Jon Cleary and the Absolute Monster Gentlemen, Spiegeltent, St Andrew Sq, Edinburgh Jazz and Blues Festival

Disclaimer : It had been a long day, I was very tired, so what follows might not be entirely fair to the artists, but I can only report on how the gig affected me...

Cleary is from New Orleans, and owes much to the classic jazz and blues of the city, whilst adding in his own layers of funk and RnB.  With dummer and bassist as backing he plays piano and keyboards (often both at once), with a single foray into slide guitar, and sings classic songs.  Plenty of energy (notably from the bassist), soe great playing (I loved the bass solos), and his voice is smooth and pleasant.

He went down so well with the audience, and I found my feet tapping along.  But.  There were times when it felt like the keys and the drums were fighting each other, rather than workign together.  And at times I found his paino playing too gimmicky.  Maybe I was just looking for an excuse to be irritable...

Blues Afternoon, Spiegletent, St Andrew Sq, Edinburgh Jazz and Blues Festival

 

Great timing on the start - just a minute after seeing the winning Lions score from Australia!  

These afternoons have always been great for discovering new acts, finding new bands to love.  So it was a change to go to mone where not only had we seen all three acts before, but more than once each.  But they were aleady establshed festival faviourites, so it was worth being out in the rain for...

STACY MITCHHART

A solo set from the ever cheerful Nashville resident.  The vocals are warm, with a constant sense of fun, even cheekiness.  He plays guitars - conventional, resonator, and cigar box, the latter made by his own hand.  He plays well, classic blues, great slide work, espeically on the one instrumental number.  Good  mix of classics, such as Muddy Waters, his own songs, and some surprises, like the sudden appearance of some Led Zepp!  Great entertainer, always smiling, lots of jokes and funny stories.  A good start to the show

BLUE MILK

A step up in pace and volume.  The four piece from Glasgow play classic 60s and 70s RnB style, but mostly with their own material.  Guitar and lead vocal, harmonica, bass and drums.  After the relative peace of Mr Mitchhart some of the audience looke d a bit shocked, but BM soon won them over.  

Ike on bass  is a pool of stillness in the sporouting energy of the other three.  Johnnie's wild hair on the guitar solos.  Leo's dance steps as he bursts out blues harp.  Taylor's manic madness on percussion.  There's humour, audience participation, and always thaty driving beat.  It's great to see a band where harmonica is such an integral part of the sound, not just an add on.

They might not be virtuoso level, but the energy and feel and presence make them great crowd pleasers.

MAGGIE BELL

A step back in volume, and a leap forward in legend status.

Not that she was on stage from the start.  We began with Sandy Tweedale on guitar and Chris Agnew on upright bass, backing Tim Elliott on vocals and harmonica.  A few numbers to whet the appetite.

Then off goes Elliott, on comes Bell, to huge applause.  Opens with a Free song, and the voice sounded a bit off.  Well, I thought, she is 80 now.  But that was justher getting wrmed up.  As the numbers moved on we had our reminder of why she was considered Scotland's Janis Joplin.  The phrasing, the gravel, the stage presence remain.  And the jokes and stories!  There was great variety in her material, Elliott joined at the end for some duetting, and we could all have carried on for hours.  Wonderful.

Blues Afternoon, Spiegletent, St Andrew Sq, Edinburgh Jazz and Blues Festival

A change in venue this year, with a different spiegeltent in a different square (and much more uncomfortable seats!).  But the format of the Blues Afternoons remains the same.  Three sets by different artists, with the idea that the quality of the musicianship improves each time.  Which it probably did, but, stragnely, on this occasion I found the level of entertainment decreased...

LONE BEAR BLUES

An Edinburgh based duo playing old time blues and ragtime from the 1920s, 30s, 40s...  Lone Bear himself originates in Brazil, plays resonator guitar, with a bit of harmonica and kazoo (!) thrown in, and a fine, expressive singing voice.  Accompanied by Australian Gerogia Ollier on Washboard and backing vocals (and audience participation lead).  The songs are fun, the guitar work not stellar but always enjoyable, and the washboard brings authentic character to the sound (and gets in a lovely solo too).  They can be very funny too.  A really good start to the session.

