In the appropriately named Palais du Variété The Swingle Singers are negotiating chords and athletically inclined melodies for which even their scatting of Bach’s ‘Well-Tempered Klavier’ might not have prepared them. ‘Soul Man’ is giving way to ‘Knock on Wood’ and ‘Little Red Rooster’ is morphing into ‘Johnny B Goode’ then ‘Voodoo Chile’, as the man responsible for all this, Lucky Peterson, swigs a beer and high-fives all-comers while still fretting the guitar licks.
Later, back at the keyboard whose vocal patch facilitated the sampled Swingles interlude, Peterson will duet with the rain battering the tent’s roof and cajole his superb Cuban drummer into doing something different to express himself. It’s tempting to say that we didn’t get anything like this from the festival’s biggest name attractions, John McLaughlin (above) and Jan Garbarek, except that we sort of did.
McLaughlin may have made slightly weary efforts to sell his latest album but his repertoire in a frankly thrilling gig with the 4th Dimension extended to Pharoah Sanders as phrased by Carlos Santana. He was also at least as encouraging to his drummer, the brilliant Ranjit Barot, as Peterson was to his, and Garbarek, before encoring with Blind Faith’s ‘Had to Cry Today’ no less, gave Trilok Gurtu no end of space in which to drum, vocalise and create his inimitable water music with a bucket that he turned into a musical instrument.
The organisers programmed 20 more ticketed events this year than last – almost 200 hundred over 10 days – and most seemed to reward this confidence, with a new venue, the City Art Centre’s fifth floor providing great views and proving popular for music ranging from Tennessean singer Earl Thomas’s urgent gospel-blues to David Milligan’s flowing traditional music-inspired solo piano improvisations. New faces likely to reappear included New York-based Emmet Cohen, whose grasp of jazz piano history impressed mightily and whose drummer, festival cover star Bryan Carter, proved as good at singing as swinging, while local pianist David Patrick’s adaptation of Debussy’s long neglected ‘Jeux’ was transformed into a potent, attractive extended jazz waltz for tentet.
– Rob Adams