In celebration of our 35th anniversary, Tri-C JazzFest (TCJF), Cleveland’s signature annual jazz event, is making a paradigm shift in its format, from April to summertime. Long known by the moniker “America’s premier educational jazz festival,” TCJF was founded 34 years ago as a means of developing a jazz studies program for Cuyahoga Community College (Tri-C). My late friend and colleague Dr. Reginald Buckner, in residence at Tri-C at the time while on sabbatical from the University of Minnesota, caucused with Tri-C music professor Dr. Thomas Horning about building a jazz festival at Tri-C. At the time the Cleveland area was bereft of any semblance of a jazz festival and the time was ripe. Enhancing that atmosphere was the development of Cleveland’s Playhouse Square Foundation.

Some years prior four classic old movie houses in downtown Cleveland were in danger of being destroyed in favor of parking lot and other assorted potential downtown development. Long story short, at the 11th hour before the wrecking ball forever changed the face of that sector of downtown Cleveland, a movement spearheaded by the late U.S. Senator Howard Metzenbaum led to the creation of the not-for-profit Playhouse Square Foundation to develop and manage these conjoined theaters. Tri-C became the education partner of the Playhouse Square Foundation, whose theaters (the 14th Street, Allen, Hanna, Ohio, Palace, and State, which range in seating capacity from 277 seats to 3,194) now rank as the second most active (next to the Kennedy Center) performing arts theater complex in the country. So in addition to Tri-C’s campus auditoriums, the Playhouse Square theaters were the initial venue hubs for Tri-C JazzFest.

During the planning stages of TCJF, Buckner and Horning put together an organizing committee that included two of the founding members of the Northeast Ohio Jazz Society – at the time Cleveland’s most active jazz concert presenter – Dr. Larry Simpson (currently VP at Berklee College of Music) and myself. The prevailing idea of the plan was for the festival to be education-based and secondarily to build Tri-C’s jazz studies program. The core of the festival became several days of high school jazz band adjudications by visiting artists-in-residence, augmented by a strong evening concerts component. The festival continued to grow, from a weekend activity to a 10-day event with high school jazz band adjudications, clinics and masterclasses with visiting professionals by day, and evening concert presentations. Along the way Tri-C JazzFest has presented every major jazz artist – including many of the immortals – and introduced countless new, young & emerging artists to our audiences, in both ticketed and free events at a broad array of venues both on-campus and in Playhouse Square theaters, as well as across Cuyahoga County – including numerous presentations at sites in Cleveland’s traditional African American communities.

Seventeen years ago, after professional opportunities found my career migrating first to the Twin Cities in ’84 then Washington, DC in ’89, I happily accepted an opportunity to serve as Tri-C JazzFest’s artistic director. As our festival continued to develop in its annual April sequence, it felt more like a robust concert series than a traditional jazz festival design. And that 10-day format began to get a bit gray around the edges as the years progressed, the sheer length of the event somewhat taxing our potential audience; not to mention the fact that April in Cleveland doesn’t exactly beckon festival travelers the way summertime festivals do. So under the current leadership of festival managing director Terri Pontremoli, and with the blessing of Tri-C’s new president, Dr. Alex Johnson (after years of very active and robust support from Tri-C President emeritus Dr. Jerry Sue Thornton), we are actualizing a plan to shift Tri-C JazzFest to more of a compact, multi-stage, simultaneous performances, summer event with a developing outdoor component, during a time when Cleveland’s weather is quite agreeable.

