Programming the Reeves way

Dianne Reeves is approaching her two-year appointment as the Los Angeles Philharmonic’s first Creative Chair for Jazz with the same sort of grit and determination that have characterized her career as a jazz singer.

“I come from a place where you make a way out of no way,” Reeves says. “And when you make that way, you make it big enough for other people to come through. That’s what I stand on, because that’s what has worked for me, ever since I was just a kid, trying to make it in Denver, which only had the remnants of a jazz scene when I was coming up. But once I found my way, once I found my voice, I also found my uniqueness as an artist.”

Reeves is hoping that she will similarly find her way in her position, which essentially involves creating and planning jazz programming for the new Walt Disney Concert Hall and the Hollywood Bowl, for the 2003 and 2004 seasons.

“My first goal was to build a foundation,” she says. “I thought the best way to do that would be to start out with musicians who were the architects of jazz music, as well as younger, emerging talent. But, in addition, I wanted to have players from Los Angeles, because there are so many talented people here, I wanted to commission new works, and I wanted to have extensive educational programs.

“Basically, I wanted to do something that would encompass all of those things, and include things with the Philharmonic, as well. Because one of the things I liked about all this, from the very beginning, was the possibility of blurring the line between jazz music and classical music and world music, and to make it one experience.”

The first concrete evidence of Reeves’ planning was presented to the public last week with the announcement of the initial jazz events at Disney Hall, planned for the opening season. Four scheduled programs include appearances by the Keith Jarrett Trio (with Gary Peacock and Jack DeJohnette), Herbie Hancock (in an evening dedicated to his take on the music of George Gershwin), the Lincoln Center Jazz Orchestra led by Wynton Marsalis, and Reeves herself, with keyboardist George Duke and guest artists. The Hancock and Reeves programs will also include the Los Angeles Philharmonic.

Asked about the relative conservatism of the opening lineup, which -- aside from her own presence -- seems to take few chances, Reeves responded with her rationale for each of the entries.

“I wanted Keith because he’s had a continuing commitment to acoustic music,” she says. “All the other great halls I’ve ever gone to -- Carnegie Hall, etc. -- people always talk about the fact that you can almost hear Mahler or Beethoven in the very walls of the room, and I thought this would be an opportunity to bathe Disney Hall in Keith’s sound.”

Reeves notes that Hancock’s 1998 recording “Gershwin’s World” has never been performed in a symphonic setting. “And what was also special,” she adds, “is that he wanted to do material that was not just from the album, but a very broad evening with an emphasis on Gershwin.”

Marsalis’ presence in the opening season was, according to Reeves, urged by the Philharmonic.

“They have a very good relationship with Wynton,” she explains. “Especially after he did ‘All Rise’ with the Philharmonic right after Sept. 11, and they wanted to continue to work with him, which was fine with me. I’m not sure what the programming will be, as yet, but I think there’s something special in the works.”

Reeves believes that her own presence on the season is understandable.

“It’s my program, and I feel that I should be a part of it, so that people can see and understand that I’m very committed to what I’m doing.”

Reeves adds that she also will do at least one high-visibility event at the Hollywood Bowl next summer and will be the host of as many events as her schedule will allow.

Her approach raises the perhaps unanswerable question of whether the function of the creative chair is best served by a well-known artist or by a professional curator-presenter. Each choice has its merits and its problems. Artists bring powerful familiarity with the performing process as well as an extensive web of creative connections.

But that web of associates and acquaintances inevitably tends to include many who will understandably expect to be near the top of the list for potential participation in concerts. Although the schedule for next summer’s Bowl events is still to be determined, it apparently will include music and musicians well within the orbit of Reeves’ interests -- as was the programming for the Bowl when John Clayton was in charge.

“I don’t see anything wrong with reflecting the music that appeals to me,” Reeves says, “or including players I respect and value, so long as I manage to keep the integrity of jazz music a part of all the programming. I can’t say anything about specific artists, yet, but ... I’d like to do something acknowledging the connection between jazz and Hollywood. I love gospel music, which I hope will show up somewhere, and there’s always something to do in the area of jazz fusion. And, like so many other musicians, I deeply value the connection between jazz and Brazilian music, and we’re hoping to offer something special in that area.”

Reeves is presumably less familiar with the fiscal and marketing aspects of her role than a professional curator-presenter would be. But she insists that she is well aware that tickets must be sold and seats must be filled.

“I’m learning that there are some shows that make other shows possible,” she admits. “That’s just the way of the world. I know that selling tickets is important, without anyone at the Philharmonic having to tell me.” For Reeves, who proudly announces that through dieting and working out, she has trimmed 60 pounds in the past year, her work with the Philharmonic is a task that is daunting, yet manageable.

“I like to look at it this way,” Reeves concludes. “It’s like another day at the gym. My gym practice has taught me that some days are harder than others, but the rewards are more than worth the effort.”

Riffs: The newly launched Audio Fidelity label is kicking off its first batch of releases with three jazz albums in the new dual-layered Hybrid SACD format. Each of the items is a jazz classic, remixed and remastered in the multi-track SACD format (which is compatible with existing CD players): Cal Tjader’s “Latin+Jazz,” Buddy Rich’s “The Best Band I Ever Had” and Mel Torme’s “The London Sessions” ... The Pasadena Jazz Orchestra gives its premiere performance Dec. 8 at the Pasadena Civic Auditorium, performing the Duke Ellington-Billy Strayhorn arrangements of Tchaikovsky’s “Nutcracker Suite.” According to Paul Lines, executive director of the Pasadena Jazz Institute, the event will serve as a trial run for the establishment of the 15-piece ensemble as a continuing musical entity.