Renewing the Legacy: The Day 2 Musical Odyssey at the Newport Jazz Festival

Day 1 | Day 2 | Part 3

The first day at the Newport showcased a multitude of performers who could be described as "beyond jazz" or "jazz adjacent." Their performances were greeted enthusiastically, and they added a palpable energy and a festive vibe. In the last two days of the festival, the balance shifted somewhat to artists working within the elastic boundaries of the tradition. Kudos to artist director Christian McBride for curating an exceptional roster of artists, including those with broader youth appeal and artists more likely to appeal to old-school jazz aficionados. It was an excellent and immensely satisfying mix. McBride also served as MC at many of the events with good humor and predictable nods to the city of Philadelphia. He also graced the stage with performances, including his ensemble, Jam Jawn, and an appearance with Joshua Redman's Moodswing Reunion— standing as high points of the weekend.

This in-picture essay is not intended to be a review but an opportunity to share my experiences, thoughts, and impressions in prose and images.

Saxophonist and vocalist Camille Thurman accompanied by the Darrell Green Quartet gave a rousing performance to open day. Trumpeter Wallace Roney Jr, son of the late great Wallace Roney, who would later perform with Bobby Watson, was one of the unheralded stars of the day. Thurman and Roney Jr. forged a great front line. Thurman is a rising star in the jazz world, and this was unequivocally affirmed by this performance.

In recent years, James Brandon Lewis (JBL) has garnered considerable praise for his extraordinary talents as a musician, composer, and live performer. His Jesup Wagon album was named Downbeat Album of the Year in 2022. Making his Newport debut, JBL led a trio including drummer Chad Taylor and bass guitarist Josh Werner. Over the past decade, Taylor and JBL have frequently collaborated and have a superb musical chemistry that was evident in this performance. JBL's music perfectly straddles the boundaries between tradition and free jazz. He is a deeply emotional and spiritual player, as most clearly reflected in his recently released album, For Mahalia, With Love. On this occasion, the music was drawn mostly from his acclaimed album, Eye of I, including a jazz rendering of the gorgeous Donny Hathaway R&B classic, "Someday We'll All be Free," and the gospel-informed blues-soaked "Even the Sparrow." The performance was one of the great highlights of Day 2.

I caught about 15 minutes of the Superblue set. This is a relatively new group featuring vocalist Kurt Elling, innovative guitarist/bass guitarist Charlie Hunter, drummer Nate Smith, keyboard player Julius Rodriguez, and a three-man horn section, Chris Ott on trombone, Dan White on saxophone, Jon Lampley on trumpet. The music had more of a groove, and R&B feel representing something of a change for Elling. A highlight was a splendid version of the great Eddie Money song "Baby Hold On to Me."

Alto saxophonist and esteemed composer Bobby Watson is renowned for leading exceptional ensembles, including his longtime group, Horizon (later New Horizon and Horizon Reassembled), and the Newport All-Star Quintet was no exception. He was accompanied by longtime collaborator Curtis Lundy on bass and veteran Victor Jones on drums. Wallace Roney Jr, on trumpet, and Jordan Williams, a young, immensely talented pianist, rounded out the ensemble. Watson's music presents a fascinating duality: while deeply rooted in the hard bop jazz tradition, it continually resonates as fresh and innovative. His strong compositions are punctuated by enticing hooks drawing on the blues and R&B.

Among the numerous outstanding performances, the one by the illustrious Charles Lloyd Quartet stood as the pinnacle. At 85, Lloyd demonstrated that he is at the apex of his artistic prowess, delivering an exceptional performance. This year, he was honored with Downbeat's Artist of the Year award—a recognition he first received in 1967. Lloyd's relationship with the Newport Jazz Festival dates back to 1961 when he performed alongside Chico Hamilton. This year, he took the stage with his "New Quartet," comprised of Jason Moran on piano, Reuben Rogers on bass, and Eric Harland on drums. Initially formed in 2007, this ensemble has frequently worked together over the years, with Harland and Rogers continuing as Lloyd's regulars. This occasion marked a noteworthy return for Moran.

The quartet opened with an extraordinarily compelling rendition of "Dream Weaver," a track that was a big hit for Lloyd in the 1960s. I've had the privilege of witnessing Lloyd's performances multiple times, yet this was the first time I heard him play this particular piece. Lloyd is a master of melodic improvisation, imbued with a profound spiritual depth. His compositions are counted among the most remarkable in the jazz repertoire. A particularly electrifying moment came with Jason Moran's intensely impassioned piano solo on "Zoltan," a composition by Woody Shaw. As Moran performed, Lloyd looked on, his face awash with evident pride and delight. The quartet's performance was unequivocally the high point of a festival replete with memorable moments.

Guitarist Julian Lage has emerged as a most valuable player in the world of jazz. His contributions span a myriad of sessions and albums, collaborating with artists as diverse as Charles Lloyd, John Zorn, and Kris Davis. Additionally, he has built an impressive body of work as a bandleader, often working in the trio format. Lage appeared with his trio, including longtime partner Jorge Roeder and Dave King, best known for co-leading The Bad Plus. The trio has played together for the last few years and has developed a remarkable rapport characterized by keen telepathic communication. Roeder, a much in-demand bassist, is a musician of remarkable sensitivity and responsiveness. King is a most dynamic drummer. Lage has a beautiful guitar sound immediately recognizable across different contexts. The group was in exceptional form and seemingly having a great time on stage. Sadly, the event was sandwiched between Christian McBrides Jam Jawn and Arooj Aftab, Vijay Iyer and Shahzad Ismaily's performance. There was a significant overlap between the three performances; regrettably, I could see only 15 minutes. Friends who caught the entire set suggested it the day's best performance.

Christian McBride led an all-star "Jam Jawn" featuring saxophonist Ravi Coltrane, guitarist Eric Krasno, drummer Nate Smith, percussionist Negah Santos, and legendary pianist Bob James. The setlist ran the gamut from a beautiful version of Afro Blue to James Brown's "Sex Machine" to Bob James compositions, including the "Theme from the Taxi." James, at age 83, is still an extraordinary pianist and soloist. This was a set you couldn't help but enjoy.

And now for something completely different. Arooj Aftab, Vijay Iyer, and Shahzad Ismaily captivated the audience with a mesmerizing performance drawing on their critically acclaimed album, Love In Exile. The three musicians play largely improvised music ranging from gorgeous minimalist soundscapes to chamber jazz. To paraphrase Banuj Kappal's writing for Pitchfork, recurring themes and motifs invite you into these "complex emotional inner worlds." The Newport Festival is fast-paced, punctuated by relatively short sets and then having to rush to the next stage. But if you could tune out the external world albeit briefly, there were moments that were transcendent.

Jon Batiste closed the festival with a dynamic performance, fronting a 17-piece big band including 11 horn players. The main stage was packed for this highly anticipated finale. There was an extended platform reaching into the photo pit, where a throng of about 30 photographers jostled for shots. Batiste was in perpetual motion, and getting one's camera to focus and the shutter to fire was quite challenging. Batiste is not just a prodigiously talented musician but also a captivating entertainer. He and his ensemble gave a full-throttle 90-minute performance that electrified the large crowd. A standout moment was a compelling rendition of his hit song "Freedom," which had everyone on their feet dancing. The performance served as a perfect capstone to another extraordinary day of music.

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