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THE 2007 MONTEREY JAZZ FESTIVAL
For 50 straight years, the Monterey Jazz Festival has been held at the Monterey Fairgrounds. For three days in
September, the center of the jazz world always moves to Monterey. Arguably the top American jazz festival, Monterey
gives music fans a strong overview of the modern jazz scene, and always leaves one with an optimistic feel about jazz
today. Ever since Tim Jackson succeeded founder Jimmy Lyons as the festival’s general manager, the festival has
continued improving and growing to the point where now there is an overwhelming amount of talent booked each
year.
With five stages that often operate simultaneously, particularly at night, it is nearly impossible to see every group
though I manage it each year. The key is to travel light, wear strong tennis shoes, only eat food that can be
consumed while walking fast, and master the art of tearing oneself away from one highpoint in favor of seeing
another highlight elsewhere. My reviews of Monterey are necessarily snapshots since, no matter where I stand, I am
missing four other bands at that moment. However it does give me an opportunity to get in all of my exercise for the
year in one weekend. If someone asks me in December why I do not exercise, my answer is “I already exercised at
Monterey!”
A band called Along Came Betty began the festival promptly at 6:30 on Friday night. It seemed only right that
Monterey started its 50th year with a group playing in a style that would have fit into the 1958 festival. They played
original hard bop numbers by pianist Biff Smith including “Rumor Has It” and a song called “Brad Mehldau’s
Monogrammed Guest Towels.” There were excellent solos from trumpeter Brian Stock, Paul Tarantino on tenor,
Smith and guest guitarist Storm Nilson. Stock is the nephew of the late Jake Stock who led his band as the opening
act at the very first Monterey Jazz Festival.
The Anthony Wilson Nonet made a strong impression. The Nonet’s set included a Joe Zawinul medley of “In A Silent
Way” and “Walk Tall” featuring pianist Donald Vega and Wilson soloing over the riffing horns. Bonerama, a group
consisting of four trombones, one sousaphone, guitar and drums, performed colorful, funky and somewhat riotous
music including a crazy yet danceable version of Thelonious Monk’s “Epistrophy.” This year’s version of the Berklee-
Monterey Quartet was less interesting than usual, with so-so post bop originals although guitarist Jeff Miles got in
some good solos. Papa Grows Funk proved to be a likable quintet with group vocals and Jason Mingledorff featured
on tenor.
On the main stage, the quartet of bassist Dave Holland, pianist Gonzalo Rubalcaba, tenor-saxophonist Chris Potter
and drummer Eric Harland was as remarkable as one would expect. Their music was both complex and catchy, each
of the musicians was well featured and Chris Potter, who contributed the song “Ask Me Why,” displayed a beautiful
tone on tenor.
Guitarist Jim Hall performed a series of duets with pianist Geoffrey Keezer that were often exquisite, always subtle
and somewhat telepathic. Their abstract version of “All The Things You Are” was quite intriguing. John McLaughlin
featured his 4th Dimension band, a quartet with keyboardist Gary Husband, bassist Hadrien Feraud and drummer
Mark Mondesir that was caught playing an extended rockish blues that displayed plenty of fire and passion. Salsa
singer Issac Delgado, although he does not really belong at a jazz festival, put on a stronger show than he did at
Playboy and his horn section was excellent. Pianist Craig Taborn and his trio, on a very repetitive “The Little Red
Machine,” gave listeners the impression that they were watching clothes in a dryer. Although the colors and
combinations kept on changing, the music never seemed to go anywhere. Clearly, I was not able to give Taborn
much of a chance that night, but there was so much else to see.
Dumpstaphunk, a rockish funk party band that included two of the Neville Brothers, was spirited but seemed quite
trivial next to the Terence Blanchard Quintet which was performing a 30-second walk away. Blanchard’s trumpet solos
were quite dramatic and emotional as he paid tribute to his fallen New Orleans, filling his improvisations with choked
tones and anguished cries. Blanchard’s band (tenor-saxophonist Brice Winston, pianist Fabian Almazan, bassist
Derrick Hodge and drummer Kendrick Scott) was full of young greats but the trumpeter easily took honors with his
haunting performance.
