DATE: Wednesday, June 25, 1997              TAG: 9706250751

SECTION: DAILY BREAK             PAGE: E1   EDITION: FINAL 

SOURCE: BY SUE VanHECKE, CORRESPONDENT 

                                            LENGTH:  300 lines

HAMPTON JAZZ FESTIVAL INTERVIEW: TEAMWORK HAS ENABLED THE MUSICAL EXTRAVAGANZA TO GROW AND CHANGE DURING ITS 30 YEARS.

THIRTY YEARS AGO, John Scott thought the Hampton Jazz Festival was a rotten idea.

Now, he runs it.

As a member of a student committee convened to explore the concept at Hampton Institute, now Hampton University, in 1967, Scott gave the event a big thumbs-down. Other music festivals of the day had had their share of problems, and he didn't want to see his school's good name tarnished.

``I said, `No, man, don't do this,' '' Scott laughingly recalled recently from his office in Hampton. `` `I've been to Newport (Rhode Island, home of the prestigious Newport Jazz Festival). They riot up there, they get drunk!' ''

Lucky for Hampton Roads, Scott was outvoted, took a can't-beat-'em-join-'em attitude and has been entrenched in the Hampton Jazz Festival ever since.

This year marks the 30th anniversary of the annual event, which has evolved from a one-time outdoor festival to a star-studded weekend that draws an average of 28,000 people to the area from as far away as Charleston, S.C., and Boston.

The weekend's genesis was simple. Jazz impresario George Wein - producer of a plethora of music events, from the long-running Newport festival, now called the JVC Jazz Festival, and Playboy Jazz Festival to the Ben and Jerry's Folk Festival - was visiting his friend Dr. Jerome Holland, then president of Hampton Institute. The area reminded Wein of Newport, and the idea of a local jazz festival was born.

``I thought we could do a festival there in Hampton at the stadium,'' Hampton University's Armstrong Field, Wein explained from his New York office. ``So we took young people from the school - at that time John Scott was a young person getting ready to graduate - and made them into a professional team of festival promoters.''

However, Wein and company didn't know quite what they were in for.

In three weeks in 1968 Wein and his student team literally built and staffed their own amphitheater on the sports field, trucking in rented chairs from Maryland and even Newport. The bill featured such venerable jazz legends as Count Basie, Dizzy Gillespie and Herbie Mann at ticket prices of $10 for box seats, $4 to $6 for reserved seats, and $3 general admission.

``We had every contingency covered,'' Scott remembered. ``Except rain.''

The well-received festival was hardly a washout, though, and Wein and the school tried it again the next year, this time bringing in Miles Davis, Duke Ellington, Ray Charles and Dave Brubeck, among others.

Hampton Roads' unpredictable summer weather, however, and the exorbitant cost of constructing a venue and employing a staff for a single weekend were obstacles just too big to overcome a third time.

``I pulled out after the second year,'' Wein recalled, ``but at that time the city had built the Hampton Coliseum. So because of what we had tried to do at the school on the football field - two years of an outdoor festival that were very good, but the weather was so treacherous - we ended up with a partnership between the city, the school and a professional promoter, myself.

``Now we have this wonderful relationship. We've developed a team of people from the school who really do all the work. My office in New York books the talent, the school and the city share in the profits with us. The thing just goes on and on, and this year I think it's going to be as successful as any year we've had.''

But it hasn't been easy.

Mounting an event of the festival's magnitude - this year's bill features 15 artists over four nights - takes big money; funding remains a constant concern.

``Unlike other events in the market,'' said Scott, who teaches in the Hampton school system by day and runs the festival's production company, John Scott Associates, in his spare time, ``we've never had any public subsidy at all. The city doesn't underwrite the event at all.

``We use a public facility, for which the event does get a reasonable rent. But we still have to pay the rent, the staff that works in the building . . . (and) the taxes that are generated by the ticket sales.

``It's a commercial enterprise. If it doesn't make money, then we're out of business.''

To ease the financial load, over the years the event has sought corporate sponsorships. From the late 1970s into the '80s, Hampton was included in the KOOL Jazz series of concerts sponsored by the Brown and Williamson tobacco company. The event returned in 1989 to its Hampton Jazz Festival identity, which ``(we've) worked hard to retain,'' Scott said, ``though at this point in its life, it's probably more a pop festival than it is a jazz festival.''

