's accordion puffed sounds inspired by zydeco and percussionist Alvester Garnet hinted at African-inspired rhythms. The band opened with the slow-moving tempo of "Juru Nana/God Be With You," followed by the more upbeat "Artistiya."
"N'Tteri," meaning friendship, featured a kora solo by Vacouba Sissoko. Sissoko captivated the crowd as he wove polyrhythmic tonalities on the West African instrument containing more than 20 strings. Carter's violin, which layered and embellished the sound, soared on this beautiful piece.
The waterfront environment that makes up the festival contained three stages, each of which had five acts perform throughout the day. Within the walls of the stone fort that has hosted the festival for more than five decades, the Quad Stage aired the sounds of Mostly Other People Do the Killing
spoke in a quiet, dour tone. Smith and Akinmusire mirrored a melody line and exchanged ideas of soundsmeared notes climbed to a scream, morphed into solos, and then fell back down to simmer.
"Thank you so much," Akinmusire said as he introduced the band members. "We don't have much time up here, so I'm just going to continue with the music." The set also featured "J," an original scored by Raughavan, "Regret No More" and "With Love." The performance drew from the adept rhythm section. With skill and flexibility, they constantly pushed the music, procuring dense sounds, rich fills, and wondrous embellishments, amid a torrent of horn lines.
's Latin Jazz Band delivered rhythms so deep and robust, you could almost taste papaya. During this set, the sun sneaked out from beneath its blanket of haze. The crowd grewspilling onto the bed of dry grass that made up the grounds about the Quad Stage. Around and between melodic phrasings, horns spit sound into the air and chided with comical bursts. Some people danced the cha cha to "Piccadillo" and others screamed with enthusiasm to "Vanilla Extract" and "Comparsa"good thing the Del's Frozen Lemonade stand was nearbysome peeps looked like they needed it!
The mid-day mark made for arduous decisions. On the Main Stage, Wynton Marsalis
comped on the piano. At times, the group appeared to utilize an improvisational approach of playing individual notes that collectively gave rise to melody. Other times, more traditional lines, scales, and chord phrasings were employed. Coleman, who was a central figure in the M-Base concept, continues to strive for new sounds and ideas in music.