I
began Tuesday evening in Kilbourn Hall with Louis Hayes & The Cannonball Adderley
Legacy Band. I found out later that Hayes had a medical issue and the 10
p.m. show was cancelled. But he seemed fine, if a bit subdued, during the 6
p.m. show.

Because
Hayes had actually played with the Cannonball Adderley Quintet in the 1960’s,
he was the essential player on the stage. Still, he only took one solo and left
the MC duties to saxophonist Vincent Herring, who had played in the band of
Cannonball’s brother, Nat Adderley (Nat was also in the quintet).

While
Herring, one of today’s top saxophonists, took on the musical role of
Cannonball, the great trumpeter Jeremy Pelt played Nat’s parts. They were
phenomenal, especially on the closing piece, one of the best-known — and
irresistible — songs by the Adderley Quintet: “The Work Song.”

Though
Herring told a funny story about dreading the song because he’d had to play it
twice a night when he toured with Nat, he came to appreciate it. Written by
Nat, the tune begins with a call and response between sax and trumpet and ends
with the two instruments in harmony. In between, there’s lots of room for solos,
and Herring, Pelt, pianist Rick Germanson, and bassist Dezron Douglas did not
disappoint.

Over
at the Lutheran Church, the group Jacob
Young & Trygve Seim with the Marcin Wasilewski Trio was simply referred
to as Forever Young, the name of Young’s new album. Although there were the
same instrumentalists on stage — pianist, guitarist, saxophonist, bassist, and
drummer — as there are in many jazz groups, the players’ roles were
considerably different.

It
was almost more like a classical ensemble with written out parts. There were,
of course, solos by guitarist Young, saxophonist Seim and pianist Wasilewski,
but they tended to be part of the song rather than open-ended.

Because
Young is a gifted composer and all of the musicians were excellent, this prescribed
way of playing worked. I preferred when Young played his acoustic guitar rather
than his electric and I especially loved the piano forays of Wasilewski.

I
ended the evening with Tessa Souter and her special guest, trumpeter Lew Soloff, at Montage. Actually, I had
managed to catch the last two tunes of her first set and it was not hard to
notice what a wonderful addition Soloff was to Souter’s already excellent band.
She ended that set with one of her best original songs, “You
Don’t Have To Believe,” which has Middle-Eastern and Flamenco strains
running through it. Soloff’s solo was short but astoundingly good.

He
continued to enhance every tune in the second set, as did Souter’s formidable
young guitarist, Yotam Silberstein. Her bassist, Yasushi Nakamura, always lent
solid support, but the few times he soloed, he was equally impressive.

Of
course the star of the show was Souter, who was in great form, enchanting the
audience with her gorgeous voice and her vibrant personality. This was Souter’s
fourth appearance at the XRIJF and she has never been predictable.

While
most jazz singers concentrate on standards, Souter did just one, a lovely
rendition of “I’ll Remember April.” Her set was filled with her own adaptations
of classical and jazz instrumental works and a beautifully re-imagined version
of McCoy Tyner’s “Contemplation,” renamed “Ancestors” by Souter’s friend who
wrote lyrics to the tune.

Wednesday
night I’ll be at Max for the early show of vibraphonist Warren Wolf & The Wolfpack. Then I’ll catch the duo Brian Kellock &
Tommy Smith at Hatch Hall, and the Jonathan Gee Trio at Christ Church.

This article appears in Jun 25 – Jul 1, 2014.