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Funchal Jazz Festival 2018

James Reese Europe was responsible for bringing jazz to Europe from Harlem…now this is a music that we gather around, much because of brave soldiers like he and Noble Sissle and Eubie Blake who orchestrated this music for army bands to play. This was a hundred years ago.
Jason Moran
Santa Catarina Park
Madeira, Portugal
July 12-14, 2018
A stunning tableau greets visitors to the Funchal Jazz Festival entering by the main gate, at the top of Santa Catarina Park. The first thing that catches the eye are the spectacular trees that define the park's boundaries. African, Asian, South American and Mediterranean trees, with names as exotic as their forms, are bathed in purple and green light. The park's well-kept grass, bedecked in rows of seats, slopes gently down a hundred metres or so to the stage. Beyond the stage, stretching far into the distance, the hills of southern Madeira are aglow with the countless orange lights of villas and apartmentsa striking constellation against the black backdrop. To the right, the Atlantic Ocean.
Under the directorship of Paulo Barbosa these past five years, the Funchal Jazz Festival has drawn sizeable crowds to this idyllic location. For many, sat in clusters at the back of the arena and within easy reach of the bars, the festival is a place to be seen and a place to relax with friends in the cool of the summer nights. The jazz, it seems, is background music. The majority of the twelve hundred or so attendees, however, are there year after year because of the quality of the music, which sees six double bills over three nights. Previous editions have featured heavyweights like

Joe Lovano
drumsb.1952

Charles Lloyd
saxophoneb.1938

Bill Frisell
guitar, electricb.1951

Kurt Elling
vocalsb.1967

Christian McBride
bassb.1972

Kurt Rosenwinkel
guitarb.1970

Rudresh Mahanthappa
saxophone, altob.1971

Christian McBride
bassb.1972

Vijay Iyer
pianob.1971

Jason Moran
pianob.1975
For an island almost equi-distant (650-ish miles) from the Portuguese mainland and Morocco, and almost 4,400 miles from east-coast USA, the program is perhaps surprisingly American jazz-centric, with just one Portuguese band appearing each year and none from other countries. That said, this is the season for North American jazz artists to pound the European jazz festival trail, so perhaps it just reflects a wider norm. Women instrumentalists, however, never mind leaders, have been absent, at least until the appearance this year of

Jazzmeia Horn
vocalsWhether all this reflects director Paulo Barbosa's personal tastes or those of the festival sponsorsor even the expectations of the Funchal publicis unclear, but complaints from the paying public, it seems, have been few and far between. American jazz artists, particularly the male variety of the species, are still the undisputed heavyweight champions of the jazz world.
Day One
Ricardo Toscano QuartetOn a bill dominated by American bands, the honor of opening Funchal Jazz Festival 2018 fell to the sole Portuguese representativethe Ricardo Toscano Quartet. From the opening, self-penned number, which bled into

Herbie Hancock
pianob.1940
Hancock,

John Coltrane
saxophone1926 - 1967

McCoy Tyner
piano1938 - 2020

Wayne Shorter
saxophone1933 - 2023

Charles Lloyd
saxophoneb.1938
Toscano left plenty of space for individual solos, and although Trist?o, Pereira and Coelho all had their moments, it was their collective chemistry behind the leader's searching improvisations that most impressed. Notable too, the emotional and stylistic breadth of Toscano's compositions, whose arc spanned hypnotically ruminative, abstractly meditative and sharply driving terrain. Coltrane's "The Promise" closed an engaging set on an upbeat note, although the rendition was a little too faithful to the spirit of the original to be truly memorable.
Originality, that elusive summit, is everything in music. In an interview with the eminent English jazz journalist Val Wilmer at the end of the 1960s, Ornette Coleman opined: "The Thing that makes jazz so interesting is that each man is his own academy." Toscano has one foot firmly planted in the academies of past masters, and the other, reaching for his own sound. He's impressive, no doubt, but there's the sensation that if he could only use the idioms of the past as a springboard from which to launch himself, rather than as a defining bedrock, then the flight could yet be a truly memorable one.
Jazzmeia Horn
It's no easy task for a jazz singer to excite an audience as much as say, a virtuoso saxophonist or trumpeter, but Jazzmeia Horn did just that, captivating the Funchal Jazz Festival audience with her breathless scatting and powerful delivery. The Texas-born-and-bred singer attracted awards and nominations in her teens, and now twenty seven years old, they have kept comingwith first place in both the 2013 Sarah Vaughan International Jazz Vocal Competition and the 2015 Thelonious Monk Institute Jazz Competition. It's gone from good to great, too, with her debut recording as leader, A Social Call (Prestige Records, 2017) garnering Horn a Grammy nomination.
The sizzling bop of