So mark your calendars for the weekend of June 26-28, 2014 as the beginning of a new day for Tri-C JazzFest. We’ll be utilizing several of the Playhouse Square theater stages, including their new outdoor stage on Euclid Avenue, with performances throughout those days and evenings. Our annual jazz education days will continue to be in April (10 & 11) and the great bassist Christian McBride will be our artist-in-residence, including performances by his Trio and his big band charts during our June sequence. We’ve assembled a strong lineup for June 26-28, which besides Christian McBride includes the following great artists and more (all pictured below): Terri Lyne Carrington, the Cleveland Jazz Orchestra (playing the music of Christian McBride), Eliane Elias, Ernie Krivda’s Fat Tuesday Big Band (playing a program of the Oliver Nelson charts for Jimmy Smith), Jamey Haddad’s Global Drum, Dave Holland PRISM, the Sean Jones Quartet, Dave Koz, Raul Midon, Marcus Miller Band, Eddie Palmieri’s Latin Jazz Orchestra, Gregory Porter, John Scofield Uberjam, Trombone Shorty and more tba. As they used to say in ancient times, be there or be square!

For complete Tri-C JazzFest information, including venues, show times and ticket information please visit http://www.tri-cjazzfest.com or call 216/987-4049 and ask about our new Festival Pass – 12 concerts for $250 – a limited time offer available through December 31, 2013.

Don’t miss these great artists at Tri-C JazzFest ’14…

Blessed with a spiritual quality reminiscent of the vibrant 60s/70s African American cultural consciousness scenes, and indelibly linked to Afro-Caribbean folkloric elements, percussionist Francisco Mora-Catlett has made two exceptional recordings over the last two years; these have included 2012’s striking Afro Horn MX and Francisco’s 2013 successor AfroHorn Rare Metal releases. Based on this year’s powerful followup, clearly Francisco is plumbing a deep well of distinctive thematic music.

I first met Francisco Mora-Catlett in Detroit back in my Great Lakes Arts Alliance and later Arts Midwest days of providing service to the jazz community of the Great Midwest. Back in those days Detroit and Chicago ran neck-and-neck in terms of activist communities of self-determining musicians, and Francisco was right there in the Motor City, working with such stalwarts as our mutual friend the late pianist-composer Kenn Cox. Some may recall Kenn Cox from the old Kenny Cox Contemporary Jazz Quintet that made two rare recordings for the Blue Note label. It had been more than a minute since I’d seen or heard Francisco Mora-Catlett, so the arrival of last year’s Afro Horn MX was a welcome sound. Immediately the mind drifted back to some of my undergrad African American studies courses at Kent State and my personal discovery of Henry Dumas’ powerful short story “Will The Circle Be Unbroken?” which is the thematic underpinning from which Francisco launched that first MX recording.

Now with his 2013 followup AfroHorn Rare Metal, clearly some measure of catching up with and inquisition of Francisco was in order. But first, I wanted Independent Ear readers to get to know a bit about Francisco Mora-Catlett’s background, particularly since he derives his hyphenated surname from renowned artist-parents.

Born in Washington, D.C. and raised in Mexico City (where I started studying music), my parents are African-American sculptress Elizabeth Catlett and Mexican painter Francisco Mora. I was a session musician at Capitol Records’ Mexican division. In 1970, I earned a grant from the Mexican government to attend Berklee College of Music in Boston, where I studied composition, and drum set with Alan Dawson at the Center for Afro American Artists Elma Lewis School, and African percussion with legendary Nigerian drummer Babatunde Olatunji.

From 1973 to 1980, I was a member of the internationally renowned Sun Ra Arkestra. Later I settled in Detroit working, touring and recording with outstanding musicians such as Kenny Cox, Roy Brooks, Harold McKinney, Donald Walden, Ali Jackson, Wendell Harrison, Sherman Mitchell and Marcus Belgrave. In 1986, I made my first album as bandleader: “Mora!” a progressive Afro-Jazz project. Thanks to a grant from the National Endowment for the Arts, I was able to study with Max Roach in New York City, performing as a member of Roach’s advanced all-percussion ensemble, “M’Boom”. I played on two of Mr. Roach’s Blue Moon albums: “To the Max” (1990) and “Live at S.O.B.’s New York” (1992).

