Home » Jazz Articles » Live Review » Jazz in the Islands: 2nd Annual Anguilla Jazz Festival

609

Jazz in the Islands: 2nd Annual Anguilla Jazz Festival

By

Sign in to view read count
A truly unique performance, this moment somehow encapsulated the joys of the festival experience, namely the possibility of encountering something totally unexpected and heretofore unknown.
Transparent aqua waters, rich amber rums, miles of snow-white sand, sophisticated cuisine, crashing waves, opulent resorts, unique private villas, the meandering calm of island-time, and for four days each November, nights filled with the pulse of jazz.


And not just any jazz, either. Like everything else available on this small Caribbean island, the music of the annual Anguilla jazz festival is world-class, refined, and representative of the best that money can buy. This combination—a sumptuous locale and superior music—makes a journey to the Anguilla Tranquility Jazz Festival ideal for those seeking an indulgent fantasy vacation that is somehow simultaneously off the beaten path and smack in the middle of the lap of luxury.
The Island

A tiny strip of beaches only three miles wide and sixteen miles long, Anguilla is located a picturesque ferry ride from St. Maarten, making it the most northerly of the Leeward Islands of the Eastern Caribbean. Though peculiarly flat compared to its neighbors, Anguilla contains some of the most pristine beaches in the world, a safe, unabashedly welcoming atmosphere based on genuine island friendliness, and as a result of its small size and relative obscurity, an appealing sense of seclusion.

Divorced from the tumult and crowds that make Jamaica a spring-break favorite, there is still plenty to occupy the hours before the music starts. Simply touring the beaches is a good start, or taking part in what seems to be the prime draw of Anguilla for many visitors: its plethora of high-quality restaurants. However, be forewarned. You will encounter very little "native" cuisine as beyond the local spine tail lobster and a few local fish, almost everything has to be imported from abroad. That isn't to say the epicure will go wanting. The litany of available delicacies is almost inexhaustible and the quality of the imported (and famed) chefs from around the world rivals all but the most metropolitan of cities.

Take, for example, the Altamer Restaurant, situated on the inside curve of an isolated, clear blue bay. Here visitors can sample a wide spectrum of dishes including a strikingly authentic crayfish gumbo, as well as a series of impossibly lavish desserts. Run by former pastry chef and French expatriat restaurateur Maurice Leduc, this is one of the most recommended spots on the island, both for the cuisine and the location. Other options include the more Caribbean-flavored Tasty's and a beach side grill called Mango's. And for an unusual afternoon experience, hop a small boat across to a tiny island consisting of a single beach and a single restaurant, Gorgeous George's. Run by George and his wife, this is the perfect place to kill a few hours eating the choicest lobsters on the island—cooked home-style on an open grill—while nursing a few of George's devilishly strong rum punches. A local band completes the scene, as does the small beach where you can take a quick swim to cool off.

Whether you spend the days touring the beaches, sampling the restaurants, shopping for Cuban rums and local art, snorkeling, diving, or relaxing at the hotel pool, try to reserve enough energy for the long nights of music because although the bands start early, they finish late, and listeners won't want to miss out.

The Festival

Only in its second year, the Annual Tranquility Jazz Festival distinguishes itself from other long-standing Caribbean music gatherings by remaining strictly jazz focused, with an emphasis on straight-ahead, acoustic acts. No cross-over Pop, no electric Fusion, and nothing even remotely Smooth. The 2004 roster boasted an impressively diverse and high-profile array of acts from straight-ahead vocalist Carla Cook and the Baltimore based Cyrus Chestnut trio, to the hard-hitting Mingus Dynasty Band, to Latin-Jazz legend Ray Barretto, and Brazilian stars Flora Purim and Airto Moreiera.

