Jazz Notes: 10.22.25

Is Jazz Too Woke?

Have you read David R. Adler’s latest article in JazzTimes about the Kennedy Center? In his role as editor of the magazine, Adler makes the case that recent firings and resignations of key jazz personnel at the Kennedy Center signals an attack on jazz. His argument suggests that the powers that be find jazz to be part of the “woke” world with its emphasis on “diversity, equity and inclusion.”

There is no good answer to the debate about “woke.” Defined as “aware of and actively attentive to important facts and issues,” being “woke” sounds like a very natural and laudatory pursuit. Most people do not criticize folks for being “woke.” The critics latch onto someone being “too woke”!

Where the line between “woke” and “too woke” rests is anyone’s guess. Some believe that when the pursuit of “woke” impairs being practical, it has gone too far. The level of subjectivity and personal attitudes in that analysis make any workable definition impossible. I will leave that discussion to others.

I will, however, take up the defense of jazz in this discussion. “Woke” is a 1930’s term. The etymology of “woke” is clearly found in African-American society. Jazz was coined in the late 19th Century. Its etymology has many, many theories.

I find it impossible to argue that jazz has become “too woke.” That would be like arguing that Kareem Abdul-Jabbar (the selection of a jazz fan was no accident) is “too tall” now. He has always been tall, and jazz has always been “woke.”  

Not sure if jazz fans want to be known as “woke.” You will have to ask them one by one. For me, if being aware and attentive to facts is being “woke,” count me in. If you want to tie that to “diversity, equity and inclusion,” I am still on the team.

But if you want to suggest that jazz has become “too woke” in pursuit of those goals, then we separate ways. Whatever jazz is now, in this context, is what jazz has been from the start. Nothing has changed. There is no revolution brewing.

When jazz fans get together, they talk music, not how they can make jazz more “woke.”

Michael Lazaroff
Executive Director
Signature Cruise Experiences
michael@scecruises.com

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Our Big Band Tradition

Many jazz fans view the big band as something out of the past, which is not entirely inaccurate. After all, the period during which jazz as a musical genre was most popular was the Big Band Era of the ’30s and ’40s, nearly a century ago.  It was a time when the big bands dominated broadcasts and recordings and when people danced to the music. Yes, people still do dance to swing bands on occasion, but not like they used to. These days, people have to get dressed up to do it, thanks to bands like the Hot Sardines and Postmodern Jukebox, but they still do it. But, the music’s impact persists.

Back in the day, bandleaders like Glenn Miller, Benny Goodman and Artie Shaw were pop stars, maybe not on the same level as Taylor Swift now, but such that their music permutated even throughout both sides of WWII. For his part, Artie parlayed his popularity into marriages with some of the most high-profile starlets of that time, including Ava Gardner and Lana Turner. He also “dated” Judy Garland, Betty Grable and Lena Horne. Yes, a jazz big band leader was the John Mayer of his time. Insert your own punch line here.

In subsequent years, the small group and more improvisational music of bebop, pioneered by people like Charlie Parker and Dizzy Gillespie, took much of both the popular and critical attention away from those big bands. The ’50s and ’60s were all about that musical innovation that has informed jazz ever since and, frankly, didn’t encourage dancing.  

But, in fact, regardless of the proliferation of bebop and post-bop, the impact of big bands persisted throughout those years. Bands like those led by Duke Ellington, Count Basie, Thad Jones & Mel Lewis, Gil Evans, Woody Herman, Buddy Rich, Stan Kenton and many others continued to both record and tour throughout the ’60s and ’70s.

Later in the ’80s and forward, ensembles like the Mingus Big Band, Maria Schneider Orchestra, Jazz at Lincoln Center Orchestra and, of course, Clayton-Hamilton Jazz Orchestra would carry forward that tradition, but would also bring the music into the present with their own innovative compositions and arrangements. That modern innovation was in part because so many of those leaders had not only apprenticed with or studied the music of their antecedents, but also developed their own musical vision, based on more contemporary influences.  

For example, John Clayton toured and recorded with Count Basie, while Jeff Hamilton did the same with Woody Herman. Coming off that experience, the two formed their own big band in 1985, drawing for the band personnel on many veterans of the LA jazz and studio scene, including greats like Snooky Young and George Bohannan. They founded a band that would rely on both past tradition and yet reflect their current influences.

We were thrilled to present the Clayton-Hamilton Jazz Orchestra for concerts during Journey of Jazz in September. Our guests on that sailing got to experience what John and Jeff have created and nurtured all these years. But, if you missed those shows, guests of The Jazz Cruise will get to hear what John Clayton can do with Anita’s Big Band, an ensemble pulled from the musicians sailing with us that week. We won’t run down the whole lineup of musicians in that “pick-up” ensemble, but how about his trumpet section of Bijon Watson, Sean Jones, James Morrison, Terell Stafford and Randy Brecker (not listed in order of their chair seating)? Nuff said about that pick-up ensemble.

What’s further incredible is that John creates the arrangements for the shows during The Jazz Cruise shortly both before and after we set sail.

So, if you, as a guest on The Jazz Cruise, don’t see John hanging around the ship, it’s likely because he’s either in his room writing charts or in the theater in the AM hours rehearing those charts with one of the greatest big bands in jazz in pop-up fashion.

Isn’t it ironic that the greatness of a big band starts with the vision of one person? But one could argue that ALL of those great big bands started with one person. Just run through the list of the original innovators: Glenn Miller, Artie Shaw, Benny Goodman, Count Basie, Duke Ellington, Woody Herman, Stan Kenton and so many others. Formidable leaders who put forward a sound they envisioned.

We’re honored that we have not only John Clayton aboard The Jazz Cruise, but also to have Christian McBride hosting his own sailing the week before, featuring his big band (along with other ensembles) performing with an all-star lineup of guest vocalists like Angèlique Kidjo, Samara Joy, Ledisi, Cècile McLorin Salvant and Josè James. After all, Christian got his first gigs as a teenager in Philadelphia with the Joe Sudler Jazz Machine, a big band featuring the best musicians from that scene, including many players from the famous Philly International/Sigma Sound sessions. 

If you want the best, you have to get the best. It’s an ethos we’ve tried to live up to.

– Lee Mergner

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Jazz Cruises Conversations Podcast
John Clayton & Jeff Hamilton with Marcus Miller

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Signature Cruise Experiences Programs

David Foster: The Hitman Cruise

1.15.26 – 1.20.26
A 5-Day Weekend Getaway with a Week’s Long Schedule of Talent

Christian McBride’s World at Sea

1.20.26 – 1.27.26
Christian’s Ensembles + World Class Vocalists

The Jazz Cruise

’26 (1.27.26 – 2.3.26) – Still the Greatest Jazz Festival at Sea
’27 (1.17.27 – 1.24.27) – Stay Tuned for More Information…Soon!

The Smooth Jazz Cruise

6 Opportunities to sail on “The Greatest Party at Sea”

Botti at Sea III (’26)

9.18.26 – 9.25.26
Chris Botti hosts a West Coast Cruise with Amazing Talent

Journey of Jazz ’27

1.25.27 – 1.31.27
Where is Journey of Jazz Headed Next? New Orleans!