In 1993, I was appointed a Visiting Minority Associate Professor in the School of Music at Michigan State University, where for 10 years I taught students: “percussion that derives from the concepts and traditions of the African presence in the Americas.” In Detroit I played drums and percussion on “Bug in the Bassbin,” the 1996 debut single by Detroit techno producer Carl Craig‘s groundbreaking jazz/electronica fusion project “Innerzone Orchestra”. I also appeared on the 1999 release of Innerzone Orchestra’s “Programmed.” Later that year, I launched my second album, “World Trade Music”, with fellow Innerzone artists Craig Taborn and Rodney Whitaker. In 1999, my contributions to the music world were recognized in Britain’s “Straight No Chaser” magazine*(1): “Like the most elegant hand-tooled walnut dashboard on the flight-deck of a Space Shuttle, is the sound of Francisco Mora Catlett.” My parting contribution to Detroit’s music scene was the creation of The Outerzone Band, featuring Marshall Allen and Craig Taborn.

Since relocating in New York City in 2002, I co-founded the Oyu Oro Afro-Cuban Dance Ensemble with my wife, Afro-Cuban dancer and choreographer Danys “La Mora” Perez Prades. With new recordings in New York City, my work as a percussionist and composer has been featured on two CDs for the Freedom Jazz Trio: New Under The Sun, featuring Francesco Tristano, and Live At The Bronx Museum; and Outer Zone 2010 Andromeda M-31, both with Craig Taborn.

In 2012, I released Afro Horn MX with an outstanding lineup of musicians: John “JD” Allen, Vincent Bowens, Alex Harding, Aruán Ortiz, Rashaan Carter and Roman Díaz. Writing in New York’s Downtown Music Gallery, Bruce Lee Gallanter described Afro Horn MX as being “Like the Art Ensemble of Chicago, Francisco Mora Catlett’s septet blends the ancient and modern as well as the African and Latin streams into a most delectable blend. … One of this year’s best.”

I’ve fortunately received significant acclaim for our new 2013 AfroHORN CD release Rare Metal, featuring Sam Newsome, soprano saxophone; Salim Washington, tenor saxophone, flute, oboe; Alex Harding, baritone saxophone, bass clarinet; Aruán Ortiz, piano; Rashaan Carter, acoustic, electric bass; Roman Díaz, percussion, vocals; Andrew Daniels, percussion; Danys “La Mora” Perez, Meredith Wright, Liethis Hechavarria, Sandra D. Harper, vocals.

How did your distinguished artist parents inspire your music?
They were always part and a crucial aspect in my development as a musician and a serious artist. Early in my commercial work in Mexico City I was consistently reminded by my father about not performing the classics and by my mother of not playing the blues. Encouraged to study composition with their uncompromising support, I was able to create a solid foundation in my early musical formation.

How did this AfroHORN project originate?
I joined Sun Ra and his Arkestra in Mexico City and, under his mentorship, came to the US. It was in Sun Ra’s house in Philadelphia where I was introduced to the writings of Henry Dumas, and where I read his short story “Will the Circle Be Unbroken?” I was so impressed by this work that I wanted to be part of an Afro Horn Jazz Band, so I put together the first Afro Horn band in Detroit in the early 1980’s. The idea of a mythical, cosmic, musical instrument, originated in powerful traditions, that link the universal criteria of the African Presence in the Americas, and that defies shallow interpretation and definition of its manifestation, while clearing egoism and self rewarding pursuit, fascinated me.

For those who may not be familiar with Dumas’ story, what exactly is the legend of the Afro Horn?
My interpretation of the Afro Horn in the musical context, as stated by Henry Dumas in his short story “Will the Circle Be Unbroken?” is highly descriptive and profoundly linked to the ceremonial and ritual musical traditions of the African Spiritual practices as they have evolved in the Americas; while first healing and raising the living condition of the communities that come from these traditions and later, because of its ties to a universal community… Henry Dumas wrote, “There are only three Afro-Horns in the world. They were forged from a rare metal found only in Africa and South America.” Is this a myth or true phenomena? That is the elusive and indefinable nature that characterizes the music derived from the African Heritage in the Americas.