THE NICHE FAMILY

A young four piece band from Glasgow (there was a funny story about how they lost their fifth member, the bass player, at a recent festival in Denmark) playing country music with blues influences.  Most of their material was self penned, with a couple of covers (one from the Beatles) sprinkled inbto the mix.  Their song writing isn't the best, but they make up for that in delivery.  

While the rhythm guitarist took on most of the lead vocals, both the lead guitarist and banjo player took on their share of the role, so there was plenty of variety in the set.  Only the mandolin guy kept his voice limited to backing vocals.  Decent enough solos from the instruments, plenty of stories and laughs, and an infectious enthusiasm.  A really fun set.

MUIRREAN BRADLEY

Headling the show was 18 year old Irish wunderkind Bradley, who has built up a strong reputation in her short career to date.  A blues guitar virtuoso and accomplished vocalist, with an extensive knowledge of old blues music.  She's got a good voice for the genre, and her playing is admirable.  But...

This was a long set, of around 75 minutes.  I had been hoping for a demonstration of guitar fireworks.  Maybe I set my expectations too high, bsed on some YouTube videos.  Because there was only one (very enjoyable) instrumental.  And while I like the voice, and there was vareity in the songs, after a while it all started to sound a bit 'samey'.  In between numbers she shows she knows her stuff, but it's a bit much to expect someone so young, however mature and experienced, to have full command of stagecraft.  But that will come, along with a nore balanced set list I hope.  In a few years time I suspect Ms Bradley will fully justify that star billing.

The Manfreds, Queens Hall

We saw The Manfreds in Musselburgh about two years ago, and not much has changed since I wrote that review, which you can read here.  

The same line up of msicians, including Jones and McGuiness from the original 60s Manfred Mann line up.  Much the same set list as well, which meant mostly numbers dating back to those sixties days, plus a few blues outriders.  A Ben E King number included a memorable flute solo from Simon Curry, and channeling Howlin' Wolf brought out the best of Paul Jones's harmonica abilities.  There was the odd solo from each member of the sextet as well, notably from Marcus Cliff.

The set also included some material from McGuiness' late band, McGuiness Flint, and it was one of those, When I'm Dead and Gone, that really brought the audience to life and from then on they joined in with everything.  Those old Mann hits were certainly catchy!

Paul Jones' voice is in it's declining years, and can sound strained and a bit off key at times.  But he remains a charismatic front man, with great phrasing and that wonderful blues harmonica in his repertoire.  McGuiness remains as good a guitarist as ever - understated, sparse, but capable of sudden surprise and runs.

Yes, this is an act trading on nostalgia, and playing to a audience of (moslty) pensioners.  But they still have the musical chops and sheer enjoyment needed to create a good night of music.

Blues Afternoon (Jerron Paxton, Doug MacLeod, Mark Harrison Band), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

Mr Paxton opened proceedings.  At previous festivals he's gone by the name 'Blind Boy Paxton'.  The name may have altered, but he remains as entrancing as ever.  Musically adept, vocally smart, and with thowaway humour to spare.  Guitar, 2 banjos (one of 1848 vintage!), harmonica and piano.  Plus those relaxed vocals .  Paxton is a comfortable performer with his very own laid back style who can manage an audience and plays gorgeous old fashioned blues.  It felt like this performance should have been in monochrome, so strong was the feeling of an old back porch in the 1920s or 30s.  Wonderful, and should really have been the headline act.

I've seen Doug MacLeod a couple of times before, the last occcasion six years ago.  So it was a bit of a shock to see how those years have aged him, and that smooth voice has lost some of it's ability to charm.  But the guitar playing and storytelling faculties are undimmed.  He has a long history as a bluesman, one of the traditional kind, even though he sings only self-penned material.  That brings with it a welath of tales and personalities he's encountered, many of them transformed into lyrics.  MacLeod may not quite be the force he once was, but still a marvellous entertainer.

