Last year she appeared at her home town festival with Ravi Coltrane and Christian McBride; in 2009 she was on stage with the Karriem Riggins Experience, Marcus Belgrave All-Star Ensemble, the Detroit Jazz Festival Orchestra, and her own trio. With the latter, she presented what she termed a “Hero” set of tunes dedicated to the likes of Alice Coltrane (“Swahili”), Philly Jo Jones (“Philly Jo”) and the victims of 9/11 (“Lord’s Prayer”). Allen’s work always engages brain and heart simultaneously, and a visual as well as aural treat was special guest Maurice Chestnut, a tap dancer who has been working with Allen for the past few years. His presence added in effect a second percussionist, and aptly during “Philly Jo,” he traded fours and eights with drummer Kassa Overall.

• Dee Dee Bridgewater: The “lady be good” fronting the Michigan State University jazz band. Having seen Dee Dee several times with quartet and most recently with the ensemble of Mali musicians in her Red Earth project, it was a treat to finally hear her with big band support.  She gave Kurt Weill’s “September Song” a Motown glaze, scat seemingly her native language. “Bye Bye Blackbird” featured Dee Dee weaving in and out with Rodney Whitaker taking over on bass and an unnamed young talent on guitar.

• Jose James Quartet: There were many reasons to see Jose, who rocked the stage last year as part of a Motown Tribute to Marvin Gaye. First, he is perhaps the singer of his generation most likely to ensure the ongoing vitality of male jazz vocalists, blending the best of Kurt Elling and Al Jarreau into a 21st century original, whether covering Coltrane or Bobby Timmons. Second, there’s Twin Cities pride here, for not only Minneapolis South High alum Jose James but an even younger South High product, Chris Smith, handling bass duties here in-between gigs with Jeff “Tain” Watts and studies at the New School in Manhattan.

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  Alfredo Rodriguez©Andrea Canter
  Alfredo Rodriguez, for me (and I suspect many others) the most pleasant surprise of the festival. The 23-year-old pianist defected from his native Cuba through Mexico in his efforts to pursue a music career in the U.S. He was detained a while, but ultimately connected with Quincy Jones, made his way to Los Angeles, and is now in the fortunate (and deserved) position of having Jones represent his music interests. Unlike any Cuban pianist I have heard, Rodriguez—the only artist I saw at the festival to perform solo-- seemed more a melding of Bill Evans, Kenny Werner, Fred Hersch, even touches of Thelonious Monk in conception if not execution, hints here and there of his Cuban heritage... if Chopin had spent time in Havana. His rendition of “Body and Soul” was the most stirring keyboard version I can remember, and he arranged the unlikely nursery rhyme, “Frère Jacques,” as if always intended to be a beautiful jazz ballad. Technical brilliance tempered by touch and eloquent voicings, never bombastic, Alfredo Rodriguez hopefully will soon be playing in a club near you... and me.

• Great Vibes. From the five-vibraphone front line of the Alma College Percussion Ensemble to Warren Wolfe’s double header with Karriem Riggins’ Virtuoso Experience and Christian McBride’s Inside Straight to Stefon Harris’ guest spot with the Western Michigan University jazz band followed by his cutting edge Black Out ensemble, the mallets were flying throughout the festival. Wolfe is a rising star to watch; Harris is a already a shining nova.

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  Bottoms Up! Rodney Whitaker, John Clayton and Christian McBride©Andrea Canter
  Three-Bass Salute to Ray Brown, with Christian McBride, John Clayton, and Rodney Whitaker. It was the sort of thing Ray Brown would have assembled. And how special to see a packed venue (albeit, it was the relatively small Mack Avenue Pyramid Stage) and rapt attention for a trio comprised of only bassists. Three virtuosos in their own rights, as a trio (and in duo combinations) these musicians were as entertaining, engaging, and elegantly playful as any at the festival. They alternated leading and supporting roles, arco and pizzicato, often switching several times within one verse. The threesome danced through “Misterioso,” Whitaker and Clayton tossing the lead back and forth on “Bye Bye Blackbird,” Whitaker and McBride shining on “My Funny Valentine.” Possibly the most smiles per note of the weekend. Ours and theirs.

Wish List

OK, in reality I wish this festival spread its 100 or so musical performances over a full week so I could catch each one in its entirety. Or maybe that would simply be too much. But listening to fellow enthusiasts during the weekend, there were some acts I really wish I had heard: 

Geri Allen©Andrea Canter

• The Donald Byrd “New Perspective” Project with choir and septet led by Rodney Whitaker, featuring some mighty fine horns from Sean Jones, Ron  Blake and Tia Fuller
• Sean Jones, whom I only skipped as I had seen him recently and he was opposite Jose James.
• The North Carolina University Jazz Band... who knew? My friends Mike and Donna declared this band to be their festival highlight.
• The Heath Brothers Quartet. Again, I had seen these guys relatively recently and they were opposite Wayne Shorter. But this is a great ensemble and it is always a treat to see Jimmy and Tootie together.
• The Dave Bennett Quartet. My friends caught Bennett while I was catching Stefon Harris. His reputation as heir to Benny Goodman is apparently well deserved.
• Gretchen Parlato, Sachal Vasandani. I skipped these sets because both were to be at the Dakota Jazz Club this week, giving me more flexibility, but these two young singers are always worth hearing.
• More Geri Allen: I intended to spend more time at the Marcus Belgrave set, but then I returned to hear the end of Alfredo Rodriguez. I wish I had stayed for all of the trio set. Too much music, too little time.
• Pepsi Talk Tent: As last year, I never got to the tent. In part, it is located a block up from Hart Plaza’s main stages so running between other sets is not practical. It is always competing with live music. But the opportunity to hear interviews with Hank Jones, Wayne Shorter, etc. is pretty compelling.

So my wish for the 2010 Detroit Jazz Festival, which I am determined to attend, is for just a few less enticing choices to reduce my scheduling angst. Or maybe just a few more breaks to catch my breath, stand in line for those ribs, and enjoy the riverfront.   

Faces of jazz in Detroit: (Top row, L-R) Alma College student; Gerald Clayton; John Clayton, Sheila Jordan. (Second row, L-R) Karriem Riggins, Jose James, Wayne Shorter, Stanley Clarke. (Bottom row, L-R) Stefon Harris, Louis Hayes, Larry Coryell. (Photos by Andrea Canter)

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