Chico y Rita (and The Manolettes), Teviot Row, Edinburgh Jazz and Blues Festival

An unusual double bill, but one which worked surprisingly well.  Cinemaattic provides a platform for Spanish language film across Scotland, and this free showing, under the auspices of the J&B Festival, was an interesting way to end off my JazzFest week.

Opening the show was blues band The Manolettes.  Despite the name this is a one man band, the one nam being named Manolo.  Guitar, basic drum kit, harmonica and voice.  Playing a set of blues classics he displayed an impressive level of physical coordination, and a real feel for the music.  His talent might not be on the level of the more 'official' festival acts, but he's a enjoyable performer, gets the feet tapping and provide some amusement in his between song patter.  You can see some of his act - and hear his explanation of the band's curious nomenclature - in this YouTube video, posted by the man himself.

The main event was the screening of 2010 animated film Chico y Rita.  A love story based around the latin jazz style of music made famous in recent years by The Buena Vista Social Club.  In 2010 Chico is a shoe-shiner in Havana, living a solitary life.  When the radio plays a song he remembers he once played his memory is taken back to when he first met Rita, the love of his life, back in the late 40s, and the tempestuous on-off romance that fires up between two complementary musical talents,  singer and pianist.  The moves through New York, Los Angeles and Paris, with jazz greats like Dizzy Gillespie and Charlie Parker drawn in.  But when the 2010 version of Chico gets his chance of a 'Buena Vista' revival, will it lead him back to Rita?

The animation paints sweeping pictures, light on details, but with a strong sense of music that matches the excellent soundtrack.  And the storyline does bring in some historical context, showing the racism faced by latin artists in the US, and the negative affect the incoming Castro regime had on Cuban music.

Unashamedly romantic, Chico y Rita  is an engaging story, visually enjoyable and musically superb.  Well worth seeking out.

Melisa Kelly and the Smokin' Crows, Jazz Bar, Edinburgh Jazz and Blues Festival

It might be the Jazz and Blues festival, but this was an evening of soul and R&B music from a young Glasgow band that are on their way up.  Songs made famous by Chaka Khan, Aretha Franklin, Stevie Wonder, Etta James and others were mixed in with their own compositions in sets that were well balanced and full of energy.

Drums, bass, keyboards and guitar, a couple of backing singers, and Kelly fronting it all on vocals.  They're a solid, competent outfit, and when each got a chance to solo they showed a decent range of talent.  Good bass solo.  The backing singers
 got their shot in the spotlight, and both have voices that would make them strong lead vocalists in their own right.  But there was one good reason why they were in a subsidiary role tonight....

Melisa Kelly has a truly great voice.  Tone, range, power, feel, phrasing, imagination, the ability to hold a long note and the confidence to use her voice as an instrument - they're all there.  She can belt out the rocky numbers and raise the spirits, reach into your heart with the soulfulness of her renditions on slower numbers.  This is a voice that deserves to heard (and the YouTube videos of her I've looked at come nowhere close to demonstrating what a fabulous live artist she is).

Charmingly gauche, self deprecating, yet sweetly engaging, her introductions to songs are brief, but sometimes funny.  Her own songs have reasonably interesting melodies and lyrics ("It's Not Me, It's You" stood out as one of the best), but she's at her strongest interpreting classic soul numbers.  It's all about the voice.

Kelly said she spends a lot of her time wishing she could be Chaka or Aretha.  She shouldn't.  She's Melisa Kelly.

Doug McLeod, Piccolo George Square, Edinburgh Jazz and Blues Festival

Only seven songs in an hour long performance.  Not long songs either.  But that was no reason to feel short changed when in the hands of a charismatic performer.

McLeod is a long established blues singer/songwriter from New York and Los Angeles, who picked up his love of the blues in St Louis.   A friendly drawl, a slow delivery and a natural ability as a raconteur gave us a man who knows exactly how to handle an audience.  The songs are mostly drawn from events in his life, reaching into love, death, philosophy, some politics and much wry humour.  Now in his seventies, his voice is not quite what it once was, so he frequently uses a conversational style of singing that's well suited to the storytelling nature of his lyrics.  And the guitar playing would still do credit to a musician of any age, especially his slide technique.

There are plenty of comedians who could learn from McLeod's delivery and timing, and his ability to tell a tale which sounds relevant to everyone.  He has a lot of stories from his time in the industry, particularly in the early days of his career when it was hard for a young white man to get acceptance from the established black musicians who had built up the genre.