The Cyrus Chestnut trio opened the weekend of music on an intimate note with a Thursday night jazz dinner hosted by the CuisinArt Resort & Spa. Diners were treated to an exceptional meal, a superb setting on the hotel's expansive patio, and an evening of swinging, traditional tunes featuring the bluesy vocals of Chicago-born Carla Cook. Backed by the ever-inventive Chestnut, Cook guided the guests through their meal—and a few trips to the well-stocked bar—with peppy swing numbers, funky grooves, and several elegantly produced ballads. A fitting start to the week of jazz, the crowd left relaxed and ready for three more jam-packed nights.

As with most festivals, however, some of the best moments occurred after the scheduled events had ended and the after-hour sessions began. Those looking for more and willing to make the late-night trek to local bar, restaurant, and all around community center Johno's encountered not only a crackling local scene, but a few surprises as well. Literally right on the beach, Johno's is a perfect place to get loose, particularly if you want to sample the flavorful Anguillan Pyrat rum and listen to blistering jam sessions, all while taking a midnight (or later) walk along the water.

After a few energetic tunes by the house band, including a clever rendition of "Girl From Ipanema", complete with guest vocals by an audience member, patrons were treated to an impromptu performance by guitar greats Michael Boothman and Ronald "Boo" Hinkson. Entering the open-air bar like an old-time gunslinger, Hinkson was first to take the stage, and even before he took out his guitar, it was clear he was going to blow everyone away. Steeped in the confidence of mastery, he proceeded to do just that. Performing a string of brilliant pieces, including two Miles Davis tunes, Hinkson and Boothman spun intricate lines and while the other musicians strained to keep up, Hinkson's fingers floated effortlessly over his guitar. Dancing, clapping, and cheering into the early hours, local patrons and visitors together were absorbed in one of the weekend's many musical peaks.

Held outdoors on a large raised stage, Friday and Saturday night's performances presented three acts each night to a combined crowd of locals and tourists. With both a seated section at the front and an area in the back where patrons could move around more freely, sit at a few communal tables, and enjoy the offered local dishes and drinks, the concert venue took advantage of Anguilla's temperate weather.

Taking the stage as a trio, guitarists Trinidadian Michael Boothman, St. Lucian Ronald "Boo" Hinkson, and Anguillian Spraka opened the night with a distinctly island feel. Weaving their voices together expertly, the three guitarists performed a series of gentle, lilting tunes, both original and traditional, including a moving rendition of Jobim's "Deficianado" sung by Spraka and an elegant version of Bob Marley's "One Drop".

Next to perform was the Mingus Dynasty Band, and by the time the sextet departed the stage the crowd was on its feet, shouting in response to the exhilarating combination of power and inspired playing. Tearing up one tune after another, the Mingus Dynasty, led by trombonist Frank Lacy, seemed inexhaustible. Racing through such diverse tunes as the tongue-in-cheek "Jelly Roll", the down-right riotous "Haitan Fight Song", and highlight of the set "Devil Woman", all six musicians displayed note-perfect timing, dynamic solos, and an impressive dedication to honoring Mingus's music by bringing to life its complexity, force, and individuality.

Joined by guests veteran performer James Spaulding and Craig Handy from the Mingus Dynasty Band, vocalist Carmen Lundy closed the festival's second night with a stirring performance of expertly revised standards and impressive originals. A distinctly individualistic performer, Lundy is at her best when unfettered, so seeing her live, and performing dominantly her own material, was a treat. The absolute highlight of the set was the rousing "Wild Child" on which not only Spaulding and Handy offered their talents, but Frank Lacy also joined, mounting the stage at Lundy's invitation to accompany her on this wonderful piece. A cacophonous personal anthem based on a driving groove, this Lundy original encapsulates her many talents and made a fitting conclusion to the night's series of memorable performances.

Saturday night featured performances of equally high quality. The night began with a group of local Anguillan musicians performing jazz standards as well as more island-tinged tunes, including several well-textured compositions incorporating steel pans, and eventually segued into the visiting acts. Underscoring the international nature of the festival, these included Latin-jazz pioneer Ray Baretto and the Flora Purim and Airto Moreiera Band from Brazil.

