January 21, 2015. Posted by Brandy Wood.
WBGO Travel invites you to enjoy the sun, fun and music at the Newport Jazz Festival, July 31- August 3, 2015.
Arrive at the Newport Hotel & Marina on Thursday night, rested and ready for the Friday start of the Newport Jazz Festival.
If a Friday arrival works better for your schedule, join us then. We will greet all our guests on Friday night at a welcome reception at the hotel, then hop aboard the trolley to take you to/from the concert at the International Tennis Hall of Fame.
Saturday and Sunday mornings, take a short walk to the ferry dock where you will be jetted to a full day of a variety of musical enjoyment at the legendary outdoor Festival inside historic Fort Adams State Park. Before departing back to reality on Monday, join us for a bon voyage breakfast and take in the view from the marina. WBGO will provide you with an insider’s list of the best places to visit when the music isn’t playing, but when it is, you will hear:
- Christian McBride Trio
- Cassandra Wilson celebrates Billie Holiday
- Jon Batiste & Stay Human
- Chris Botti
- Dr. John & The Nite Trippers
- Jamie Cullum
- Irvin Mayfield & the New Orleans Jazz Orchestra
- Jon Faddis: Triumph of Trumpets
- Cécile McLorin Salvant
- José James
Details of Newport weekend package:
• 3 [or 4] night hotel stay at the recently updated Newport Harbor Hotel & Marina.
• Welcome Reception at the hotel on Friday evening
• Two reserved seat concert tickets for Friday night, 8pm at The International Tennis Hall of Fame at the Newport Casino, , plus round trip ground transportation to/from venue and hotel
• Two general admission festival tickets for both Saturday & Sunday
• Bon Voyage Breakfast at the marina on Monday morning
• Parking at the hotel for 3 [or 4] nights
Festival Gates open at 10am, Saturday Festival Music Program: 10:45am-7pm, Sunday Festival Music Program: 11am-6:45 pm. Ferry passes to festival site not included. Parking at festival not included.Rates & Reservations:Double Occupancy:3 Night Price: $2,390 includes above detailed package for two people
4 Night Price: $2,875 includes above detailed package for two people, plus Thursday night stay with Friday day time festival ticketsSingle Occupancy:3 Night Price: $1,965 includes above detailed package for one person
4 Night Price: $2,375 includes above detailed package for one person, plus Thursday night stay with Friday day time festival ticketsInquire about family rates. Read our Cancellation Policy.To make your reservation call 973-624-8880 x269 or email firstname.lastname@example.org
© 2015 WBGO
January 20, 2015. Posted by Tim Wilkins.
Singer Lauren Hooker talks with Michael Bourne about her new album "All For You," which features her original songs. Hooker performs in Brooklyn and in Watchung, NJ on Jan. 31, and in a birthday celebration at Hat City Kitchen in Orange, NJ on Feb. 7. She has also been a featured performer in WBGO's Kids Jazz concert series. Enjoy!
© 2015 WBGO
January 15, 2015. Posted by Tim Wilkins.
With more than a hundred acts at Winter Jazz Fest, there was a lot to absorb. I got together to compare notes over coffee with Patrick Jarenwattananon from NPRMusic, Derrick Lucas from Rochester's Jazz 90.1 and David Adler from JazzTimes. Read on!
TIM: Welcome, folks! How was your Winter Jazz Fest 2015?
PATRICK: Cold. It brought a whole new meaning to the word “Winter.”
DERRICK: Yes, it felt like the Polar Bear Plunge at Coney Island…
TIM: But it was hot inside, no? There was even a showcase of vintage “hot” jazz for the first time. How was that?
DAVID: Festive as hell… people were dancing, even on the slow numbers!
PATRICK: Yea. Apparently the kids like the hot jazz now. The acts I saw – Bria Skonberg, the Ladybugs – were full of spirited energy. They sang well and swung nicely.
TIM: It’s a spirited scene, but is it a New York microculture? Are kids in Ohio dancing in spats and suspenders?
PATRICK: Hard to tell, but it’s popular here – at Bria’s show, a group of dudes a few drinks too deep were talking loudly about how stoked they were - this at a "hot jazz" gig the rest of us were straining to hear.
TIM: Shows were sold out, with spillover crowds – with more of the casually curious, it seemed. Has a “new audience” arrived for jazz?
DAVID: The audience was huge, it seems to me.
DERRICK: WJF unites the city’s four jazz factions: uptown neo-soul lovers, the hard bop clan, retro swingers and downtown avant-gardists, all digging in to the ultimate jazz buffet.