Mark Harrison is an odd bird, especially for a headline act of a Blues Afternoon.  From Coventry, abd backed by upraight bass and drums, Harrison sings, playes guitar, and tells stories, voices opinions.  He's certainly not the quality of musician that we'd seen with paxton and MacLeod.  Nor is is singing voice that great really.  Some of his opinions seem more like moans.  The song lyrics often lack imagination and so many of the basic riffs seem similar.

And yet... The deadpan humour works well, and can make him easy to identify with.  Both drums and bass offered up excellent solos.  The songs were decent enough to get the toes tapping and there were plenty of laughs.  So maybe this was a performance that was better than the sum of it's parts.  Low key enjoyable.

Mr Sipp, Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 Castro Coleman, aka Mr Sipp, back in the Spiegeltent for another powerful session of Mississippi Blues.  With backing from bass, keyboard and drums, Sipp launched into some classic blues songs.  Low on lyrics (and, sometimes, morality!), but high on muiscality and panache.  He doesn't talk a lot, but his comments are usually funny, occaisonally informative.  I usually feel a bit short changed by performers who don't give something of themselves in between numbers, explaing why this song or that tune made the set, becasuse that's the key to understanding their personality.  But Sipp is an exception - his performance IS his personality!  Part of which includes his walkabout through the audience (and in whoich he used me as a cushion at one point!) on an extended extemproised solo (he uses a wireless guitar pickup) to spread the love.

If there was a criticism it was the sense that the gig was back to front, and it would have been better to have the second half first and vice versa.  The later set included gospel ballads, gentler numbers, and audience participation.  While the first felt a lot roickier, and included that walkabout.  It also had an excellent solo from the drummer, which hinted at further solos to come from keys and bass - but nothing emerged.  

But if the only real fault I can find lies in the structure of the gig, well, I think it can still be amrked down as one of the best of the festival.  The singing is good, the playing excellent, and the vibes top notch.  Go see this guy.

Blues Afternoon (Al Brown and the Bluelighters, Grainne Duffy, King Size Slim), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 An afternoon featuring two rocking blues bands and... something else.  I'm not entirely sure what the latter could be called, but it was certainly memorable and entertaining!

Al Brown and rthe Bluelighters are a 4 piece Scottish band featuring Brown himself on lead vocals and electric guitar, backed by acoustic guitar, upright bass and drums.  A good start to the session, being a more than competent blues band, mostly playing standards, who could also put on a bit of a show.  Brown has his amusing moments, while the bassman was a joy to watch at times.  Decent solos from all four.  Brown took the bulk of the lead guitar parts.  Which was a shame, as my preference was for the purer sound of the acoustic instrument, rather than the dirtier tones of the electric.  But no matter, it was an enjoyable set to get things going.

Next up an Irish blues guitarist and singer, with an excellent voice and strong rocking style.  Backed by a drummer, a very cool looking bass player, and another guitarist who pplayed his solos in a more grungy style to the leader, Duffy sang a selection of her own material and the odd classic.  Her rendition of Etta James' I'd Rather Go Blind was one of the best I've heard, both vocally and in the empathetic nature of her guitar solo.  A step up in quality from the first act, for sure, but a trifle over amplified.

King Size Slim are another four piece band, from Hastings on the south coast, comprising drums, upright bass, sax and guitar.  On the latter was leader and singer Toby Barelli who, it seems fair to say, is a hard man to classify.  Which applies to the band as a whole.  Musically they were less striking than either of the preceding acts.  But for sheer entertainment they were in a class of their own.  Funny, unpredictable, drawing in their audience and making them a part of the show.  The songs are decent enough, but it's all about the poerformance.  Hilarious and memorable.

Blue Milk with Craig Ralston, Piccolo, George Square, Edinburgh Jazz and Blues Festival

Blue Milk are a Glasgow based blues outfit comprising Johnny McGiffen (lead vocals and guitar), Taylor Whyte (drums), Ike Malinki (bass) and Leo Glaister (harmonica). However the evening opened with Johnny accompanying an old friend, Craig Ralston.

Ralston has a quiet speaking voice, which makes the gruff power of his singing all the more surprising. It's a fine blues sound, rough and characterful, and he gave us four enjoyable numbers with McGiffen fleshing out the sound on his guitar.