Scott freely admits what detractors have been grumbling about for years - that the festival has become increasingly pop-oriented and less about pure jazz.

It's a matter of sheer economics, he explains.

``Most of the jazz legends have all passed, and the popularity of the music has ebbed,'' he said. ``The new stars who have come on board have very limited audience appeal simply because they don't get a chance to have their art played in as wide a market as does the current popular music.

``We've always kept at least one non-jazz or pop performer on the bill'' from the festival's 1968 premiere, he continued. ``It was understood that you needed to have in your mix something that was different from your base program.

``We weren't like Newport, where people had established the fact that they were going there and it didn't matter who played, they were going to see something that was artistic. Hampton was an infant just being born, and it needed to have some commercial content, some name recognition.''

Besides the vagaries of public taste, the variety of other venues now in the market - the GTE Virginia Beach Amphitheater, Norfolk's Scope, Willett Hall in Portsmouth, Hampton Coliseum's other programming - has taken its toll on the festival as well.

``We used to be the only game in town,'' Scott said. ``When an artist came to the area, you could bet it would be at the Hampton Jazz Festival. Now we have the (other halls) to compete with.

``And you've got the one thing that impacts our business in a very quiet way: the umpteenth festival'' - like those presented by Norfolk's Festevents and Virginia Beach's Beach Events - ``that gives it away. These events don't always present the kinds of artists that we'll present, but they do present something - and it's for free.''

But the high points keep Scott - whose company is contracted by the city of Hampton and Hampton University to produce and manage the festival - enthusiastic.

Highlights like the many rising stars the event has presented over the years, now giant names such as Chick Corea (who first appeared as a sideman with Miles Davis in 1969 and has returned with his own band several times), Wynton Marsalis and Bobby McFerrin. Highlights such as seeing for the last time his idols Count Basie, Duke Ellington and Ella Fitzgerald.

``I had seen them as a young man . . . as vibrant, active adults who I looked up to, not only as musicians but as men and women. Then I got the chance to see them in their elderly years. Ella was very gracious and kind and understanding and performed like she was 16'' at her last festival appearance in 1992.

Or the time Sly Stone of the funk/rock outfit Sly and the Family Stone hopped from the stage and ran through the audience in 1969. ``There were adults standing there looking and going, `What is this?' '' Scott said with a chuckle. ``And there were kids following him as if he was the Pied Piper leading the children to their destruction. It was fun.''

Of course, there have been some low points as well, like having to announce to a full house in 1995 that Barry White had suddenly become ill and wouldn't be able to perform. ``I took my life in my hands,'' Scott remembers with a laugh. (White did perform last year.)

But Scott's proud of the artists' fine attendance record.

``Over 29 years of past festivals, we've only had five or six artists who could not perform,'' he said. ``Barry White got sick on-site and couldn't work, Junior Walker had illness and didn't make the gig, Sarah Vaughan fell and had an accident, Oscar Peterson also had an accident, and Wes Montgomery died. But that year when Wes passed we were able to bring in a guy whose name was George Benson. Nobody knew who he was then; now he's back for the thirtieth anniversary as one of our most popular artists.''

So can the Hampton Jazz Festival keep kicking for another 30 years? Wein is optimistic.

``There was a time when you had the Duke Ellingtons and the Sarah Vaughans and the Ella Fitzgeralds,'' he mused. ``You don't have those names anymore, so now we mix in cross-over artists with the jazz artists. And that formula works.