Betty Carter
vocals1929 - 1998
Henry Conerway III
drums
Victor Gould
pianoA boppish rendition of Ann Ronell's "Willow Weep for Me" meant there was little letting up in tempo. Horn's frenetic scatting perhaps lacked a little finesse, though her passion never dimmed, notably in a fiery, extended rap that touched on discrimination, police brutality, national unity, the importance of education, and perhaps a tad tangentially , organic food. A call-and-response sing-along involved the audience on an energetic "Night and Day," with Miller revelling in a bustling,

Charlie Parker
saxophone, alto1920 - 1955
Horn placed her own stamp on

Joni Mitchell
vocalsb.1943

Billie Holiday
vocals1915 - 1959

Bobby Timmons
piano1935 - 1974

Dizzy Gillespie
trumpet1917 - 1993
The final stretch featured another Horn rap, but as it lumbered on the steam that Horn and her band had worked so hard to build up gradually dissipated. The crowd rose to its feet and cheered for more, but the no-encore policy of the Funchal Jazz Festivaldue to strict time schedulingdenied it. Horn is a precocious talent, a fearless, exhilarating improviser steeped in gospel, blues and jazz roots. Her jam-like raps, however, can overstay their welcome at times. One of the marks of the great jazz virtuosi is that, in general, they know when to let a solo go.
Besides the Music...
When it comes to festival vibes there's something about an outdoor festival on a summer night that trumps almost any indoor event. Madeira enjoys daily mean temperatures between 16 and 23 degrees Celsius year-round. Yes, the air can be sticky at times, but if you're looking for an escape from the floods, fires and life-snuffing temperatures that seem to be engulfing much of planet Earth, then Madeira is an attractive option.
What it does have, given its geography, are occasionally stormy cross-winds that can make landing at Funchal's airport complicated. With cross-winds doing their thing this year there were real concerns that the flights of a couple of bands due to land the same day of their performances would have to be cancelled. Happily, the winds spared everybody.
With concerts starting at 9.30 pm, the days are set up for exploring the city and the island's multiple urban and natural delights. Multiple companies vie to attract tourists on boat trips to go turtle, dolphin and whale spotting in the surrounding waters. The sight of a school of bottle-nose dolphins surfing the currents around you, or that of a humped-back whale breaking the surface are memories to cherish.
For those with weak sea legs the mountains offer all grades of hiking, plus flora and fauna spotting. Bus tours and cable car offer less strenuous sight-seeing alternatives. If pottering around town is your thing, then Funchal's vibrant downtown offers an abundance of cafés, restaurants and tourist shops, with wondrously mosaicked pavements to guide you.
Funchal also boasts an old quartercomplete with dark tavernas and street market stalls peddling colorful bric-a-bracthat preserves much of its bygone-age charm.
For foodies, Madeira is a gastronomic delight and seafood is a must. Coinciding with the Funchal Jazz Festival is tuna season, and you'd travel a long way before you taste better tuna steaks.
If you think that nearly everyone in the Funchal Jazz Festival audience is experiencing, to varying degrees, some of the above-mentioned pleasures, it goes a long way to explaining the good-natured, relaxed atmosphere of the festival. Any festival, after all, is just the centrepiece of a much larger setting.
Day Two
Vijay Iyer SextetEven by his own prolific standards

