To say there is something special about the world’s longest running jazz festival (with Monterey Jazz a close second) is stating the blatantly obvious. It is steeped in the tradition of giants, founded in 1954 by pianist and band leader George Wein who produced the event over six decades, remaining true to the adventure of the music throughout. But what really strikes me is how people listen, from Gen Alpha on up. Riveted to the experience of the creative act itself in a way that stands apart in these overstimulated times. No doom scrolling, just all eyes and ears. Set against the stunning backdrop of the 200 year-old Fort Adams and sparkling Narragansett Bay.
Look no further than Samara Joy’s packed set on Saturday which drew the largest crowd of the weekend. The 24-year old vocalist channels older school stylings with an incomparable freshness and joy that everyone at the Fort seemingly embraced. Or the loopy, bass-less beauty of Bill Frisell’s Four featuring drummer Johnathan Blake, pianist Gerald Clayton and saxophonist/clarinetist Gregory Tardy on Friday. Altoist’s Jaleel Shaw’s long overdue set on Friday and the words, rhymes and rhythms of both Aja Monet on Friday and Noname on Sunday. The six string stomp of guitarist’s Mark Whitfield’s Golden, Brown and Delicious on Sunday. The Wayne Shorter Tribute with Ravi Coltrane and Terri Lynne Carrington alongside Shorter’s most recent Bandmates John Patitucci on bass and pianist Danilo Perez on Saturday. The voices of both Laufey returning to play the larger Fort Stage on Saturday with thousands of enthusiastic young fans singing along, and the quiet intimate songs of newcomer Lianne La Havas soloing it on Sunday. Kamasi Washington, Robert Glasper and Terrace Martin individually, and as one big Dinner Party. Cimafunk’s explosive energy on Sunday and Stanley Clarke’s explosive mastery with his young N-4Ever ensemble on Saturday. At every turn there was something to tickle the ears and challenge the space between them. Artistic Director, Christian McBride, saw to that throughout the weekend, flashing his Philly pride and seemingly teeing up every bass led performance, and then some, before his closing New Jawn set on Sunday.
As a photographer, I have only 10 minutes to cover any one act at Newport Jazz. I experience the performances visually, as much as aurally, with little opportunity to follow the arc of a full set. And, in those 10 minutes, I aspire to visually translate what I hear, and not just what I see. Once again, I was the only West Coast photographer, but the two dozen or so photographers I shared the pit with are a tight and friendly bunch, letting me crash their party like the not so distant cousin they haven't seen in a while. All of us share a passion for the music and the event.
Newport Jazz is tradition, legacy and exploration. And after 70 years of performances, it's hitting a new stride in an ever morphing world.
Thanks Jim. Great shots! Wish I was there.