Where’s Waldo? (JVC 2002)

Abstract A brief July 9 press release about the flagship event that ran from June 16 to June 29 begins with an announcement from George Wein (“CEO of Festival Productions, Inc.”): “The 2002 JVC Jazz Festival–New York was the most successful JVC festival ever held in New York.” It was also the least jazz-like. JVC, whether good or ill or, per usual, in between, does not always reflect what is actually going on in the jazz world. This year it did—not musically, but culturally and economically as concerns what remains of jazz central in these United States. Fading away, like Uncle Tom in an episode excised from Duke Ellington’s Jump for Joy, Uncle Jazz lies on his deathbed while producers and CEO’s frantically administer adrenalin to keep him alive. It isn’t necessarily his music they hope to preserve, but his name, a valuable brand on seven continents. Never in my experience has JVC presented so little jazz, or so few thematic and imaginative concerts. Even re-creations, with which we are admittedly surfeited, vanished from the bill. There was nothing novel, original, or newsworthy. A cursory look at the events scheduled for The Hague, Montreal, and other international jazz sites reveals the singularity of New York’s drought. Of eight concerts presented at Carnegie Hall, which according to a press release had a 90 percent ticket sale (that’s the source of the “most successful” claim), only half were undeniably jazz. Of the others, Joao Gilberto and Eddie Palmieri remain tangential, though they have now become deservedly admired JVC traditions; make the audience beg and beg and beg for the encores? After one belated bow, DeJohnette walked to the drums only to learn that there had not yet been enough begging and then had to walk off stage; after the next bow, Peacock made the same mistake. OK, it’s a small price. Jarrett and company, at least, know what they’re doing. I’m not sure about JVC. If this year’s financial success breeds another year with as little resourcefulness, as little jazz, there won’t be much point in covering it. We will already have heard almost all of it worth hearing—year round, in the clubs.

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