Vijay Iyer
pianob.1971

Wadada Leo Smith
trumpetb.1941
It's uncommon to open a show with a drum solo, but

Jeremy Dutton
drums
Mark Shim
saxophone, tenorb.1973

Steve Lehman
saxophone, alto
Graham Haynes
cornetb.1960
Switching between acoustic and electric piano, Iyer steered the sextet through emotively undulating terrain. A paired back rhythm section explorationwith

Stephan Crump
bass, acousticb.1972

Miles Davis
trumpet1926 - 1991
There were several occasions where the music seemed to have peaked. Yet, like a long-distance runner digging deeper, Iyer's sextet kept kicking on. One riveting solo followed another, the individual virtuosity bridged by fascinating ensemble dialogues full of funk and lyricism. It was a full fifty minutes before Iyer, over a punchy unison ensemble riff, introduced the band. "Our album is called Far From Over," Iyer told the Funchal crowd. "That's because the struggle for justice is far from over." Those words will have meant different things to different people, but the words of

Archie Shepp
saxophone, tenorb.1937
The sextet signed off with closing exclamations from the front line trio over a pulsating groove. The abrupt, over-the-cliff-edge ending was a suitably dramatic way to conclude a spectacular concert.
Billy Hart
One of the last of a dying breed,

Billy Hart
drumsb.1940

Ethan Iverson
pianob.1973

Ben Street
bass
Joshua Redman
saxophoneb.1969

Hampton Hawes
piano1928 - 1977

Thelonious Monk
piano1917 - 1982
On a driving post-bop burner Hart worked his cymbals continuously, feverishly at times, crashing down on his snare with explosive flurries that punctuated Redman and Iverson's improvisations. The quartet breathed more deeply on the mid-tempo, walking-bass number "Duchesse," with compelling solos from Iverson and Redman marked respectively by bluesy economy and expansive vim. On the next tune a terrific drum feature was the entrée to a bustling, emotionally-charged Redman solo, with Iverson's percussive chordal comping accentuating the atmosphere redolent of

John Coltrane
saxophone1926 - 1967
With a showman's flare, Hart announced the set closer with a rattling four-minute solo that worked the skins more than the cymbals. However, much in keeping with the character of the entire set, Iverson unreeled a mazy, mid-tempo solo, followed by a searching Redman improvisation of great intensity. In the end, with the crowd on its feet, Hart acknowledge the musicians individually and addressed the audience: "Thank you for the way you've inspired us." Ditto Billy Hart, who has been inspiring musicians and audiences alike, as on this evening in Funchal, for a very long time.
Workshops/Jam Sessions
For the musicians, sharing a little of the magic is part of the Funchal Jazz Festival experience. Each of the three days the Conservatorio of the Escola das Artes was the venue for workshops and masterclasses. Jazzmeia Horn, saxophonist Francisco Andrade and guitarist André Santos all gave master classes, while the Ricardo Toscano Quartet gave a workshop on small combo dynamics.
Each evening the SCAT Music Club and Restaurant played host to the festival jam session, which kicked off at around one in the morning and ran, well, late. The Ricardo Toscano Quartet was the house band with guitarist Andre Santos, and musicians from nearly all the festival bands turned up to rock the venue, interacting well with the local musicians.
Day Three
Dave Holland/Zakir Hussain/Chris PotterIf ever three musicians had the Midas touch, then