TIM: It was easier to “surf” long lines this year, with more and better venues – 10 in total - where you could actually hear the music: SubCulture, Minetta Lane, Players Theater…
PATRICK: More seats encouraged longer stays and deeper listens. This helped out crowd flow, and the festival gamely tried to update us on the fly about the lines. But I still felt bad for those outside on those ten-degree nights.
PATRICK: I might lodge a complaint about venues that made you buy a drink if you were to sit down (ahem Zinc Bar ahem). But maybe that's the cost of doing business in the West Village.
TIM: Yes, money never sleeps. One club – Carroll Place – delayed its WJF sets by several hours so they could squeeze more cash out of their “paying” customers. And Le Poisson Rouge shooed everyone out by ten to make way for a 90s revival band!
DAVID: I liked the deeper listens, but I also missed the more casual dipping in and out of past years. Though I managed to do some of that, too…
TIM I heard a lot of "reimagining tradition”... tributes to Benny Goodman, Miles, Coltrane, Ornette… is it time for jazz to come up with a better word for "reimagining?"
DAVID: Yes, spell-check doesn't recognize it! Oran Etkin’s take on Benny Goodman surprised me and was great, as was Rudresh Mahanthappa’s Charlie Parker project, “Bird Calls.”
TIM: Bird Calls was the most oblique of these tributes – kind of “contrefact”-ish, in the way Lennie Tristano used to rewrite existing compositions.
DAVID: Yes, it's original music based on fragments of things, “reimagined” through Rudresh’s own angular rhythmic language. There’s that word again! He’s worked that way before, on his album Mother Tongue, for instance.
TIM: It’s also a great band, with twenty-year-old Adam O’Farrill on trumpet.
Any other broader trends you heard?
PATRICK: I'm glad the festival has embraced "fun" music like "hot jazz" that isn't just dance-funk or avant-rock-driven.
TIM: Yes, I heard a lot of bands aiming to create a more fun, less solo-based experience of jazz for the audience... in a variety of ways - dipping into "hot" and gypsy jazz, as well as the seventies, electronica, and hip-hop,…
Some of these efforts were clearly experiments, or works in progress… my overall impression of the festival was “Welcome to the toolshed, watch us build!”
PATRICK: WJF is always about bands working stuff out, right? Jay Rodriguez had to direct and cue his Ornette tribute band, SEVEN, in a way that didn't seem planned. But the strength of his tenor and flute playing, and the solid grooves he was running, and the string section, carried the day.
TIM: Yes, Jay had to redo his arrangements on the fly because of the Carroll Place debacle, but it sounded good in the end! That’s jazz.
What were your most memorable moments this year?
DERRICK: My A-hah! moment was singer Jean Baylor, who performed with her husband Marcus on drums and then with drummer Marcus Strickland’s Twi-Life band. Her vocal style is a nice blend of Jill Scott and the late Phyllis Hyman.
DAVID: And Strickland’s rhythm section, with Kyle Miles on bass and Charles Haynes on drums – my Lord!
TIM: I liked Uri Caine with the Dutch madman, drummer Hans Bennink...
TIM: There was a Mexican band called Troker, who impressed me in their impromptu after-set at Ilhan Ersahin’s club Nublu… they got a non-jazz crowd dancing with a high-energy, insanely virtuosic jam band vibe… Is it jazz? Who knows. But it's proof to me a band can still show up in New York out of nowhere and excite audiences who know nothing about them, as long as they’ve got fresh ideas.
PATRICK: I saw lots of music that was like "this is jazz?" That's not an important question of course -- that's just a knee-jerk reaction I have when something ambitious doesn't quite square with me.
What sticks most with me is a set by trumpeter Marquis Hill, best known as the winner of this year’s Thelonious Monk International Jazz. Competition.
TIM: Tell me more…
PATRICK: He brought his quintet from Chicago, and their rapport was obvious. They all knew all the music. They had this young vibraphonist (Justin Thomas) who tore it up, a drummer (Makaya McCraven) who was entirely committed, a two-horn rapport with alto saxophonist Christopher McBride that was clearly the work of a lot of work together.
PATRICK: Reminded me of other Chicago trumpeters in recent memory who can swing like the Dickens but have deeper roots and 21st century upbringings too -- guys like Corey Wilkes and Maurice Brown.
TIM: Truly, a great working band can make all the difference! We were happy to have them perform at WBGO while they were in town.
PATRICK: They could swing, man. And among all the elegaic, noisy, dance-y, arty, cute, heavy, and complex stuff I go to WJF for, that was a welcome palette cleanser for sure.
TIM: And at the end of the day, that's why we keep coming back!
© 2015 WBGO