# Photos: Monterey jazz festival 2017: Women are an integral part of that story, too

- Link: https://jazzblues.eu/2017/09/21/photos-monterey-jazz-festival-2017-women-integral-part-story/
- Published: 2017-09-21T23:21:49+01:00
- Author: https://JazzBlues.EU

**Three years ago, when Monterey Jazz Festival artistic director Tim Jackson booked
The Roots as a Saturday-night headliner, the house brimmed with delighted young 
fans, but hundreds of older folks streamed out of the arena. This year, when rapper
Common took the stage Sunday afternoon, the boomers stayed put, cheering right along
with the youngsters Jackson has been carefully attracting to Monterey.**

What changed? Well, for starters, Common—wearing a T-shirt with the motto “We Built
This Joint For Free” and drawing from his 2016 album _Black America Again_ (Def 
Jam)—was spitting passionately about the same issues bassist Charles Mingus dealt
with at Monterey 53 years ago in his fabled “Meditations on Integration” concert.
What boomer’s heart doesn’t resonate with a line like “I’m keeping my eyes on the
people, that’s the prize” (“The People”)?

Beyond that continuity about social justice, Common also spoke a musical language
that drew from tradition. Amid the rapping, flutist Elena Pinderhughes, who just
four years ago had performed at Monterey as a high school student, spun silver coils
with her solos and Common himself freestyled with the imaginative facility of a 
bebopper.

![Image result for monterey jazz festival 2017 photos](https://i0.wp.com/www.thejazzworld.
com/wp-content/uploads/2016/01/MontereyJazz.jpg?w=640)

“Hip hop is the child of jazz culture,” said the 45-year-old artist. “We recognize
that.”

Apparently, the enthusiastic Monterey crowd did, too. Give credit to Jackson’s ears
for making the connections. Allhough the programming at this year’s fest celebrated
the centennial birthdays of Ella Fitzgerald, Thelonious Monk and Dizzy Gillespie—
as well as nodding to Sonny Rollins—Jackson drew the tribute line there.

“I don’t want this to be a nostalgia festival,” Jackson said backstage. “I wanted
to be sure we had new artists and fresh faces.”

Any presenter with a wad of cash can snatch a popular act off the Billboard charts,
but thinking about how those acts relate to each other and their respective audiences,
how those audiences interact and how the present and past can have a conversation
is a much deeper challenge.

“It’s all about building relationships,” Jackson said.

That kind of thinking was evident in multiple ways during this year’s annual commission,
by bassist John Clayton, a majestic big-band epic titled “Stories Of A Groove: Conception,
Evolution, Celebration,” which spurred the swing-loving crowd to a standing ovation.

![Image result for monterey jazz festival 2017 photos](https://i0.wp.com/www.montereyjazzfestival.
org/2011/sites/default/files/mjf/MJF08SUN_CROWD_652_CROP.jpg?w=640&ssl=1)

Clayton, along with his son, pianist Gerald Clayton, and longtime associate, drummer
Jeff Hamilton, served as this year’s Artists in Residence and performed Clayton’s
work as members of the crackling Clayton Hamilton Jazz Orchestra (CHJO).

As Clayton conducted the piece with brio and his son soloed, it was pleasant to 
recall how Gerald had blown the crowd away with his trio on the grounds several 
years before and to remember past performances by the CHJO. It was a treat to see
the crowd so delighted by the warmth and relatability of this swinging, bluesy, 
welcoming piece.

![Image result for monterey jazz festival 2017 photos](https://i0.wp.com/cdn2.jazztimes.
com/2017/09/Clayton-HamiltonJazzOrchestrawithGeraldClaytonTrio_2017MJF_89_cMontereyJazzFestival-
JimStone-550x367.jpg?resize=550%2C367&ssl=1)

“I haven’t seen a commission the audience enjoyed as much since Gerald Wilson’s [
1997] ‘Theme For Monterey,’” observed Jackson, who added that the “family feeling”
embodied by the Claytons (John’s brother Jeff was also on hand), is what Monterey
is all about. “John is the natural heir apparent to Gerald.”

The dynamic between past, present—and future—was also neatly captured on an opening
set by drummer Matt Wilson’s Carl Sandburg-inspired project, “Honey and Salt,” which
featured guest recitations by Hamilton, John Clayton, Peter Erskine and Joe Lovano,
as well as a solo spot by saxophonist Joel Frahm.

Wilson, with irrepressible humor, recited a startlingly appropriate line from Sandburg:“
As wave follows wave, so new men take old men’s places”—which is precisely what 
has been happening at the festival.

