comprises 100 % jazz. This is on the one hand a broad umbrella term; on the other hand, jazz musicians understand what that means. Far too often festivals will assume the jazz moniker, but offer what really amounts to 40 % jazz programming or less. Often, these formats go hand in hand with economic exclusivity— the telltale signs being VIP tickets, roped in areas, and the like. Says Petit,“ This VIP concept doesn’ t fly with me, because at our festival, there are no VIPs, or everybody is a VIP, you know.”
In programming music that represents the full scope of jazz— be it swing, bebop, Brazilian, Cuban, gypsy jazz, or modern electric fusion— Petit is championing authenticity, something that shares in common a universal jazz lexicon. In offering all this for free, he’ s widening the tent of viewership, exposing people to music they may not encounter every day. In one notable example, a previous attendee who insisted she didn’ t enjoy jazz, was convinced that a performance she loved- an organ trio led by guitarist Ed Cherry- wasn’ t actually jazz, even though it had real connections to traditions established by Wes Montgomery and Grant Green.
At times, Petit has programmed his festival intending to make a point. Last year, the entire mainstage program— comprising 15 of a total 35 shows— featured women-led ensembles. Observing that many festivals historically have failed to represent or pay women adequately, the board had no problem supporting this effort toward industry parity. Critically acclaimed acts like Allison Miller’ s Boom Tic Boom, Jen Wharton’ s Bonegasm, and Ingrid Jensen proved that making a point doesn’ t come at the expense of quality.
This summer, Petit is bringing back Chico Pinheiro, and new faces to SJF’ s mainstage will include Jaleel Shaw, Caroline Davis, Rachel Eckroth, Shayna Steele, Sarah Cabral, and Andrew Gould. All are first rate artists who traverse a wide spectrum of jazz and have deservedly received acclaim for their recent recorded efforts. Judging
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