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The Rebel Festival

The ?rst hearing was delightful…the fourth was torture.
Whitney Balliett
The relationship between the festival organization and the city of Newport had become tense between 1955 and 1960. The college crowd was getting ever larger and was increasingly fueled by alcohol. They crashed everywhere from restaurant bathrooms to the lawns of residents. The city's police resources were stretched beyond their limits. John S. Wilson, writing in the July 3 edition of The New York Times explained that the Newport City Council voted 4 to 3 to cancel the remainder of festival events. In turn, Newport Jazz Festival management filed suit against the city, claiming four-million-dollars in lost revenue.

John Coltrane
saxophone1926 - 1967

Bill Evans
piano1929 - 1980

Art Blakey
drums1919 - 1990

Count Basie
piano1904 - 1984
Competing Venues
Freebody Park had been willed to Newport by Andrew Freebody at his death in 1813. As part of the agreement, the city was to use the income generated from park events to help the poor. One of its original uses was as an open-air theater hosting music programs and vaudeville shows. The facility burned down around the turn of the century, was rebuilt again to host shows and, in the 1920s, it doubled as the home of a local minor league baseball team. Socialite Elaine Lorillard and her tobacco-heir husband Louis founded the Newport Jazz Festival as a non-profit organization in 1953 coming up with a list of performers with input from producers John Hammond and George Avakian. The first festival launched in 1954 under the Lorillard name and drew eleven-thousand fans to the Newport Casino. Popular from the start, the Lorillard's sought to move to a larger outdoor space, settling on Freebody Park after being refused their first choice of locations.It was a commonly held belief that the Newport event was expected to appeal to jazz connoisseurs rather than the much larger market of curious and cautious listeners. By only the second festival in 1955 that perception changed almost on a whim. Writing in The Guardian, John Fordham explains that George Wein found himself in a predicament with expected headliner

Charlie Parker
saxophone, alto1920 - 1955

Miles Davis
trumpet1926 - 1991

Count Basie
piano1904 - 1984

Dave Brubeck
piano1920 - 2012

Zoot Sims
saxophone, tenor1925 - 1985

Gerry Mulligan
saxophone, baritone1927 - 1996

Percy Heath
bass, acoustic1923 - 2005

Connie Kay
drums1927 - 1994
The Newport Jazz Festivalwhich resumed in 1962officially outgrew Freebody Park and moved to another venue following the 1964 event. It seems clear however, that the park's capacity was the main issue in 1960. Ironically, the "rebel" contingent found their short-lived home in a bastion of excessive capitalism. John Winthrop Chanler (18261877) was a New York lawyer and Congressman who married into the Astor family; one of the wealthiest families in U.S. history. Chanler's summer "cottage" in Newport was one of the first summertime retreat mansions to be built along the city's shoreline. The family sold the estate in the 1920s after which its purpose changed frequently; it was a school for girls, the residence of the Bishop of Providence, and an apartment building to house Naval officers in the 1940s. Damaged by fire, it was renovated and reopened as the thirty-room Cliff Walk Manor Hotel shortly after World War II. The lawn of the manor house was approximately the size of a football field, not unlike Freebody Park, but that park was designed for sports events and had grandstand seating that Cliff Walk lacked.
Rebel Festival
In 1960 Elaine and Louis Lorillard divorced and she was removed from the board of the Newport Jazz Festival filing a lawsuit against Wein and the festival corporation. Lorillard was approached with a loosely constructed plan from
Charles Mingus
bass, acoustic1922 - 1979

