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ILLINOIS JACQUET BIG BAND
JVC Jazz Festival New York
Sylvia and Danny Kaye Playhouse
June 27, 2003

Rock and roll revivals, or, rather, doo wop and r’n’b seem to the the mainstay of public teevee fundraising these days. Would that there were an equivalent for the oldtimers of jazz.

Saxophonist Illinois Jacquet put on a fine and fun show for a joyously receptive audience of varied ages. Jacquet has his own big band which, in themselves, were not particularly interesting except when playing full tilt, but Jacquet’s wit and the unnamed arranger were the heroes of the night. The pieces were all delightfully short and concise, as if they were being recorded for 78s, yet they played for a good two hours plus two encores without intermission.

The horns, man, the horns. Sure, there was a bass and piano and a young, happy, time-playing drummer with an unrelenting grin and bobbing head, but the sonorities of the twelve horns, not counting the leader’s own, were a real treat for tired ears. The orchestration of the two altos, two tenors, baritone sax, four trumpets, and three ‘bones had the sonic effect of good chocolate truffles, dark and bittersweet, and very little added sugar.

Players were singled out for some solos, and some played hot and some by-the-number. The blond trombonist (I could not get his name by press time) was the strongest player in the band, subtle yet solid. Trumpeter Sean Jones was introduced with enthusiasm by Jacquet, and ran an exciting solo. “A young man from Youngstown, Ohio,” announced the leader. “That’s in America.”

Jacquet’s getting-old, loss of memory schtick was sweet, and left the audience in apt doubt how much was real and how much was a put-on. He entered with a walking stick, in a bright red valet jacket, and sat in a comfortable swivel chair, to play and to conduct the band. Looking toward the band, with brilliant timing, he’d ask, “What’s the name of this?” or “I’m working under a handicap tonight.” Pause. “I’m sober.” Switching from tenor sax to alto, he warned, “these two don’t get along,” telling of the instruments’ jealousies, and indeed the alto gave him a lot of trouble starting up, but that didn’t get him down.


Nor has his life, of which he told many happy stories, especially of the other greats he’s worked with. “Some thieves tried to steal my song ‘Don’t Go Away Mad.’ ” He calls it “Black Velvet,” or was it vice versa? Whichever title, it was a hauntingly gorgeous melody with fascinating changes.

Jacquet’s singing voice is ragged. He did a half-scat/half-moan in tribute to Ella Fitzgerald which was warmly accurate, as well as growling not-bad Armstrong imitation, but clearly to please the audience, which delighted in it. To Jacquet’s credit, nothing he did to play to his audience was tacky or mercenary.

He held out to the end before taking on his career-making song, “Flying Home,” a giant 1941 hit with Lionel Hampton’s band from when Jacquet was nineteen. He knew it was on the audience’s mind, and so he indulged them, saying, “We’re going to do a short ‘Flying Home.’” Afterwards, he smiles and said, “Those days are over.” Someone in he audience pouted, “They are not!” Imagine being asked to play the same tune every day since 1942. I keep thinking of Joni Mitchell’s retort to an insistent fan, saying “Did they ask Vincent Van Gogh to keep painting ‘Starry Night’”?

I highly recommend Delmark’s new twenty-three track reissue of Illinois Jacquet’s 1945-1947 Apollo Records discs, Jumpin’ at Apollo (DE-538), transferred in rich sound.


ILLINOIS JACQUET BIG BAND
Illinois Jacquet, leader, tenor and alto saxophones
Vincent Lardear, alto saxophone
Julius Tolentino, alto saxophone
Arthur Daniels, tenor saxophone
Jay Brandford alto saxophone
Tom Olin, baritone saxophone
Freddie Hendrix, trumpet
Sean Jones, trumpet
Carlos Abadie, trumpet
Aaron Flagg, trumpet
Reginald Cyntze, trombone
Danny Kirkhum, trombone
James Burton, trombone
Ed Stoute, piano
Marcus McLaurine, bass
Tony Leone, drums

www.festivalproductions.net
http://kayeplayhouse.hunter.cuny.edu.
www.delmark.com