Talk about the Afro-Caribbean folkloric quality to AfroHORN; how did you come to that as a central element of your music?
African-American folklore, Afro-Caribbean folklore and African-American music traditions are all elements, resources and an integral part of my work. I lived in Detroit in an African-American Community and I lived this experience. I have spent a lot of time in Cuba and I have researched the migrations and exodus of African derived people throughout the Caribbean, and how they arrived in New Orleans. The importance of Congo Square, as early as the 1800’s, to an already African American population, and among others the initial writings of Louis Moreau Gottschalk in such works as “Bamboula”, based on the music he heard in Louisiana. Those are valued manifestations of African elements in an already American Music. In my work, the African identity of the music that is called Jazz (that I prefer to think of as an American Classical Music) is extremely important, regarding its own nature, its elusiveness, and defying definition, while contributing and enriching to the universal freedom of the human spirit…

How did you assemble the musicians who play this music?
The musicians that work on my projects arrive from a similar state of mind and unconventional musical principles. What I offer the musicians is a blue print of the intended direction; with strong respect for each other’s creativity we all decide collectively where the music goes. I started working with Alex Harding in Detroit back in the late 80’s; we have always being strong supporters of each other’s work, and we have develop a language of communication. Sam Newsome, I met in New York City and instantly we decided we had to work together sometime soon. Salim Washington was always very supportive of the Afro Horn project, offering his home for rehearsals and participating in the early concerts in New York City. Roman Diaz has known my wife at the Afro Cuban Folklore Movement in Cuba, since she was 11 years old, and we work together on her Afro Cuban Folklore dance company OYU ORO in New York. Rashaan Carter loves the music, comes from Washington DC and he was introduced to me by Aruán Ortiz who comes from Santiago de Cuba where my wife is from. These musicians have a family and a community feeling for what we’re doing with the Afro Horn project. They are all unique in their sound and in their contribution. They are real sound with a wonderful sonic concept. I believe that working together with these musicians is one of my greatest and most unique experiences.

The AfroHorn crew; left to right: Aruan Ortiz, Sam Newsome, Francisco, Rashaan Carter, Alex Harding, Roman Diaz
What’s next for this AfroHORN project and do you see it continuing for the foreseeable future?
I truly believe in the idea of a music project that grows and has a relationship, in concept and direction, with another art form, literary in this case. They jointly represent an identity that in principle is always evolving, in continuity, around the need to express and manifest the freedom of the human spirit and that has longevity and a powerful future. Having the great fortune to work with giants like Sun Ra and Max Roach has taught me that cultural continuity, vision and perseverance, are essential to maintain the expressivity of an Artistic form.

Flutist Jamie Baum has always struck me as a very thoughtful artist with a lot on her musical mind. We met several years ago at a conference and she’s been pleasantly persistent in updating her career developments ever since. A Connecticut native who is a New England Conservatory jazz composition grad, Jamie has worked with and been influenced by an impressive range of artists; in the jazz spectrum that has ranged from Randy Brecker and Kenny Barron to George Russell and Wadada Leo Smith. Deeply invested in a philosophy of achieving a better integration of the flute in the jazz ensemble, the last time we reported on Jamie’s work it was as part of the ensemble Yard Byard, dedicated to the music of the neglected genius pianist-composer Jaki Byard; a passion for upholding Byard’s legacy she shares with another of his successful students, pianist Jason Moran.

