Cleveland Magazine: What does it mean for JazzFest to be its youngest and first African American executive director?<\/p>\n
Orlando Watson: It\u2019s all what representation stands for. When I was 14 or 15 years old, studying here at summer camps, I was studying with legendary guys, all Caucasian. I don\u2019t take it lightly. If I had somebody like me, I could see what life could be as an artist and executive, and my world would\u2019ve opened up even more. So, I\u2019m happy to be that, especially in my hometown.\u00a0<\/p>\n
CM: As a Cleveland native, why is JazzFest important to you?<\/p>\n
OW: If you\u2019ve been following me on social media, you\u2019ll see a lot of my posts with #OhioHasIt. I preach that no matter where I go in the world. I never get the feeling I do when I hear live instrumentation anywhere else other than Cleveland. It\u2019s major for me because I know a lot of musicians from Cleveland who really just need a platform, and I see Tri-C JazzFest as that sustainable, trusted platform in this region for artists. I think I have a different stake in the game as an artist myself. I always try to lead programming with the artists in mind. One of the fingerprints I\u2019m aiming to leave on this festival is having opening artists, not just headliners. For example, we got Durand Bernarr<\/a>, who just won the 2025 (Grammy Award for) Best Progressive R&B Album, but his opening artist is a local legend by the name of Rob Hubbard, whom I used to study with. Hubb is a phenomenal musician.\u00a0 It\u2019s important for me to highlight things like that. I\u2019m really trying to show the world on a large scale how much Ohio has to offer.\u00a0<\/p>\n CM: What was your vision for JazzFest when you took on this new role?<\/p>\n OW: So much. In my mind, I\u2019ve programmed out the next two years. One aspect was elevating the outdoor footprint. We have acquired an Event Planner by the name of Alascia Jones. She\u2019s been phenomenal. We have three different districts \u2014 the Family District, the Refresh District and the Spotlight District \u2014 and each of those locations will have different activities and guests and things like that. There\u2019s also an educational component with a masterclass by Savion Glover with our dance students here, which is open to the public.<\/p>\n Also, with the artists in mind, we have something called Music Mavericks. I handpicked five artists on this year\u2019s lineup to have a promo code. They can disperse that to the public for 10% off any show, and whatever show the code is associated with, they get a 5% return. It\u2019s kind of an incentive for them to have a vested interest and stake in the festival. It always used to be sort of a \u201cpay to play,\u201d and I always hated that model. We pay the artist their booking fee, but as an incentive on top of that, they have a commission. I\u2019ve never seen a model like that, so I feel like it\u2019s kind of groundbreaking.<\/p>\n It\u2019s also the first time we are including national artists outside. I wanted to create an equitable space that was more accessible and affordable for the community. All of our outdoor options are free. I wanted to create a space where everybody felt equal. We all love music, so that was very important to me. Lastly, in years previous, I noticed that only the national artists were listed on the festival graphics, but I wanted to also include the local and regional artists. I wanted to make the local artists feel seen and included.<\/p>\n CM: You are involved in a lot of cultural policy and advocacy groups. How does that come into play with this project?<\/p>\n OW: I have experience on both sides of the game, as an executive and an artist. I know what\u2019s fair and equitable as an artist. I know the opportunities I\u2019ve been afforded. It\u2019s a core model of mine not to lowball artists. On the executive side, I\u2019m creating programming that is well-rounded, inclusive and diverse. Sheila E. is our opening night artist. She is a middle-aged, Hispanic woman who is a legendary percussionist. How often do you see women playing drums at her level and at her age? Making everybody feel seen and involved is very important to me.\u00a0<\/p>\n CM: What changes or creative liberties have you taken that you are proudest of?\u00a0<\/p>\n OW: Like I mentioned, incorporating opening acts and outdoor shows. I\u2019m also really excited about our partnership with the Cleveland Cavaliers. Jim Chones, a retired Cavaliers player and broadcaster, will be joining us in the lobby of KeyBank State Theatre ahead of Sheila E.\u2019s concert, playing bass in his trio. We will have the Scream Team, Cavs Girls and mascots. So, I\u2019m really vested in the Cavs winning it all. I\u2019m proud of that, and also just partnering with local organizations who have a heart for the community and don\u2019t mind sharing the pie.<\/p>\n CM: With JazzFest being such a long-standing tradition in Cleveland, is it intimidating to come in and make the changes you\u2019re making?<\/p>\n OW: It\u2019s imperative for me to build on the foundation of traditional jazz while also being progressive and being more jazz-adjacent with experimental artists. It\u2019s all music and it\u2019s all love. Intimidating is not the word. I\u2019m pretty hard to intimidate. I understand the risk involved, but I\u2019m not afraid to make the changes. I just know you can\u2019t please everybody. Not everybody is going to support, but those who do will without excuse. Those who don\u2019t, there may come a time where they swing back around. We\u2019ll be here for another 50 years. Intimidated, not so much. Motivated.<\/p>\n For more updates about Cleveland, sign up for our\u00a0Cleveland Magazine Daily\u00a0<\/a>newsletter, delivered to your inbox six times a week.<\/p>\n