Washington's U Street area was "all that jazz" last weekend as the second annual Duke Ellington Jazz Festival came to an end at the historic Lincoln Theater. Beginning on Oct. 4, the festival was a five-day event honoring legendary jazz artist and D.C. native Duke Ellington.
Charles Fishman created the festival only two years ago because he felt jazz was an important part of American history and values.
"Most theatre, opera, classical music and dance did not come from this country, but jazz did. Jazz and blues are our only original art forms, so it is very important to know their history and the essential role they played in the country's history," Fishman said. "This music encapsulates the core American values of freedom, democracy, diversity and unity."
This year the festival featured such jazz talents as Roy Hargrove, Paquito D'Rivera and the Smithsonian Jazz Masterworks Orchestra. Exposing almost every twist on classical jazz style, these incredible artists turned the festival into a multicultural event.
Among these artists was legendary Latin jazz performer Poncho Sanchez, who kicked off Saturday's tribute at the Lincoln Theater with a spicy twist on some of Duke Ellington's classic jazz masterpieces. Breaking down the beat to Ellington's "One Mint Julep" on the congas, Sanchez heated up the vibe of the entire venue until the audience was dancing in their seats. A tantalizing trombone solo by Sanchez's Francisco Torres sent everyone into a wild frenzy at the peak of the song.
During "A Night in Tunisia," an original piece by Dizzy Gillespie, Sanchez brought the audience to their feet and made them dance in the aisles. Sanchez's trumpet player, Ron Blake, occasionally stole the limelight with a lively display of his skills.
By the end of Sanchez's set, the entire house was standing, clapping to the beat and dancing to the rhythm. Sanchez had transfixed everyone with his talent and enthusiasm, submerging the entire audience in colorful, salsa-based trumpet solos and maraca-trombone duets. For that hour and a half, Sanchez made the busy streets of Washington disappear as he created a Latin jazz extravaganza inside the theater.
Later on Saturday evening, New Orleans musical legend Dr. John cured any rainy-day blues the audience may have had with a shot of his bold Louisiana jazz style. Walking on stage in his crimson suit, Dr. John headed for the piano where he immediately began banging out a southern jazz piece. Placed center stage, he heavily tapped his feet under the piano and sang the blues while producing magic with the ends of his fingertips. After borrowing his stage name from the legendary Louisiana Voodoo practitioner of the early 19th century, Dr. John certainly seemed to have the audience under his spell.
Truly spellbinding, however, was Sunday's performance by the Smithsonian Jazz Masterworks Orchestra. Wearing sharp black tuxedos, the musicians looked just like a '40s jazz band. Reproducing the classics of Louis Armstrong and the entire sweep of Duke Ellington's "The Nutcracker," they proved to be nothing short of the real thing.
Up in a private box left of the stage, an older couple found the sounds of the classic "Misfit Blues" convincing enough to join in a slow waltz. The pace of the music quickened a little, however, as the orchestra began Duke Ellington's original 1943 sweep, "Black, Brown and Beige."
But it was the performance of Duke Ellington's "The Nutcracker" that was truly the sweetest treat the orchestra dished out on Sunday. From "Sugar Rum Cherry" to "Peanut Butter Brigade" and "Arabesque Cookie," the orchestra did justice to Ellington's lively and colorful rendition of Tchaikovsky's familiar melodies.
The Smithsonian Jazz Masterworks Orchestra paid Duke Ellington an amazing tribute as they masterfully recreated some of his greatest works. Their classy sound and stage presence was a huge compliment to the career of the Duke. It was also a great way to introduce younger fans to jazz music.
"Beyonc? and all those groups, within 10 years their names will not be remembered, but in a thousand years everyone will remember Duke Ellington and all the names of jazz along with the Bachs and Beethovens of classical music," Fishman said.
Eagle Staff Writer Vanessa C. Mueller
contributed to this article.
