DownBeat November 1993 [antikvár]

ON THE BEAT DOWPEAT November 1993 Jazz History Course by John Ephland ^s the fall jazz season unfolds, controversy has beset one of New York's most reputable venues. Jazz At Lincoln Center GALC), under the artistic direction of Wynton Marsalis, has been at odds with the New York and national jazz press, of late. In this issue, we present two sides to the house that Marsalis. Program Director Rob Gibson, and Creative .Consultant Stanley Crouch built. On page 54, there's the well-received and invigorating musical triumph of JALC's "Battle Royale: Trumpets And Tenors," a well-executed, old-fashioned cutting contest, tuxedos notwithstanding. As part of JALC's opening-week festivities for its third season of Classical Jazz, the "Battle Royale" was indicative of the kind of innovative programming Mr. Marsalis co. are capable of at their most inspired. On page 9, the program's weaknesses are addressed in a news story on JALC's recent problems, with mention of questionable employment practices as well as charges of stylistic tunnel-vision and bigotry. When assessing the merits of JALC. it's important to remember that the program is At odds with the press: JALC's Marsalis only in its third season. Declaring a verdict one way or another seems premature. It's obvious that JALC has only scratched the surface of the type of jazz available. On the other hand, what lies ahead, in terms of programming, may already be known. For anyone who's followed Marsalis' ascent in jazz during the '80s, his artistic vision for Lincoln Center should come as no surprise. Marsalis has found an ideal home for his merging of the classical and jazz traditions. Hence, it's fair to assume JALC will remain faithful to a more conservative musical philosophy. The bone of contention with the press has less to do with the start-up missteps of a relatively new program, and more to do with defining jazz tradition. The jazz community rightfully questions JALC on just who is worthy of receiving commissions. The poli- tics of jazz include not only who gets the money but the impact those commissions have on history. The music of legendary artists honored thus far has been that of strictly African-Americans, with commissions being given to young African-American artists only, the vast majority coming from the mainstream tradition. As others have rightly asked, is there a place for the music of such white legends as Gil Evans, Benny Goodman, or Woody Herman at JALC? We hope there is. Does any of this matter outside of New York? Absolutely. In fact, the call for similar programs in other cities is beginning to be heard. Chicago Tribune arts critic Howard Reich, for one, has put just such a challenge to that city's cultural establishment. Despite the fact that JALC only had one sell-out show last season, most shows were well attended. In addition, Carnegie Hall's classical jazz program, just now into its second season, has had its share of sold-out events. Reich rightly questions the assumption that New York is the only town capable of pulling off just such a successful venture into "America's classical music." As the folks at Lincoln Center are finding out, you can't please everybody. JALC admits some mistakes have been made. When the dust settles, it should be remembered that in addition to providing jobs for musicians, the music of great and lasting artists is being performed, and with an air of dignity and resolve befitting jazz. Whatever Jazz At Lincoln Center does with its mandate to bring jazz to a wider audience, it must act responsibly, and in a way that serves to encourage other potential programs not just in this country but around the worid. DB November 1 9 9 3 -Volume 60-No. 11 PUBLISHER Kevin Maher EDITORIAL DIRECTOR/ASSOC. PUBLISHER Frank Alkyer MANAGING EDITOR John Ephland ASSOCIATE EDITOR Dsve Heiland ASSOCIATE EDITOR Ed Enright DESIGN Jay Crawford Design PRODUCTION MGR. Isabel Zack CIRCULATION MGR. Elaine Rizleris CIRCULATION ASST. Ginger Giese PRESIDENT Jack Maher CONTRIBUTORS: Larry Birnbaum. Fred Bouchard, Michael Bourne. Tom Copi. John Corbelt, Owen Cordle, Lauren Deutsch, John Diliberlo, Enid Färber, Leonard Fealher, Mitchell Feldman, Andy Freeberg. Elaine Guregian, Frank-John Hadley, Peter Kostakis, Art Lange, John Litweiler, Howard Mandel. John McOonough, Bill Milkowski, Paul Natkin, Oan Oueilette, Ben Sandmel, Mitchell Seidel, Bill Shoemaker, Jack Sohmer, Stephanie Slein. Robin Tolleson, Ron Welburn, Pete Welding, Kevin Whitehead, Josef Woodard, Scott Yanow. CORRESPONDENTS: Albany. NY Georgia Urban; Atlanta, Dorolhy Pearce; Auslin, Michael Point; Baltimore, Fred Douglass; Boston, Fred Bouchard: Buffalo, John P Lockhart; Chicago, Jim Oe Jong; Cincinnati, Bob Nave; Detroil, Michael G. Naslos; Las Vegas, Brian Sanders; Los Angeles, Zan Stewart; Minneapolis. Mary Snyder; Nashville. Dave Jenkins; New Orleans, Joel Simpson; Philadelphia. Russell Woessner; Phoenix. Roberl Henschen: Pitlsburgh. David J. Fabilli: San Francisco, Michael Handler: Seattle. Joseph R. Murphy: Vancouver, Vern Montgomery; Washinglon, DC, W. A. Brower, Argentina. Max Seligmann; Australia, Eric Myers; Brazil, Chnslopher Pickard; Finland. Roger Freundlich; Greal Britain, Brian Priestley; India, Vinod Advani: Italy Ruggero Stiassi: Jamaica, Mauroen Sheridan; Japan, Shoichi Yul: Netherlands, Jaap Ludeke: Norway Randi Hultin; Senegambia, Oko Draime: South Africa, Howard Belling; Swoden. 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