Monterey Jazz Festival changes under new artistic leader

The Monterey Jazz Festival celebrated its 67th anniversary this year. The event featured over 100 artists and bands throughout the course of three days at the Monterey Fairgrounds. ARIANNA NALBACH — MONTEREY HERALD

The Sara Jones Trio performs at the Courtyard Stage for the Monterey Jazz Festival. ARIANNA NALBACH

Eastwood Symphonic, a musical project led by American jazz musician and composer Kyle Eastwood, performed with an orchestral ensemble, the movie themes from Clint Eastwood’s films such as “Gran Torino.” FRANCIS VERNHET — COURTESY OF MONTEREY JAZZ FESTIVAL

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At the 67th Annual Monterey Jazz Festival at the end of September, there were numerous challenges, some met and others left for another year wrote Herald columnist Beth Peerless. Here is some of her review.

Five stages and 350 artists. Music festivals these days believe in the concept of more is better. The choices are there, the frustration to see all your favorites is real.

The Monterey Jazz Festival is an event where soaking in the moments is where it’s at. It’s taking a seat in the arena and enjoying an entire set of a headlining artist you admire. Or, as was the case many times at this event with a new artistic director, Darin Atwater, it was discovering new music from across the globe. It’s wandering the grounds and perking your ears to what’s on each stage as you pass, deciding to stop and listen should the spirit move you. It’s staking out your spot at one stage and taking in the performances as they unfold.

And it’s visiting with friends, shopping, eating and drinking and just embracing the ambiance of the Monterey Fair & Event Center.

My experience at the festival was varied. The sets I place at the top of her list for best of included Friday’s opening set at Jimmy Lyons Stage with the SFJAZZ Collective, an all star tour de force of talent. I was glad to experience the depth and wonderfully arranged pieces that showcased the talents of saxophonist/percussionist David Sanchez, trumpeter Mike Rodriguez, pianist Edward Simon, bassist Matt Brewer, drummer Kendrick Scott and vibraphonist Warren Wolf.

Samara Joy put on a dazzling performance with a voice as resonant and expressive as they come in jazz. No comparisons, just beautiful. Saturday’s top tier was The Blind Boys of Alabama with Bobby Rush, laying down lush harmonies and soulful entreaties. Cory Henry and the FunkApostles took the prize for best vibe and dance party of the festival.

Japanese pianist Hiromi is a force to be reckoned with. She is the epitome of joy and at the same time an amazing technical wizard of a keyboard player. Following her set was the great NEA Jazz Master Stanley Clarke and his N-4EVER band with a guest appearance by Hiromi that killed.

The arena was almost packed out for this prime-time set. Sadly, the beautiful warm weather of Friday had turned to heavy, damp fog by Saturday evening, challenging the steadfastness of Clarke’s fans.

The festival this year returned to what was generally the pre-pandemic format, with a few new tweaks. Friday started earlier than normal at 3 p.m., when before it was 5:30 or 6 p.m. Both Saturday and Sunday stretched from noon or earlier to 11 p.m. or so, challenging even the energetic, listen-till-you-drop crowd. The festival had pared down the late-night music for the past couple of years and I think the regulars kind of liked that. The topic of many conversations each day was the first impressions of the new guy’s lineup. I heard a mixed bag of responses, and I don’t think it was because of any of the performers themselves. There was just a different feel. And that’s not surprising. It’s a transition year.

There was so much variety it was a little disconcerting. While gospel is OK and despite the good intentions of Atwater in bringing the joy to the festival, it was a little too much. Granted the roots of jazz are in the African-American community and it’s a beautiful thing to experience that aspect of the music. Hard to ignore were the many off-schedule performances, meaning late starts.

By the time Sunday rolled around, this festival attendee was feeling a little worse for wear. I caught the presentation of the inaugural Cultural Leadership Award presented to actor/director/pianist/composer/longtime Jazz Fest board member Clint Eastwood by his fellow Hollywood star and friend Morgan Freeman. It was a sweet moment, with Freeman giving a speech, albeit a bit loose in delivery, prior to symbolically handing the award to Eastwood who remained seated in the front box area of the arena. Freeman went to join Eastwood afterward to enjoy the performance of Kyle Eastwood’s songs from his father’s movies in Eastwood Symphonic.

Along with Tim Jackson’s retirement, there are many of the usual festival workers I’ve come to know and love over the last 33 years of covering the event that have also hung up their Jazz Fest badges of honor. I salute all of you and miss having those one-on-one hangs we came to expect every year. And to those who are hanging in there, including me, the party continues!