It had rained a little bit Friday night and it was pouring on Saturday morning, but luckily the rain had largely stopped
by the time the music began that day. Parts of the Fairgrounds resembled a swamp for a time, but it did not dampen
the spirits of the crowd. Saturday afternoon usually features a blues show at two of the venues although this year the
blues content was weaker than usual. James Hunter, who was clearly inspired by the crowd, performed joyful
rockabilly. The Honeydripper All-Stars revived older blues songs (including “Got My Mojo Walking”) and had a good
time. Otis Taylor put plenty of passion into his one-chord vamps, displaying a high-toned voice strangely reminiscent
in spots of Janis Joplin, but one kept on waiting for his music to evolve or at least for the chord to change. Los Lobos
played their usual brand of bluish rock but was clearly out of place.
Otherwise Saturday afternoon featured a hodge podge of events. The Cal State Long Beach Concert Jazz Orchestra,
directed by Jeff Jarvis, performed “One For Monterey” and an inventive arrangement of “Eleanor Rigby,” sounding
quite professional. Guitarist Mimi Fox with bassist Harvie S. and drummer Akira Tana updated the bebop tradition with
swinging but often-sensitive solos on “West Coast Blues” and “Caravan.” A Downbeat blindfold test featuring Gerald
and Anthony Wilson was good-humored and informative. At one point a middle-aged dancer (Jan Hill?) did a colorful
routine to a Jimmie Lunceford recording. Humorist Mort Sahl reminisced about his earlier jazz connections and told
humorous stories about Stan Kenton, Paul Desmond and Dave Brubeck. The Shigeru Morishita Quintet had tenor
playing from Kunikazu Tanaka that hinted at Albert Ayler and also included fine post bop solos from trombonist Yuzo
Kataoka and pianist Morishita. They served as an excellent warmup act for the Rashied Ali Quintet, a group featuring
trumpeter Josh Evans and tenor-saxophonist Lawrence Clark that included the ferocious “Judgment Day” and a
somber “You’re Reading My Mind.” Ali’s drum solos were very impressive.
After a deep breath, it was time for a Saturday night program that featured 11 major groups in 3 1/2 hours.
Trumpeter Christian Scott showed a lot of potential leading his sextet through a Young Lions-type song dedicated to
New Orleans (altoist Louis Fourche recalled Donald Harrison a bit) and some more contemporary material. The Dave
Holland Quartet performed another stirring set, this time in a smaller venue. Singer Lynne Fiddmont sang some
r&bish tunes and displayed an attractive voice.
Terence Blanchard, joined by his quintet and the Monterey Jazz Festival Chamber Orchestra, performed “A Tale Of
God’s Will (A Requiem For Katrina),” once again in very dramatic and passionate fashion during a moving
performance. At one point Blanchard said, “Don’t come lobbying me for my vote and then leave me on my roof.”
78-year old Ernestine Anderson sounded surprisingly strong during a set with the Lafayette Harris Trio, holding long
notes without wavering, displaying a catchy and highly individual phrasing, and swinging up a storm. The audience
loved her versions of “This Can’t Be Love,” “Skylark” and “Only Trust Your Heart.” Pianist Cyrus Chestnut with his trio
improvised in a technique comparable to Oscar Peterson’s but also with his own brand of soul. I hated not catching
more of trumpeter Sean Jones’ Sextet for the group, with altoist Brian Hogans and tenor-saxophonist Walter Smith III.,
was playing hard-swinging music and stretching themselves.
But one could not miss the Gerald Wilson Orchestra’s performance. After featuring Kenny Burrell’s guitar on
“Romance” and his voice on “Stormy Monday,” Wilson debuted his commissioned work “Monterey Moods.” The suite
built up to a Latin section and a celebratory finale that garnered a standing ovation. Although not quite as catchy as
his “Theme For Monterey” from the 2005 festival, it is a rewarding work and featured his orchestra at its best.
