By Javier Antonio Quiñones Ortiz

When it comes to Miami's public image, blowharding hardly describes how unwarranted its reputation is. This is particularly true in musical matters and acutely so, when it comes to Jazz. Upon learning that a stalwart in hard blowing was coming to town with his band, such misgivings where laid to rest for one evening.

Big Bop Nouveau and Maynard Ferguson were the main course on a menu that included the G. Holmes Braddock High School Jazz Big Band and a surprise special guest, plucked from the audience, to be named later. On Monday, February 4, 2002, said activity started after 7:30 p.m. at the excellent and spacious school's auditorium located on an area of Miami encroaching undeveloped land, which would send the ecologically obsessed reeling, somewhat removed from the empty-headed glitz and blitz of Miami Beach.

The kids that opened the concert were quite numerous and performed, haphazardly, through a series of songs that were warmly received by a meager, albeit, enthusiastic and appreciative audience. Much work needs to be done with that band, particularly with the soloists, who would benefit immensely from some street experience, which is nowhere to be found in the Jazz dearth that is Dade County. As far as High School bands is concerned, this one would rank in the middle of the road, although one has to celebrate practically any type of Jazz program in the increasingly mediocre school system of our nation. The teachers seem dedicated and interested enough, the audience supported them with hefty applause, although one would wonder if they would be willing to shell more money in taxes for such purposes, and the young performers were avid and hungry for the valve blow that awaited them. Once they finished their brief set, the entire band sat on the left side of the auditorium awaiting their return for a grand finale with Maynard's band and Arturo Sandoval.

Arturo, whom Maynard later introduced as "the greatest trumpet player in the world," is a resident of South Florida who arrived early with his wife and sat just about 5-6 seats to my left on the second row of seats from the stage. He clearly went there to enjoy himself as a member of the audience, who immediately recognized him. As you can well imagine, having Maynard and Arturo under one roof could only mean that both would end up trading blows sooner or latter. Even if Sandoval did not have access to a trumpet, which he did, he could just as well immerse himself in the piano and perhaps even the timbales, although he is not quite adept in the latter as he is a virtuoso on the former. But enough about Arturo…

The current Big Bop Nouveau looked rested, relaxed and happy as they readied themselves to have an evening of fun. Maynard is showing his age, but he can still play! Their overall performance, as well as their solo work, was thoroughly enjoyable, intelligent without braininess, tight and accessible. Although the concert could be seen as formulaic in its conception and execution, one must remember that, in the final analysis, everything is a formula. Some, however, are more successful and healthier than others. Maynard Ferguson has nothing left to prove to anyone and he managed to please his listeners and bring them to rousing ovations. Some of the compositions featured, with distinctive arrangements, were "It Don't Mean a Thing (If It Ain't Got That Swing)," "Ain't No Sunshine When She's Gone," "The Girl From Ipanema," "Milestones," and a mandatory Medley. Sandoval's intervention rejuvenated Maynard, the band and everyone else inside that building. Their time on stage was simply delicious as their brand of trumpet playing is analogous.

Perhaps the best way to communicate the spirit of the concert was expressed by a young member of the audience whom, as we were leaving the auditorium, I overheard saying to his friends: "I feel like a girl in an 'N Sync concert..."