Nice Jazz Festival
July 16-21, 2018
The 2018 Nice festival started like a damp squib when a crashing, flashing thunderstorm hit the city an hour before the opening. The ensuing deluge made the stages and electrics unsafe. With no chance of rescheduling, most musicians left town for their next gig and the first night was cancelled. The ambassador of the Festival Gregory Porter
delayed singing his tribute to Nat "King" Cole
by a day, giving a free concert late Tuesday night. It would have been interesting to hear live the guitar of Kyle Eastwood
who has appeared in films produced by his father, actor, director and jazz aficionado, Clint Eastwood.
With time to spare, the question of the amount of jazz content in jazz festivals came to mind. When instrumentalists led jazz away from lyrics, melody and dance rhythms in the 1950s, the young section of the audience took their money, their dance moves, their love songs and turned to the Blues side. They found R+B and Rock waiting for them, then Soul and Tamla Mo'town developed and The Beatles sealed the deal. Blues related music became more financially successful and enduring across generations than jazz. (US recording sales 2012-Rock $102m/R&B $49.7m/Jazz $8.1m). Jazz evolution has no reverse gear but Jazz Festivals need commercial music to pay the bills. Played well, nothing is right or wrong it's all music, and in Nice, six bands every night for one price means a choice of music.
On Tuesday, July 17th, both stages were back in action. The smaller 2,000 seated outdoor stage area generally presented jazz, the larger 8,000 standing capacity stage other genres. There was a half hour overlap so It was possible to catch some of all six bands each night.
A group called "Caja Negra" took the smaller stage. The guitar was played high in a classical position but not flamenco style with two scat singers hand clapping palmitas in the rhythmic counterpoint Spanish gypsy way. The underlying sound wandered between Southern Spain and the Arabic music of North Africa using two percussionists, stand up bass, piano, guitar and the band leader Pierre Bertrand on alto saxophone. M. Bertrand composes, plays and also leads the Nice Jazz Band. This was a free concert but on the main stage people paid to hear straight Soul music from Derobert and the Half Truths, in from Nashville, TN. Derobert has a smooth rounded voice trained in church. The whole group worked hard to build the energy on a hot and sultry night. The standing audience swayed, danced and applauded.
Later, Robert Glasper
on piano led R+R=NOW in a Herbie Hancock
number "Butterfly" with heavily echoed spoken sections in a long segment. The predominantly electronic sound was broken by a horn solo from Christian Scott
and vocal intervention from Taylor McFerrin son of ten-time Grammy winner Bobby McFerrin
.The second segment was a solo vocal percussion McFerrin piece called as "Taylor Time."
On Wednesday, singer Camile Bertaud took the smaller stage for her almost entirely scat performance with a jazz trio. A pianist herself classically trained at the conservatoire in Nice, Ms Bertaud showed the range of her voice in scat versions of music by Bach and Ravel and a homage to Eric Sati, titled "Sati, are you satisfied"? On the same stage, the treat for the evening was The New Monk trio featuring Eric de Wilde on piano with bass and drums(pictured). M. de Wilde wrote an autobiography of Thelonius Monk
and has extensively researched the music. They opened with "Misterioso" befitting Monk's mysterious and sometimes contrary character as portrayed in "Monk's Mood" and they ended with a slow version of "Locomotive." In their presentation of "Friday 13th" M.de Wilde demonstrated how a theme of just four measures turned into an 11 minute recording. Soul for the evening was delivered enthusiastically by Deva Mahal and her band, her power and energy direct from church gospel, the trademark of soul singers. There was pithy urban poetry from French rapper Orelsan and the main stage was filled with musicians and dancers for a spectacular of Afrobeat music from saxophonist Seun Kuti
and Egypt 80 following in the footsteps of his father, Afrobeat pioneer Fela Kuti