The Newport Jazz Festival is not just a music festival, it is an institution. As one of the oldest and most prestigious jazz festivals in the world, it has a history that is as rich in musical triumphs as it is in challenges and transformations. It is a living testament to the evolution of jazz and its unparalleled ability to reinvent itself time and time again.
The birth of a vision in 1954
“Tonight we are making history.”
The idea for the "First Annual American Jazz Festival" – as it was originally advertised – was conceived by entrepreneurial couple Elaine and Louis Lorillard. They found the ideal partner to turn their vision into reality in Boston jazz club owner George Wein. On July 17 and 18, 1954, the festival opened its doors in Newport, Rhode Island.
The opening was introduced by pianist Stan Kenton with the memorable words, "Tonight we are making history." Eddie Condon and his band provided the musical prelude. The list of artists performing at the first festival read like a who's who of jazz: Dizzy Gillespie, Oscar Peterson, and Billie Holiday were just a few of the big names. Despite initial skepticism and even racist resentment in the rather conservative city of Newport, where jazz had not yet found widespread acceptance, the festival was a resounding success. 13,000 spectators flocked to the premiere, and the national press reported extensively on the event, which laid the foundation for a musical legend.
Growth, glory, milestones
1950s and 1960s
The Newport Jazz Festival quickly established itself as a fixture in the jazz world and attracted an impressive lineup of artists in the years that followed:
Duke Ellington 1956
His performance is considered a revival of his career and cemented his status as an icon.
Miles Davis 1955, 1958
His solo on "Round Midnight" in 1955 was a huge success and contributed significantly to his growing fame. His performance in 1958 also remains legendary.
Louis Armstrong 1957
His interpretation of "Mack The Knife" is unforgettable and once again demonstrated the timeless brilliance of "Satchmo."
Greats such as John Coltrane, Cannonball Adderley, and Dave Brubeck also shaped the early years of the festival and created unforgettable moments in jazz history.
A particular highlight of this era was the creation of the impressive concert film Jazz on a Summer's Day. Filmed during the festival in 1958, it featured stars such as Mahalia Jackson, Louis Armstrong, and Thelonious Monk.
Challenges - Relocation
1960s and 1970s
Despite its immense artistic success, the festival has repeatedly faced considerable challenges.
Riots and disturbances
In 1960 in particular, there were serious disturbances and riots caused by rampaging visitors. These incidents led to the festival being suspended in 1961.
Relocation to New York
Due to repeated problems with audience behavior and inadequate infrastructure in Newport, the festival was moved to New York City in 1972. There it took place under various names, including "Kool Jazz Festival" and "JVC Jazz Festival." During this time, it expanded its musical spectrum to include other genres, which was not always well received by purists.
Return and significance
The 1980s
After nine years in the metropolis, the Newport Jazz Festival returned to its original home in Newport, Rhode Island, in 1981. It was able to resume its rich tradition and reestablished itself as an important platform for established jazz greats and up-and-coming talent.
Important developments and anniversaries
2004
The 50th anniversary was celebrated with a nationwide tour and a special CD edition of the festival highlights, which honored the long history and influence of the festival.
2016
George Wein, who organized the festival from the beginning and shaped it for decades, handed over the artistic direction to renowned bassist Christian McBride. Since then, McBride has been carefully modernizing the festival without neglecting its roots. Today, the Newport Jazz Festival continues to take place annually in the summer in Newport, Rhode Island. It is a symbol of the consistency and continuous development of jazz and continues to attract tens of thousands of visitors. They come to experience the unique atmosphere and performances of the world's best jazz musicians.
The festival is a living testament to the history of jazz and an important driving force for its future.
Mahalia Jackson - Newport Festival
The beginnings in Newport 1957 – An introduction to gospel
Mahalia Jackson's debut at the Newport Jazz Festival in July 1957 was groundbreaking. As part of a Sunday afternoon program devoted exclusively to gospel music, she was to introduce the genre to a new, predominantly white and non-churchgoing audience. The festival organizers, including the influential John Hammond and Joe Bostic, were instrumental in shaping this "introduction to gospel" program.
At first, Mahalia Jackson had reservations about performing at a jazz festival. However, her reservations were dispelled when she was invited to attend Sunday service at Trinity Episcopal Church in Newport—a condition she had set for her appearance at the festival. Reverend Lockett Ford Ballard of Trinity Episcopal Church welcomed her warmly. The gospel program included Mahalia Jackson, the Drinkard Singers, and the Clara Ward Singers, the latter of whom were nervous about performing in front of a strange audience. Jackson, on the other hand, performed with only her own piano and organ accompaniment and thrilled the critics, who hailed her performance as the highlight of the festival.
Triumph in the rain 1958 - The Queen and the Duke
In 1958, Mahalia Jackson returned to Newport and left an even more lasting impression. On Thursday evening, she performed with the Duke Ellington Orchestra to interpret "Come Sunday" from Ellington's suite Black, Brown, and Beige. The Queen insisted that Duke match her tempo and rhythm – a testament to her artistic integrity.