Several months ago, uplifted by her latest project and eager to share it, Jamie sent me an advance disc of her recently released project, In This Life (Sunnyside), performed by her septet+. The depth and breadth of particularly her composition and arrangement work on this new disc was immediately apparent, as was her continued growth on her instrument and as a selfless bandleader. Clearly some questions were in order…

Judging from your growing discography and culminating with your latest release In This Life, its clear that you are a musician who places paramount value on the overall sound and blend of an ensemble. I base that impression in part on the fact that you’ve recorded largely in sextet and now septet+ configurations. Is that an accurate sense of where you’re coming from?
I have a few answers to that question. The first, is that I have always been involved in different projects/bands at the same time where one may be a quartet working with standards, another a duo working with free structures and another, for example, with the music of Jaki Byard…and so the Septet, which was formed in 1999, has always been about my compositions. It has been a great vehicle for me to explore new ideas. I started the septet when preparing for my master’s degree recital at Manhattan School of Music in jazz composition, and since then the band has recorded 3 CDs, the third of which is In This Life, my second for Sunnyside Records. For this recording the group was expanded to an Octet and I also added special guests Dan Weiss on tabla and Samuel Torres on congas. Having this band has given me the chance to workshop a lot of concepts relating to form, orchestration, meters, structures for improvisation, etc., as well as the opportunity to see how I can take influences from other genres of music to expand jazz formats for composition and improvisation.

As is with most jazz improvisers, I enjoy playing standards and blowing several choruses over the form however, I have felt that this isn’t always as interesting to the listener as it is to the player. Sometimes I will go hear bands play several choruses over a 12, 16 or 32 bar tune, one soloist after the next, and find that the thread of the composition is lost. That has inspired me to find ways of integrating the soloing and composition through extracting and developing parts of the melodic and rhythmic motifs into a variety of relevant sections for improvisation. I also try to keep each piece and the overall CD interesting by considering all of the possible pairings and color options available from the different instruments as they relate to the vibe or expressive quality I’m going for. So as they say, “the devil is in the details”, and that attention to those details can really help create a mood and perhaps inspire the soloist to improvise in a way that is more relevant to the composition. I also think it is important to not only give attention to the shape of each piece but to the overall set, whether for a performance or recording.

When you plan a recording date, how do you go about matching as closely as possible the intentions of your compositions with the players you select to play those compositions?
Well, first and most importantly, I have been very lucky to have great players work with me who understand what I am going for and who really bring their own unique interpretation to the music. I have had many of the same musicians play in the band for several years at a time, including great players like Ralph Alessi, George Colligan, Doug Yates, Jeff Hirshfield… and knowing who you are writing for is a gift. I have to say that the music wouldn’t be what it is without them and so it is important to choose the right musicians….players who don’t need to be told too much. There is a fine balance you have to find as a leader, knowing how much and what to say in order to be able to get what you want but to not inhibit all of the wonderful ideas, spontaneity and expressiveness that the band brings to “the table”. I do, however, think carefully about who I choose to solo on which compositions and in which sections in the composition. I also consider who I give the melody to at any given time in order to achieve the color, energy or intensity I feel the piece needs. I have to say though, those things are usually figured out well before going into the studio to record since we generally perform the music quite a bit before then. By the time we record, I will have a good sense of what I want to happen in that way. With that said, I try to be as flexible and “in the moment” as possible in the studio. If one of the band members or producers has an idea they want to try, I’m all for it because you never know what kind of magic you will end up with… which is what we all are hoping for anyway.
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Jamie & her In This Life crew

The flute is not a standard member of most big band woodwind sections; usually it is included as a saxophonist doubling to provide the ensemble with a different color based on the composition. It strikes me that somewhere down the road you’ll be compelled to place your compositions before a large ensemble or big band. What precedents can you think of from your observations of a flutist writing for and leading a large ensemble?
Good question. I’m not sure I know of any flutist who has actually composed compositions for big band as well as played on them… doesn’t mean that there aren’t any, it’s just that none are coming to mind at this moment. I’m sure there are saxophone doublers who have and who have had an affinity and understanding of how to use flute and its doubles effectively. There were several recordings that did use a lot of flute in ensembles that inspired me early on, including Herbie’s Speak Like a Child, Hubert Laws’ The Rite of Spring and In The Beginning, Gil Evans’ recordings, and ensembles that used interesting instrumentation and formats like Kenny Wheeler and George Russell‘s early works. I have been asked several times to write for big band and/or orchestrate my music for big band… its not that I’m not interested in doing it, it is a matter of finding the time and making it a priority….

