Savannah fest jazz program an eye-opener

Rob Gibson is one of the smartest guys I know. He plans and runs an incredible festival, too.

The Savannah Music Festival, under his tutelage now for eight years, is one of the best comprehensive gatherings of music and musicians in the world.

I reported in a Post and Courier news story last year that SMF was chosen by the London Times as one of the best celebrations in the world in 2009, the only American event selected.

Last year, there was European classical, blues, bluegrass, Cajun, jazz, Tin Pan Alley, country/Americana, rock 'n' roll, Latino/timba, world music, African, Old Time, Swedish, Southern traditional folk and others.

The jazz lineup always has been amazing.

It might have something to do with the fact that Rob rose to national prominence when he and colleague Wynton Marsalis grew Jazz at Lincoln Center some years ago.

And, he's the man at SMF. He is executive director and artistic director. He scouts out acts, negotiates with musicians, sets the festivals broad aesthetic goals, raises funds, does public relations and probably sweeps the floor after events.

So you see, he's a real jazz guy. He believes in traditions and believes in building on them, not getting stuck in them.

He improvises. He's a great soloist, following his heart and head to new ideas that manifest themselves on the festival's stages.

Rob is ably assisted by Daniel Hope, associate artistic director of chamber music, Marcus Roberts, associate artistic director of jazz education, and Gene Pinion, education director. But, it's Rob's show.

The 2010 festival runs March 18-April 3, including more than 100 performances in many of the same genres from previous festivals, including American and international roots music.

SMF has become quite adept at making the most of the beautiful, historic venues in and around Savannah.

Most of the jazz this year comes the last week of the schedule.

Jazz artists and clinicians include Bill Frisell, Wycliffe Gordon, Ken Peplowski, Marcus Printup, Gerald Clayton, Wynton Marsalis and the Jazz at Lincoln Center Orchestra, Dick Hyman, Marcus Roberts, Henry Butler and many others.

In a recent conversation, Rob waxed eloquently about how he chooses the musicians that he does.

"The greatest jazz musicians have always been about swinging and playing the blues, which means they can generate a disposition that is both elegantly playful and heroic in its nonchalance. That makes people feel good, so when musicians relish those traits, we hire them."

Here's what he thinks of jazz with regard to SMF.

"Our festival has always accentuated American musical genres, most of which were born in the South. But jazz is special because it is the quintessential fine art created in this country," he says.

"It not only reveals our true history, but it informs our consciousness by making clear the possibilities of what we can achieve individually by working in coordination with others. While the popularity of jazz has waned, its aesthetic has influenced nearly every style of music and it remains an expression that people crave once they connect with it."

Rob also believes strongly in education. The jazz program in this year's festival includes some exciting, cutting-edge stuff that will only further enhance the festival's reputation via its jazz series.

SMF has selected 12 highly regarded high school jazz bands from more than 50 applications to participate in the fifth annual Swing Central High School Jazz Band Competition & Workshop under Marcus Roberts' leadership.

He is a fine pianist/educator/composer.

Each competing band will receive a visit by a Swing Central clinician this month to help prepare for the event.

On April 1, all bands perform in public showcases at Rousakis Plaza on River Street. During competition rounds on April 2, each band plays three selections: Bennie Moten's "Moten Swing," "Stolen Moments" by Oliver Nelson and "Black Bottom Stomp" by Jelly Roll Morton.

Competition Rounds, held at Lucas Theatre for the Arts, are free and open to the public.

The three top-scoring bands each receive an honorarium ($5,000 for first, $2,500 for second and $1,000 for third place) and perform the opening set at the production All-Star Swing Summit, featuring Marcus Roberts Trio, Chris Crenshaw and the Georgia Horns, The Clayton Brothers and others on the same stage that night.

Other competitors receive a $500 travel stipend.

One of the coolest things in the festival is a new technology piece added to Swing Central this year.

The competition is the subject of a new media project that uses technology to enhance the promotion of jazz music and education. The festival is one of only five recipients of first-round funding from the national Jazz.NEXT initiative, including National Public Radio, Monterey Jazz Festival, Walker Art Center and the National Federation of Community Broadcasters. The project is funded by Mid-Atlantic Arts Foundation through the support of the Doris Duke Charitable Foundation.

"Through this technology project, we're making our unique jazz education efforts accessible to the masses," Marcus said. "The Internet is now a primary learning tool for people of all ages, and young people, such as the participants in our Swing Central program, will benefit greatly from the lessons, artist interviews and audio/video performances that will be hosted at swingcentraljazz.org."

There are some neat special events within the jazz series.

Dick Hyman playing Fats Waller should be out of this world.

Savannah native Ben Tucker, a jazz bassist extraordinaire, will celebrate his 80th birthday with a party that's an event in the festival.

There are many fine jazz offerings around the Southeast, but in any given year, you would have to look far and wide to beat the program at the Savannah Music Festival.

For schedules and tickets, call 912-525-5050, visit www.savannahmusicfestival.org, e-mail info@savannhamusicfestival.org or write SMF, 200 St. Julian St. Suite 601, Savannah, GA 31401.

Jack McCray, author of "Charleston Jazz," can be reached at jackjmccray@aol.com.