Inverted Garden

Postmortem: Undead Jazzfest

The Undead Jazzfest is safely back in its grave. The CareFusion and Vision festivals are in full-swing, and Undead co-organizer Adam Schatz is skipping town for a cross-country tour with his "zombie jazz" band Father Figures. (Catch their album release show on June 30th at 45 Bleecker.) So it's a little late for a full review, but nevertheless, I wanted to note a few observations for internet posterity.

Ben Ratliff wrote in his Undead recap that perhaps one of every six festival goers was a musician. That estimate strikes me as plausible. During the Tim Berne/Dave King/Craig Taborn set at Kenny's Castaways on Sunday, cheers and jeers kept cracking the band's quiet interplay. This kind of thing happens from time to time at New York City jazz clubs—a woman on a bender wanders in off the street, a few obnoxious tourists chatter loudly through a show—but at the Undead, the offenders were musicians gathered in the bar's front room to watch Game 5 of the Celtics-Lakers Final. The disruption was unfortunate—Berne/King/Taborn's sound was spacey and mellow and would have been better served by a silent atmosphere—but it was also strangely wonderful—the club transformed into a big jazz hangout, with some cats playing in the living room and others catching a game in the kitchen. (Had the game been played two hours earlier, it would have actually been a perfect complement to the loud and fast Endangered Blood.)

This is all to say that while the music at Undead was mostly excellent, it wasn't entirely the point. I heard Josh Sinton's Ideal Bread, Endangered Blood, Steve Coleman and Five Elements, Berne/King/Taborn, and the John Hollenbeck Large Ensemble. Of these, Ideal Bread, Endangered Blood, and Steve Coleman were spectacular (Ideal Bread's cover of Steve Lacy's "The Dumps" was a highlight); the Berne/King/Taborn gig never quite came together; and Hollenbeck's ensemble impressed me but didn't move me—they've probably had much better days.

What I'll remember more than the very good musical moments was the thrill of the crowd—no small thing for a fan accustomed to watching jazz alone as one of the youngest members of a respectful but uninspired audience. As I waited for the doors of (Le) Poisson Rouge to open for the Hollenbeck show, a guy next to me remarked that we were in the longest line he'd ever seen for a jazz show. "Who's playing, Herbie Hancock?" he joked. And he was right. The line snaked around the corner, and it was after 10 on a Sunday night with a well-known but hardly "primetime" band on the bill. It brought to mind a story my friend Greg Kress once relayed to me. Year back, Greg was catching a Jimmy Cobb show at Smalls, and as he entered the nearly vacant club a Frenchmen approached him. "Can you believe this? It's Jimmy Cobb!" The Frenchman had said. "In France, there would have been a riot to get in!"

True to form, I did hear plenty of foreign voices in the crowd, but even if a sixth of the audience were in-the-know Europeans, who were the two-thirds of the over 1600 audience members who weren't musicians or tourists? I haven't a clue, but I do know that Schatz and co-organizer Brice Rosenbloom staged a powerful protest—maybe the most powerful ever—against that chronic, noxious, and hopefully passing phrase "jazz is dead."

Bonus: Catch all of the (Le) Poisson Rouge sets on WNYC's website.

'Tis the season: My NYMag jazz fest picks

June is jazz season in New York. Last weekend's Undead Jazzfest made nearly literal the figurative term "jazz marathon." It was sweaty, exhausting, and often exhilarating. Rushing to five gigs at three venues in less than five hours gave me the improvised music spectator's equivalent of runner's high. (Ratliff had an excellent breakdown at the Times. I caught sight of him during the Steve Coleman gig wearing too many layers for the heat and shaking his head vigorously as in "no fucking way!" at the end of one number.)

This week, the festival season continues with the starts of the CareFusion and Vision fests. For a preview, I'll direct you to NYMag.com, which has just posted my write-ups of both festivals. The magazine asked me to highlight about a dozen shows, and I decided I'd list the concerts that intrigued me the most—the ones with the most potential for surprise. The eleven shows I highlighted might not prove to be the best of both festivals, but I highly doubt any of them will be boring.

POW!: Undead Jazzfest

I started Inverted Garden to join a conversation that I heard increasing in volume and seriousness: namely, how to "revive" jazz. For the last 40 years, the imminent death of jazz has been oft foretold, and while much of the doomsaying has been nothing more than Chicken Little-ism, it does seem true that the jazz audience is nowhere near as robust as it was in the 1950s and 60s.

