By: Rudy Lu

The weather broke from hazy hot humid to a glorious early summer day. The music was as glorious as the day itself. As usual, the musicians were all talented and represented the diversity of improvisational music from NY influenced NOLA, funk based music, experimental/abstract to the blues. Some played the familiar with interpretations that are uniquely their own. Original compositions were also proudly displayed.

Usually, the experiementation is largely confined to the Discovery Stage (hence the name). But this year, the main stage held some surprises.

Kicking off the festival was a female Brooklyn based group featuring the music of NOLA, the Brass Queens. Although the base of this creation is traditional jazz, the hustle and bustle of NYC adds its influence.

In contrast, the main stage opened with First Meeting, a super group lead by Gonzalo Rubalca -piano, Eric Harland – drums, Larry Grenadier -bass and Chris Potter -saxophones. They performed everything from Chick Corea’s “500 Miles High” to originals.

Terri Lynn Carrington’s Social Science took a surprising turn toward a more R&B /gospel sound than I expected. Complete with back up singers , the band went back to the roots of the music. Reminding us all where it came from. Her latest recording “We Insist 2025” is a reiteration of Max Roach’s civil rights era recording “We Insist Freedom Now”.

More abstract music on the discovery stage followed with Avishai Cohen’s Big Vicious. The name certainly described the music, angular abstract but somehow made sense and flowed. His trumpet/keyboard shared the stage with a power trio. Jazz’s version of punk in a visual as well aural sense of the word.

I then rushed to the main stage to hear the familiar and more traditional music of Cecil McLorin Salvant. Old school jazz from the 30s-late 50s. She is a master of phrasing and gestures to convey her vocals. Her long time collaborator pianist Sullivan Fortner along with veteran players Kyle Poole and Yasushi Nakamura. Nancy Wilson , Ella Fitzgerald and Billie Holiday are among her favorite artists.

I lingered to hear most of her set but missed Tyreek McDole. I also missed the DIP. With 12 bands for the day, it was impossible to catch it all.

The festivities were celebrated in a fun way with the SPAC and Jazz Fest Staff giving away t-shirts by launching them into the air in the ampitheater.

Bill Frisell ‘s trio wsg Greg Tardy was on the Discovery Stage. The sparse instrumentation of his trio created soundscapes that were full and demand the listener’s attention. Longtime collaborators Thomas Morgan ( bass) and Rudy Royston (drums) filled the soundscape. His work is largely rooted in instrumental interpretations of Americana which carried this day, but Duke Ellington’s Isfarhan left a big impression.

The last two performances were the blockbusters. Miles Davis Electric Band and Patti LaBelle.

The Miles Davis Electric Period in its day turned off many traditional jazz fans. The relative lack of form and use of electronics as well as musicians influenced by funk and rock was a turnoff. But it was also a turn on for rock based listeners like myself. This was a long period in Miles’ career spanning from 1969 to his death in 1991. Bitches Brew and In A Silent Way were like a call to arms. The mixing of electric instruments, swirling neopsychedelic motifs have inspired bands to this day including jam bands. Nephew drummerVince Wilburn who played in Uncle Miles’ band, headed up this project. It includes a rotating list of veterans including Darryl Jones (electric bass also bass with the Rolling Stones)and Muyungo Jackson (percussion). Other musicians included Antoine Roney, Keyon Harrold, DJ Logic and Greg Spero. Other musicians recruited were from Nigeria, given the project more of a world music feel.

Those famous covers Miles played including “Human Nature”, “Time after Time”. “Jack Johnson” rocked the house, “In A Silent Way” creeped up to you, “Bitches Brew ” sizzled. All the music was presented in a organic anecdotal fashion.

The closer was Soul Diva Pattie LaBelle. At 82, she is still glamorous in her golden gown. Needless to say she was backed by a stellar band which gave her a break from a demanding performance. Singing light music such as “Beverly Hills Cop” along with scorchers such as “New Attitude”.

Danny Melnick noted that Pattie first appeared on the Jazz Festival Stage the same year Miles’ did, which she did not remember or realized.

An appropriate end to the first day of a tradition to many concert goers including myself. Stay tuned for Day 2.