Is This Jazz?: My Time At Newport Jazz Fest

This past weekend members of the jazz faithful from across the country packed into their cars and headed toward the grand display that encompasses the annual Newport Jazz Festival. Thousands pack onto the tiny peninsula where the historic Fort Adams resides and which for two weekends each year houses some of the best sounds from across the globe, with the second occasion hosting the hottest and brightest talent from the world of jazz. This year did not disappoint with its wide array of artists and groups that showcased the entire spectrum of what we can consider jazz. Being such a diverse category of music, I would imagine that it’s hard to try to present a well-rounded lineup while also finding artists that can draw a crowd, but seeing as how they were able to sell out the Saturday, it appears as though they had no difficulty with the balance. While all of the three days had a good smattering of talent, they all felt as if it each had its own unique character and statement to make. With that in mind, here are some condensed thoughts on the 2016 edition of this historic festival.

The rain tried to keep down the spirits of those in attendance on Friday, but soon enough the clouds parted and the sun was shining on all who stuck it out. While jazz has always been known for rewarding a musician’s dominance over the acoustic instrument, this day was a heavy nod toward the blending of electronic effects and instruments into the typical arsenal. Masterful sets by Kneebody and the Donny McCaslin Group showcased the possibilities of this analog and digital marriage by using a sea of different keyboards, pedals and amplifications to enhance their virtuosic playing and collective dynamic. It was a toss-up between who did it best, but keyboardists Adam Benjamin (Kneebody) and Jason Lindner (D.M.G.) both utilized their various synths and effects to craft otherworldly textures in which their horn players — Donny McCaslin leading his group on saxophone, both Ben Wendel on saxophone and Shane Endsley on trumpet for Kneebody — could weave lines in and out creating sonorous blends unachievable through pure acoustical means. However, proving that the acoustic still has a commanding presence, Tyshawn Sorey and his trio Alloy went through a set-long composition, commissioned by the George Wein/Doris Duke Artistic Programming Fund, that intermingled bits of mystical notation with freewheeling improvisations that had the harbor stage crowd captivated for the entire hour. What struck me most about this day in hindsight is how this mix — acoustic and electronic, analog and digital, old and new — spilled over into the over arching theme of this year: a celebration of what was, is and will be in jazz.

Saturday we got a solid look into what was and is, with a roster full of hallowed names who have shaped the music for decades or at the very least have become the goal posts of this genre over the last few years. Legends such as John Scofield and Joe Lovano were passing fiery lines to each other on the Quad stage while on the Fort stage, The Bad Plus paid homage to Ornette Coleman with their expansive but reverent interpretations of Coleman’s album Science Fiction. Even younger groups like The Hot Sardines presented sounds most associated with the “then” rather than “now,” but still presented a lightning set of hot swing with marvelous arrangements and fantastic interplay. Though not strictly a jazz act, but certainly with her fair share of global renown, Norah Jones — with the aid of Brain Blade and Chris Thomas — conquered her set on the Fort stage with grace and and soul, showing off her chops from when she honed her skills as a jazz singer in her early years in NYC. Both the Chick Corea Trilogy (featuring fellow masters Christian McBride and Brian Blade) and Gregory Porter had magnificent sets on Saturday after also closing night one at the Tennis Hall Of Fame. Each group was comprised of musicians who are at the absolute pinnacle of creative ability, but somehow still manage to reach higher through all of their sets; the Trilogy with their awe-inspiring instrumental prowess and Porter with his warm and embracing voice backed by musicians of equal caliber. It’s no surprise as to why this day sold out.

Not to be outdone, the final day of the festival featured artists who currently are reshaping jazz and will be redefining it for many years. The future was evident on Sunday. Opening the day on the Fort stage was new jazz convert Nels Cline presenting large ensemble compositions from his upcoming album Lovers. I didn’t know what to expect but was surprised to hear a rich set of Gil Evans-sounding textures floating around semi-orchestral arrangements of stunning depth. Later on, Christian Scott Atunde Adujuah and his ensemble tore down the Harbor stage with Scott’s “Stretch Music” in which they explored a face melting fusion of a wide range of musical forms or languages. Although Charles Lloyd has been blowing minds for decades now, he and his quartet of younger lions — Jason Moran, Reuben Rogers, and Eric Harland — played some of the most adventurous and stirring music of the festival. If you could make your way close enough to the mobbed Quad stage to check out Kamasi Washington and his group, you were treated to an unrivaled majesty that further cemented jazz’s adulation toward its latest rising star. This all being said,  while it’s hard to definitively choose, probably my favorite set of the entire weekend was Ben Williams & Sound Effect on the Harbor stage. From a groove that wouldn’t quit, to an inhuman group blend and tightness, mixed with individual performances that are the stuff of legend, to an intoxicating energy within the audience, it’s impossible to accurately express the immensity of that experience. If that was the only performance you saw, you would have left the festival dragging your jaw, it really was that good. Also, if we’re talking about the future of jazz I have to give shout-outs to the brilliant performances from all the local young talent that performed in the URI Big Band, RIMEA Senior All-State Jazz Ensemble, MMEA All State Jazz Band and Berklee Global Jazz Ambassadors; you all were incredible and we can’t wait to see how you make your marks on this music.

Overall, this year showed an interesting blend of the variety of sounds observable under the category “jazz”, and there were so many inspiring performances and moments from this festival that all of us who had the chance to attend should feel truly blessed.

As we left the Fort one final time to close out this year’s festival season in Newport, I am imbued with a renewed sense of hope. With the recent shifts in the upper structures of the Newport Festival Foundations comes the inevitable stench of outside judgment and doomsday prediction. Yet, judging on how the Jazz Fest felt only five years ago compared to now, there is a definite sense that this celebrated event is in the midst of a revitalization and return to its full glory as it sits above the rest in the pantheon of music festivals around the world. There are areas that need to be addressed, but the talent has arrived and artists are eagerly awaiting their chance to take their places next to giants who hold up this massive history. Keep your eyes focused on newportjazzfest.org for all Newport Jazz Festival news, and be sure to grab the necessary provisions in order to make your next migration to one of the greatest music festivals this side of the Milky Way.

Happening Around Town:

The John Allmark Jazz Orchestra; Mondays @ The Met (Pawtucket)

Is This Jazz?; first Friday, bimonthly @ AS220 (Providence) isthisjazz.tumblr.com

Joe Potenza; Fridays @ Tarragon Bar (Providence)

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam;Tuesdays @ Ten Rocks (Pawtucket)

Parlour Jazz Jam; third Sunday each month @ The Parlour (Providence)

Matunuck Beach Hot Jazz Party; Mondays @ The Ocean Mist (Matunuck)

To add your listing please email isthisjazzri@gmail.com.

Ben Shaw is a local composer, performer, writer, and podcaster. Dig into his works at ahueofshaw.tumblr.com or find him on Twitter @ahueofshaw.