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Following a memorable Newport People Competition, the weekend prior that noticed the return of Joni Mitchell and Paul Simo, Fort Adams State Park actually was taking part in host to many a memorable gig throughout Summer season 2022. But the Newport Jazz Competition itself holds its personal iconic historical past because it was initially billed as The First American Jazz Competition again in 1954. Since then Newport Jazz has welcomed to the stage the likes of Mingus, Miles, Zappa, Ray, Duke, and Blakey amongst all jazz and its numerous improvisational leaders.
For this 2022 version that passed off from July 29-31, 2022; the aim was to attract a youthful viewers, and with the reserving of Norah Jones, MonoNeon, Nubya Garcia, Soul Rebels, Celisse, and Sons Of Kemet on board- that apparently labored. It’s unattainable to cowl three phases with 18 acts per day every, 54 for the three days and this brother/sister crew managed to see only a few full units as we went for breadth vs. depth. Usually the strongest and most memorable performances got here from artists/bands that few would have predicted.
Friday – Day 1
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In a barely offbeat transfer, though jazz and dance are intertwined, one of many world’s premier faucet dancers, Michela Marino Lerman delighted, dancing to the music of her trio, on the Harbor Stage. The primary stage (Fort Stage) started with a strong efficiency, albeit on the “too brief” facet, from The Mingus Massive Band led by musical director and bassist Boris Kozlov and that includes the vocals of trombonist Frank Lacy, notably on “Bizarre Nightmare” and the traditional “Fables of Faubus.” Stirring solos within the 45-minute set included baritone saxophonist Scott Robinson, pianist Helen Sung, Kozlov, altoist Brandon Wright, and tenorist Wayne Escoffery. Guitarist/vocalist Celisse, who has additionally appeared the prior week at Newport People, introduced her model of blues-rock on the Quad Stage earlier than Nate Smith and Kinfolk with particular visitor Joel Ross, stored the beats rocking on the Fort Stage. Apart from Ross, altoist Jaleel Shaw, guitarist Brad Allen Williams, and vocalist Amma Whatt had robust turns as did apparently visitor Vernon Reid who we didn’t witness.
Bassist and bandleader Carlos Henriquez, a longtime member of the Jazz at Lincoln Middle Orchestra, carried out his Grammy-nominated mission South Bronx Story, a fusion of jazz and Latin jazz (inexplicably the one “Latin” act), heating up the in any other case breezy Harbor Stage. In the meantime, the Nicholas Payton Trio with drummer Invoice Stewart and bassist Ben Williams delivered a assorted set leaving attendees in awe of Payton’s immense abilities on trumpet and each the acoustic and electrical piano, all of which he employed on most tunes, usually taking part in the trumpet whereas comping on the keys concurrently. On the Harbor Stage Grammy-nominated vocalist and loop artist Thana Alexa introduced the viewers to their toes together with her Ona mission powered partly by her husband and a number of Grammy winner, drummer Antonio Sanchez and bassist Matt Brewer together with guitarist Jordan Peters and keyboardist Maya Kronfeld, a robust lineup that greater than lived as much as Alexa’s equally highly effective messaging about feminine empowerment.
Because it seems, the Harbor Stage, the smallest of the three phases, was the clear winner on Friday, contemplating the performances of Henriquez, Alexa, and, if not the Competition’s, actually Friday’s most potent, by four-time Grammy nominated The Baylor Challenge, a fusion of jazz, gospel, and legacy, that includes the incomparable mix of nuance and energy from vocalist Jean Baylor, particularly on the audience-instantly-on-their-feet ovation for the goosebump-inducing piano-vocal duet “Hallelujah.” Husband and drummer Marcus Baylor together with tenorist Keith Loftis and trumpeter Freddie Hendrix contributed to what this author’s good friend described as “one of many high 4 reside performances” he had ever seen, talked about in the identical breath as Stevie Surprise and Prince.