You also appear on your fellow flutist Ali Ryerson’s big band recording with a full ensemble of flutes (Game Changer, Capri Records). What was that like and did you carry anything away from that experience that you might think about for your future endeavors?
When Ali first formed the band 10 years ago, she asked me to play in it. I think most jazz flute players at one point or another have “big band envy”. I think that at some point we all would have liked the opportunity to be involved in a big band; the chance to be a part of an ensemble where you can learn so much about blending, articulation, intonation, jazz phrasing, playing in different styles, be pushed to do your best due to its competitive nature, camaraderie, learning from being around your peers, play so much of that great repertoire, etc.…. I’ve often thought that not having those opportunities can put the aspiring jazz flutist at a disadvantage. Playing in Ali’s big band has been a fun experience for some of the reasons I mentioned, particularly since all of the players are on a high level and the arrangements are tastefully and thoughtfully done. Being in the middle of the sound and colors of all of those flutes is certainly a unique experience. I’m not sure though how that might affect my future endeavors, but then you don’t necessarily know how experiences are going to present themselves in your music further down the road.

What’s next on your horizon?
I’m looking forward to the many upcoming CD release gigs in November, including the Firehouse 12 in New Haven on 11/15 and the Jazz Standard in NYC on 11/19 [see Jamie’s current full schedule of CD release gigs below] and I’ll be doing a 10-day tour in Canada with Jane Bunnett at the end of November. More CD release performances in the coming months with the Septet+, including one at Blues Alley in DC in February, a new CD coming out by Yard Byard: The Jaki Byard Project, some duo gigs with pianist Richie Beirach in February, some writing projects, etc. Lots to look forward to!

Jamie Baum’s In This Life CD Release Tour Dates

Nov 14 – Springfield, MA
Pioneer Valley Jazz
Nov 15 – New Haven, CT Firehouse 12
Nov 16 – Old Lyme, CT The Side Door
Nov 19 – New York, NY Jazz Standard
Nov 23 – Waterloo, ON TheJazzRoom
Nov 27 – Toronto, ON Hugh’s Room
Nov 28/ 29- Quebec Bar Sainte Angele
Nov 30 – Ottawa, ON The GigSpace
Dec 1 – Kingston, ON Kingston Jazz Society

*Nov 23 through Dec 1 dates will feature special guest Jane Bunnett

Last year when the Jazz & Colors day was launched in New York’s Central Park, as I read over the mission of this thoroughly unique undertaking immediately I was taken by the fact that clearly here was a stellar example of jazz music performed in a unique way in a fairly non-traditional setting. Certainly the idea of jazz-in-the-park is almost as old as the music itself… but in Central Park on a crisp November day, definitely late fall!? And then there was the overall design of the event, where audiences could literally stroll the park and be lifted along by a kind of soundtrack effect (no surprise, Peter Shapiro whose Brooklyn Bowl organization founded and produces this event, is also a film entrepreneur). And then there’s the matter of the commonality of the music performed by the featured bands – though performed in their own spirit – eliciting the kind of subtle sonic differences akin to fall foliage color variations, where one slight modification in hue can lend a dramatic visual effect to Mother Nature’s overall Autumnal pallet.

This year’s Jazz and Colors day will be Saturday, November 9. Just to give you a sense of this idea, here’s the basic premise from the Brooklyn Bowl team, as ace publicist Kim Smith relayed it:

30 ENSEMBLES RETURN TO CENTRAL PARK TO PERFORM
FOR SECOND ANNUAL JAZZ & COLORS EVENT, NOVEMBER 9, 2013

Each ensemble will simultaneously perform the same set list of jazz standards, allowing people to explore Central Park, from midtown to Harlem, with their own personalized musical soundtrack. The second set highlights songs about specific cities, either in title or theme – paying homage to Brooklyn, Las Vegas and London – each of which will, by the Spring of 2014, host its own Brooklyn Bowl venue, the sponsor for Jazz & Colors.