Drawing the largest crowd of the festival, Ray Baretto presented a series of compositions from many of his current band members, as well as several choice standards, including a stunning rendition of the traditional spiritual "Sometimes I Feel Like a Motherless Child". A beautiful arrangement, this piece highlighted the subtle skill of all of the musicians, particularly trumpeter Joe Magnerelli, bassist Sean Conly, and of course Baretto himself. If any doubts of 75 year old Baretto's current abilities remained after the first four tunes, they certainly vanished during the set's closing selection, which was an absolutely cooking arrangement of Thelonous Monk's "I mean You". With each band member contributing an extended, vibrant solo, this piece stood out among the festival's highpoints.

With the crowd already warmed up, husband and wife Airto Moreiera and Flora Purim mounted the stage with band mates Gary Mick (sax, flute), Michel Sulve (piano), and Gary Brown (electric bass). For those unfamiliar with Flora and Airto, both are exceptional musicians who have not only played together for over 30 years, but have also attained professional heights as individual musicians. Percussionist extraordinaire, Moreiera performed and recorded with a long litany of jazz greats, including Miles Davis, Reggie Workman, and Cedar Walton. A vocalist of international fame, Purim has earned two Grammys, and has been a fixture in Brazilian music for over two decades.

The only group to break the "acoustic only" rule, the Moreira and Purim Band began with a booming, bass centered opener that had the audience on their feet after just a few pulsing bars. Driven by Moreira's inimitable beats, the band performed one engaging tune after another, ripping through a pair of crowd-energizing tunes before Purim joined for a series of vocal numbers, including a gorgeous rendition of "Once I Ran Away". The absolute peak of the evening—and perhaps the festival—came, though, when Moreira stepped from behind his drum set to perform a solo vocal piece of his own, accompanied only by his own tambourine work. Moreira proceeded to emit a combination of spoken word, singing, rumbles, growls, trills, calls, and deep booms, holding this cascade of sounds culled from the depths of his spirit together with an exceptional sense of rhythmic and textural development. Attaining an almost mystical level of improvisatory inspiration, Moreira took on a shamanistic semblance as he shook and swayed and drew the audience towards an ecstatic height.

A truly unique performance, this moment somehow encapsulated the joys of the festival experience, namely the possibility of encountering something totally unexpected and heretofore unknown.

The final event of the festival took place on the beach outside Johno's Restaurant, and constituted a fitting conclusion to the four day festival. More a beach party than a concert, the music began in the afternoon and proceeded on into the evening. Absorbing the sounds of another local group of musicians, the crowd moved back and forth to the bar, sampling food from several vendors who grilled fish, lobster, and other delicacies along the beach, and dancing by the edge of the waves.

Watching the mixed crowd of locals, visitors, musicians, children, parents, teenagers and septuagenarians flow back and forth over the sand, sharing conversation and nodding to the music's beat, completed the pleasure of the festival. Over the four days and nights, musicians had shared with each other innovations from around the globe, and patrons were likewise able to participate in the exchange of ideas and cultures that makes jazz so powerful.

Perhaps this is what "Boo" Hinkson meant when he said that festivals were essential for jazz because they provided access—access for local players to musicians from around the world, exposure for professional musicians to new sounds and styles—and that they were also a chance for people from different walks of life to come together to share a universal pleasure.

Related Links
Anguilla Island
Altamer Restaurant
Anguilla Jazz Festival
CuisinArt Resort and Spa

Photo Credit
Fritz Photographics

Comments

Tags


For the Love of Jazz
Get the Jazz Near You newsletter All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.

More

Jazz article: The Cookers at Dimitriou’s Jazz Alley
Jazz article: Julian Lage At Higher Ground

Popular

Get more of a good thing!

Our weekly newsletter highlights our top stories, our special offers, and upcoming jazz events near you.