Something for everyone: 2024 Melbourne International Jazz Festival [REVIEW]

This year’s Melbourne International Jazz Festival made two important points for the future of jazz.

The first is that the ageing process does not necessarily diminish either creativity or chops. In the past, a lot of jazz musicians have given up playing, once they reach a certain age — not to mentioned those from a previous generation who didn’t last the distance because of drug abuse. But at 84 years of age, Herbie Hancock showed that he still has what it takes musically. He can groove with the best of them and deliver imaginative improvisations as he showed in his performance at the Sidney Myer Music Bowl for day 2 of the Melbourne International Jazz Festival.

Hancock thrilled the huge crowd, drawn mainly to hear the legendary pianist and composer. With a top-notch band, he performed some of the popular material from his recent repertoire playing piano and synthesiser. As someone who was an early convert to blending electronic effects with jazz, he performed an improvisation using a vocoder that made his voice sound robotic. He repeated lines like “members of their family.” As the crowd laughed with delight, he playfully said “I’m glad you like what I say to you.”

Hancock then strapped on his keytar, playing three songs that finished with his hit ‘Rockit’ that had the crowd ecstatic. In a demonstration of his stamina, he even jumped up and down while playing. Hancock naturally had a handpicked band that fitted in perfectly with and around his playing. Trumpeter Terence Blanchard delivered incendiary solos while James Genus’ bass seemed at times to be dancing behind Hancock’s phrases. Guitarist Lionel Loueke added another spacey layer while drummer Jaylen Petinaud‘s interplays with Hancock were exciting.

Another message the festival conveyed was that while in recent years, the jazz world has lost some of the giants of jazz such as Pharoah Sanders, Wayne Shorter, Ellis Marsalis and most recently Quincy Jones, jazz is being revitalised by players such Blanchard and harpist Brandee Younger, singers such as the innovative Jazzmeia Horn and Nicole Zuraitis, and drummers like Antonio Sanchez, who following his well-timed accompaniment to the film Birdman, showcased a dynamite solo.  As well, bassist Marcus Miller while an established name is much younger than Hancock and audiences can expect to hear his input for some time yet.

Miller performed at both the popular Bowl concert and in a last minute announced concert at the Jazz Lab. On both occasions he proved that he was in a class of his own and his masterful playing was a festival highlight.

He variously played a funky. stabbing style bass while others times produced a prowling feel. He played a tribute to the late Jaco Pastorius called ‘Mr Pastorius’.  It began with a haunting introduction from Donald Hayes on saxophone as Miller played a strolling feel punctuated with small internal leaps. During what was almost an epic piece, Miller switched to playing a walking bass at one stage before changing pace and taking off at double the time. Trumpeter Russell Gunn played a shimmering solo while Miller’s bag of rhythmic ideas included tapping on the bass.

Miller on both nights played a beautiful and powerful song he wrote called ‘Goree’. It was inspired by his visit to a former slave-trading island off the coast of Senegal. The song built in momentum with eloquent passages from Gunn and saxophonist Hayes while Miller’s bass and Anwar Marshall‘s driving drumming creating a dancing and celebratory feel. Miller wanted it to convey the triumph of the human spirit in the face of adversity that it did most effectively.

While the festival contained many highlights from overseas artists, a standout show was from local artist Audrey Powne, now based in London.

Her return performance was an artistic triumph. Performing to a packed room at Howler in Brunswick, the multi-talented musician played trumpet, some piano, and sang and had the home crowd with her on this musical journey. The material she performed was from her debut album, From the Fire. It was released locally but has since been remastered and released on the UK label BBE.

As well as a rhythm section, a string section that added a lush layer to her music accompanied Powne. Her vocals had a floating, ethereal edge to them. At times they were soft, and caressing but when she reach into her higher range and held a note, it was thrilling.

She sang lyrics but also navigated wordless soaring lines. On most songs, her vocals were interspersed with purposeful and well-shaped trumpet solos that seemed to comment on the preceding lyrics. There was an overall sonic and soulful feel to the music particularly because of James Bowers contribution on keys.

What is perhaps unusual for a CD launch where the audience is hearings tracks played live for the first time from an album, every composition — all penned by Powne — was immediately engaging. It has been interesting to see the development of Powne as a musician over the years through her appearances at the festival. She showed she has truly arrived as a musician and composer who can hold her own on in an international program. She was treated to resounding applause with the audience insistent on an encore.

Another outstanding international artist was Japanese virtuoso pianist Makoto Ozone who performed with both his own trio and Orchestra Victoria, stretching out classical passages with jazz sensibilities. The celebration of 100 Years of Gershwin’s Rhapsody in Blue, in which he played, was an imaginative festival initiative.

Also bold programming was Xani Kolac’s post-COVID-influenced work exploring — through violin, electronics and vocals — its impact on different parts of the body and mind.

US bassist esperanza spalding’s performance at Hamer Hall was equally ambitious and imaginative but somehow failed to come off.  The sound set-up didn’t help the performance making it hard to hear her when she spoke.

spalding used two dancers to interpret her playing and singing in a program that focussed on the body — she even left her bass and sat down on the floor and joined the dancers in one body position. The material was mainly from her 2019 album Little Spells. On the opening number in a trio setting her wordless vocals soared. There was also no doubting Spalding’s prowess on the bass with her playing sounding buoyant as she explored different patterns. A huge success with the audience was when she played her hit ‘Black Gold’.

Another return performer was saxophonist Nubya Garcia at 170 Russell. With her blend of RnB and jazz, she sounded even better than her previous festival appearance. Her solos were commanding with a big sound. Her playing often staring slowly, building momentum for a feverish flutter of notes and then she would suddenly bringing the pace down for an abrupt finish.

 English band Steam Down came across as somewhat derivative even though it presented a new take on jazz. There was a reggae influence plus the perhaps unconscious crowd-whipping tactics of New Orleans’ brass bands. That said, it certainly whipped up the crowd that it had dancing and singing along, in no small part due to the steaming solos from of band leader and sax player Ahnanse. It was certainly a festival that had something for everyone.