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Saturday @ the Love Supreme Festival
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SATURDAY @ THE LOVE SUPREME FESTIVAL
2nd July 2016
2nd July 2016
photograph by Jane Bonotto
The God’s were not so kind to us this year for the Saturday performances of Love Supreme. Heavy showers and gusts of wind that played havoc with hats and upside down umbrellas didn’t stop the hard core crowd though.
Tent pitched in less than 4 minutes we dashed straight to the Main Stage to catch the end of the Riot Jazz Brass Band. Stirring up a hot-pot of peace-loving' aggro-jazz and re-invented dancefloor bangers, led by lead trumpeter Lucian Amos, these finely tuned brass-wielding super-heroes had the crowd stomping.
The Big Top was bursting at the seams and not just because of the rain, but in anticipation to see Grammy Award Winner Cecile McLorin Salvant perform. In front of a trio led by the pianist Aaron Diehl she sings clearly, with her full pitch range, from a pronounced low end to full and distinct high notes. Launching into “Fog” her voice can be as a light mist, then a transparent tone to a finely tuned near-croak, all within the five minutes of the song. She wrung out every syllable on my all-time favourite Burt Bacharach’s Wives and Lovers her voice soars like a bird above the piano to a crescendo literally taking your breath away.
We made a mad dash to the Main Stage just in time to catch “Bernhoft” perform their encore and viral hit “C’mon Talk”. The energy that radiated through the performance is infectious, his connection to the crowd clearly showed with whoops of “more” of deafening proportions.
Tent pitched in less than 4 minutes we dashed straight to the Main Stage to catch the end of the Riot Jazz Brass Band. Stirring up a hot-pot of peace-loving' aggro-jazz and re-invented dancefloor bangers, led by lead trumpeter Lucian Amos, these finely tuned brass-wielding super-heroes had the crowd stomping.
The Big Top was bursting at the seams and not just because of the rain, but in anticipation to see Grammy Award Winner Cecile McLorin Salvant perform. In front of a trio led by the pianist Aaron Diehl she sings clearly, with her full pitch range, from a pronounced low end to full and distinct high notes. Launching into “Fog” her voice can be as a light mist, then a transparent tone to a finely tuned near-croak, all within the five minutes of the song. She wrung out every syllable on my all-time favourite Burt Bacharach’s Wives and Lovers her voice soars like a bird above the piano to a crescendo literally taking your breath away.
We made a mad dash to the Main Stage just in time to catch “Bernhoft” perform their encore and viral hit “C’mon Talk”. The energy that radiated through the performance is infectious, his connection to the crowd clearly showed with whoops of “more” of deafening proportions.
I have seen Esperanza Spalding on several occasions, having heard a few tracks off her new D+Evolution Album I was unsure of what to expect. Emily “Esperanza’s alto ego on her new album D+Evolution” is clearly focusing more on her vocals abilities. Opening with “Earth to Heaven” the wily melodic turns, personal poetry, spoken-word chatters and skewed R&B hooks were for me, reminiscent of Joni Mitchell and Woodstock. “Good Lava” gave melodically sophisticated slices of hard funk showing how masterfully she plays guitar. By the fourth track I began to feel the performance was disjointed in places and missing the more harmonious tones and skilful cello playing, latter fans are accustomed to. This was evident in the amount of people leaving after the first few tracks, us included.
There had been allot of hype about Moon Hooch, their performance exceeded my expectations. I was blown away by how skilled they are. Both sax players have incredible chops, continuously duelling, seriously they can't be human. They kept the energy up throughout the entire show, had everybody dancing totally lost in the sound, and didn't miss a beat. Album “This Is Cave Music” now purchased.
The sodden crowd waited patiently Main Stage and as if by magic the clouds parted and the sun shone in full glory as Ibrahim Maalouf lifted his majestic trumpet to his lips. The four pistons gives him a sound that is totally his own. Navigating deftly between deep routed oriental influences, aggressive rock to trippy vibes and Miles like jazz, he carried us away on a musical journey that included “Beyrouth” and “Busy” to favourite” Will Soon Be A Woman” . Beyond his music, what made this performance exceptional is, his humanity and the humble way he thanked his adoring fans.
There had been allot of hype about Moon Hooch, their performance exceeded my expectations. I was blown away by how skilled they are. Both sax players have incredible chops, continuously duelling, seriously they can't be human. They kept the energy up throughout the entire show, had everybody dancing totally lost in the sound, and didn't miss a beat. Album “This Is Cave Music” now purchased.
The sodden crowd waited patiently Main Stage and as if by magic the clouds parted and the sun shone in full glory as Ibrahim Maalouf lifted his majestic trumpet to his lips. The four pistons gives him a sound that is totally his own. Navigating deftly between deep routed oriental influences, aggressive rock to trippy vibes and Miles like jazz, he carried us away on a musical journey that included “Beyrouth” and “Busy” to favourite” Will Soon Be A Woman” . Beyond his music, what made this performance exceptional is, his humanity and the humble way he thanked his adoring fans.
A quick bite to eat, in between showers and straight back to hear neo soul songstress Kandace Spring. With tinges of Lauryn Hill and Norah Jones, but also an unmistakable, quintessentially southern twang that could only come from growing up in Nashville, she has an inimitable vocal style. Her rendition of “The World Is a Ghetto” left me feeling a bit flat as a hard song to cover, but she redeemed herself with her title track off her new album “Soul Eyes” showing the fullness of her vocal range.