Back then, jazz was far from being the most popular music in America, but (at least witnessed through the misty lens of nostalgia) there was a palpable sense that it was a music of "the now." Mingus's "Fables of Faubus" skewered Arkansas's segregationist governor, Miles's classic quintets spoke to an anxious, seductive city life, and Coltrane scored his most popular album by covering a tune from a recent Broadway hit, The Sound of Music. When critics and musicians talk about wanting jazz to "matter" again, they're largely talking about this mystical fusion of music, culture, society, and politics—a state in which jazz can move listeners in ways beyond the purely aesthetic.

It's not that jazz musicians have stopped trying to comment on The Way We Live Now, it's that those attempts have felt somehow out-of-touch, forced, or, most often, have fallen on deaf ears. In jazz's "brink of death" phase (Coltrane's death to present), the way the general public perceives jazz has been, increasingly, as an historical artifact of mid-20th-Century America. Segments of the music have never stopped innovating, but mainstream jazz has, by and large, been way too content to keep trotting out "All The Things You Are" (71 years old), "Body and Soul" (a cool 80), and all those other wonderful Tin Pan Alley tunes. When the public thinks of jazz as a music with an already codified language, it's easy to cast attempts at growth as either not jazz (as in the case of the avant-garde) or a kind of pandering to the kids (as with the Bad Plus).

The case of the Bad Plus has been especially vexing. Every time the band releases an album, a few critics accuse it of being "too clever by half" for covering rock and pop songs. To this way of thinking, covering David Bowie is smug because it deploys jazz as a silly novelty (the musical equivalent of the Shakespearean rewrite of The Big Lebowski's script) but covering Jerome Kern is serious because it deploys jazz on the familiar territory of the masters. (Ethan Iverson, the Bad Plus's pianist, addressed the issue a few years back on his blog.)

The idea that jazz is fundamentally a music of the past has a widespread following, fueled, in part, by the way in which jazz is covered in the media. When a general-interest periodical writes about jazz, it's almost always to name-drop its greats: Satchmo, Duke, Bird, etc. A magazine I know well has run two pieces on jazz in the last year: one was about Jason Moran's Monk tribute show at Town Hall (illustrated with a big picture of Monk) and one about a Miles Davis boxed set. Slate's military correspondent Fred Kaplan also serves as its jazz critic; and his pick for the best jazz CD of 2009 was Ella Fitzgerald's Twelve Nights in Hollywood, writing, "the best jazz album of 2009 was recorded in 1961 and '62." Last year was generally considered excellent for jazz recordings with the best albums coming from young, innovative musicians (Darcy James Argue, Vijay Iyer, Steve Lehman), but Slate readers could be forgiven for thinking the music to be about 50 years past its prime.

Into this rather depressing state of affairs steps this weekend's Undead Jazzfest. The name is a direct bow shot at those who have long predicted the music's demise. The Undead is everything a jazz festival usually isn't: it features young guns not aging greats, it's cheap ($30 gets you an all-access pass for both nights), and it's in jazz's native habitat (three clubs within a block of each other on Bleecker St., not a sprawling fairground in Newport or Monterey). Among the more than 35 acts are bands like Happy Apple and Fight the Big Bull that could just as easily fall under the "indie" umbrella as the jazz umbrella—a key part of the Undead's audience-outreach plan. Selling jazz to young audiences as a cutting-edge music is audacious and may prove naively optimistic, but it's starkly, glorious opposed to what will only lead to greater decline: the vice-grip of history obsession.

Bonus: Check out the Undead Mixtape: streaming audio from many of the festival's bands

Darcy James Argue sells out!

That's right, the indie jazz world's favorite composer/conductor is taking his Reign-of-Terror–loving, Extraordinary Renditions–hating act from the halls of Williamsburg and the Bowery to Wynton's Jazz Palace in the Sky. To quote the man himself, "Zounds!"

In all seriousness, this is great news—a marker of Secret Society's recent successes and JALC's expanding horizons. Argue's Dizzy's Club gig will come as part of the new CareFusion Jazz Fesitval, a rebooted and vastly improved version of the bloated JVC Jazz Festival that was canceled last spring. The octogenarian jazz impresario George Wein is, according to the Times's Ben Ratliff, taking a far more active role in programming than in the past; and it looks like the opening bars of a hell of a swan song. The majority of the gigs are cheap, some are free, and the musicians trend young, local, and innovative. (The giants of the festival circuit still play a role, but a decidedly smaller one.)

The jazz world (especially its fringe blogosphere incarnation) has been immersed in a period of soul-searching for the last couple years, giving cultural irrelevance a sobering stare and scheming about ways to hook those crazy kids once more. It's nice to see the top echelons of the jazz establishment responding with such an affirmative, "we hear you."