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Notre Dame Collegiate Jazz Festival Program, 1967

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Notre Dame Collegiate Jazz Festival Program, 1967 Archives of the University of Notre Dame ~ Archives of the University of Notre Dame A TOAST! .... to your good taste University Of Notre Dame and ,. Down Beat Magazine Qua lity, univers ity-styled apporel for men ~.-. __ ~c---..:=:: Present the ninth annual ... NOTRE DAME ON THE CAMPUS NOTRE DAME COLLEGIATE JAZZ FESTIVAL March 3 and 4 ~r z: z: O'-l rt Gl&sico.l Po ruI J Gl C t? CI 1967 FtJ \~I Roll Cartr d,e T:.res '.Irl~ I~IA\\I~ I 1 Program Editor 1"""I",i",/ T"/""-I,',. John E. Noel ~, Till' ,!!".,.",.",,,,,.,, 't:::!rf"f JUDGES Cover Donald Byrd Stefanie Stanitz Don DeMicheal Herbie Hancock William Russo Lalo Schifrin S. MIC H I GAN SOU1H BEND, IND. Robert Share -3­ Archives of the University of Notre Dame The Life Perspectives e Of The New Jazz By Nat Hentoff Letters come to Down Beat, I get letters, and musicians are sometimes asked by listeners: "Why mix politics and Illinois Jacquet Lalo Schifrin Laurindo Almeida* Gil Evans* black nationalism and rage and hate with music? Let music Gene Ammons Ella Fitzgerald* J. J. Johnson Tony Scott be music, and keep the rest outside of jazz!" Stan Getz* Wynton Kelly Zoot Sims Curtis Amy And in September of 1966, Ralph Gleason reported that the Jimmy Smith* Louis Armstrong Astrud Gilberto* Gene Krupa Monterey Festival had "refused to let SNCC and other civil Chet Baker Joao Gilberto* Herbie Mann Sonny Stitt rights groups have booths on the grounds in order to 'make Count Basie* Dizzy Gillespie Shelly Manne Art Tatum the weekend one of fun, relaxation, and the enjoyment of good music.''' Luiz Bonfa Eddie Gomez Gary McFarland Jack Teagarden Bob Brookmeyer Grant Green Wes Montgomery* Clark Terry As if jazz can somehow be insulated from life. As if Ray Brown* Jim Hall Gerry Mulligan Ed Thigpen* Charlie Parker had been jiving when he said: "Music is your own experience, your thoughts, your wisdom. If you don't Coleman Hawkins Oliver Nelson* Cal Tjader* Kenny Burrell live it, it won't come out of your horn." Charlie Byrd Bill Henderson Anita O'Day Mel Torme And in the new jazz, the key innovators, with few excep­ Wild Bill Davis Woody Herman Charlie Parker Charlie Ventura Osca r Pete rson * Walter Wanderley* tions, are black. Therefore, their music comes from their ex­ Paul Desmond Earl "Fatha" Hines periences as black men in the United States. The effect of Ben Webster Harry "Sweets" Edison Johnny Hodges Arthur Prysock* those experiences on their music differs. But they are linked Roy Eldridge Billie Holiday Buddy Rich Joe Williams by the consciousness of being black in a white-powered society. Kai Winding Duke Ellington* Jackie & Roy Howard Roberts As obvious as this is, large sections of the white jazz com­ Lester Young Bill Evans Milt Jackson Sonny Rollins munity have yet to understand the inevitability of the height­ ened black consciousness in much of the new music during a he added, in explanation of the need to organize and political­ period when, throughout the country, much of the pietistic ize as blacks, "You can no longer afford the luxury of being rhetoric of recent years has shriveled before the mounting an individual. You must see yourselves as a people." reaffirmation that Malcom X was right, that this is a funda­ This is difficult advice for an artist, for obviously the base e mentally racist society. of the artistic drive is individuality. And yet, within that in­ The United States need not continue to be racist, as is dividuality, more and more younger musicians regard their evidenced by the attitudes of many of the white young. But music as also the expression of a people. we are speaking of now, and of jazzmen in this country now. Speaking of those in the ghetto, Albert Ayler has empha­ wh(~I·c When Sen. James Eastland of Mississippi said with satisfac­ sized: "I'm playing their suffering whether they know it or tion in September, of 1966, "The sentiment of the entire coun­ not. I've lived that suffering." And Cecil Taylor said: "Every­ it~s at, try now stands with the southern people," he was not engag­ thing I've lived, I am. I am not afraid of European influences. ing in much hyperbole. Read the papers, read the polls, look The point is to use them - as Ellington did - as part of my at the statistics showing that in the North and West residen­ life as an American Negro Music to me was in a way tial and school segregation is increasing. holding on to Negro culture " Consider further the status of his life's work, jazz, in that Archie Shepp has written a composition, Malcom, Malcolm­ society. The unprecedent1y comprehensive