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Notre Dame Collegiate Jazz Festival Program, 1969

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Notre Dame Collegiate Jazz Festival Program, 1969 Archives of the University of Notre Dame Archives of the University of Notre Dame Archives of the University of Notre Dame art. a different target, and that for the most part the two are fundamental­ A much more valid point could be made by outlining the distin­ ly different in character. guishing characteristics of the rock True, there has been a growing and jazz worlds. rapprochement between the rock and jazz worlds. On the one hand, Despite the reference to "rock jazz artists have turned to rock bands," which as often as not may tunes and arrangements on an if ­ refer to rhythm-and-blues, the fact you - can't ­ beat ­ 'em - join - 'em remains that the teen pop scene in bas is (Gerry Mulligan actually general today is essentially geared used this phrase as the title of an to lyrics rather than music. album). Their motive, by their own Jazz has yet to produce a lyricist admission, was increased sales rath­ with the perception, the intellectual er than esthetic uplift or artistic insight, or the gift for imagery of fusion. a Bob Dylan or a Paul Simon. By On the other hand, many rock the same token, rock has yet to musicians have turned to jazz and come up with an Art Tatum. its practitioners for guid:mce and THE RECENT BeatIe recordings, advancement. Rock guitarists, con­ through wildly inventive use of scious that their world still lacks a tap trickery, baroque concepts, and Charlie Christian, a Barney Kes­ unusual instrumentation and voic­ sel, or a Kenny Burrell, have stud­ ings, have greatly expanded the ied with jazz guitarists. (Howard musical interest a f their work. Roberts, for instance, has number­ Nevertheless, the Beatles depend ed several rock players among his primarily for their success on the pupils.) They learn from jazz and moving stories they tell, through jazzmen as one would learn to speak words, of their concern for such a foreign language. (Mike Nesmith problems as loneliness, lack of com­ of the Monkees told me he searched munication, the horror of war, and around for months to find a collec­ the many other issues that are deep­ tion of old 78s, in order to study ly troubling to this generation. what had happened in jazz history.) However, I have yet to hear of a Jazz, on the other hand, with rare jazz guitarist who has turned to FIRST AND FIRMEST, let it be ness names, whose talents va r y lieved to be the purist of authentic exceptions such as Strange Fruit Jimi Hendrix in order to bone up stated that the discussion below is widely, and whose relationship to jazz. In the past few years he has and some blues, has produced rela­ on the technique of setting fire to in no way to be interpreted as jazz is at its best peripheral and become more and more deeply in­ tively few compositions or perfor­ a guitar. either a defense or a denigration of most often nonexistent. These art­ volved with the rock scene; present­ mances that rely essentially on the pop, rock, jazz, sacred music, pro­ ists, however, represent a different ly, he spends much of his time merit of their verbal content. Even In the fan fraternity, too, there fane music, or any other branch of breed of pop, which will be dealt building up the young rock groups, the bulk of songs sung by Billie are many who have come around our burgeoning tree. Though opin­ with later. while devoting proportionately Holiday dealt with trivia, with un­ from rock to jazz. The tremendous ions will be quoted and analysis in­ The relationship of pop or rock to much less time and space to the critical examinations of various as­ success of Charles Lloyd and sever­ volved to a certain extent, the main jazz is the subject I plan to deal great individualists both he and I pects of the Great American Dream, al other jazz artists at the Fillmore, issue here is a definition of terms. with here. It is too easy to resort have long believed to represent un­ expressed as often as not in shallow San Francisco's Gibraltar of rock, During 1967, there were several to such glib cliches as "I like any qualified jazz. Tin Pan Alley doggerel. The defects does not indicate any magic conver­ sIgnificant developments that con­ kind of music as long as it's well Suprisingly, too, he devotes many and paradoxes of our society, too sion of these musicians into rock cerned both the wide world of pop played," or "What sounds like jazz paragraphs in the same article to a often ignored in the material pur­ performers. Think back. Arthur music and the struggling micro­ to me may not be jazz to you." proud recitation of the commercial veyed by our Armstrongs and Fitz­ Fiedler and his legions once made a cosm of jazz. Of direct interest to Notwithstanding the s e verbal successes 0 f the Moby Grape, geralds, are tackled head-on by the record of the. Lennon-McCartney Down Beat readers was a decision crutches, when the subject is Miss Cream, et. a1., citing their positions best of the pop-rock composer-per­ I Want to Hold Your Hand. Did to broaden the publication's base by Clooney or Maurice Chevalier or on the best seller charts and the formers. this make the Boston Pops a rock including popular music, or more the Beatles, one knows that one is tremendous sums of money they are orchestra? By the same token, Or­ Musically, jazz has built up a po­ nette Coleman might draw an SRO specifically rock 'n' roll, in the edi­ not dealing with performances of earning on record royalties. I can­ tent library of sublime achieve­ torial coverage. the caliber that we have chosen not recall Gleason ever having used crowd to a concert in a bull ring, ments; it has made tremendous but would that make him a mata­ The welcoming hand extended to through the years to designate as this tactic-an implicit attempt to progress melodically, rhythmically, THIE HARMONY COMPANY dor? 460B S. Kolin Avenue Chicago, Ill. 60632 pop actually represented a return jazz. The three are as different show that financial accomplishment harmonically; it has probed beyond to a long-established, briefly aban­ from one another as they are dif­ is related to musical achievement harmony into modality, atonality, The rock-jazz schism, and the ten­ doned policy. Go through the back ferent from jazz itself. - in his writings on jazz. and aleatory music. Pop, in the dency among some young musi­ Name Age issues, all the way from the 1934 Last year there appeared in print There is also an undertone of de­ main, is as far behind jazz in tech­ cians to move out of rock and into Address beginnings through the early 19­ a remarkable statement: "T h e fensiveness in the claim that rock nical virtuosity and improvisation. jazz, was brought into focus by 60's, and you will find features or rock bands are really jazz bands; is really jazz, as though this were al fluency as jazz is behind rock in reader Charles Bosworth of Fort Cltv cover photos dedicated to Rose­ the guitar soloists . are really an attempt to upgrade a young, verbal creativity. Worth, Texas, a 16 - year - old mary Clooney, Johnny Green, Jane jazz players." The writer was an old growing, but often maligned form drummer. He told Down Beat that State Zip Clearly, these two conclusions do Powell, Bobby Darin, Keely Smith, friend and seasoned journalist, by identifying it with one that has he once followed Ringo but was Name of your favorite MUStC Stot=e--- Maurice Chevalier, the Kingston Ralph J. Gleason. Gleason was re­ been established for a half century not indicate that one form of music now turned on to Max Roach and Trio, Diahann Carroll, and many spected for some 30 years as a and has achieved a belated modi­ is necessarily superior to the other. Slore Address and City others whose names are show busi­ staunch supporter of what he be­ cum of recognition as a genuine They signify only that each aims at (Cont'd on Page 37) 4 5 q Archives of the University of Notre Dame ROBERT A. UIHLEIN, JR. President and Chairman of the Board JOS. SCHLITZ BREWING CO. The JOS. SCHLITZ BREWING COMPANY is proud to be able to par­ ticipate in this outstanding collegiate jazz event as part of its 1969 Schlitz Salute to Jazz. Schlitz has long been interested in assisting notable cultural activities aad we feel that jazz is an aspect of American culture most deserving of support and encouragement. It's an uniquely American art form that's eminently enjoyable. We know you'll enjoy the 11th annual Collegiate Jazz Festival and we look forward to presenting the best overall jazz group to the Newport audience this summer. Robert A. Uihlein, Jr. President JOS. SCHLITZ BREWING COMPANY 6 7 Archives of the University of Notre Dame CHARLIE BYRD THE GREAT BYRD MONGO SANTAMARIA Featuring WICHITA LINEMAN STONE SOUL including: INCLUDING: Hey Jude/Those Were The Day~ STONED SOUL PICNIC /UTTlE GREEN APPLES Abraham, Mortin And John/For Once In My Life SEE-SAW / CLOUD NINE /LOVE CHILO CS 9747/18100574'/1410 0574t/ CS 9780118100624' CQ 1072* THE SOUND OF THE REVOLUTIONARIES Duke Ell ington, Dizzy GiIles­ a. pie, Ornette Coleman, Gerry Mul­ ~ ligan, Horace Silver, Thad Jones, ....... Chuck Israels, Billy Taylor and c.:I Kenny Burrell are just a few of ~.
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