If I have offended any of my politically correct readers, I apologize and now on with my post.
I recently attended one of the most unforgettable jazz concerts of my lifetime. I have had the pleasure of being in attendance at some of the great jazz band concerts including Duke Ellington, Woody Herman, Stan Kenton, Maynard Ferguson, Don Ellis, Buddy Rich, Bill Watrous, etc. but the One O’Clock Lab band’s concert this past November 20th was one I will always remember.
I have run, rehearsed, critiqued, coached and judged jazz bands most of my life and the first thing you learn is to make your opening remarks as complimentary as possible. Now that I have done that, let me continue with my observations of the November 20th concert.
The One O’clock Lab Band from the University of North Texas is without doubt, the most well-known and recognizable jazz bands in the world! Just the mention of the name “One O’Clock” demands respect and wonder. Its history spans decades of legendary performers and its history notated through early publications such as Downbeat and Metronome magazines document the importance of this jazz institution. Although my decision to attend North Texas State as it was called at that time was decided by listening to a Crest recording made by my teacher Mr. John Haynie, I quickly learned of the benefits of NTU jazz department. My first week on campus was the most humbling experience for I could not find a trumpet player as weak as I was at that time.
And now back to the concert…
The best way I can describe the concert would be in terms some of you might understand.
If you are a race car enthusiast, it would be like watching a NASCAR race where every car was equipped with cruise control set at 120 miles an hour. Every time the cars came around the track you would see the same thing every time for two hours.
If you are a baseball fan, it would be like watching a double header with no hits, no runs, no errors.
If you were a doctor, it would be like watching twenty brain surgeons operating in the same room on twenty different patients for two hours.
If you enjoy bowling, it would be like watching someone bowling a strike every time for two hours.
If you were a highly skilled sniper, it would be like watching someone unload high capacity magazines in a fully automatic assault rifle for two hours.
Am I making my point?
My thoughts turned to the question, what would famous jazz legends think of the concert and these musicians came to mind-
Miles Davis, “Where are the rests”?
Lousis Armstrong, “Sounds like Chinese music”.
Duke Ellington, “It don’t mean a thing if it ain’t got no swing”.
Bix Beiderbeck, “When do you guys breathe”?
I am in no way questioning the technical ability of these gifted musicians for they are capable of playing nearly anything on the page. Their well-rehearsed performance speaks to that. Solos were breathtaking and brilliantly executed. The strength and depth of their talent was amazing. If all this is true, what could I possibly find fault with? My response would be……. “too white and too tight”.
In contrast to the One O’Clock concert, I was also privileged to a wonderful concert here at Robson Ranch by the equally talented yet less famous Two O’Clock Lab band directed by trumpeter, singer and educator Mr. Rodney Booth. Although not as famous, this ensemble holds a special place in my heart for when attending NTS, I was lucky enough to play in the Two O’clock under the direction of John Giordano. The difference between the One and Two O’Clock is like night and day just as their function and responsibilities are different. While teaching at the University of Northern Iowa I ran our second jazz band and worked with several wonderful directors leading Jazz Ensemble One. Included in this honored list were Mr. Jim Coffin, Dr. Paul Smoker, Dr. Rick Lawn and Dr. Bob Washut. The purpose of each ensemble was very clear; Jazz One’s function was to push every member to their fullest ability and perform literature which showcased both musicians and composers/arrangers. The function of Jazz Ensemble Two was to prepare its members in read and play jazz styles so that they would eventually advance to the first jazz band. Directing the second band gave me much more freedom as to literature and audience appeal. I tried to match the music with the players as well as our audiences. As I watched and listened to Mr. Booth’s Two O’Clock Lab band I realized that his responsibility and direction was very similar to what I had experienced at UNI and for that reason, I enjoyed his concert much more than the One O’clock Lab Band.
After thinking about this extremely talented group of jazz musicians, I began to wonder why the UNT Jazz program developed into such an amazingly white and precise program. Obviously the Kenton influence has always been there because of Stan Kenton’s original support for the program. Kenton was an innovative composer with new and forward thinking compositional skills. But so was Duke Ellington. Where the “Duke” excelled was in his unconventional and creative combination of players and instruments and an African influence and Kenton’s creativity drew more from a more formal, educated background and white influence. It is interesting to note that both leaders were composers and for that reason we can see the obvious compositional influence it had on the UNT style of music. Composers have an unlimited opportunity to create whatever they can imagine and as ones creativity expands so will the demands on its players. More creativity creates more technical demand which in turn creates more technically advanced musicians. And now you know the rest of the story.
When reflecting back to my years at UNI and my involvement in our jazz program, I am very grateful to all of the directors who I had the pleasure of working with. Each director of jazz studies produced wonderful bands and gifted musicians. To the late Jim Coffin, I give thanks for asking me to start the first “Jazz Ensemble Two”. To Dr. Rick Lawn I give thanks for his contribution to the establishment of the first Jazz Orchestra at UNI. To Dr. Paul Smoker I recognize his never tiring dedication to the “new” directions of Jazz and his never waning push for the “Free Jazz” movement. Without doubt, the most important of the Jazz One directors was Dr. Bob Washut who at all times created the perfect balance between the old and the new developments in Jazz education. Most memorable to me was the inclusion of a Duke Ellington composition in each of his concerts. Not only did he include Ellington arrangements in his concerts but he also expected every musician in his band to duplicate their counterparts from the Ellington band exactly as originally recorded. That my friends is a sign of a true jazz musician/historian.
In closing, let me say that I respect every musician in the One O’Clock Lab band and have no doubt that their time at UNT is, was, and will be well spent as my time was many decades ago. To Mr. Alan Baylock I send my best wishes and let him know that his work is greatly appreciated in the music world. And to Mr. Rodney Booth, please let me know when and where your ensemble is next performing so that I can hear your great ensemble again.
Remember-
“The name UNT opens doors”.