Gerald Wilson had an opportunity to play a second set with his orchestra at one of the indoor nightclubs. Kenny
Burrell was featured with his quartet on “Good Bait” and “Mark I.” Jim Hall and Geoffrey Keezer performed with a
quartet. And Diana Krall closed the night, leading her quartet with Anthony Wilson, bassist John Clayton and
drummer Jeff Hamilton. She played and sang her usual repertoire but was especially inspired. It is something about
being at Monterey, playing before an informed and attentive audience on a historic stage, that frequently results in
musicians sounding at their very best. As many times as Diana Krall has performed “I Love Being Here With You,”
“Let’s Fall In Love” and “East Of The Sun,” she has rarely sounded looser, fresher and happier than on this night at
Monterey.
And it was not over yet. Sunday afternoon features many high school and college bands along with some more
interesting moments. There was a panel discussion about the late great jazz journalist Ralph Gleason and his
contributions to the Monterey festival, a discussion with Clint Eastwood and John Sayles about the role of jazz in films,
and a chance to see Terence Blanchard sitting in with the Next Generation Orchestra, sounding quite lyrical on “My
Old Flame.”
Two groups made Sunday afternoon quite worthwhile. Ornette Coleman led his Three Bass Quintet through a
thought-provoking and stirring set of music. Ornette has never compromised and this is his strongest group since
Prime Time. Equally rewarding but very different was the Hot Club Of San Francisco, a happy surprise. Their
comments to the audience were quite humorous, the playing by violinist Evan Price, guitarists Paul Mehling and Jeff
Magidson and bassist Ari Munkres was swinging, and their Django Reinhardt-inspired music was pure joy that the
crowd greatly appreciated.
After the debut of a film that the late Ralph Gleason put together of the 1967 Monterey Jazz Festival (the tenth year),
it was off to the races for the final nine groups.
Mort Sahl, gave a monologue before the final show at the main stage, recalling that he had hosted the event 50
years earlier. The Monterey Jazz Festival All-Stars featured Terence Blanchard (playing happier music than the
previous nights), the ageless James Moody and pianist Benny Green but probably a few too many vocals from
Nnenna Freelon though everyone was in fine form. Another Monterey All Star group featured top local musicians who
had played at the festival at one time or another; most notable in the personnel was the great flutist Ali Ryerson.
Drummer Benny Barth’s trio played moderately pleasing background music that did not wake up even when pianist
Buddy Montgomery joined in.
Japanese organist Atsuko Hashimoto is a name to remember. She held her own on an exciting trio set with tenor-
saxophonist Houston Person and drummer Jeff Hamilton, smiling the whole time. Pianist Kenny Barron led a trio
through standards (including Monk’s “Ask Me Now”) and originals with his usual class and brilliance. Joey
DeFrancesco romped with his trio including a tribute to Jimmy Smith on “Got My Mojo Workin’”; Ramon Banda was a
strong asset on drums. The Dave Brubeck Quartet, with altoist Bobby Militello in top form, romped on “Gone With The
Wind” and “Margie,” in addition to welcoming Jim Hall to a few numbers including “Take Five” and “These Foolish
Things.”
Pianist Jacky Terrasson played a set of unaccompanied solos that, if he had been on the main stage, might have
been the hit of this year’s festival. He infused “Take The ‘A’ Train” with a wide assortment of fresh and unusual ideas,
created a strange one-chord groove in 9/4 time and, on “Tragic Mulatto Blues,” simulated a heartbeat with his left
hand while his right played bluish phrases.
The 2007 Monterey Jazz Festival ended with Sonny Rollins, another survivor of the 1958 festival. While one might
criticize Rollins’ band for sometimes going through the motions, the great tenor had his stunning moments including
his cadenza on “In A Sentimental Mood” and a 20-minute solo on “Don’t Stop The Carnival.”
While this particular jazz carnival finally ended, Monterey #51 is already lurking in the not-too-distant future. All jazz
fans within 500 miles should go out of their way to experience this often-wondrous festival.