… New Groups Display Style Contrasts
by Don A. Metivier, The Post-Star, July 3, 1978
The Newport Jazz Festival, celebrating its 25th anniversary, debuted at the Saratoga Performing Arts Center Saturday to the enthusiastic cheers of a large, but orderly crowd.
SPAC officials said that paid attendance amounted to 21,000, but police estimated the crowd at 41,000. Those who viewed the concert were treated to an incredible assemblage of traditional and contemporary artists.
An all-star lineup, featuring jazz greats such as Dizzy Gillespie, Dexter Gordon, Herbie Hancock and Chick Corea, put the finishing touches on a gala event that lasted more than 12 hours with an incredible array of solo and group performances.
The session provided a unique contrast in jazz stylings, from the subtle trumpet phrasings of Gillespie to the raw, highly energized electric offerings of guitarist Larry Coryell and violinist Jean-Luc Ponty.
Anchored by a rhythm section of Hancock on piano, Tony Williams and Roy Haynes on drums, and bassist Bob Cranshaw, members of the group began their set with a rambling, free-form jam session highlighted by individual brass, guitar and piano solos.
It was clearly a case of one-upmanship, as Gillespie, Gordon and saxophonist Sonny Rollins challenged each other with soaring, often brilliant leads.
Despite the disparity in styles, the artists appeared comfortable in the Saratoga setting. Hancock and Corea, both products of the mid-60s jazz fusion revolution set into motion by Miles Davis, reverted to acoustic piano to accommodate the more structured, traditional playing of jazz masters Gillespie, Gordon and Rollins.
The set, aptly described by festival producer George Wein as “something you will never forget,” was heartily received by an audience which congregated around noon to hear the jazz elite.
Hannibal and the Sunrise Symphony Orchestra kicked off the festivities with a short, satisfying set and were followed by the David Chesky Orchestra and a special appearance by legendary pianist John Lewis, Chesky’s mentor. The 21-year-old Chesky emotionally greeted Lewis, who seemed delighted with his student’s success. Lewis later returned to perform several pieces reminiscent of the early 30s and 40s.
Flora Purim next regaled the audience with her special, Latin-tinged vocal stylings. Accompanied by husband Airto Moreira on percussion and a band of stellar Brazilian musicians, Miss Purim ranged from subtle purrs to plaintive wails on ‘500 Miles High,” an emotional song which concluded the hour-long performance.
The George Russell Orchestra, concentrating on the styles exemplified by Charlie Parker more than two decades ago, was less well-received by partisans apparently more intent on hearing the electric jazz associated with Corea.
Corea, following a short duet with vibist Gary Burton, brought his band onstage, choosing numbers from several of his solo albums and featuring string and brass accompaniment and the sax wizardry of Joe Farrell. At one point during the set, Hancock came out and replaced Gayle Moran on piano to join the band for a lively rendition of “Mad Hatter Rhapsody.” Corea and Hancock, both on keyboards, effectively complemented each other in style and timing.
With Corea’s piano providing a counterpoint to the brass and string sections surrounding him, the band closed with “Spanish Fantasy” and set the stage for the all-star revue that concluded Saturday’s portion of the festival.
One song that successfully combined the traditional and fusion styles was a duet of “Misty” featuring George Benson and Dee Dee Bridgewater. The jazz classic was transformed by Benson and Miss Bridgewater into an uptempo, more contemporary version and met with enthusiastic approval from the crowd.
Miss Bridgewater said at one point that it was an honor and pleasure to sing with the illustrious lineup at Saratoga, but her words could have just as easily been said by those honored and obviously pleased to hear the concert.
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