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At JazzFest No. 47, Tri-C Tries Something A Little Different

photocredit: Sam Hooper

It’s so high, you can’t get over it, so low you can’t get under it. It’s the Tri-C JazzFest, the biggest weekend on the Cleveland jazz calendar that begins Thursday, June 25 when Sheila E. takes the stage at the State Theatre.

This might be the one time all year that traditional media pay attention to jazz in Cleveland. That’s a good thing, so there’s no point in me yelling “Go Team!” from my little corner of the internet.

Still, this one feels a little different, and that’s worth noting.

For the first time since 2010, Terri Pontremoli will not be at the helm, and new executive director Orlando Watson has wasted little time in putting his stamp on the three-day extravaganza. At 34, Watson is the youngest director in the festival’s 47-year history, and on the evidence of this year’s lineup (you can see it here), his programming philosophy reflects the fact that every generation answers the perennial question What is jazz? in its own way.

Orlando Watson

Notwithstanding his youth, Watson has seen and presumably learned a lot since he signed on as the JazzFest’s associate director in 2019. Changes in technology, media consumption, economics and the ways that people find, choose and consume (ugly word, but unavoidable) entertainment post-pandemic present a different set of challenges to Watson and his staff in 2026 than in past years. The music doesn’t stay still and neither does its audience.

MonoNeon

So while your jazz purist uncle, the one with the “Kind of Blue” t-shirt and the collection of records (not “vinyls”), might wonder why there’s so little “jazz” in the Tri-C JazzFest lineup, Watson has other factors to consider.

Like how to fill the large, expensive houses in Playhouse Square that are home to JazzFest’s marquee ticketed events. Like how to afford artists fees nudged upward by skyrocketing touring costs. Like how to attract corporate and philanthropic support at a time when political and economic pressures are increasing the competition for sponsorships. Like how to select artists the public wants to hear when algorithmic media can create stars seemingly overnight. Watson has a lot to think about as he plays the long game.

On his Substack in January, Matt Merewitz, who is one of the smartest guys in the business and a pitiless observer of the scene, wrote this:

Essentially, for every act the average festival goer has never heard of, there is an artist or two booked that needs to be there for the lights to stay on; for enough people to come out each night so that everyone can get paid and the whole thing happens.

If you’re one of the jazz purists, No. 47 might not resemble your fantasy draft JazzFest lineup (give me truth serum and I’d admit that it’s not mine, either). But, consider that The Ohio Players or Durand Bernarr or MonoNeon (who puts on a great show, by the way—just ask your kids), are there to keep the lights on and maybe bring 84-year-old master Kenny Barron to JazzFest 48. One can dream, anyway.

Why not check these shows out? You might just run into a good time.

Alas, I cannot. I will be out of town this weekend, but I’d love to hear your impressions. Jazz fans are never sort of opinions. The comments are wide open.

Have fun and enjoy the show.

The 47th annual Tri-C JazzFest Cleveland, June 25 – 27, Playhouse Square. The full schedule of free and ticketed events, and purchase links, can be found here.


For the most complete listing of jazz and jazz-adjacent events., look to Jim Szabo’s essential, weekly Northeast Ohio jazz calendar.

NOTE: This was written by a real human being. No artificial intelligence or large language models were used in its. You shouldn’t use them either.

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