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The brass band of Gourmet Sextet followed. Burlesque, buoyant and merry the Nordic band captivated the audience with their ability to touch upon all styles. From a Greek Bouzouki, a French valse, passing by Latino rhythms to a Harlem ballad, Gourmet Sextet inspired spontaneity where academia is sought. The acuity of saxophonist Mikko Innanen and trombonist Ilmari Pohjola added bop elements to their melody.
The festival ended on a special note with a burning set by Bnet Houariyet, a popular band from Marrakech. The blending with Gourmet Sextet was on paper interesting as Bnet Houariyet played music totally based on various drums while Gourmet Sextet was prominently a brass band. However, the fusion was another story especially with an over reacting audience. The Moroccan band set the rhythm with drums and vocals while the sextet jammed through. The audience, who reacted quickly to lyrics and popular sounds, pushed the rhythm faster while the sextet was often at pains to follow but the two brass soloists let the jam flow. The trombonist hesitating to play often repeated the chorus in Moroccan Arabic. Unable to follow, Gourmet Sextet left the ground for Bnet Houariyet to encore. The scene turned quickly into a dance floor as is often the case in Jazz au Chellah.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.