This year the Cork Jazz Festival went for youth - primarily hip jazz acts from the other side of the Atlantic. Okay, it may stretch the generic elasticity of the term "jazz" but in so doing it widens the scope of the music on offer.
T.S. Monk, son of the legendary pianist Thelonious, termed it "the universal cauldron of music", while speaking of the need to embrace all aspects of jazz. His concert at the Everyman Palace was something of a master-class. He gave an entertaining commentary between straight-ahead standards, funk and some modern compositions during the six-piece band's slick performance.
Their playing was flawless. Monk gelled beautifully with his pianist, Ray Gallon and precocious bassist, Gary Wang, allowing the exceptional trumpeter Don Sickler and altoist Bobby Porcelli to shine during their Saturday afternoon concert, which was undoubtedly one of the highlights.
British saxophonist Courtney Pine, accompanied with great brio by vocalist Mary Pearce and trombonist Henry Rollins, showed how his mix of disparate genres works to a hypnotic effect. His circular breathing method allowed Pine to deliver a torrential downpour of improvised solos on a crowd that rarely had an opportunity to sit down during this vibrant concert. His mastery of his instrument was sweltering and thoroughly entertaining.
Youth definitely shone. From Puerto Rico, sax-man David Sanchez mixed straight-ahead jazz with driving Latin rhythms, funk, bolero and swing. Tania Maria displayed incredible vocal abilities embracing lyrical elements of jazz, blues and Brazilian music but the crowd was slow to participate in singing back her vocal gymnastics.
On Saturday night the sheer power of Dallas trumpeter Roy Hargrove's Quintet was breathtaking, with forceful improvisations.
The accompaniment from pianist Larry Willis and saxophonist Sherman Irby was superb. Guitarist Russell Malone from Albany, Georgia was impressive, showing Monk's universality of jazz beliefs to be completely acceptable as he leaned closely to blues during his performance. His dextrous finger-work was awesome.
Dave Holland made his bass sing with colour and tone during a blistering performance. His improvisations were inspired, always heading in an unexpected but determined direction. His saxophonist, Chris Potter further coloured their sound and Billy Kilson's drumming was absorbing - a man at one with his kit.
Equally exuberant on percussion was 24-year-old drummer Allison Miller in saxophonist Virginia Mayhew's quartet. Mayhew's polished be-bop style was exciting and worked well with Bruce Barth's piano.
Besides coping with congested venues, the real difficulty was trying to divide one's time during the hectic schedule.
