Strange Brew of Mud, Music at SPAC’s Newport Jazz Festival
(editor’s note – no ex post facto proof for Hubert Laws or Kenny Davern)
by Megan Price, Rutland Daily Herald, July 9, 1980
The scene Saturday at the Saratoga Performing Arts Center was reminiscent of a small-scale Woodstock as mud and music flowed freely in the first day of the two-day Newport Jazz Festival here.
Chick Corea, Dave Brubeck, Spyro Gyra, Zoot Sims, John Abercrombie, Linda Hopkins, and others brought cheers of recognition from the crowd of more than 12,000 with their intricate, interpretive jazz.
Wearing spats, wide-lapeled white suits, and close-cropped hair, the nine-member Widespread Depression Orchestra tackled pre-1930s tunes with a rollicking big band sound that had the few older members of the audience tapping their toes.
The Classic Jazz Band added Dixieland flavor, while Abercrombie, Corea and others constituted the new wave of jazz.
But it was Linda Hopkins that brought the crowd to its feet for the first standing ovation of the day.
Hopkins gained fame for her one-woman show entitled “Me and Bessie” on Broadway.
Hopkins’s powerful voice and stage presence recalled the old Blues singers of smoky bars and sad histories.
The 200-pound blues singer walked awkwardly onto the stage in silver heels. But that was the last awkward thing she did. When the music started, the Classic Jazz Band which backed Hopkins sent her strutting, grinning, and dancing with arms held high across the stage.
Kicking off her shoes, Hopkins sang “Ain’t Nobody’s Business But My Own” and called for a beer. In the tradition of the gospel singers, Hopkins voice is clear, deep, and full.
If the microphone had never been invented, most of today’s singers would be unheard. Hopkins has to hold the microphone at arm’s length so as not to hurt her audience’s ears with the volume she produces.
The singer talked to the audience, and made no attempt to downplay the sexual overtones of the Blues she sings.
The result was a fresh, rich and open style that brought hoots and cheers of affirmation from the audience.
Singing “Shake a Hand,” Hopkins leaned across the stage skirting and shook hands with members of the audience as the crowd joined in on the chorus.
When she left the stage, the crowd called her back for another tune.
It wasn’t the last time the audience would do so.
Dave Brubeck’s four-member group was slick and sweet, playing “more basic Brubeck than I’ve heard in years,” as one member of the audience put it.
Chick Corea was the other extreme. Corea surrounded himself with electronic gadgetry and buried himself in pre-programmed rhythmic undertones.
SPAC officials placed the crowd at 12,775 Saturday, and the parking lot sported license plates from Florida, California, Quebec, as well as New England.
Many in the crowd came prepared for the rain that fell sporadically — they pitched tents and put up canvas awnings.
Those that ignored the grey skies paid for it by being soaked to the bone. That didn’t bother some fervent jazz lovers, though.
In the worst of the storm, as thunder rolled overhead, several people danced on the SPAC balcony ramps.
When the rain let up, the lawn became a sea of mud and trampled grass, but few people left.
With music from noon to midnight, some of those who purchased the more expensive amphitheater seats developed sore backsides.
It might be better to call the Newport Jazz Festival the Newport Jazz Marathon.
Most holders of the $10 lawn tickets stayed on, huddled under makeshift tents or standing wet but patiently for the appearance of the Chick Corea & Friends, Sarah Vaughan & her Trio and the other big names of jazz.
George Wein, producer of the festival, complimented the crowd for its patience and promised better weather next year.
The Post-Star, July 3, 1980
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