``So probably as long as we can continue to do that and continue to get artists and continue to have the support of the city, the school and the alumni of the school who come back for the festival,'' the show will go on. ILLUSTRATION: Color photos

Graphics

MCA RECORDS

GLADYS KNIGHT

MCA RECORDS

B.B. KING

PATTI LABELLE

[For complete graphic, please see microfilm]

HAMPTON JAZZ FESTIVAL ARTISTS THROUGH THE YEARS

1968

Cannonball Adderley, Count Basie, Gary Burton, Dizzy Gillespie,

Earl ``Fatha'' Hines, Skip James, Bud Johnson, Ramsey Lewis,

Manhattans, Herbie Mann, Thelonious Monk, Wes Montgomery, Archie

Shepp, Nina Simone, Jimmy Smith, Willie Smith, Tuxedo Jazz Band,

Dionne Warwick, Muddy Waters

1969

George Benson, Booker T and the MGs, Dave Brubeck, Ray Charles,

Gary Davis, Miles Davis, Duke Ellington, Herbie Hancock, Roland

Kirk, Gerry Mulligan, Nina Simone, Sly and the Family Stone, Sun Ra

and Solar Arkestra, Marian Williams, Young-Holt Unlimited

1970

Cannonball Adderley, Gene Ammons, Kenny Burrell, Miles Davis,

Roberta Flack, Eddie Harris, Manhattans, Herbie Mann, Les McCann,

Mongo Santamaria, Jimmy Smith, Sonny Stitt, Sarah Vaughan

1971

Cannonball Adderley, Dave Brubeck, Billy Eckstine, Duke

Ellington, Roberta Flack, Errol Garner, Dizzy Gillespie, Gerry

Mulligan, Roland Kirk, B.B. King, Hubert Laws, Manhattans, Herbie

Mann, Melba Moore, Buddy Rich, Leon Thomas

1972

Cannonball Adderley, Art Blakey, Dave Brubeck, Kenny Burrell, Ray

Charles, Duke Ellington, Paul Desmond, Dizzy Gillespie, Roy Haynes,

Freddie Hubbard, Illinois Jacquet, B.B. King, Manhattans, Herbie

Mann, Al McKibbon, Thelonious Monk, Joe Newman, Nina Simone, Zoot

Sims, Jimmy Smith, Sonny Stitt, Clark Terry, Kai Winding

1973

Duke Ellington, Donny Hathaway, Roland Kirk, B.B. King, Charles

Mingus, Staples Singers, War, Jimmy Witherspoon, Stevie Wonder

1974

Donald Byrd, Crusaders, Aretha Franklin, Stan Getz, Elvin Jones,

B.B. King, Gladys Knight and the Pips, Spinners, Sarah Vaughan

1975

Bobby Bland, Donald Byrd, Bobbi Humphrey, Isley Brothers, B.B.

King, Ramsey Lewis, Manhattans, Herbie Mann, Jack McDuff, New Birth,

Staples Singers, Stylistics, Stanley Turrentine, McCoy Tyner

1976

Archie Bell, Count Basie, Brecker Brothers, Sons of Champlin,

Billy Cobham and George Duke, Crusaders, Billy Eckstine, Marvin

Gaye, Dizzy Gillespie, Harold Melvin and the Blue Notes, Teddy

Pendergrass, Joe Williams, Nancy Wilson

1977

Roy Ayers, Gato Barberie, Natalie Cole, Thad Jones and Mel Lewis,

Gladys Knight and the Pips, Lou Rawls, Tavares, Jimmie Walker (MC),

Stanley Turrentine

1978

Ashford & Simpson, Brick, Billy Eckstine, Duke Ellington, Al

Jarreau, B.B. King, Gladys Knight and the Pips, Yusef Lateef, LTD,

Noel Pointer, Flora Purim and Airto, Grover Washington

1979

Ashford & Simpson, George Benson, Peabo Bryson, Chic, Crusaders,

Ella Fitzgerald, Dexter Gordon, Etta James, Joe Jones, Ramsey Lewis,

Spyro Gyra, Grover Washington, 24th Street Band

1980

Bobby Bland, Angela Bofill, Chic, Lou Donaldson, Herbie Hancock,

Phyllis Hyman, Johnson Brothers, Kool and the Gang, Peaches & Herb,

Sam & Dave, Ronnie Laws, Dionne Warwick

1981

Jerry Butler, Hank Crawford, Crusaders, Herbie Hancock, B.B.