Good music, funny stories, thoughts on life.  An hour of Doug McLeod is a life enhancing experience.

Blues Afternoon, Spiegeltent George Square, Edinburgh Jazz and Blues Festival

Three hours, three contrasting Blues acts.  Well, they were supposed to be blues acts....

MAX & VERONICA

Maybe I've led a sheltered life, but who knew a washboard could be played in a sexually provocative manner?!

A duo playing acoustic blues, with ragtime and gospel thrown into the set mix, keeping alive the traditions of the 20s and 30s - in Italy.  The couple from Milan look a bit shambolic to begin with, like they're just pretending to be serious musicians.  That facade soon melts away when they play.  Max is a decent blues guitarist and a respectable singer.  Veronica is the one to bring things to life though.  Playing the aforementioned washboard, plus ukulele and kazoo, she's frequently hilarious, a natural entertainer and possessed of an excellent blues voice.  A fun and musically sound start to the afternoon's show.

BRANDON SANTINI

A big man with big energy, big personality and a big voice.  Santini is a blues singer and harmonica player from Memphis, here backed by a strong four man Scots band of drums, bass and two guitars.  His rapport with the audience was immediate, a communicator who quickly gets a room on his side.  A set of full-on blues rock had many up dancing, everyone clapping along and a buzzing and very sweaty Spiegeltent.  Santini's rich vocals and virtuoso harp playing are hugely impressive, but the band all played their part, especially young local guitarist Jed Potts whose solos soared and ignited into existence.

Santini has genuine star quality and charisma backed up by a obvious love for, and knowledge of, the history of blues music.  But mostly he just wants everyone to have a good time and join in the fun that he and his confederates were clearly having.  In that he certainly succeeded.... and left the final act with the hard task of following a master.

GERRY JABLONSKI BAND

There's line lying somewhere between showmanship and parody, and the GJB gallop over it with brio.  I'm showing my age here, but it felt like the stage had been populated with Fast Show characters.  Jablonski himself is what Ozzy Osbourne would be if he turned into a Dulux dog with John Lennon glasses.  The bass player made you think that Ed Byrne wasn't ageing well.  And the harmonica player seemed to be fuelled up with a potent mix of testosterone and ballet steps.  At least the drummer just looked like a drummer.

The overall effect was hilarious, a pantomime from the rock hall of cliches, and I couldn't stop laughing.  All of which obscures the fact that this is a pretty good rock band, but with less emphasis on the blues aspect than the previous acts. The drummer is excellent, the bass player solid, and Jablonski's guitar work is both exciting and, at times, surprisingly sophisticated.   While the harmonica player certainly adds something to give a more bluesy flavour, he isn't as good as he appears to think he is...

Life's not fair, so making comparisons with what had gone before was inevitable, and the final act of the afternoon, who'd have done well as the second act, fell short as a result.  Santini's musical talents, and ability to relate to people, should have made him a shoe-in as the headline act, a fact reflected in the number of seats that emptied in the final hour.  Festival programme organisers please take note....

Shake 'Em Up Jazz Band, Piccolo George Square, Edinburgh Jazz and Blues Festival

Real New Orleans jazz from a New Orleans band.  Trumpet, trombone, clarinet, guitar, double bass and washboard.  A familiar enough set up, but, done well, it's still a foot tapping and entertaining form of music.  This band do it really well.

In the first half they were joined by well know Scots jazz singer Alison Affleck, and most numbers featured her vocals.  They looked relaxed and confident in one another, with a great deal of mutual respect for their abilities, but there was always a sense that this relationship was holding the band back from expressing themselves fully.  They provided some excellent solos, were amusing at times, but allowed Affleck to run the show.  She's an ever-reliable vocalist, but a bit staid in this youthful company, and for me the highlight of the set was an outstanding and ever so casual washboard solo from Defne Incitlioglu performed with inspired simplicity.

For the second set we were down to the six band members, and it felt like a totally different gig as they seemed more themselves, with greater freedom to express their talents, and a chance for us to hear their own singing voices.  They're fun, funny and play their music with verve, talent and imagination.  The set list is fluid, made up they go along, an evolving process shared with the audience.  And they have some strong singers in the line up.  Trombonist Haruka Kikuchi has a limited range, but an engaging earthiness to her voice.  Guitarist Molly Reeves has a sweeter tone, a perfect ballad sound.  Chloe Feoranzo gave a wonderful Bessie Smith rendition, and impressed me more than Affleck.  But top place goes to trumpeter Marla Dixon, full of power and expression and sass and a really great jazz vocalist.  Her trumpet solos stay longest in the memory too, clever, sometimes teasing, often unpredictable.

