Well, historically, I go back so far. Duke and I were very close. I was his
international impresario for many years. And I was Miles? international impresario.
And [Thelonious] Monk. I loved Monk very much. I was very close to Monk.
George Wein is in his 47th year of producing jazz festivals. He invented them, going back to the first Newport Jazz Festival in 1954. Now they take place all around the globe. He's 75 in October, but still going strong. How much longer will be the most famous jazz impresario? Even he doesn't know. So cherish him while he's still out there. He is a hall-of-famer for sure. Probably the most important non-player (though he does play decent jazz piano) in jazz history.
In a recent talk with AAJ, Wein referred to people like himself as 'dinosaurs ... but we're still roaming the earth.' Certainly he is conservative, though very open minded. While many welcome the expansion of jazz and merging with other forms, Wein speaks of 'the tradition' and says he narrows his view of what 'jazz' is, not broadening it, as do many others. Nonetheless, he's a walking, breathing piece of jazz history. From the first concert in 1954 (emceed by Stan Kenton with material written by Nat Hentoff), Wein has made the Newport Jazz Festival part of the American lexicon ' even though it's now a small event while, since 1972, the main event is focused in New York City. He's a tireless worker, getting gigs for jazzmakers even through the most bleak times.
The fact that he adds pop to his festivals (dig what he calls the low point of his career... it may surprise) it's all with the intent of helping the American art form survive. And he's survived along with it.
George Wein is intelligent, eloquent and energetic. His autobiography (in progress) should be a great read. Any conversation with him is a great conversation.
All About Jazz: Growing up, did you want to be a musician? I know you like to play. Were you headed in that direction?
George Wein: I don't know whether I wanted to be a musician, but I always was a musician. It's one of those things. During high school and then while I was in the Army I played the piano and it helped me a lot. And when I went to college I played, sometimes seven nights and then Sunday afternoon while I was studying. You know, I was working with Max Kaminsky and Pee Wee Russell. I was working full time quite a bit of the time while I was in college. But whether I ever thought I would be a musician or a full-time musician, I don't know. I don't think so.
AAJ: How did you go from that background to Storyville [the jazz club Wein bought in 1950] and being a promoter?
GW: Well I was playing when I got out of college and I didn't know what to do so I took jobs in clubs in Boston, you know. And I was building a little reputation for what I was doing. I produced one concert back in 1949 and it got a little notice, while I was still in college. Somebody said to me in 1950 to open up my own club, You just didn't open a club. You had to have money, but I didn't have any money. I had $5,000 that hadn't been used for my college education, because the GI Bill paid for my college. So I leased a room from the hotel, and so I was in business for $5,000.
AAJ: Eventually it grew to the festivals. How did that come about?
GW: Well, we had many people come into the club. People would come in and have ideas: 'Can you bring jazz up here? Can you bring jazz there?' I didn't pay too much attention, because unless they followed it up the next night or called you the next day, you'd know they just had a few drinks and were having fun that night. But the Lorillards came back Louie and Elaine Lorillard. Elaine Lorillard came back one night with her husband. They wanted to do something in Newport [RI]. I came up with the idea of the festival and the structure of it and the next thing we know we were doing the Newport Jazz Festival.
AAJ: Was the first one in 1954 the first outdoor festival for jazz?
GW: It was the first outdoor festival for jazz in America. I don't know whether anything Europe ' there was supposed to be something in Nice [France] in 1949, but that was a one-shot deal. But that was the first ongoing festival in jazz. We called it the 'first annual' even though it was the first year. I said 'Well, if you're going to do it one year, you gotta follow it up the next year.'
AAJ: So the Lorillards...
GW: They made it possible for me to do it. It never could have been done without the Lorillards.
AAJ: Did you know it would work. Were you uneasy in that beginning period?
GW: I more or less knew it would work. There are several reasons why I knew it would work. Newport itself was the town that I always wanted to go to. I'd never been there. I heard about it because of the mansions and everything. But more than that, I knew every jazz fan in New England from my club. I'd been in business four years. I knew what did business and what didn't do business, and what artists there were. So I put together the right artists. And they came. We sold out both nights, five thousand seats.
AAJ: The Lorillards saw jazz as art?
GW: Well, they wanted, really, to liven up the summer. They didn't know much about jazz. They just knew they liked the music. They wanted ' Newport was a dull place in the summer. The year before they had part of a group that brought in the New York Philharmonic which died. They lost a lot of money. The investment people backed out of doing something again but Louie Lorillard wanted to stay with it. They brought in jazz. I was introduced to them by a professor from Boston University who was a regular at my club.
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.