Then came the band. And a considerable increase in volume and tempo. This is proper rockin' blues, steeped in sixties and seventies traditions, and full of power and passion. (Too much passion for some it seemed, for the crowd thinned out a bit after the interval - it certainly was loud!)

Ralston joined the band for that second half, this time playing lead guitar, and providing a grungey alternative to the clarity of McGiffen's playing. Overall a great sound, with Glaister's harp providing the character that marks out the Blue Milk sound. Solid back from the contrasting rhythm section, Malinki an isolated pool of calm and stillness, Whyte a manic grinning presence at the back (and full of funny quips during the gaps).

Visceral blues rock that provides such a beat that the audience can still feel it in their bodies as they leave. Great stuff.

Blues Afternoon (Sandy Tweedale Band and Gus Munro, Big Boy Bloater, Martin Harley Trio), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 Opening act was the trio fronted by one of Scotland's best known, and best, blues guitarists, Sandy Tweedale. Backing from drums and electric bass. But Sandy largely stood aside and let his guest, Gus Munro, take the spotlight. No bad thing, as Munro has a good blues voice, his own style of guitar playing, and an engagingly laid back stage persona, complete with dry humour. Tweedale's guitar solos still took the plaudits though, and gave us the ideal start to our three hours.

Next up came English act Big Boy Bloater. Another singer and guitarist backed by bass and drums. He certainly is a big boy, and has an enjoyably sub-Waits edge to his vocals. The backing is tight, the guitar playing decent enough, and he engages with the audience. But this is one set that never quite made the connection with the audience, and it all felt a big flat after BBB's time on stage.

Fortunately Woking's Martin Harley was in anchor position and saw out the afternoon in style. Less rocky, more bluesy, and so laid back. Drums and bass once again provided the backing, but Harley is a very different guitarist from what came before, as well as being a much better singer and songwriter. And a good raconteur too. Acoustic blues guitar, and dobro on his lap, provided a purer sound, and he's a master of the slide. This set took us to different worlds and soundscapes, and raised the tone considerably. If Harley is back next year then I want to see him.

Nirek Mokar and his Boogie Messengers, Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 

A French, four piece, multigenerational line up. Drums, guitar, sax and the titular star on piano. Mokar is in his early twenties, and stated that wind man Claude Brand was 74. The latter's high energy performance belied that fact.

Boogie Woogie features in their name, and in their repertoire, but there is so much more to their overall performance. Jazz, swing. blues, even some rock influences, make for an eclectic sound. Mostly original compositions, but the odd classic thrown in.

I mentioned energy before, and that, and virtuosity, are the hallmarks of their stage presence. Tremendous solos from all four members, but with Mokar always the pick of the bunch for his power, sensitivity and imagination. He's a decent enough vocalist too, and can be pretty funny in his slightly stilted English.

The standing ovation at the end was well earned and wholly deserved. Great music, great show, great theatre. If Mokar returns in future then so will we.

Blues Afternoon (Conor Selby Band, Troublemakers with Maggie Bell), Spiegeltent, Edinburgh Jazz and Blues Festival

 CONOR SELBY BAND

Selby is a young singer/songwriter from England, with his (mostly) youngish band in support. Drums, bass, rhythm guitar and keys back up the leader who sings and plays lead guitar. Despite their age, and playing mostly Selby's own material, it soon becomes apparent that what we're listening to is a classic 60s R&B band. And a good one at that.

Much of the 60s feel comes from the organ of Stevie Watts, who shares the solos with Selby's strings, and is a strong presence within the lineup. The 60s vibe is enhanced by the rhythm guitarist, with his floral short and Lennon shades.

There was a '64 Ray Charles song, and a Selby composition relating to his own lifelong love for the blues and what it meant to him. But much of the time the band went straight from one song to another, with no introduction. Which was a shame, as Selby speaks well when the mood takes him. His singing voice is competent, albeit unremarkable, but oh why do UK singers so often adopt US intonations? Be yourselves guys.

A good opening set that got the audience in the mood for what was to follow.

