Detroit Jazz Festival 2024: The Year of Alice

Belgrave switched to flute and alto for his original, "Switch Lanes," a r&b tinged tune that featured drummer Jones and his soulful interpretation of the tune's rhythmic and melodic qualities. He definitely possesses the spirit and the foundational qualities of the Detroit sound typified by another son of Detroit named Jones—first name Elvin. Trombonist Abbo has a great feel for bebop language in general, but his thoughtful phrasing and overall sound is more Julian Priester than JJ Johnson. Abbo jumped to bass in a quartet configuration for "Step Back," with Belgrave returning to alto. Pianist Davis stormed into his solo with the fire and articulation of a young Kenny Kirkland, leaving this writer's head spinning with potential accolades and comparisons. Dennard's solo acted like a snake in tall grass, lying low and then suddenly striking with intent. It was a swingin' exit for the band, for a set well received by a formidable audience who seemed to appreciate the history they were witnessing.

In the end, Belgrave's set was a pivotal set, one that deserved full attention. That being said, attending the full set prevented one from wandering over to Campus Martius to see trumpeter Anthony Stanco's performance—the moment seemed too large to depart from. The swell of people gathered to purchase Belgrave's signed CD attested to that fact.

The Home Stretch is the Best Stretch

Heading down the home stretch of the 45th annual Detroit Jazz Festival was a clear path for many, with sets by Marquis Hill, Billy Childs and Brian Blade and the Fellowship Band in sight. Free-form guitarist Vernon Reid, Pablo Ziegler's Quintet featuring Roberta Gambarini and Monika Herzig's Sheroes were interesting selections as well. The density of the crowd noticeably thickened, with long lines extending both ways from the main entrance at Hart Plaza. The symbolic last day of summer would peak in the low seventies, with Michigan blue skies and wispy clouds providing periodic cover.

At the Carhartt Amphitheater stage, Chicago trumpeter / composer Hill took the stage and delivered a memorable set that included audio insertions programmed in the moment by Hill that included among others, Dr. Cornel West. In a program that equated jazz music and the experience of freedom, Hill and vibraphonist Joel Ross applied that truth to their own playing, allowing culture to mark the dialog offered up. The audience was in motion, as patrons moved from stage to stage, to the large selection of food and merchandise in the plaza, and to the Detroit River Walk to cool down a bit. While the weather was cooler and breezy, the bottom of the amphitheater, stage and VIP seating included, was blocked from the breeze and remained steamy. By the time pianist / composer Childs took the stage, the evening cool was settling in fast, and the crowd turned massive in a hurry.

Childs focused largely on compositions from his 2024 Grammy-winning album, The Winds of Change (Mack Avenue, 2023). He arrived with a stellar quartet, featuring trumpeter Sean Jones. with bassist Matt Penman and drummer Ari Hoenig rounding out the foursome. Working their way through "The Great Western Loop," the band played the intricate and difficult melody without fear, then launched into formidable solos topped by Jones' soaring, probing melodic improvisation and luxurious trumpet sound. Childs the pianist was brilliant throughout the set, while the composer provided scenic melodies with wide open spaces for spontaneous composition. "Winds of Change" bore a film noir vibe, and featured a sumptuous trumpet intro from Jones that quietly and suddenly seemed to engage the audience in a full sense. The massive crowd, just a few hours from the end of the marathon four-day event, was mildly boisterous and fully engaged in the sounds of this fine quartet. The set was certainly one of the festival's best, and the ovation following the performance fully certified that notion.

The festival finale took place on the stage at Campus Martius, surrounded by the tall buildings and colorfully urban setting in Cadillac Square. It was the third performance of the festival for artist-in-residence Blade. In this performance, The Fellowship Band finally appeared in front of a live audience, their opening night set being moved to a streaming only format due to inclement weather. The band teamed with the Detroit Jazz Festival Jazz Orchestra, arranged and conducted by Jim McNeely. With the evening cooling down and a cleansing breeze sweeping through the cavernous urban landscape, the band launched into a variety of originals from Blade and pianist Jon Cowherd. The pianist's "Broken Leg Days" was a highlight featuring Detroit high-note specialist White on trumpet, and the seven saxophones-Fellowship band artists Melvin Butler and Myron Walden and the five saxophones from the DJFJO that included Detroit ace, Marcus Elliott. Cowherd also contributed "People's Park," while Blade kicked in the very saxophonic "Arklatex." Cowherd's "Catalyst" tipped the scales in favor of epic performance, with guitar great Kurt Rosenwinkel finally having his say, in a very tender and beatific way. Blade asked the audience if they were "overstaying their welcome" in performing for two hours at a festival that operates on seventy five minute sets and a tight schedule. No matter. We were at the end of another year in Detroit, and while some were heading off into the cool, Detroit night, others gathered around the stage to hear just one more tune. It was a fitting ending for this 45th edition of the largest free jazz festival in the world.

The scene at Fuell, the restaurant and bar at the Detroit Marriott where festival participants and media lodged during the festival was festive with just a pinch of sadness and melancholy following the final set at Campus Martius. Musicians, media and festival goers alike toasted the evening and another successful year in the Motor City. Later that evening, and the following morning, the festival car service would transport artists, writers and festival staff to the airport, who in turn would depart to all corners of the globe. We looked back with great memories and looked forward to what the future may have in store for this great festival, and this, America's only truly original art form.

Here, There & Everywhere

One genuinely may ask themselves during the festival if Festival Director Chris Collins is actually one human, or if he has a twin brother, or for that matter, a team of Collins clones to carry out the heavy lifting required of him year round. In carrying out Valade's vision of the festival remaining free, Collins is front and center with city officials, major donors, technical engineers of all sorts, hospitality, transportation, musicians and media alike. This would be to mention but a tiny sliver of his ultimate responsibilities. Throw in the fact that he performs as well in world class fashion, and thoughts of applying superhero status are warranted. On leaving Tuesday morning, Collins and talented Marketing & Public Relations Manager Shaun Wilson, were there to see us off with handshakes and hugs, and a genuine appreciation for what we do as media to tell the story of this landmark annual event.

Collins invited media to the Governor's Suite at the Marriott on Sunday morning for a casual breakfast. In a ninety-minute span, many issues confronting the jazz community were discussed, but what stood out was the director's genuine appreciation for our work. More so, in listening to Collins speak of the festival and the city's year round commitment to its staging and its satellite community programs, his passion and love for the festival and its future success is authentic and heartfelt. They are forward thinking field generals of artistry, social justice, humanity and love. They are two very proud Detroiters who open the welcoming door to all who care to step through and join in celebrating this great music born in Black struggle in America and gifted to the world. For that, we are humbled and grateful.

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