The first set, beginning at noon, will include: “Caravan” – the classic first performed by Duke Ellington in 1936; “Bemsha Swing” by Thelonious Monk, appearing on his acclaimed 1957 LP Brilliant Corners; “Cherokee” – written in 1938 by Ray Noble and recorded by numerous jazz musicians over the decades; “A Night in Tunisia” — one of the signature pieces of Dizzy Gillespie‘s big band; “So What” — the opening track on Miles Davis‘ 1959 album Kind of Blue; “Footprints” by legendary saxophonist Wayne Shorter; “Maiden Voyage” — one of Herbie Hancock‘s best-known compositions; the unmistakable “Take 5” by Paul Desmond, first performed by The Dave Brubeck Quartet on their 1959 album Time Out; and “Tenor Madness” by the Saxophone Colossus Sonny Rollins, originally a twelve-minute piece recorded in 1956 with John Coltrane.

The second set (following an intermission) will include: Billy Strayhorn‘s “Take The A Train”, written by in 1939 for the Duke Ellington Orchestra; the frequently recorded “Harlem Nocturne” (1939) by Earle Hagen; “Stompin’ at the Savoy”, composed by Chick Webb in 1934 and named after the Savoy Ballroom that once existed in Harlem; “Grand Central” by John Coltrane, recorded in 1959 on Cannonball & Coltrane; “Central Park North” by Thad Jones, the title track from the Thad Jones / Mel Lewis Jazz Orchestra’s album from 1969; “New York City” by Gil Scott Heron, arranged by Brian Jackson, from their joint 1976 recording It’s Your World; “A Foggy Day in London Town” by George Gershwin, which appeared in the 1937 Fred Astaire film A Damsel in Distress; “Las Vegas Tango” from The Individualism of Gil Evans (1964); and the jazz-funk-soul classic “We Live in Brooklyn Baby” by pianist Harry Whitaker, appearing on Roy Ayers‘ 1971 recording He’s Coming.

“This year’s Jazz & Colors playlist features some of the most popular jazz standards in the first set giving a nod to many jazz legends that resided in New York City. The second set pays homage to songs that were specifically written about our beloved city, plus bonus songs about London, Las Vegas, and Brooklyn.” says Brice Rosenbloom. “Our program offers audiences the opportunity to experience these classic tunes in a new way, as thirty groups offer different interpretations.”

Clearly we had to ask Jazz & Colors programmer Brice Rosenbloom some questions.

What was the original mission or intent of Jazz & Colors, what’s behind the name, and where in Central Park do these performances take place?
Jazz & Colors was born out of the desire to create a free and large scale public music event that would attract visitors to experience Central Park in a unique way. As America’s classical music Jazz is the perfect choice of genres to provide an accessible soundscape that is appropriately rooted in our city’s past. The name is relevant to the Fall season and the changing colors of the leaves, therefore Jazz & Colors. The beautiful thing about the concept is that 30 groups are located all over the park, dispersed among the natural beauty, beside landmarks, on hillsides, in valleys, beside water, and filling every corner of the park with beautiful music.

Tenor man JD Allen’s Quartet, with Duane Eubanks on trumpet, Jazz & Colors 2012

How do you coordinate 30 bands – the majority of which are used to almost exclusively playing their own original music – to “simultaneously perform the same set list of jazz standards”?
The wonderful thing about living in New York city is that we have the pleasure of living among the best and most creative musicians in the world. The reason the concept for Jazz & Colors works with groups performing a predetermined set list is that these talented musicians are up to the challenge. Most of the tunes are recognizable standards, but instead of playing them straight we encourage every group to put their own voice, their own interpretation, into the song so that we will truly have 30 different versions of the same standard being played at the same time. Most of the musicians love knowing they’re a part of this truly unique day of music.