King, Chuck Mangione, Gerry Mulligan, O'Jays, Smokey Robinson, Spyro

Gyra, Mel Torme, McCoy Tyner, Nancy Wilson

1982

Count Basie, George Benson, Angela Bofill, Betty Carter, Ron

Carter, Hank Crawford, Dr. John, George Duke, Herbie Hancock, Heath

Brothers, Joe Henderson, Millie Jackson, Hubert Laws, Herbie Mann,

Wynton Marsalis, Maze, Bobby McFerrin, Carmen McRae, David

``Fathead'' Newman, Oscar Peterson, Pieces Of A Dream, Jean-Luc

Ponty, Patrice Rushen, Woody Shaw, Sarah Vaughan, Tony Williams

1983

James Brown, Ron Carter, Dazz Band, Roberta Flack, Herbie

Hancock, Eddie Harris, Phyllis Hyman, Etta Jones, Kool and the Gang,

Branford Marsalis, Wynton Marsalis, O'Jays, Houston Person, Lou

Rawls, Luther Vandross, Tony Williams

1984

Al Jarreau, B.B. King, Gladys Knight and the Pips, Patti LaBelle,

Tania Marie, Les McCann, Pieces of a Dream, Pointer Sisters, David

Sanborn, Stanley Turrentine

1985

Roy Ayers, Clark Sisters, Commodores, Andre Crouch, Jeff Lorber

Fusion, Patti LaBelle, Chuck Mangione, Jimmy McGriff, Melba Moore,

Jeffrey Osborne, Nina Simone, Spyro Gyra, Sarah Vaughan

1986

Anita Baker, Natalie Cole, Dells, Four Tops, George Howard, B.B.

King, Midnight Star, Stephanie Mills, O.T.B., Rene and Angela,

Starpoint, Temptations

1987

Larry Carlton, Ray Charles, Crusaders, Roberta Flack, Stan Getz,

Phyllis Hyman, Freddie Jackson, Stanley Jordan, Gladys Knight and

the Pips, Wynton Marsalis, Neville Brothers, Grover Washington

1988

Gerald Albright, George Benson, Miles Davis, Kenny G, Miki

Howard, Al Jarreau, B.B. King, Dianne Reeves, Jae Sinnett, Super

Jazz Band, Dionne Warwick

1989

Larry Carlton, Ray Charles, Hank Crawford, Count Basie Orchestra,

Lou Donaldson, Jimmy McGriff, David ``Fathead'' Newman, O'Jays,

Arthur Prysock, Dianne Reeves, David Sanborn, Diane Schuur, Spyro

Gyra, Take 6, Sarah Vaughan, Grover Washington, BeBe & CeCe Winans

1990

Patti Austin, Regina Bell, George Benson, Four Tops, Dizzy

Gillespie, Hiroshima, Marlon Jordan, Patti LaBelle, New York Voices,

Pieces of a Dream, Lee Ritenour

1991

Regina Belle, Ruth Brown, Al Green, Gladys Knight, Maze, Mighty

Clouds Of Joy, Neville Brothers, Jeffrey Osborne, Plunky & Oneness,

Quiet Storm featuring Dianne Reeves, George Duke and Najee, David

Sanborn, Dionne Warwick

1992

Gerald Albright, Ray Charles, Count Basie Orchestra, Ella

Fitzgerald, Aretha Franklin, Manhattan Transfer, Maze, O'Jays,

Grover Washington, Whispers

1993

Regina Belle, Peabo Bryson, Kenny G, Patti LaBelle, Stephanie

Mills, Smokey Robinson, Yellowjackets

1994

Gerald Albright with Lalah Hathaway, Count Basie Orchestra with

Joe Williams, B.B. King, Earl Klugh, Patti LaBelle, Little Richard

1995

Anita Baker, George Benson, Ray Charles, Duke Ellington

Orchestra, Earth, Wind & Fire, Al Jarreau, Jazz Explosion featuring

Patti Austin and Gerald Albright, Gladys Knight, Cleo Laine and John

Dankworth, Maze, Grover Washington

1996

Chick Corea, Rachelle Ferrell, Herbie Hancock, Isaac Hayes, Isley

Brothers, Millie Jackson, Ahmad Jamal, Chaka Khan, Harold Melvin and

the Blue Notes, David Sanborn, Luther Vandross, Barry White

THE 30TH HAMPTON JAZZ FESTIVAL

[For complete graphic, please see microfilm]

FILE PHOTO

John Scott has helped organize the Hampton Jazz Festival since 1967.

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