The competition’s Inventive Director Christian McBride usually launched the acts in his animated type and by what’s now a practice put collectively his eclectic jam session, dubbed this 12 months because the “Newport Jawn.” McBride performed each acoustic and electrical bass in a band that featured some members taking part in with the bassist for the primary time, together with avant-garde pianist Vijay Iver, harpist Brandee Youthful, drummer Makaya McCraven, electrical fusion guitarist Mike Stern and extra frequent collaborator tenor saxophonist Chris Potter. Not surprisingly, given the top-tier musicianship of those disparate elements, it labored effectively, particularly on the opening Coltrane piece, “Africa.” McCraven and McBride have been regular all through in assist of the jam’s two strongest soloists, Potter and relatively unpredictably, Stern.
Because the day wound down, we noticed a peaceable solo efficiency from Shabaka Hutchings who charmed the viewers by taking part in principally flute and picket flutes, the antithesis of the facility he brings to the bands he leads or co-leads– Sons of Kemet, The Comet Is Coming, and Shabaka and the Ancestors. Terence Blanchard and the E-Collective with The Turtle Island String Quartet delivered music from their acclaimed Absence, specializing in music impressed by Wayne Shorter together with “The Elders” and the album’s title monitor, the same set to that carried out at Exit Zero Jazz Competition in Fall of 2021 which we lined right here.
The closing act was Norah Jones, main a quartet that included drummer Brian Blade, bassist Chris Morrissey and guitarist/pedal metal participant Dan Iead performing principally songs from her 2002 breakout Come Away with Me, which was simply reissued because the twentieth-anniversary version. As such we heard the hit single “Don’t Know Why,” the desperation of “Say No Extra” the stark piano-and-pedal-steel association of “Travelin’ On,” the hard-edged “Little Damaged Hearts” (on which Jones performed guitar) and others. Jones can simply win over any viewers together with her heat voice however after listening to principally jazz all through the day, for this author, it was a bit tough to regulate to her fusion of jazz, nation, and blues.
Observe – We have been privileged to attend the out of doors screening on the movie Hargrove, specializing in the final 12 months of the nice trumpeter’s life, introduced by Newport Movies on Thursday evening. Be looking out for it this Fall because it will get wider distribution.
Saturday Day 2
Saturday featured 4 of the music’s main or rising feminine vocalists, starting with Melanie Charles, whose association of Joni Mitchell’s “Woodstock” was a crowd pleaser, amongst others. In the meantime, Jazzmeia Horn opened the Fort Stage with a quartet, as she sang and scatted by her unique compositions, together with “Free Your Thoughts.” Apparently, tenorist Craig Jackson, a current graduate of Berklee, impressed as did bassist Eric Wheeler who was the lone accompanist on one choice. The third vocalist, 23-year-old Samara Pleasure is already being billed as “The Subsequent Ella” carried out late that afternoon, accompanied by Pasquale Grasso (guitar), Ben Paterson (piano), David Wong (double bass), and Kenny Washington (drums). Pleasure, together with her wonderful vocal vary and the proper pitch appears intent on being the torchbearer of custom with such fare as “Somebody to Watch Over Me,” “Star Mud,” and “The Hassle with Me is You.” The viewers embraced her instantly.
As if that wasn’t sufficient, Cecile McLorin Salvant, a perennial Newport favourite, backed by pianist Sullivan Fortner and guitarist Marvin Sewell, amongst others, introduced her newer strategy that mixes spoken phrase with vocals. Her repertoire included her personal “Obligation,” Kurt Weill’s “Barber Track,” and picks from Gregory Porter and Dianne Reeves “Mista,” which featured bluesy resonator guitar of Sewell.
Saturday’s shock spotlight was the set from younger Bahamian trumpeter Giveton Gelin at midday no much less. He and his quintet with killer altoist Patrick Bartley and acclaimed pianist Micah Thomas, got here out on fireplace with the front-line evoking Booker Little and Eric Dolphy. They by no means let up in a blistering set that had the gang on their toes from the very first quantity. Makaya McCraven, showing in all three years of this crew’s attendance, introduced out his frequent Chicago-based collaborators together with Brandee Youthful. The mixture of her harp, Joel Ross’ vibraphone, and Matt Gold’s guitar created probably the most fascinating harmonics heard on the fest. Altoist Greg Ward and trumpeter Marquis Hill shined of their solo spots whereas McCraven and common bassist Junius Paul stored it shifting by tempo and dynamic adjustments. One other main drummer, Antonio Sanchez, led his band, Dangerous Hombre, that includes the vocals of Thana Alexa in an entertaining, artistic set on the Quad Stage. Later, one more drumming bandleader, Yussef Dayes from southeast London, authored a formidable jazz fusion set on the identical stage.