If you like this genre of music, the SEUJB will get you laughing, moving and into the night with a big grin.

Jerron 'Blind Boy' Paxton, Teviot Row, Edinburgh Jazz and Blues Festival

The voice doesn't have great range, but radiates character, and he can surely hold a note.  His playing has it's own personal style, such as his highly percussive banjo technique, that makes you wonder what's coming next.  And Paxton is one of the great entertainers, funny, laid back, always laughing.

One of the leading young exponents of the acoustic blues tradition, Jerron Paxton plays guitar, banjoes, piano, fiddle and harmonica with equal dexterity, and sings the blues between downright tragic and comically hilarious.  He has a way with words too, his description of the kind of people who use the term 'PC' as being 'paranoid caucasians' hits the bull on the nose.  Interacting with his audience, reacting to the sounds and sights in the room, he's a restless presence, quick witted and sharp.  He ended the show with a long piano number, combining "I Ain't Got No Body" with "When an Ugly Woman Tells You No", which was funny, heartfelt and featured some great keyboard work.

At only an hour this gig felt way too short.  I hope to see a lot more of 'Blind Boy' in the future.

The Dance Band Days : Bratislava Hot Serenaders, Teviot Row, Edinburgh Jazz and Blues Festival

Another band that I saw a couple of years ago, and nothing has changed from the review I wrote then.  It's still a 15 piece band - a 4 man rhythm section, 3 violinists, 4 on brass, 3 playing reads, and a pianist.  With a singing group of 5.  There's introductions in halting English from the band leader, giving some background to the songs and tunes being played.  With most of the material they faithfully recreate the 1930s arrangements, complete with solos from several members of the band.  Their dress, hair and even spectacles fit in with the fashions and ethos of the period which adds to the charm of the event.

They're certainly competent, frequently amusing, and the music is enjoyable without being in any way challenging.  Two years ago the show was an hour long, this year there was a further thirty minutes.  That felt about ten minutes too long, with the lack of variety in musical style becoming a bit tedious (although the 2 Slovakian dance numbers, complete with audience participation, did liven things up).  But still a pleasant way to spend your time, and a very different overall experience from most other offerings in the festival.

Stephanie Trick, Meadowbank Church, Edinburgh Jazz and Blues Festival

1 pianist, 1 piano, 1 church, 1 mesmerised audience.

Appearing solo in this one-off festival venue, Trick played ragtime, stride piano, boogie-woogie and blues from the first four decades of the twentieth century.  A simple, descriptive sentence that grossly undersells an outstanding performance.

Her love for the music of the period is obvious, each tune being introduced with some history of where it sits in the development and evolution of the different styles (so she's educational as well as entertaining!).  She has a particular affection for the compositions of James P Johnson, several of which featured in the set list, but also includes some modern music written in the ragtime style.  None of which prepares one for what an extraordinary talent Trick is, a virtuoso of early 20th century American piano music.  There's sensitivity to spare, but most impressive is the speed of her playing, the left hand ofttimes a blur of movement, and the sheer joy her flying fingers emote.  Even the most familiar of tunes, such "After You've Gone" take on a new life from her treatments.

For the closing numbers Trick was joined on stage by husband Paolo Alderighi.  Sharing the keyboard, swapping in and out and around with one another, they provide double the fun, both visually and musically.  Who knew the old Vera Lynn number, "We'll Meet Again" could be made to shake off it's staid origins and get turned into a piece so original, exciting and funny?

This was a breathtaking performance that will stay with me for a long time.  To get some idea of just how good Trick is click here for a link of her performing solo, and here for the kind of choreography she and Alderighi get up to.  And if you ever get a chance to see her live....grab it immediately.

Budapest Ragtime Band, Teviot Row, Edinburgh Jazz and Blues Festival

A band I saw, and reviewed, two years ago.  Looking back at what I wrote then there's not much has changed.  The same instrumental line up (but with a  different pianist), the shoes and the hoodie and Bizet are all still there, and so is the slightly offbeat humour and antics to accompany the music.  And it's still fun, still grin inducing, and an enjoyable way to pass the time.  A new highlight was the double bass solo from band leader Fernec Gayer giving a very different twist to a traditional Hungarian folk tune.  The BRD break no grounds musically, but for a combo of ragtime and silliness they can't be bettered.

