Stanley Clarke and Stewart Copeland reunite for the ‘serendipitous’ Santa Monica Jazz Festival

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Legendary bassist Stanley Clarke says the new Santa Monica International Jazz Festival came together unexpectedly. Running from May 1st through Saturday and held with the BroadStage, the city of Santa Monica, and SM Festivals at locations throughout Santa Monica, the festival includes a special celebration of John Coltrane’s 100th birthday on Friday, featuring performances by Lekecia Benjamin and Isaiah Collier. This inaugural festival is happening at a great time for jazz, as the genre is becoming increasingly popular and getting more attention in Los Angeles.

In a recent interview with his friend and fellow musician Stewart Copeland, Clarke revealed he’s been planning a jazz festival since 2023. While working as an artist at BroadStage, he decided Santa Monica would be the perfect location, and the festival will debut in 2026. Copeland will join Clarke on stage at Tongva Park on Saturday.

He was so committed to growing the local festival into a larger city event that he made it a requirement for accepting the artist residency and teaching position. When it came time to plan the festival, Clarke immediately contacted Copeland, and it’s easy to see why – their playful, back-and-forth conversation is reminiscent of the classic comedy duo, “The Odd Couple.” If their musical collaboration matches their lively banter, the closing performance promises to be incredibly fun and unforgettable.

What prompted this festival in Santa Monica now?

I’ve been spending a lot of time in Los Angeles for the past few years, and still do. I also spend some time in Florida. While in L.A., I taught a large jazz band class at Santa Monica College for three years because I enjoy teaching. The college also had a small, internal festival and asked me to organize it. I put together some bands and agreed to do it, with the condition that we expand it beyond the college campus in the third year. My wife and I often walked around Third Street Promenade in Santa Monica, and I noticed all the street vendors and musicians. I always thought it would be a great location for a jazz festival – the beach, palm trees, the pier, restaurants, and all the foot traffic create a perfect atmosphere. So I suggested the idea to the college, proposing that we create a jazz festival right there on the promenade.

People initially thought my idea was a bit far-fetched, but then I teamed up with Martin Fleischman. We started a company to organize concerts and events, and it’s been an incredibly lucky journey ever since. Everything just fell into place, especially since the timing coincided with the centennial celebrations of musical legends like Miles Davis and John Coltrane, as well as the anniversary of Route 66. The city was really enthusiastic and even started building stages at four different locations. It’s amazing to see so many people wanting to be a part of it. It feels like one of those wonderful European festivals where the entire community gets involved, with lots of food vendors and restaurants participating. A couple of hotels are also on board to help us, and I immediately knew I wanted Stewart to perform at the festival.

Stewart Copeland: Yeah, I’m known for my jazz proclivities.

I wanted him to play because he’s incredibly knowledgeable about jazz. But the definition of jazz itself has changed over time – it’s become less about strict rules and more about a feeling. For me, any music with improvised solos can be considered jazz. The days of rigidly following every note of a Charlie Parker tune are over. This festival is full of young musicians – Stewart and I were probably the oldest ones there!

Copeland: You know, Stanley, I’m thinking about what jazz really is. It’s like this: in pop music, the band exists to make the song sound good. But in jazz, it’s the opposite – the song is just a chance for the musicians to shine. We don’t play to serve the song; the song exists to showcase our playing. I’m grateful for jazz fans because they come to see musicians perform and improvise.

How far back does the friendship go?

Clarke felt that the fusion music they created, and even Stewart’s work with The Police and afterward, always sounded innovative and forward-thinking.

Copeland: Well, [guitarist] Andy [Summers] did have those jazz chords.

Clarke recalls knowing Sting, then known as Gordon Sumner, back when they both played music. Gordon played in a band in Newcastle, and Clarke remembers them having a singer and playing chords together.

Look, let me tell you something – you’re the only one who can call Gordon by his first name, seriously. I won’t be around, so feel free. And when it comes to bass players, you can address Sting however you like – he doesn’t mind a bit!

Clarke told Stewart he had a natural talent for improvisation and performance. He emphasized that if you’re a musician, your voice deserves to be heard.

I grew up with jazz because my father was a musician, and I always thought of it as something deeply familiar and comforting – like a family tradition. But Stanley pointed out I was mainly exposed to big band jazz, artists like Stan Kenton and Woody Herman. I didn’t really get into Miles Davis because Jimi Hendrix exploded onto the scene around the same time, and his guitar playing completely captivated me, making me lose interest in trombones and trumpets. Because of that, I missed out on a lot of jazz fusion until I discovered Return to Forever, which sounded completely different from anything I’d heard before, like a far cry from Woody Herman.

Talk about your past musical relationship.

Copeland: We have played some jazz before.

Clarke: We did that one tour of all the jazz festivals in Europe.

We used to play so intensely, it felt like we were tearing the house down every night. What I remember most vividly was how short the setlist was compared to a typical pop concert. Bands like Oasis or The Police would play around twenty songs, but a jazz set is only about six, including the encore. That’s because for us, it wasn’t about how many songs, but about the quality of the playing and the connection between us on stage. And I have to say, Mr. Clarke, don’t be shy, but being up there with Stanley on the bass, I really felt like I was witnessing something extraordinary, something cosmic. It was one of those rare moments where I was genuinely amazed while performing.

What did you look for in other acts on the bill?

I’m really happy with all the bands playing at the festival. I enjoy being the promoter and getting paid for it. That’s when I decided to call Stewart and get everything organized. After that, a lot more people got involved, and we ended up with a great lineup of bands.

It’s great to see how much you both enjoy sharing the stage with these up-and-coming musicians who are so eager and full of energy, especially after being in the industry for so long.

I’ve noticed a pattern, maybe from listening to early jazz, that innovation always comes from young artists. Think about Miles Davis and John Coltrane – they were both just 21 when they started changing music. It surprised me to learn they were the same age; I always pictured Miles as being older. That’s why I love this festival – it’s a chance to showcase new talent. I always admired promoter Bill Graham. Even when he was handling huge rock acts in San Francisco, he’d take the time to check in with smaller bands playing clubs, making sure everything was alright and even having a conversation. I remember him telling us what we were doing with Return to Forever was great, and that’s how we got opportunities to open for bands like Fleetwood Mac and Santana.

Then obviously you have Kamasi Washington who is a star in L.A.

I brought him to Brazil because I think it’ll be a great place for Kamasi to develop. I’ve known him since he was a kid, and I’m really excited for him. I, and Stewart as well, are big supporters of musicians, and this is going to be a lot of fun. I’m really looking forward to it.

What are you looking forward to, particularly about this festival?

Stanley and I need to go out there and really put in some physical effort. I’m actually excited about that.

Clarke: I actually like it.

You know, it’s funny – I realized Copeland and I are practically the same age! After all these years, 74 to be exact, it’s a neat connection. And honestly, I’m finding I appreciate his work more and more as time goes on.

I’m really enjoying my work now. I used to perform around 60 to 90 shows each year, but now I’m doing closer to 40 or 50, and I expect that number will continue to decrease. I’m focusing on playing music with people I both respect as musicians and genuinely enjoy being around, and we’re trying to create something unique and fun. As a musician, I’m having a fantastic time. I’m especially happy with how this festival has come together – everyone involved seems enthusiastic and things are flowing naturally. It feels like everything just fell into place; it was meant to happen.

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2026-05-04 20:32