She made her own appearance at midnight on Saturday, which technically was already Sunday morning. She sang in the pouring rain and urged the audience to stay put, as she had only just "warmed up." When she sang "Didn't It Rain" and clapped her hands, the audience went wild. Some even claimed that the rain had stopped when she sang this song. The highlight was "The Lord's Prayer." Her intense interpretation left the crowd speechless. Whitney Balliett was particularly impressed by this performance. Thousands of jazz fans gave her a standing ovation. Critics such as Raymond Horricks praised her emotional performance and drew parallels with Bessie Smith in terms of her significance for gospel singing.
One critic summed it up succinctly:
Mahalia Jackson does not believe that God exists. She knows it!
On Sunday morning, she sang again at Mount Zion AME Church, an important African American church in Newport that often provided shelter to black artists who were not always welcome in local hotels. Ralph Ellison highlighted the contrast between her festival and church performances in his article "As the Spirit Moves Mahalia" (1958), describing the latter as more moving.
Later, Mahalia Jackson said that she didn't know it was a jazz festival and had confused it with the Chicago Musicland Festival. She was also surprised to sing with Duke Ellington. She noticed that many in the audience were "half drunk" and felt hurt by the reviews. She was particularly concerned about drug use among the young people in the audience. Parts of her Newport concert were captured in the film Jazz on a Summer's Day (1959).
Later appearances and lasting legacy: the 1960s and 1970s
In the 1960s, Mahalia Jackson continued her presence at the Newport Jazz Festival. On the occasion of Louis Armstrong's 70th birthday, she sang "The Lord's Prayer." They also performed duets, including songs such as "Just a Closer Walk With Thee" and "Precious Lord, Walk With Me." In 1970, she performed again and stunned jazz critics by singing "When the Saints Go Marching In" at the top of her lungs and dancing to "Just a Closer Walk with Thee." Despite concerns about the secular setting, she enjoyed the performances of other artists such as Hugh Masekela and Nina Simone and emphasized that she appreciated all types of music.
Perception and unmistakable style
Mahalia Jackson's performances in Newport demonstrated her unique ability to transform secular venues into places of worship and convey a Christian message to non-believers. Her performances were always characterized by immense energy and expression, often accompanied by vigorous hand clapping and physical movement deeply rooted in her New Orleans roots. She was known for her "deep sincerity," which prevented her dramatic intensity from coming across as theatrical. Instead, she insisted on sharing her experiences directly with the audience.
Her time at the Newport Jazz Festival remains an important chapter in the history of gospel music and a shining example of how an artist with unwavering faith and extraordinary talent was able to build bridges between seemingly different worlds. Her performances were not just concerts, but spiritual experiences that touched the hearts and souls of her listeners and revealed the power of gospel music in its purest form.
© RBM Vintage Images/Alamy. Newport Festival 1958
"Jazz on a Summers Day"
A cinematic monument
Jazz on a Summer's Day is not just a concert film; it is an epoch-making work that documents the 1958 Newport Jazz Festival and is considered one of the most important, if not the first, concert films ever made. It has had a lasting influence on generations of filmmakers and music lovers.
Direction, production, and visionary content
The film was mainly directed by renowned advertising, fashion, and press photographer Bert Stern. Aram Avakian played a key role in the editing as co-director and editor. The musical direction was in the hands of legendary jazz producer George Avakian from Columbia Records. The film not only captures the breathtaking musical performances, but also skillfully weaves them together with poetic impressions of the festival, the city of Newport, and the surrounding water, as the 1958 America's Cup yacht races were taking place at the same time. Stern's trained photographic eye is evident in every shot. The film offers close-ups and intimate insights into the artists' performances, often captured in a relaxed, informal atmosphere.
Atmosphere
It captures not only the music but also the unique atmosphere of the festival—dancing couples, enthusiastic spectators, boats on the water, all bathed in the golden light of a summer's day. The film transitions organically from day to night and from improvisational jazz music to emotional gospel.
The film largely dispenses with dialogue or explanatory narration (apart from occasional announcements by presenter Willis Conover), allowing the music and visual impressions to speak for themselves. Noteworthy is the portrayal of a mixed-race audience enjoying the music together—an important and progressive representation for the time, which was still marked by racial segregation in the US.
Musical highlights and unforgettable performances
"Jazz on a Summers Day" presents an impressive lineup of jazz legends:
Louis Armstrong and Jack Teagarden
Their interpretations of "Tiger Rag," "Up a Lazy River," "Rockin' Chair," and "When the Saints Go Marching In" are unforgettable.
Thelonious Monk
His performances, including "Blue Monk," are a testament to his unique musical genius.
Mahalia Jackson
Her midnight performance on Sunday, which concludes the film, is the emotional climax, especially with her moving rendition of "The Lord's Prayer."
Anita O'Day
Her performances of "Sweet Georgia Brown" and "Tea for Two" with Max Roach are iconic for their distinctive style.
Dinah Washington
With "All of Me," she proves her vocal presence.
The Gerry Mulligan Quartet, Chuck Berry (the only rock 'n' roll artist in the line-up with "Sweet Little Sixteen"), the Chico Hamilton Quintet with Eric Dolphy, the Jimmy Giuffre Trio, Sonny Stitt and Sal Salvador, the George Shearing Quintet, Big Maybelle Smith and many other artists round off the spectacular line-up.
©Thilo Plaesser