Max Roach
drums1925 - 2007

Benny Goodman
clarinet1909 - 1986

John Lee Hooker
guitar1917 - 2001

Ray Charles
piano and vocals1930 - 2004

Louis Armstrong
trumpet and vocals1901 - 1971

Dizzy Gillespie
trumpet1917 - 1993

Cannonball Adderley
saxophone1928 - 1975

Eubie Blake
piano1887 - 1983

Oscar Peterson
piano1925 - 2007

Horace Silver
piano1928 - 2014

Art Blakey
drums1919 - 1990

Ben Webster
saxophone, tenor1909 - 1973

Nina Simone
piano and vocals1933 - 2003

Dave Brubeck
piano1920 - 2012

Maynard Ferguson
trumpet1928 - 2006

Pee Wee Russell
clarinet1906 - 1969

Herbie Mann
flute1930 - 2003

Gerry Mulligan
saxophone, baritone1927 - 1996

Bob Brookmeyer
trombone1929 - 2011
Back to 1960: Wein claimed no animosity toward Mingus but said that the Rebel Festival drew only about two-hundred fans, downplaying the little success the alternate festival had. An aerial photograph shows a substantially larger crowd and author Iain Anderson's This Is Our Music: Free Jazz, the Sixties, and American Culture (University of Pennsylvania Press, 2012) reports peak attendance of about six-hundred.
Determined to avoid the commercial trappings of the Newport Festival, the alternate event was officially dubbed the Cliff Walk Manor Festival, and was a seat-of-pants operation from the beginning, hastily planned in about two weeks. Anderson describes the set up this way: "The C.W.M. festival was virtually handmade by the musicians involved, who constructed the bandstand, decorated it...enclosed the lawn with snow fencing, erected half a dozen tents to sleep in, procured undertakers' chairs, issued handbills, and after the weekend was in progress, collected contributions from onlookers outside the fence." The headliners included the Max Roach quintet, the Charles Mingus Jazz Workshop,

Ornette Coleman
saxophone, alto1930 - 2015

Coleman Hawkins
saxophone, tenor1904 - 1969

Jo Jones
drums1911 - 1985

Kenny Dorham
trumpet1924 - 1972

Charlie Haden
bass, acoustic1937 - 2014
Reactions
There are few first-hand accounts of Cliff Walk Manor Festival. Gene Lees had covered it for the August 18, 1960 issue of Downbeat, in the article "'Newport The Music." The Canadian music critic and journalist summed up the alternative festival as "Hastily assembled, unpublicized it drew a sad little audience of 40 to 50 persons the first day." Later in his article Lees did point out that at its peak, the festival drew "about 500 persons." Whitney Balliett (19262007) was jazz critic for The New Yorker for nearly fifty years. His coverage of the rebel festival was less dismissive; in his even-handed analysis he found both highlights and cavernous failures. In his anthology of columns, Collected WorksA Journal of Jazz 19542000 (St. Martin's Press, 2000) he described Kenny Dorham's pick-up sextet as mechanically going through the motions as if the material "had been stamped on their souls." Balliett complained that performances went on for too long and that numbers were frequently repeated. In that vein, he complained that Roach's quintet had played a "slow, lengthy, bagpipe dirge...no less than four times. The ?rst hearing was delightful, the second was absorbing for the improvisational contrasts it afforded; the third was abrasive; and the fourth was torture." Balliett found some of the breakout groupings more agreeable, citing "a duet by Mingus and Roach; a lengthy free improvisation by Mingus, Roach, Coleman, and Dorham; a collaboration by Dorham, Hawkins, and Jones; and a couple of Near Eastern love songs performed by Ahmed Abdul-Malik, the Roach bassist, on the oud." The critic found Dorham's bassist
Wilbur Ware
bass, acoustic1923 - 1979
The First and Last Rebel Festival
A relatively early Civil Rights advocate,
Nat Hentoff
producer1925 - 2017
Mingus and Roach rightly saw economic equality as a crucial element in Civil Rights and the Rebel Festival was an expression of their beliefs. Mingus remained active in the Civil Rights Movement composing "Prayer for Passive Resistance," "Oh Lord Don't Let Them Drop That Atomic Bomb on Me," and "Meditations on Integration." We Insist! Max Roach's Freedom Now Suite (Candid, 1961) was the seminal Civil Rights album. The album's "Driva' Man" is the avant-garde personification of the slave driver; the call and response is straight from the fields. Roach later composed a drum piece to accompany Martin Luther King Jr.'s "I Have a Dream" speech.
Selected Discology
Charles Mingus and The Newport Rebels (Candid Records, 1961)

Jimmy Knepper
trombone1927 - 2003
Roy Eldridge (1, 3, 5), Booker Little (2), Benny Bailey (4): trumpets; Jimmy Knepper (1), Julian Priester (2): trombones; Eric Dolphy: alto saxophone (1, 4); Walter Benton: tenor saxophone (2); Tommy Flanagan (1, 3, 5); Kenny Dorham (4): piano; Charles Mingus (1, 3, 5); Peck Morrison (2, 4): bass; Jo Jones, Max Roach: (2): drums; Abbey Lincoln: vocals (4).
Mysterious Blues; Cliff Walk; Wrap Your Troubles In Dreams; Tain't Nobody's Bizness If I Do; Me and You.
References
- Los Angeles Times, July 3 1960
- New York Times, July 3 1960
- The Guardian, July 9, 2020
- JazzWax Blog Interview, Marc Myers July 2, 2010
- This Is Our Music: Free Jazz, the Sixties, and American Culture: The Arts and Intellectual Life in Modern America Audible AudiobookIain Anderson, University of Pennsylvania Press, 2006
- Collected WorksA Journal of Jazz 19542000, Whitney Balliett (St. Martin's Press; 1st edition, 2000)
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