Photo credit Timothy Norris, courtesy of the LA Philharmonic
Over two days in June, the Blue Note Jazz Festival at the Hollywood Bowl saw some of the shining stars from the jazz and jazz-adjacent worlds showcase their wares. The likes of The Soul Rebels, Derrick Hodge, The Hands of Time and many more wowed a crowd of jazz heads in the gorgeous Bowl setting. On the first day, The Isley Brothers headlined but we were there for day 2 only.
On the Sunday, we arrived in time for former Return to Forever bass man Stanley Clarke and his new band N 4EVER. His previous outfit were known for a progressive jazz-fusion sound that brought new fans into the jazz fold. He's continued with that theme, and his set at the Blue Note Fest was eye-opening.
WILLOW has clearly been on a mission to stretch her legs, spread her wings and make a real go of this music lark in recent years. Her transformation from indie-alt darling to serious singer and songwriter with the ability to genuinely blend genres has been quite staggering.
Her set at Blue Note was a career-spanner, though focussed on jazzier recent effort Empathogen. She got big cheers for older songs, and rose to the occasion in front of a serious music-loving audience.
Nobody was stealing Grace Jones' thunder though. How would that even be possible? The icon has seen so many trends come and go, and she's literally stood tall above them all.
Opening with Iggy Pop's "Nightclubbing," which she covered for her album of the same name back in the day, Jones played the art-pop diva throughout. Multiple costume changes that featured multiple pieces of extravagant headwear only added to the idea that Jones is a unique individual--a genuine artist who doesn't really believe in walls and has broken through many ceilings.
There were other covers that she has made her own over the years: The Police's "Demolition Man" and The Pretenders' "Private Life," plus, later, Roxy Music's "Love is the Drug." All proved that her ability to blend classic soul with art-rock has benefitted her massively.
Of course, "Pull Up to the Bumper" (with guest Janelle Monáe) and the closing "Slave to the Rhythm" were the highlights. But the entire set was a joy.