Belting full speed to the Big Top I was even thirty minutes early, I am unable to get close enough to the front to get any reasonable photos of the enigmatic Stanley Clarke. Thundering through hit after hit “Last Train to Insanity” for me especially highlighted Clarke’s incredibly dextrous finger work on the double bass. He then got out his stand up acoustic bass and the music elevated into something magical. All three of his bandmates were unbelievably talented, especially the young drummer (Mike MItchell) who with amazing energy challenged each of the other players during their solos, literally lifting the music into another stratosphere. The electric bass finally got an outing on encore “School Days”, his usual show ender and undoubtedly his most well-known composition and crowd pleaser, so blowing the roof right off the Big Top.
A much need coconut infused mojito in hand, chilled out session at the Main Stage with the delectable Lianne La Havas. Her voice on her latest album I thought was a tad wishy washy, but wow live she is a force to be reckoned with. Softly lilting on “Unstopable” to the skittery club land rhythms of “Tokyo” and the acoustic bossa nova of “Never Get Enough” she held her audience in her hand.
Belting full speed to the Big Top I was even thirty minutes early, I am unable to get close enough to the front to get any reasonable photos of the enigmatic Stanley Clarke. Thundering through hit after hit “Last Train to Insanity” for me especially highlighted Clarke’s incredibly dextrous finger work on the double bass. He then got out his stand up acoustic bass and the music elevated into something magical. All three of his bandmates were unbelievably talented, especially the young drummer (Mike MItchell) who with amazing energy challenged each of the other players during their solos, literally lifting the music into another stratosphere. The electric bass finally got an outing on encore “School Days”, his usual show ender and undoubtedly his most well-known composition and crowd pleaser, so blowing the roof right off the Big Top.
A much need coconut infused mojito in hand, chilled out session at the Main Stage with the delectable Lianne La Havas. Her voice on her latest album I thought was a tad wishy washy, but wow live she is a force to be reckoned with. Softly lilting on “Unstopable” to the skittery club land rhythms of “Tokyo” and the acoustic bossa nova of “Never Get Enough” she held her audience in her hand.
photo by Jane Bonotto
Dashing to the Big Top to St Germain we managed a quick impromptu visit to The Arena to see The Milk. Inspired by the golden age of “60s” soul “Wonderlust” and “Don’t Give Up The Night” have always been long time favourites, as it evokes images of my time dancing to the likes of Isaac Hayes at the Wag.
St Germain’s music is richly transformative and it has the ability to take you away to another world the moment you close your eyes, breathe deeply, and let the rhythms sink in. Ludovic Navarres strong blues funk, and soul influences are evocative of faraway lands. Personally, St Germain is my favourite kind of lounge music. The live performance provides the best outlet to truly let go and enjoy their trippy vibe and the gathered crowd felt the same, swaying in unison.
Everyone was talking about Grace Jones but nothing could have prepared me for the performance she gave. The curtain not so much opens as falls to reveal the Queen in customarily striking guise: a golden skull mask and cloak, looming through the smoke like a splendorous Egyptian Goddess holding court. Grace has always had the ability to shock a woman who makes no big deal about coming onstage topless, as she did to Iggy Pop’s “Nightclubbing”; ditto her decision to wear what looked like a nun’s veil during “Walking in the Rain,” or whip a near naked pole dancer for “My Jamaican Guy” she at late 60’s still moves with the agility of a panther and someone half her age. Not that she wasn’t looking to impress, her singing was equally as strong throughout the show, particularly in a fast, jittery version of Roxy Music’s “Love Is the Drug” and a rather royal “La Vie en Rose,” which she sang while parading in a pink cocoon, wine glass in hand. For me it’s Jones’ personality, with its blend of arrogance and exuberance that held me captive, a diva who truly can hold court. A masterful performance I will never forget.
Reviewed by Jane Bonotto
St Germain’s music is richly transformative and it has the ability to take you away to another world the moment you close your eyes, breathe deeply, and let the rhythms sink in. Ludovic Navarres strong blues funk, and soul influences are evocative of faraway lands. Personally, St Germain is my favourite kind of lounge music. The live performance provides the best outlet to truly let go and enjoy their trippy vibe and the gathered crowd felt the same, swaying in unison.
Everyone was talking about Grace Jones but nothing could have prepared me for the performance she gave. The curtain not so much opens as falls to reveal the Queen in customarily striking guise: a golden skull mask and cloak, looming through the smoke like a splendorous Egyptian Goddess holding court. Grace has always had the ability to shock a woman who makes no big deal about coming onstage topless, as she did to Iggy Pop’s “Nightclubbing”; ditto her decision to wear what looked like a nun’s veil during “Walking in the Rain,” or whip a near naked pole dancer for “My Jamaican Guy” she at late 60’s still moves with the agility of a panther and someone half her age. Not that she wasn’t looking to impress, her singing was equally as strong throughout the show, particularly in a fast, jittery version of Roxy Music’s “Love Is the Drug” and a rather royal “La Vie en Rose,” which she sang while parading in a pink cocoon, wine glass in hand. For me it’s Jones’ personality, with its blend of arrogance and exuberance that held me captive, a diva who truly can hold court. A masterful performance I will never forget.
Reviewed by Jane Bonotto
