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Festival International de Jazz de Port-au-Prince, 2017 - Part 2

Festival International de Jazz de Port-au-Prince, 2017 - Part 2
Mark Sullivan By

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This is a festival that has had to overcome real adversity to survive: one major natural disaster, and many small difficulties in funding and logistics. While it must make do with fewer marquee names than comparable international jazz festivals, it has made a virtue of that limitation, by presenting up and coming artists from all over the world.
Part 1 | Part 2

Festival International de Jazz de Port-au-Prince
Port-au-Prince, Haiti
March 4-11, 2017

In celebration of International Women's Day, Wednesday's concert featured all bands led by women, a first for the festival. Chilean saxophonist Melissa Aldana kicked off the show. Although not literally—she explained that she was not feeling well, and would be seated while performing. She certainly sounded fine to me, with a warm tenor sound reminiscent of Sonny Rollins. In 2013 she was the first female musician and the first South American musician to win the Thelonious Monk International Jazz Saxophone Competition. The opening tune "Concept" (composed by pianist Glenn Zaleski) established a modern, modal sound, which was continued by the second selection. She went "out" briefly during her solo, so she definitely has an exploratory streak. There was a lovely solo saxophone introduction to the ballad feature, which I think was "Bewitched, Bothered and Bewildered." And "Elsewhere" showed off her skills as a composer.

French drummer Anne Paceo led a piano trio called "Triphase" with pianist Leonardo Montana and double bassist Joan Eche-Puig. Paceo is a solid composer, and her sense of time is remarkable. These were grooves so deep you could drive a truck down them, the kind that make you move spontaneously. The trio has recorded two albums: Triphase (Laborie Jazz, 2008) and Empreintes (Laborie Jazz, 2010). Two unambiguously jazz sets in a row, always a nice thing to see at a jazz festival.

Haitian-American singer Malou Beauvoir closed out the concert in grand style. She's really more a pop and funk singer than a jazz one, with large stage pop stagecraft to match. She did sing some standards, beginning with "Lover Man" (a song associated with Billie Holiday) and "You Don't Know What Love Is," as well as more contemporary territory with "This Masquerade." Once again much of the jazz improvisation was provided by her excellent (female) pianist, Yayoi Ikawa. When she brought out guest Haitian vocalist James Germain the music went to another level. He's a powerful duet partner: the African color in his vocal style recalls the great Senegalese singer Youssou N'Dour.



Interlude 3: Distillery Rhum Barbancourt

Barbancourt Rum is a longtime festival sponsor, and their distillery is located in Damien, not far from Port-au-Prince, in the midst of a sugarcane plantation. The operation includes everything but bottle and packaging manufacture—they also purchase a large quantity of sugarcane to augment their production. The plant is self-sufficient as much as possible: they even burn the dried cane after juicing to generate electricity. We got to see the entire process, from juicing the cane to extracting the alcohol to distilling and aging. The bottling plant was especially interesting: surprisingly compelling to see the entire line in motion, with empty bottles at one end, full bottles with labels and caps at the other. Crowned by a rum tasting, which also included a sample of unadulterated cane juice.

Thursday's show introduced a group of fresh faces to the festival. Spanish vocalist Veronica Ferreiro took the stage accompanied only by pianist Rueen Garcia. It was a bold move presenting essentially a cabaret act on a large outdoor stage, and a testament to the pair's musicality and showmanship that they succeeded so well. Ferreiro has a wide range, with an especially effective low register—in fact she was just as likely to climax on a low note as a high one. I was reminded of the French singer Edith Piaf, probably only because I lack familiarity with Spanish singers. She sang selections from her two albums in Spanish, Portuguese, and a bit of English. A song about faith with the repeated line "I'm gonna praise you, yes, my lord" had the impact of a Gospel performance. And the saucy "Don't Waste Your Time With Me" presented an opportunity for a spirited audience sing-along. The pair wove the same magic the following night in the noisier setting of the downtown square Place Boyer.

Belgian trumpeter Jean-Paul Estiévenart and his Trio with double bassist Sam Gertsmans and drummer Antoine Pierre played an original program. One tune ended with the band in musical collapse, a free gesture that recalled trumpeter Don Cherry (saxophonist Ornette Coleman's longtime playing partner). "Blade Runner" employed a hypnotic ostinato rhythm, one way for a trio with no chording instrument to achieve a big sound. This is a band that loves to play: they had been frequent visitors at the after hours sessions all week, which gave ample opportunity to hear them play standards. Estiévenart even brought his trumpet to join in with the rara band playing intermission music following their set.

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