Rbckefeller Report Semper Malcolm, explaining: "Malcolm knew what it is to on the Performing Arts, which tried to explore the entire be faceless in America and to be sick and tired of that feel­ situation of the performing artist in the United States while ing. And he knew the pride of black, that negritude which was proposing ways of improving it, made no mention whatsoever bigger than Malcolm, himself. There'll be other Malco1ms." of jazz. The initial subsidies by the new federal commission But hasn't this thrust to reflect the black experience al­ on the arts ignored jazz entirely. Alienated because he is ways been endemic to jazz? Implicitly, yes. From the blues black, the Negro jazzman is doubly alienated because he is a on, a black jazzman played how he felt, and how he felt de­ jazz musician. How on earth is he to keep that feeling out of pended in large part on how he coped with his blackness in a his music? racist society. Explicitly, too, there were statements - in some of the blues, in Ellington's Deep South Suite and other Among some black jazzmen, black consciousness becomes compositions, in the rising use of African titles for pieces in an explicit desire to reflect, to distill the black experience in the 1950s. music. Stokely Carmichael, addressing Tuskegee Institute Jimmy Smith, Wes Montgom­ But the consciousness of being black, the pride in black, Ella Fitzgerald Duke Ellington Bill Evans, Shelly Manne, Eddie Johnny Hodges V/V6-8680 students this past October, told them: "We can never be & ery, Count Basie, Earl "Fatha" V/V6-4072-2* Gomez V/V6-8675 equal under a system that forgets our blackness. We must has never been more acute than now because jazz could not Hines, many others V/V6-8677 'Also Available on Ampex Tape accept our blackness and make white people respect us." And, (Continued on Page 30) Verve Records is a division of Metro-Goldwyn-Mayer Inc. -4- -5­ i ~ Archives of the University of Notre Dame IN JAZZ • • • the name of the game is band and then are subjected to (and ex­ ther with stock arrangements of pop pected to like - for a variety of rea­ tunes designed to hit the lowest com­ sons - all specious) bad stock arrange­ mon denominator and turn the stage ments of pop tunes. band into a miniscule pop band. The Jazz is, and must be, the saving factor dealers are concerned because much of Are Stage Bands in the stage-band program, and, unfor. this stuff is not selling, and yet there tunately, very little of it is being taught. are far too many directors who are sell­ Dying? If we don't progress to the jazz style of ing out the approach to jazz for the pop­ CREATIVITY! arrangement, with space for improvisa­ pep-pap approach. By George Wi,kirch.n. C.S.C. tion, we are failing. If we don't help the If the publishers would give us edu­ students learn to express themselves on cators good, jazz-oriented arrangements Is the stage-band movement or educa­ their instruments extemporaneously and with plenty of solo space, they would tional jazz in trouble? After several correctly, we are failing. If we don't put sell. years of rather phenomenal growth, is some opportunity for viable communica_ Even so, there certainly has been an the movement unhealthy, perhaps atro­ tion and personal expression of emo­ appreciable improvement in style and phying and dying? tions into the big-band experience, we interpretation in some areas and in many In expressing creativity with brasswinds (e.g. - 'Doc' Severinsen, Lloyd Statistics indicate that more school are failing, and the stage-band move­ schools. But the sorry fact is that too bands are in existence now than ever be. ment is sick - or worse. many are still headed in the wrong di­ Ulyate, Bud Brisbois, Charlie Teagarden, Bobby Hackett, Shorty Sherock, fore. There are more college festivals The publishers haven't helped much, rection. With the whole of school music and contests now, with several new ones and now many are disenchanted with being challenged and subjected to criti­ Billy Butterfield, Don Rader, Thad Jones, Bill Berry, Warren Kime, Louis Va­ gestating for next spring, stage-bands. cism, we can't at this time afford the Yet, there is an uncomfortable feeling In the first rush of expansion they luxury of a questionable and unjustifi­ lizan, Yank Lawson, Jim Cullum, Jr.,Frank Assunto, Don Ingle, Joe New­ in the air. Many have been maintaining trampled each other and the music, try­ able program. that the stage band, or, more specifically, ing to carve out a sizable chunk of the Now would be a good time to reevalu­ man, Bill Chase, Oscar Brashear, Kenny Ball, Charlie Shavers and Doc DeHa­ jazz, is educationally valid, I feel that new market for themselves.
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