TIM ELLIOTT AND THE TROUBLEMAKERS

It was Scotland all the way from now on. From deepest Livingston came Tim Elliott, veteran front man of Blues 'n Trouble, now well into his seventies. But still a blues man to his core. Accompanied by one one the country's finest guitarists, Sandy Tweedale, and Chris Agnew of the Rezillos on upright bass. With such a strong and experienced line up the quality was no surprise.

They mixed classic 20s and 30s blues with R&B from the 60s (a Yardbirds number stood out), plus some of the Elliott's own songs from his band, into a melange that gave variety and a strong urge to move the body. Tim's voice remains passionate and colourful, while his harmonica playing has real feeling for the genre. Agnew is as solid as they come, while much of Tweedale's playing is mesmerising. Fifty minutes flew by.

MAGGIE BELL

A short break and Tweedale and Agnew returned, this time with another septuagenarian of even greater legend. Maggie Bell has been belting out the blues since the sixties and has a huge variety of material on call. And any set that begins with Free's Wishing Well promises much. Bell delivers. And how.

Rough as a badger's arse, and all the better for it, her vocals remain powerfully distinctive, with constant improvisation and such a strong musical sensibility. An instrument of power and subtlety, best described, as she said herself, as pure gallus.

The voice is backed up by a great stage presence, enhanced by an audience that wasn't shy in showing exactly where their loyalties lay. Bell is a fan favourite, and not just for her voice. An entertainer supreme, she can be hilariously funny, has a deep river of anecdotes, and knows how to get a crowd involved. Even if it meant signing along to a Kylie song!

Long my the Legend of Maryhill keep on rocking.

Sister Cookie, Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 Cookie emerged, in the dark, and sat at the grand piano. With her back to the audience. Sang three songs, without ever showing her face. On came the band, a four piece outfit of drums, bass, guitar and sax. And still she sat at the piano for the next number. Only then when more than twenty minutes had passed, did she come to the mic centre stage and show herself. Maybe it's just me, but I found this an odd way to start a show and get an audience on your side. So it took me a while to get into the swing of the music.

And swing it does. Cookie's voice is deep, resonant and expressive, although the quality drops holding longer notes. The songs are mostly self penned, sometimes touch on depression, often dealing with how difficult she is to have a relationship with. She laughs loudly and frequently and has a great time up there, a big presence in all senses. Her band a solid appendance, with good solos from sax and guitar, and an excellent bass player.

It was slow getting going, but ended up being an enjoyable show and a fun time.

The James Oliver Band, St Brides, Edinburgh Jazz and Blues Festival

 

Let the clichés commence.

Appearances can be deceptive

or

You can't judge a book by it's cover.

The band is announced and on walk a couple of obvious rockers, to take their places with drums and pace. Followed by a shambling giant who looks like he's dressed at the last minute. Grabbing the first things of the rail in a charity shop. In the dark. The bottle top glasses and sing-song Welsh accent further dispel any resemblance to every guitar hero stereotype you've ever come across. But let none of that fool you. Oliver is the real thing.

Oliver is high energy, hilarious, and a virtuoso of blues rock guitar.  Plus being a competent enough singer.  His material skips across genres, covering rockabilly, blues, country and pure rock.  Tunes from his wide range of guitar and musical heroes, and slef pennd songs too.  A few instrumentals.  There was a beautiful rendition of Peter Green's soulful Albatross that carried the listener back in time.

But Oliver has his own style, and injects imagination into everything he plays.  There's nothing predictable about the solos, which take the rules of each genre and bend them to his own wishes.  But, alongside the musical output, an Oliver gig is a lot of fun.  Unless you simply found it all a bit loud then it's hard to imagine anyone not getting some genuine enjoyment from the show, even if only from watching the man move about the stage.  

He brought a few local guests on towards the end.  Richard O'Donnell and John Bruce, both well respected blues guitarists, delivered fine solos, and tired to 'duel' with the main man.  While O'Donnell just about kept up, Bruce laughed and admitted defeat to the talent of the younger man.  The final guest was vocalist Liz Jones, the only one of the three who could say she did a better job than Oliver!  A rocking finale from the basic trio closed the show, to a standing ovation.