Except that now women are an integral part of that story, too, which definitely 
makes the conversation more interesting. Bassist Linda May Han Oh, seen in Monterey
in the past with trumpeter Dave Douglas, stepped out on the Garden Stage with material
from her fine new album, _Walk Against Wind _(Biophilia), including the fetchingly
asymmetrical “Speech Impediment,” which drew listeners into a mesmerizing musical
realm.

![Image result for monterey jazz festival 2017 photos](https://i0.wp.com/www.montereyjazzfestival.
org/sites/default/files/styles/full_size/public/artists2017/2017_Next%20Generation%
20Jazz%20Orchestra_JALC_%28c%29Andrew%20Lepley-359.jpg?w=640)

Robust, gutsy alto saxophonist Tia Fuller, a game and informative participant in
the DownBeat Blindfold Test with Dan Ouellette, delivered a splendid, celebratory
set with trumpeter Ingrid Jensen, who soloed with blinding accuracy at Dizzy’s Den.

Veteran pianist Joanne Brackeen zig-zagged through two-handed, lickety-split lines
but also let the crowd luxuriate in her warm reharmonization of “Someday My Prince
Will Come.”

Violinist Regina Carter sparked John Beasley’s MONK’estra big band, devoted to the
music of Thelonious Monk, with a touching solo on “Ask Me Now,” which featured five
clarinets.

Fans of bluegrass, Latin and African music were invited to Monterey this year, as
well, as mandolinist (and _A Prairie Home Companion_ host) Chris Thile zipped through
duets with pianist Brad Mehldau, Afropop vocalist Angélique Kidjo nodded to salsa,
and pianist Chano Dominguez offered a fluidly dancing set tinged by flamenco.

A lot of events talk about creating a “big tent,” but Monterey not only puts up 
the tent, but has learned to help everyone get along inside of it.

“It’s intangible,” said Jackson. “But that’s what makes it easier for the potential
magic.”

Vocalist Leslie Odom Jr. and rapper/singer Common were among those who were inaugural
members of the MJF family. Odom, who won a Tony and a Grammy for his portrayal of
Aaron Burr in _Hamilton_, delivered an effortless Nat “King” Cole medley that appealed
to veteran MJF audience members. He also did three numbers from the smash musical
that were more familiar to the ’tweens who were part of the enthusiastic crowd at
his Saturday night set on the Jimmy Lyons Stage.

![Related image](https://latinoedge.files.wordpress.com/2017/05/ngjf_tlcarrington__2016mjf_cmonterey-
jazz-festival_cole-thompson-975_crop1.jpg?w=640)

Common, who featured MJF Next Generation Jazz Orchestra alumnus Elena Pinderhughes
on flute and vocals, delivered the kind of riveting set that has won him millions
of fans from outside the hip-hop world.

An Oscar winner for his work on the soundtrack to _Selma_, Common acknowledged the
presence of Herbie Hancock, who was seated in the front boxes. Hancock clapped—and
at times even danced—enthusiastically and approvingly at the end of the charismatic
musician/author/actor’s main-stage performance Sunday afternoon.

Hancock was, naturally, a major presence at the fest. The piano/synthesizer wizard
performed two closing sets on the Jimmy Lyons stage—Friday with his own band and
Sunday in an acoustic duet with fellow keyboard titan Chick Corea.

![Photo from 2017 Monterey Jazz Festival](https://i0.wp.com/cdn2.jazztimes.com/2017/
09/ChickCorea_2017MJF_011_cMontereyJazzFestival-TomasOvalle_-550x367.jpg?resize=
550%2C367&ssl=1)

Multimedia presentations reminded attendees about MJF’s many legendary participants
and also of other NGJO alumni, including Grammy-winning big band leader Gordon Goodwin
and pianist Benny Green. Live tributes acknowledged the history of the #MJF60 (as
this year’s MJF was referred to on social media), a few significant centennials 
and, in two instances, both.

Regina Carter performed on the Jimmy Lyons Stage on Friday evening with her _Simply
Ella_ tribute, one of many that have been presented to honor the centennial anniversary
of Ella Fitzgerald’s birth. The violinist drew upon material from her recent album,
_Ella: Accentuate The Positive_ (OKeh), and started with the title track. With joyful
yet searching solos by pianist Xavier Davis and the bandleader, the tone was set
for the remainder of a 50-minute program that would draw from Fitzgerald’s lesser-
known tunes.

While introducing “Crying In The Chapel,” Carter broadcast a portion of Fitzgerald’s
original recording on her smart phone. Guitarist Marvin Sewell provided a sleek,
unaccompanied introduction that was followed by an extended exploration by Carter
and an intense solo by Davis, who had switched to Fender Rhodes.