Dave Holland
bassb.1946

Zakir Hussain
tablas1951 - 2024

Chris Potter
saxophone, tenorb.1971

Miles Davis
trumpet1926 - 1991

Ravi Shankar
sitar1920 - 2012

Shakti
band / ensemble / orchestrab.1974

Steely Dan
band / ensemble / orchestrab.1972

Anthony Braxton
woodwindsb.1945

Grateful Dead
band / ensemble / orchestrab.1965

Pat Metheny
guitarb.1954

Kenny Wheeler
flugelhorn1930 - 2014

Betty Carter
vocals1929 - 1998

Craig Taborn
pianob.1970
It doesn't always follow that star line-ups produce the goods, with egos often getting in the way of genuine communication, but no such charge could be levelled at thee three wonderfully attuned musicians. The opening "Lucky Seven," however, felt like a limbering up exercise, with extended solo improvisations from Potteron soprano saxophone-Holland and Hussain following one after the other. Potter's "Island Feeling," penned in St. Lucia, saw the saxophonist lead the way on tenor with a breezy melody over a delightfully simple, two-note bass ostinato. As Potter gradually loosened up so too did the rhythms behind him, the greater freedom inviting the saxophonist to stretch out. Holland, effectively soloing already, sculpted a beautifully weighted solo when Potter sat out, the trio reuniting on the head.
On "J Pai" Hussain paid tribute to

John McLaughlin
guitarb.1942
The final tune, "Hope," began with a nod to

Billy Strayhorn
piano1915 - 1967
There was no doubting the elegance of the tunes, the lyricism in the playing, and the tremendous individual virtuosity. At the same time, there was still the nagging feeling that the trio's communal dialogue, full of sparks, only occasionally caught fire.
Jason Moran Bandwagon
Hard to think of another outfit quite as unique and versatile as Jason Moran and the Bandwagon with which to conclude a festival. Hard to believe, too, that nearly two decades have passes since The Bandwagon's debut, Facing Left (Blue Note, 2000). In that time the trio of Moran, bassist

Tarus Mateen
bass
Nasheet Waits
drumsb.1971
The trio raised its standard high with a rollicking version of "Gangsterism Over Ten Years," the relatively simple melodic framework providing the launching pad for devilishly intricate trio interplayMoran dictating the tempo with quicksilver bluesy runs and percussive insistence. At its most delicate the lyricism shone through, while at the other extreme the trio's thunderous intensity was little short of electrifying.
"Blessing The Boats," written by Moran's wife, classical soprano Alicia Hall Moran, and inspired by Lucille Clifton's poem of the same name, was a subtly persuasive blend of pop sensibilitiesmelodically uplifting and rhythmically spare. The trio paid tribute to the late, great

Geri Allen
piano1957 - 2017

Thelonious Monk
piano1917 - 1982
A fiery, abstract piano interlude, Moran crossing his hands in rapid relay as he pounded the keys to devastating effect, bled into a jaunty version of "Russian Piano Rag," George L Cobb's ragtime parody of Rachmaninov's Prelude in C-sharp minor. Moran, you feel, however, is deadly serious about the history of music he borrows from, is inspired by, refashions and births anew. In the elasticity of this trio's rhythms, embracing everything from ragtime to hi-hop, resides practically the whole history of jazz.
It was fitting, therefore, that the trio signed off with a

Fats Waller
piano1904 - 1943

Neil Cowley
pianob.1972
Wrap-up
There was one final act of Funchal Jazz Festival 2018, and a special one at that. The jam session in SCAT brought Jason Moran and Chris Potter to the stage in an unforgettable session. Watching Potter in full flow, it was easy to imagine that there is no better jazz tenor saxophonist in the world. It was a real privilege for all in attendance to see such jaw-dropping musicianship up close. A special word for Ricardo Toscano and André Santos who held their own in the heat of the jamboth musicians revealing the strength of their musical personalities and their individual voices.With funding from the local municipality as well as high profile private sponsors, the Funchal Jazz Festival seems to have solid foundations moving forward. Musically, the program this year was strong, as indeed it has been for each of the previous four editions. The music starts and ends late, but that means you have time to dine in a relaxed manner and enjoy the music in the cooling, late evening.
Another aspect, seemingly minor, that made the festival stand out was the complete absence of piped music before and during the acts. This made for a relaxing vibe, where the only soundtrack during these periods was the babble of conversations. Perhaps more festivals should consider the value of silence between acts. Finally, the team that festival director Paulo Barbosa has assembled around him deserve great credit for doing an excellent job in making sure that everything ran smoothly. Everybody involved in the festival was welcoming and friendly, and the hospitality, on this large rock in the Atlantic Ocean, was, like the music itself, outstanding.
Photo Credit: Courtesy of Renato Nunes
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