James Oliver has a new fan.

Jed Potts and Hillman Hunters, St Brides, Edinburgh Jazz and Blues Festival

A rocking blues set from Potts (guitar and vocals), Charlie Wild (bass) and Jonny Christie (drums), playing a very varied mix of established Hunters songs (and tunes), covers (a Johnny Winter number stood out), and new material commissioned by the EJBF. Potts keeps the chat to a minimum, and has his humourous moments, but the focus is very much on the music.

The trio form a tight outfit, Potts has a decent singing voice without being especially memorable, a diverse range of riffs, and the odd spark of imagination in his solos. The melodies are often simple, but the arrangements smart and embrace a range of tempos and influences. Christie's percussive contribution draws the eye. A solid beat enhanced with constant variations, some good solos, and and impressive intro to a couple of numbers.

You'll see better bands at the Festival, but Potts and co lay on a good show and you'd never feel short changed from seeing them.

Blues Afternoon (Michael Roach, Andrew Eustace Band, Marcus Bonfanti Band), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 MICHAEL ROACH

Cool. In his cream suit and beige homburg he came on stage looking like the epitome of the Mississippi blues man. Which he was. And funny, from the off. Played a good variety of blues songs, mostly from 20s, 30s and 40s. Simple melodies, which allowed him not to tax his voice. He might not be the greatest singer technically, but he sings well within himself, almost conversationally, and the phrasing is often clever. And, as he says himself, he specialises in a bit of smut, so even the lyrics could be amusing at times. But the guitar playing is another matter. An unusual style that makes him a bit special, with sharp, clipped notes and a very clear sound. A great, and relaxed, warm up act.

ANDREW EUSTACE BAND

A pretty typical RnB band. Drums, bass, and Eustace himself on guitar and vocals, playing a mix of original material and blues standards. Musically solid, and certainly well above pub band standard. But lacking the spark of originality that sorts out the good from the great. Eustace's solos were more than competent, but always felt predictable, very much in keeping with the genre without adding anything to it. The exception was the bass player, on 5 string bass, who constantly drew the eye (and not just because he was slightly reminiscent of comedian Greg Davies!). Adding a layer of complexity to the underlying soundscape, and provided a wonderful bass solo, to suggest that he was the best thing about this trio. All good enough, but not exciting.

However...

MARCUS BONFANTI BAND

Another trio of drums bass (this time of the upright variety) and guitarist/vocalist, but these Blues Afternoons always try to save the best for last, and this was very much the case here. Defining charisma is never easy, but it was immediately clear that Bonfanti has it. Full of character, humour, with the talent in both vocals and string playing to back it up. There was plenty of variety in the material, including originals, blues classics, jazz and even a bit of ragtime. Lots of variety in tempo and style.

Bonfanti has a strong singing voice, deep and powerful, although his phrasing and intonation is American, despite the clear London origins of his speaking tones. The guitar playing brought everything that Eustace lacked, with frequent forays into the unexpected and a constant demonstration of a vibrant musical imagination. And the same could be said for the very characterful bassman. I don't think I've ever sat through a seventy minute gig with so many bass solos (and quite a few contributions from the man at the back too), reflecting Bonfanti's lack of selfishness, and just how accomplished the man on the big wooden box was. There was clearly a great relationship and empathy within the trio, and that flowed into their performance, both accomplished and joyful.

But there was no doubting who the star of the entire show was, and I hope I get to see more of Marcus in the future.

The Manfreds, Brunton Theatre, Musselburgh

Golden oldies.  The stars, the songs and pretty much the entire audience fitted the epithet, which was to be expected.  This is very much a nostalgia gig.

The show was tagged "hits, jazz and blues", and the six man line up included a couple of musicians from the original 60s band Manfred Mann.  Pete Riley on drums, Marcus Cliffe on bass, keyboards from Mike Gorman, and sax and flute courtesy of Simon Currie.  Plus the two veterans that most people had really come to see.  Tom McGuiness on guitar and mandolin, and vocalist, harmonicist and radio celebrity Paul Jones.  

