,,ridoyj September 5, 1975

THE MICHIGAN DAILY

Page Five

~riday, September 5, 1975 THE MICHIGAN DAILY Page Five


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Mickey Roker (at drums,
left) and Milt Jackson (at
vibes) on stage in Mon-
treux. The festival featured
some of the top artists in
modern jazz, including Diz-
zy Gillespie, Count Basie,
and Clark Terry.

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Photo by JAMES FIEBIG.
The jazz at Montreu '75:


r 4h

Sizzling amidst a heat wave

By JAMES FIEBIG Davis contributed the most in- tonalities that many excellent
Special To The Daily spiring tenor duels. Each man instrumental performers couldI
MONTREUX, Switzerland - seemed to reach deep within not begin to execute. Backed1
The musicians on stage didn't his soul to get out some very by a fine trio under the direc-
seem bothered by an unusual tasty riffs. tion of Flanagan, Fitzgerald
heat wave that sent tempera- By far, one of the most il- brought a wide collection of jazz!
tures inside the lakeside casino lustrious sets was the session standards to a life with a specialI
here soaring well into the nine- that featured three masters of magic touch that is all her own.!
ties. If anything, the jazz at the trumpet: Eldridge, Gillespie On the other hand, contem-
Montreux seemed to be cooking and Clark Terry. Gillespie"s porary singer Maria Muldaur
better than ever before. style seemed best characterized appeared to be a victim of the
The Montreux International by the expanded scales he con- more traditional jazz taste that
Jazz Festival has grown into tinually played, blowing both seems to predominate in F:ro-
much more than just a "jazz outside and inside of the chord pean audiences. Muldaur's brief
festival." Three weeks in July structure. performance met with loud
whistles-one of the ultimate
are split each year into separ- Pablo officials and festival insults to a performer in Europe
ate sessions for folk, country promoters called Ella Fitz-|-and more than a few boos.
and blues, rock, city blues, gos- gerald's evening on stage "Gala',
pel and jazz. Night" - and it truly was the Nevertheless, Muldaur didn't
Nevertheless, the b i g g e s t I most gala evening of the festi- seem at all ruffled after fin-
crowds-thousands of jazz afi- val. Most of the audience ishing her short set. "Listen, I
cionados from all parts of changed from jeans and assort- think a good two-thirds of them
Europe - crammed into this led leisure wear to semi-formal dug it," she said between sips
normally peaceful Swiss village fashion. Ushers crammed 3500 of wine in the casino lounge.
during the last week of the' patrons into the small casino, "Man, this is a little club as
series to view some of the which usually only seats 2800. far as I'm concerned. I've
world's top jazz talent. Tickets were being sold outside played for 30,000 people that
There were very few Ameri- for up to 100 francs (roughly all went bananas."
cans present in the audience $40). Nobs estimated that between
this time around: extremely20ad3aluswldbre
high ticket prices ($80 for six Both OscarbPeterson a n d2and s ou be re-
.nights) and scarce accomnmoda-' Joe Pass exhibited their fine leased by distr'ibutors in Euirope
tions depleted deflated dollars virtuosity, although Pass was and the United States over the'
inains tant, d ebeset with problems from his next few months from perform-
in an instant. Polytone amplifier reverb. e ances recorded at the festival.
seemed unnerved by the failure, Roland Kirk's energetic session
audience has the opportunity to d t hs h on three saxes, for example,
observe the major innovators in an-cutis set sort. will by itself easily reduce to a
more than one school of jazz Jackson again produced some powerful double album.
performing together. But dur- unbelievably smooth, effortless Some recordings cut during
ing the nights sponsored by jazz. With his Modern Jazz this year's jazz week in Mon
Pablo Records, almost every Quartet influence behind him, treux may also reach consum-
top name in jazz paraded across one now hears Jackson doing ers in a potentially huge mar-
the. small stage in the Mon- what he does best-playing his ket where contemporary jazz:
treux casino. own style of music, and not has only recently become quite
The most remarkable feature John Lewis's. popular - Japan and the Far
of the Pablo jam sessions - Fitzgerald's thrilling (and ex- East.
which included Roy Eldridge, tremely popular) set was dom- To recognize the growing Ori-
Dizzy Gillespie, Milt Jackson mated by her remarkable abil-; ental interest in the jazz idiom,
and Ella Fitzgerald, among ity to express vocally musical' festival officials diverted from
o t h e r s - was the amazing --
sense of camaderie that each
performer projected. Although
most of the artists had played ISRAELI DANCING
together before, one felt a
happy sort of reunion atmo-
sphere develop in the midst of Tuesday, September 9
some terrific sets.
Jackson and Toots Theilman at 8 p.m.-H il el Social Hall
were both their smooth-playing,
relaxed selves. Jackson smiled Rikudei-Am at Hillel
broadly all the way through
each measure, adding a special 1429 H ILL ST
touch ofpcohesiveness to each 663-3336
set he played.E
Johnny Griffin and Eddie

Micnigan "ally

the main theme of the series for
one night and programmed an
entire concert featuring new tal-
ent from the Far East. Most of
these new players lacked the
skilled artistry of the American
and European veterans, but
demnonstrated an impressive'
ability to sustain a high emo-
tional level for an extended per-
iod of time.
The strong dedication to ar-
tistic excellence at the execu-
tive level is perhaps the most
unusial aspect of the festival.
Unlike so many other music
promoters, the Montreux group
dos not operate a strictly com-
mercial enterprise - a series
vith the schedules dictated sole-
1y by the cash register. At Mon-
treux, the emphasis is more on
providing a definitive aural
o% erview of the highly varied
Stles of music we loosely de-
scribe as "jazz".
It is this unique sense of pur-
pose that helps make Montreux
a tradition about which all jazz
m sicians and audiences can
be most proud.
Have a flair for
artistic writinq?
If you are interest-
ed in reviewi i;
j poetry, and music
or writing feature
stories a bo ut the
drama, dance, filn
I arts: Contact Arts
Editor, c/o The
S Michigan Daily,
annna
r

BUFORD
PU SSER's
own tru
story:
9s

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