Sons of Kemet, who raised the roof in 2019 and have introduced that they’re calling it quits after this tour, created a mosh pit/London dance membership scene in entrance of the Fort Stage as saxophonist Shabaka Hutchings and tuba participant Theon Cross, every of whom additionally had solo units on the fest, sparred and burned to the beats of dual drummers Tom Skinner and Eddie Hick. taking part in at near-peak depth for an hour, saving a short picket flute interlude from Hutchings. Cross and Hutchings would usually face one another, melody to enrich and again, hovering, throbbing, and churning. At instances Cross made his tuba sound like an electrical bass. It was a full-on dance social gathering with all age teams collaborating.
Whereas Cory Wong led his personal huge band and was a part of the closing act, The Fearless Flyers with Nate Smith drumming, this crew was principally elsewhere protecting three different fascinating acts: Esperanza Spalding main her trio by a mix of vocals and jazz, the Maria Schneider Orchestra, and Joe Lovano’s Trio Tapestry These three acts proved to arrange the most important time battle for our crew and sadly Esperanza obtained much less time than the opposite two though in a spotlight of her set Shabaka Hutchings joined for a clarinet solo.
Schneider led her 17-piece band by picks from her Grammy-profitable Information Lords that includes a tremendous array of textures, the incomparable drumming of Johnathan Blake and poignant solo spots from Scott Robinson (baritone sax), Dave Pietro (alto sax), and Ryan Keberle (trombone), amongst others. Lovano’s trio was one of many few edgier teams (want there had been extra of them) acting from their ECM Trio Tapestry that includes artistic pianist Marilyn Crispell and drummer Carmen Castaldi. In contrast to a lot of the music on the fest, theirs is purposely quiet, lyrical, and delicate. The interaction is at a extremely superior degree whether or not Lovano is on tenor, soprano, or sopranino sax. Crispell’s solos are so extremely artistic, it makes one marvel why she doesn’t get extra recognition.
So, with a menu crammed with vocalists, all of whom stepped up properly, it was Gelin, McCraven, Schneider, Lovano, and The Sons of Kemet who all shined brightly as effectively.
Sunday – Day 3
Arguably, Sunday with its New Orleans bent, hip-hop focus, cultural variety, legends, and the George Wein tribute proved to be probably the most dynamic programming of the three days. New Orleans’ acoustic Tuba Skinny obtained of us into an brisk temper, kicking it off on the Quad Stage though most consideration was at The Fort Stage for probably the most recorded bassist in historical past, the residing legend Ron Carter and his quartet. Judging by the numbers of these standing in entrance of the stage, one would suppose it was a mid to late-afternoon act. After a little bit of a delay the quartet of pianist Renee Rosnes, tenorist Jimmy Greene and drummer Payton Crossley jumped into the ever acquainted “Seven Steps of Heaven,” and later within the set, “All Blues.” It was a brief set however Carter’s wealthy, sturdy tones stuffed the air, and lots of have been overheard, saying, “Wow! He’s nonetheless obtained it at 85.” Subsequent on the Fort got here an enormous blast of New Orleans brass with The Soul Rebels who had throngs rhythmically clapping and dancing to “504.” By now the social gathering was effectively underway. We obtained a fast peek at a dynamic set from Japanese trumpeter and fusion artist Takuya Kuroda and his quintet at Harbor, however he was sadly up in opposition to Jazz is Useless.