Besides the obvious – achieving a substantial audience following – how do you foresee this unique endeavor becoming a New York tradition?
From our experience launching Jazz & Colors last year it immediately became a favorite of regular park-goers, and clearly attracted new visitors to the park. From tourists to native New Yorkers park goers were encouraged to experience the park in an interesting way. Not since Christo and Jeanne-Claude’s The Gates has there been a large scale Park-wide public arts project like Jazz & Colors. As long as there are continued resources to make the event possible I foresee it becoming a longstanding NYC tradition.

Is this something that you see as a uniquely New York CIty phenomenon, or might this idea be exportable to other major cities?
Jazz & Colors works very well in New York City because of our intimate relationship to Jazz and the clear role New York played as the staging ground for so much of the development of the music and the musicians it fostered. However I’m certain the concept could work very well in other cities who want to activate a large public space to pedestrian traffic using music in a unique way.

The Knuffke-Stacken Duo with drummer Bill Goodwin all bundled up & blowin’ at Jazz & Colors 2012

How would you like to see this expand?
To other cities… Or multiple days… perhaps to the Five boroughs…

Here’s the list of bands who will play this year’s Jazz & Colors event:
* 2 Sisters, Inc Band
* Andrew Lamb Trio
* Arturo O’Farrill & The Afro-Latin Jazz Orchestra
* Brian Charette
* Daseul Kim Quartet
* Doug Wamble Quartet
* Duane Eubanks
* ELEW
* Frank London’s Klezmer Brass All Stars
* Gregg August Quartet
* Hot Future Five
* Jason Kao Hwang
* Jason Marshall Quintet
* Jazz at Lincoln Center All-Stars featuring the Russell Hall Quartet
* Joe Alterman Trio
* Joel Harrison Quintet
* John Raymond Quartet
* Kahlil Kwame Bell
* Kimberly Thompson Quartet
* Lakecia Benjamin & Soul Squad
* Marika Hughes & Bottom Heavy
* Mike Mohamed Quartet
* Mitch Froman’s Latin Jazz Quartet
* Outer Bridge Ensemble
* Roy Campbell Jr.
* Vince Ector Quartet
* Walking Distance
* Wayne Escoffery Quartet featuring Carolyn Leonhart
* Yard Byard
* Yosvanny Terry Quartet

Photos by MARK MILLMAN

Further information: WWW.JAZZANDCOLORS.COM

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ARTIST/TUNE/ALBUM/LABEL
(theme) Ernestine Anderson, In The Evening
Lester Bowie‘s Brass Fantasy, Thriller, Twilight Dreams, Venture
Lambert, Hendricks & Ross, Halloween Spooks, Hottest New Group in Jazz, Columbia
Philly Joe Jones, Blues for Dracula, (same), Riverside
Nina Simone, I Put a Spell on You, The Best Of, Phillips
Marion Brown, Spooks, Three for Shepp, Impulse!
Gigi Gryce/Donald Byrd, Social Call, Modern Jazz Perspective/Jazz Lab, Collectibles
Betty Carter, Social Call, (same), Columbia
Ray Vega, Social Call, Boperation, Concord
Django Festival All-Stars, Nuages, Live at Birdland, Three’s a Crowd
Miles Davis, Fran Dance, Complete Columbia Miles Davis & John Coltrane, Columbia
WHAT’S NEW/THE NEW RELEASE HOUR
Rene Marie, I Wanna Be Evil, (same), Motema
Preservation Hall Jazz Band, That’s It, (same), Legacy
Harrison Bankhead Sextet, Chicago Seniorita, Harvest Moon, Engine
Robert Glasper Experiment, Let it Ride, Black Radio 2, Blue Note
Robert Glasper Experiment, Jesus Children, Black Radio 2, Blue Note
Randy Weston/Billy Harper, The Healers, The Roots of the Blues, Sunnyside
Joe Fiedler’s Big Sackbut, Sackbut Stomp, (same), Multiphonic
Jonathan Finlayson, Lo Haze, Moment & The Message, Pi

Contact: willard@openskyjazz.com