It ain't exactly Rome
, and it's not all
roads, but many of them (especially in the jazz world) certainly seem to lead to Philadelphia
. It's unavoidable for a city where the music has such deep roots (birthplace of Billie Holiday
, home of John Coltrane
, hangout of Dizzy Gillespie
and Sun Ra
among countless others), and it's certainly been the case for the omnivorously eclectic trombonist Ernest Stuart
. The Temple graduate has also shuffled between New York and Indiana during his relatively young career. When I find a lunchtime slot to catch up with him, though, he's ducking out of a restaurant in the citya neighborhood that keeps calling him back, not least because it's the site of the Center City Jazz Fest
, which he went out on a limb to Kickstart back in 2012 and has curated for International Jazz Day each year since.
The day-long event packs a heavy musical punch, taking over five downtown venues and offering twenty different performances under one ticket price. "This festival has had a great mix of people in the audience, which is amazing and completely unintentional," he tells me, still sounding surprised and amused at how it's developed heading into its sixth year. "I just created a small festival the way I thought one should be. And the people who came just came, and they happened to be a great mix of young people and older folks and everything in between."
This idea of bringing people together is the heart of the event, after all. 2017's festival arguably hits a new level in well-known names, bringing city legends like Larry McKenna
and Odean Pope
on board. Stuart sounds satisfied at the cachet: "It's funny. I've been waiting so long to book Larry McKenna. There are certain guys to me that define the Philadelphia jazz sound or Philadelphia pop, like Bootsie Barnes
, and Larry McKenna is definitely one of those guys. It's a pleasure having him."
More importantly, though, it's not really about presenting or publicizing the names. It's about giving adventurous players and listeners both a chance to connect and try something unexpected. There are always discoveries to be made and the excitement among the crowds is always infectious. He explains, "there's something very attractive to me about the chaos. You kind of just have to go outyou're not going to know everyone who's playing, so you have to give new things a chance. And if you're not into it, just go to a different venue. It's one day, so it's a very quick endeavor. I'm looking into either expanding the number of venues on that one day or expanding the number of days. It'll be interesting to see if I can get more people into the fold."
What, planning the whole thing isn't crazy enough? Actually, according to Stuart, "this is the first year that [the planning] doesn't feel chaotic. And, you know, that's a good thing and a bad thing. I have other thingsI have something new happening in my life, so it's good to not be afraid that everything's going to fall apart. But it can be a bad thing because I always want to feel like I'm pushing and the festival's growing. I want to keep it interesting for the attendees."
Judging by the enthusiastic crowds and the fact that it's sold out more often than not in recent years, this would seem to be a needless worry. The venues are still happy to be on board, the players are delighted to be part of it, and there's a presenting sponsor in addition to the usual smaller-scale ones to help make things more feasible. If the city is lucky enough to consider such an active music scene as normal, it's precisely because of all this behind-the-scenes work to keep things going. "I'm trying to sponsor a community of folks. Not completelyit's not just my job to do it, but it's everyone's job, anyone who's presenting music. It's incumbent upon us to make sure we're showing Philadelphia jazz in a very positive light," he asserts.
From tinges of rock-ish guitar, hard bop and soul to sit-ins with Branford Marsalis
or the Roots, Stuart's own musical sensibility ranges just as wide. Since his debut album Solitary Walker
(Self Produced, 2011), he's gone more small-scale and flexible by concentrating more on EPs and all those wildly different gigs. One key role was playing several years with Red Baraat, an Asian-influenced Brooklyn collective that gives Indian bhangra as much weight as jazz swing. The time for another solo project of some kind has been drifting closer now that he's settling down from that crazy pace; now it's just a matter of finding the right moments.