Jazz Is Useless, making their Newport debut, delivered one of many high three performances of the fest, constructing their set with charming, clean grooves to a mind-blowing crescendo. Backed by the L.A. band Katalyst, who carried out for the total set, co-leaders Adrian Younge and Ali Shaheed Muhammad, switching off on keys/synths and bass, introduced out their visitors. Legendary bassist Henry Franklin was first, staying for a few tunes adopted by iconic B3 organist Doug Carn who slot in fantastically with the sound. When 82-year-old altoist Gary Bartz hit the stage, the viewers was in an uproar and for this author, it was one of the magical moments of the three days. Bartz sang his traditional, impressed by Langston Hughes “I’ve Identified Rivers” from 1974, one which didn’t even seem on his collaboration with Younge and Muhammad Jazz Is Useless 006. Following an instrumental Carn and Franklin reappeared with the total ensemble doing a hybrid rap quantity, leaving us wanting a lot extra.
We briefly caught Jason Moran & Bandwagon, a trio delivering a cool set whereas Melissa Aldana and her quintet have been soothing and harmonically ingenious at Harbor. We didn’t wish to miss the colorfully ingenious MonoNeon (Dwayne Thomas Jr.), previously the bassist for Prince, whose quintet simply burned down the Quad stage, true to the lyrics in considered one of their tunes, “Right now we’ll burn this place down.” Drummer Mike Mitchell exerted extra energy than appeared humanly potential whereas the dual guitarists from Ghost Observe and the keyboardist performed wildly to lyrics like “lengthy stroll in your favourite ghetto.” It was loud, funky, artistic, and simply probably the most exhausting hour of the three days. The Quad Stage was going for 3 in row with Jazz Is Useless, MonoNeon, and Nubya Garcia, saxophonist from London making her Newport debut. Her set obtained off to a little bit of a shaky begin, however keyboardist Greg Spero stored it collectively and as soon as Nubya obtained within the groove, it moved properly.
In interviews previous to the fest, Christian McBride enthusiastically touted Angelique Kidjo. Performing Speaking Heads’ Stay in Mild’, she had of us of all ages dancing, swaying, and clapping to the African rhythms and her overwhelmingly charismatic efficiency of singing and dancing. The antidote of kinds for the immense power created by these afternoon performers was the imaginative, edgy set by pianist Vijay Iyer and his trio that includes bassist Linda Might Han Oh and rather than drummer Tyshawn Sorey, Jeremy Dutton at Harbor. These audiences respect and know nice music once they hear it and rewarded the trio with a well-deserved standing ovation.
To cap the occasion. Christian McBride led a slew of visitors in tribute to the late George Wein, founding father of each the Newport People and Newport Jazz Festivals. The tribute started with a bunch that always performed with Wein within the George Wein Allstars – trumpeters Randy Brecker and Jon Faddis, tenorist Lew Tabackin, clarinetist Anat Cohen, pianist Christian Sands, and drummer Lewis Nash. Because the set progressed bassist Jay Leonhart, vocalist Cecile McLorin Salvant, and the explosive pianist Hiromi adopted. Faddis, Leonhart, Nash, and Hiromi mixed for a chic tackle “Someplace Over the Rainbow,” setting it up for deep, bluesy, soulful takes on two of New Orleans’ best-known tunes – “Sunny Facet of the Avenue” and “St. James Infirmary” led by Trombone Shorty, who sang and performed trumpet on the previous and trombone on the latter. The knee-deep grit, particularly in McBride’s acoustic basslines was riveting and charming. Cohen then soared on her solo as did the front-line of Tabackin and Brecker earlier than all rejoined for an Ellington-sounding grand finale, with Giveton Gelin popping in for a flip.
Surprisingly robust performances are sometimes discovered with non-headliners on the smaller phases, Harbor and Quad, as was true this 12 months once more. But, if one have been to camp down at only one stage for your entire day, the “A-game” performances would inevitably depart that listener extremely glad. As talked about, the aim was to skew youthful and the competition had that look, relative to what we recall from the previous two festivals. Newcomers to the competition remarked on the persistently robust manufacturing and sound high quality all through. Moreover, it’s the respectful nature of the audiences and the communal goodwill that cuts throughout followers, volunteers, and even safety – a hassle-free vibe that defines the Newport Jazz expertise.
Photographs by Mary P. Hynes
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