Bassist Chris Lightcap’s arrangement of “I’ll Never Be Free” was full of pathos 
and urgency, and Carter introduced “Judy” by explaining that a young Fitzgerald 
had performed the song at the Apollo Theater. The rhythm section received the spotlight
at the end, with energetic solos by Davis, Lightcap and drummer Alvester Garnett.

![Image result for monterey jazz festival 2017 photos](https://i0.wp.com/www.alltherooms.
com/w/wp-content/uploads/2017/06/Mont_Jim-Stone.jpg?w=640&ssl=1)

A veteran of MJF icon Dizzy Gillespie’s bands, Kenny Barron followed Carter by presenting
a tribute to his former bandleader’s centennial. With drummer Justin Faulkner and
Barron’s regular bassist, Kiyoshi Kitagawa, the pianist led an all-star Gillespie
group that included trumpeters Roy Hargrove and Sean Jones and _conguero_Pedrito
Martinez.

Each of the special guests were showcased, and those catching the end of the set
heard a masterful rendition of Gillespie’s “Manteca” that found the two trumpeters
engaged in a lively conversation.

Though 2017 isn’t the 100th anniversary of his birth, saxophone colossus Sonny Rollins
did celebrate his 87th birthday eight days prior and is a past MJF favorite. (Gillespie
and Rollins both participated in the inaugural MJF back in 1958, so it was only 
appropriate that both should be remembered on the Jimmy Lyons Stage with prime set
times.)

Four of the leading tenors of their respective generations—Jimmy Heath, Joe Lovano,
Branford Marsalis and NGFO alumnus Joshua Redman—explored the Rollins songbook with
pianist/Musical Director/MJF co-Artist-in-Residence Gerald Clayton, bassist Scott
Colley and drummer Lewis Nash. The saxophonists played “Tenor Madness” together,
with each doing a quartet number afterwards. (Marsalis tackled “Way Out West,” Lovano
played “Paradox” and Redman dove into “Unit 7.”)

The elder statesman of the festival, 90-year-old Heath, spoke about his friend, 
whom he said he had met while he was in his early twenties and Rollins was still
in his late teens. They still speak by phone two to three times a week, he revealed,
before picking up his soprano saxophone and delivering an unexpected version of “’
Round Midnight” that was a highlight of the entire weekend. He switched to tenor
saxophone for the latter half of his sublime interpretation and brought the crowd
to its feet.

Nash introduced the familiar rhythmic statement of “St. Thomas,” which Rollins himself
performed during the final closing night main stage set back in 1997. The four tenors
all took turns with rounds of brief solos, but the surprising MVP of this finale
was Colley, whose solo built up a dramatic yet grooving tension before resolving
itself magnificently.

![Image result for monterey jazz festival 2017 photos](https://i0.wp.com/daks2k3a4ib2z.
cloudfront.net/58bda932e077cd5f35a32b61/5984e4bab4976a000180d18d_Screen%20Shot%202017-
08-04%20at%205.17.02%20PM.png?w=640&ssl=1)

Like his friend and fellow bop pioneer Gillespie, Thelonious Monk is being honored
during his centennial year and was an active MJF participant, having been booked
on four different occasions between the early ’60s and early ’70s. Pianist John 
Beasley’s MONK’estra big band was an ideal vehicle to do a deep dive into Monk’s
influential compositions.

“I Mean You” (which appears on Beasley’s new Mack Avenue album, _MONK’estra, Vol.
2_) began with a punchy, modern feel before segueing into more recognizable sonic
territory. Beasley stood in front to conduct the band and then moved to the piano
to comp during trumpeter Brian Swartz’s shimmering solo.

For “Ugly Beauty,” Benjamin Shepherd substituted a six-string bass guitar for his
usual contrabass, which, combined with Beasley’s swirling synthesizer, added a slightly
psychedelic wooziness. Beasley provided a solo piano introduction to “Gallop’s Gallop”
with drummer Terreon Gully’s brushwork and tenor saxophone Bob Sheppard’s soaring
solo making the piece feel as if it had been borrowed from the swing era. “Criss
Cross” had the jubilant feel of a dance number from the islands.

![Image result for monterey jazz festival 2017 photos](https://i0.wp.com/www.roadscholar.
org//imagevault/publishedmedia/7dbhfvrc6jzqv4a1ye1i/4628-california-monterey-jazz-
festival-crowd-c.jpg?w=640&ssl=1)

Carter and Beasley each sat in with each other’s bands during the fest. The MONK’estra’s
rendition of “Ask Me Now” featured Carter, three clarinets and two bass clarinets
to convey a noirish sentiment. Interpretations of “Brake’s Sake” and “Skippy” finished
out the Sunday afternoon main-stage program with avalanches of inspired revelry.

Beasley’s MONK’estra proved that a trifecta of legendary source material, creative
arrangements and top-flight instrumentalists is unbeatable.

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