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| Jonathan Campbell |
Back in my school days, education leaders were averse to using the word "jazz."
I suppose the word conjured up a world of smoke-filled nightclubs or whatever. Remember the scene in "The Glenn Miller Story" where the up-and-coming bandleader and his fiancee visit the nightclub where Louis Armstrong was featured? Jimmy Stewart played Glenn Miller. June Allyson was his squeeze. Louis Armstrong played himself.
The most famous photo in Del Sarlette's collection here in Morris shows Armstrong. It's a light-hearted photo in which Armstrong has "traded" his trumpet for Florence Sarlette's purse. Walt and Florence are in the photo.
I was pleased to recently find a photo from the 1961-62 academic year, a photo that includes Walt playing bass fiddle. This is a precious mass photo at UMM's Edson Auditorium. The orchestra is onstage with a large chorus that even includes WCSA students. You see, the WCSA did not end immediately once UMM was created. There was an overlap time when the last WCSA kids completed their studies. What a big musical sound that big assemblage made, I'm sure.
My father Ralph was director. Jazz had not yet sprouted. When jazz eventually came on the scene as part of academia, we saw the terminology "stage band" rather than "jazz band." Our MHS with director John Woell most certainly went the conservative route. I played in the same trumpet section as Terry Rice and I wasn't worthy of holding his mouthpiece. Oh, Del Sarlette was most certainly involved too along with Marilyn "Hazel" Strand who has become highly honored as a UMM alum.
Tony Hansen played drums. Tony's mother Daisy was the top violinist with the orchestra in that mass photo. She was a brilliant artist.
What a blessing for UMM to come along in 1960 and provide these opportunities, not only for the students but numerous adults from over a wide area. Think of the void if UMM had never sprouted.
I submitted $5 at the entry and was handed $2 change, which meant the dude suspected I was a senior citizen. "I don't know what the cutoff is," he said, and that's a very good point because standards vary for determining who a senior citizen is. I suppose I'm past the point where there can be much doubt about me, sob. I'm 64. I have seen the cutoff as low as the mid 50s for senior designation in this town. I think McDonald's is real "soft" on this for offering "senior coffee." We miss the time in our lives where we'd have to prove we're a senior citizen! It's sobering to get lumped in so readily.
But, putting that thought behind us, let's move on to the music. The much-too-small audience enjoyed the Prestige Combo and then Jazz Ensemble I. It's unfair to compare this concert to the long heyday of Jim Carlson, as Carlson led events with multiple groups that were below the top level. For example, we'd hear a band that included music majors who were exploring a second instrument - a very valuable endeavor, sort of like Rod Carew trying to bat right-handed. I suspect he'd still be effective.
Bigger than life? Well, it was fun
The now-departed Carlson ran a jazz program that had allure almost to an unreasonable level, I always felt. Some people talked about the April Jazz Festival like it was the No. 1 event on the whole UMM calendar. People said "Doc Carlson" like it was hero worship. There was a cult of personality for which he was to be commended, and for which he couldn't totally answer for. He was just being himself.
Carlson sang with my father's men's chorus way back in 1962 when they traveled to Seattle for the World's Fair. It was such a clean-cut and conventional group, worthy of considerable praise. It opened the Minnesota Day festivities at the Seattle fair. The value of that wasn't so much to make an impression on the general fairgoers, as it was to get the interest of the many Minnesota high school musicians who were in the "Minnesota contingent" at the fair. Governor Elmer Anderson was very excited about this.
The world was not yet ready for "jazz" in academia. Jazz made its entry with the "stage band" phase. Finally the word "jazz" was unapologetically ushered in. And today we have the brilliant ensembles at UMM who are deserving of a much larger audience.
I had to wonder: was the tiny audience size a reflection of cultural realities, an urge to be by oneself and interact with the world through electronic devices? The Star Tribune has run a whole series of articles on the "un-churching" of our culture, where people seem less interested in the public space of church. Years ago we began noticing the "bowling alone" phenomenon with that significant book by a sociologist.
We need to try to resist the cultural forces if in fact this is the trend, to get out even on a cold winter night and take in such terrific music. The word should get out among the student body to please get out and support this.
Back in Carlson's days, the combo portion of the concert was frankly a tepid warm-up for the later main attractions. The real attraction was Jazz I which I often found to have a too-small role in the concert.
Jim Morrison told me once he stopped attending the Jazz Fest because he found the combo portion of the concert too unimpressive. I have to agree with him. The last time I attended the Jazz Fest with Carlson in charge, I found he had addressed any shortcomings with the combos. They all did something distinctive and impressive.
Byron Stripling was the last guest artist I heard when "Doc" was in charge. Del Sarlette allowed me to post some photos online from that night, back when I was not well-versed in such systems myself. All these systems have gotten more user-friendly through the years.
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| We loved the Prom Ballroom! |
I am definitely a senior citizen if I can remember hearing Thad Jones and Mel Lewis perform live. I was proud to share this with director Campbell in an email exchange. Campbell is a big fan of the Vanguard Jazz Orchestra which is an extension of the old Thad and Mel group. I think "ghost band" would describe. Thad and Mel have gone to that big concert stage in the sky.
In the 1970s I had the pleasure of hearing the "real" Thad Jones and Mel Lewis lead their highly artistic band at the old, now-razed St. Paul Prom Center (or Ballroom). There's an ABRA body shop there now. What a mecca that could be, for jazz and big band aficionados. Lewis was the artistically understated drummer - Jones was a stocky guy who placed trumpet. They led the concert with "For the Love of Money." The band didn't wear uniforms - they dressed as they pleased. The keyboardist developed a real following among the audience.
The famous Buddy Holly touring group played the Prom shortly before they died. The Prom was like a larger version of the old Lakeside Ballroom, Glenwood. Boxing matches were held there.
I wrote a post on my "Morris of Course" blog site about Thad and Mel and my night at the Prom soaking in the music. Here is the link to that. Thank you for reading and please consider attending all future UMM music events!
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