Like It or Trump It, Traverse

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Lights Out By Nine, Jazz Bar, Edinburgh Jazz and Blues Festival

Expectations need to be managed.  The JazzFest programme describes LOBN as "Powerhouse soul and r'n'b with real punch....funky grooves, a hot horn section and soulful vocals from one of the best known bands on the Scottish... scene".  From that I went expecting a high quality pub band entertaining but without the musicianship expected from festival acts from other countries.  My companion, not having read the above, perhaps expected more.  So it's to the band's credit that they'd won her over by the end of the hour.

A six piece line up of drums, bass, guitar, trombone and sax (apparently the usual keyboard player and trumpeter were missing), fronted by a singer with powerful bag o' nails voice.  A mix of soul classics and their own compositions, mostly songs but with a couple of instrumentals thrown in.  They're a good, solid band, well rehearsed and with the nouse to play within their limitations.   There's no fancy guitar work, boring drum or bass solos, or tricksy arrangements.  Just driving rhythms (the drummer was particularly good), gutsy vocals and a horn section that defines the overall sound.  The sax (and clarinet) player stood out as the best musician in the line up and delivered some excellent solos.

It might not be virtuoso level, but the band provide musical fun, get the feet tapping and the audience on their side.  And great to hear AWB's 'Pick Up the Pieces' again too.

Markus K, Piccolo George Square, Edinburgh Jazz and Blues Festival

The one man band used to be a figure of fun.  Technology has changed all that and modern OMB no longer needs the cymbals strapped inside his knees.  Markus K is primarily a busker, playing the streets all over the world, so he needs a compact set up.  Guitar, a looper with about fifteen buttons at his feet, and a small drum machine.  Add in some amplification and there's a small powerhouse of sound right there.

He describes his music as 'blues fusion' - inspired by the blues, but allowing him to throw in to the mix anything he fancies.  On the street he says little, just plays, for this gig he was told he should interact more with his audience, something he did well.  Self deprecating, charming, informative, explanatory, and, unusually, open to questions during the gig.

K builds up each number, laying down bass riffs and guitar rhythms, adding in a drum beat, laid over with vocals and a mix of finger picking and slide guitar.  He's got a decent voice, if lacking any distinctive qualities, and there's some excellent guitar work, and the gradual build up provides a surprising richness of sound, albeit with an unvarying beat. If there's a downside to the one man format it's the endings, where the song seems to peter out rather reach a natural conclusion.

The set is a mix of blues, rock and R&B standards, and his own material.  The former included a distinctive interpretation of Jumpin' Jack Flash, and a soulful Susie Q.  His own stuff is, he says, not the usual despairing lyrics of the traditional blues, for he is more of an optimist in life, and there's some interesting melodies and lyrics.

He's an engaging performer with a lot to offer, and I enjoyed the set.  But it was also one of those gigs you feel won't linger in the mind for long....

Humor Me, Odeon, Edinburgh International Film Festival

Nate (Jemaine Clement) is a one time successful playwright now struggling to finish anything he starts.  To add to his problems his wife is leaving him and his lease has run out.  Worse, the only person is he can turn to for a bed is his father Bob (Elliot Gould), who lives in a gated retirement community.

Nate's despair isn't helped by his dad's insistence on telling jokes (usually shaggy dog stories about a Jew called Zimmerman) no matter the circumstances, and Bob's insistence that he do something to deserve his keep.  A failure at mundane jobs, he finds himself drawn into helping a group of elderly women trying to put on The Mikado.  Meanwhile everyone seems to be trying to help, or hinder him, and he finds an ally in Allison (the excellent Ingrid Michaelson), like Nate driven to staying with a parent by life's vicissitudes.

This is very much a movie intended to appeal to those looking for happy endings, so it's not too much of a spoiler to say that everyone lives happily ever after, despite the bumps in the road.  It does illustrate the power of humour to both heal and irritate, and how some people will use it as their defensive shell against the world, but this isn't a movie that repays much analysis.  Within those limitations it's a lot of fun, often very funny, and if you're looking for something easy and unthreatening then this is probably one of the best of the genre.  But I can't help having some liking for a film that delivers  comic scene based on Gilbert and Sullivan.  And that gives us a chance to see the wonderful Bebe Neuwirth, albeit in a brief cameo role, showing she can be as dry as ever.

Several Conversations About a Very Tall Girl (Cateva conversatii despre o fata foarte inalta), Vue Omni, Edinburgh International Film Festival

Initially conducted over Skype chats, two young women (who are never named) are starting to get to know one another.  They have a common link in the very tall girl of the title, having both been her lover.  The less confident of the two still hankers to see the tall girl again, her initiation into a gay relationship.  While the other seems much more interested in her new friend, and wants to move things on.  She's a film maker, well established in the lesbian community, and comfortable with her sexuality.  Her new friend still hasn't come out to her parents, says, in all seriousness, that there are no lesbians where she comes from, and is nervous about her inexperience.
Their affair emphasises these differences, one reluctant to go public with her new lover, the other impatient to move things on.  The pressures of a society where homophobic bigotry is still rife stifles one, challenges the other.

Although a short film at only 70 minutes, and the plot moves swiftly, there are still plenty of quiet moments allowing the 2 principal actors (Silvana Mihai and Florentina Nastase) time to build up the tenderness and awkwardness that exists between the characters.  It can be touching at times, and there's a sadness that outside forces are the cause of much of the disparity between them.

In a Q&A after the screening the director (Bogdan Olteanu) told us that the initial screening in Bucharest had been protested by the far right, and there is a still a climate of fear in the country which prevents many LGBT people form living their lives openly.  Perhaps this very ordinary romance will be one small step towards achieving equality.

And isn't that great title?

Hearts Beat Loud, Odeon, Edinburgh International Film Festival

Frank Fisher (Nick Offerman) is a widowed musician who never quite made it, now running a failing record store in Red Hook, New York.  With landlady Leslie (Toni Collette) raising the rent it looks like the end of the line for the shop.  Daughter Sam (Kiersey Clemons) is just a few weeks away from moving to LA to study medicine, focused on readying herself for the big change in her life.

Frank is something of a manchild, swinging from irritating to loveable as the mood takes him.  But he loves Sam, and wants to keep their bond.  When he nags her into jamming with him in his studio the result is the eponymous song, featuring Sam's lyrics and her excellent vocals.  Unknown to his daughter Frank puts the track up on Spotify and it quickly garners attention.  Frank senses a chance to revive his musical ambitions, Sam remains dedicated to her path towards becoming a doctor, although her single mindedness is challenged when she falls in love with Rose (Sasha Lane).  Add in Frank's pot smoking bar owning friend Dave (Ted Danson, back at the optics once more) who tries to give his pal advice, and the future becomes even more confused.

To the great credit of director and writer Brett Haley the movie doesn't take the easy options, and, as in real life, the outcomes of the various dilemmas aren't always what you might expect or hope for.  What you get is the bond between the father and daughter, and the sense that whatever changes life might throw at you, however difficult the decision, on the other side is another life that's yours to make the best of.  The 'feelgood' factor comes from the love, the resilience of human beings, and of seeing a lovely cameo from Blythe Danner as Frank's shoplifting mother.  And the music, the creation of music, the joy of playing and listening and feeling the beat.

Often funny, sometimes tender, always true to life, Hearts Beat Loud is a charming, optimistic film with a great soundtrack and strong sense of place.  Well worth a watch.

Fake Tattoos (Les faux tatouages), Vue Omni, Edinburgh International Film Festival

It's Theo's 18th birthday and he's out to a punk gig.  On his own.  In a cafe after the show he's approached by the extrovert Mag, who admires his fake tattoos, even more so when she finds out they're his own handiwork.  Despite Theo's initial reticence, and their very different personalities, they find a common bond and become lovers.  Theo warns Mag that he's going to be moving away from Montreal in less than a month, to live with his sister who's four hours drive away.  The reasons for his move are never made clear, and Theo is never going to say, but there are hints that allow the viewer to build their own backstory, and glimpse why he might find himself alone for his milestone birthday.

Theo is a talented artist, hoping to work on tattoos one day.  Mag works with children, helping build their confidence, and does much the same for her new man.  It's a beautifully observed relationship, full of awkwardness, misunderstandings, tenderness and emotional connection, and director Pascal Plante has a fine eye for the details and nuances of teenage romance.  His leads, Anthony Therrien as Theo and Rose-Marie Perreault as Mag, give very natural performances, and get plenty screen time to build up the chemistry, and to show how they have very differing relationships with their mothers and sisters.  Although the relationship is brief, it makes a clear mark upon both.

Sweet, tender, very real, Fake Tattoos doesn't build up the drama, but paints a picture of youth, love and regret.  It's lovely.