Plenty of 60s hits, with three number one's, including Pretty Flamingo and 5-4-3-2-1, and the forgotten classic When I'm Dead and Gone from McGuiness, from his band McGuiness Flint.  A solo number from Cliffe, and a gorgeous instrumental from Currie and Gorman.  Blues numbers, including a stunning Howlin' Wolf song, some jazz, even a long jazz-funk number that showed off everyone's solo abilities.  They're a solid pro band, with no weak links and plenty of talent.  Currie's sax and flute work stood out for it's excellence.

But the front man can make or break a show like this, and Jones is still very much a star.  The vocals are starting to sound a little strained at times, but the tone is as distinctive as every and he can bring forth an impressive falsetto.  He is still a superb blues harmonica player though, that talent still undimmed.  The boyish good looks are still evident, even at 80, and he clearly keeps himself trim and fit.  But his biggest asset is the charisma that oozes from him the moment he steps on stage.  Jones knows exactly how to win over and control his audience, and had everyone joining in on the weel kent choruses.

So much for the show itself.  What should have been an enjoyable evening of nostalgic entertainment was marred by the inadequacies of the Brunton's sound system in the bass ranges.  I've been having a few hearing problems of late, and thought that might be the reason things didn't sound quite right.  But Cliffe's solo confirmed that the real issues weren't with me.  As he layered bass line upon bass line, via his pedal board, the sound distorted more and more.  Yet the superb sax and keyboard number came across much more clearly.  To be fair things were better in the second set than the first, so something must have been done, but it's a shame whatever it was hadn't been picked up at sound check.  

But otherwise this was a bit of fun, and confirms that the old men have still got it in them!

Blues Afternoon (Blue Milk, Blind Boy Paxton, Brandon Santini with Mud In Your Ear), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 A young Glasgow based blue quartet for openers.  Dulux Dog lookalike Jonny McGiffen on guitar and lead vocals, Ike Malinki on bass, Taylor Whyte as the drummer and Leo S Glaister blasting out harmonica.  They didn't say much to begin with, just threw out a couple of numbers to show what they could do, and became chattier, funnier and more relaxed as the set went on.  McGiffen's vocals don't do clarity, but have an edginess and directness that's engaging.  The arrangements are richly textured and solos nicely matched.  They play to a high standard but have the sense to stay within their own limits.  I liked that on Black Magic Woman there was no attempt to out-Carlos Mr Santana, and the result was excellent.  The harmonica gave a real blues feel to the music, and the drum solo from Whyte was a highlight.  Even from his position at the back of the stage it was clear he's a charismatic character.

I'm sure I wasn't the only new fan the boys picked up on the day. 

Things quietened down for the middle act, a solo performance from Blind Boy Paxton.  What a character!  A naturally laconic comedian and raconteur, multi instrumentalist, with an unmistakably Mississippi Blues voice.  Anyone who enjoys the blues, and a good time, would love this man.

From the off he's engaging, dryly humourous and laughing at his own jokes.  Around him he has guitar, 5 string banjo and fiddle.  And from his voluminous overalls produces a variety of items - harmonicas, jew's harp, clackers.  There's a piano over the the right of the stage.  Looking back it's amazing how he managed to fit all those in, whilst singing and joking and storytelling too.  A genuine all round entertainer in the most laid back style.

And the music?  Of a very high standard, with his fiddle solo being a special treat.  Great singing, great playing, and a great time for the entire spiegeltent.  Not to be missed if you ever get the chance.

Another American to end the afternoon, harmonica master Santini and  with hugely experienced Edinburgh blues duo Mud In Your Ear.  The latter consisting of Allan Jones on guitar and Richard O'Donnell on keyboard and guitar.  Slow and mournful, fast and driving, quirky and funny - an eclectic mix of tunes and songs and tempos.  All three took their turns as lead vocalist, all three bringing different styles and qualities.  Jones has a never ending well of stories about the blues, Santini can also tell a good tale, and this was another set where the audience were drawn into involvement.  All three are excellent and imaginative soloists, but there was no doubting Santini's star quality when he made that tiny instrument wail and warble like an extension of his voice. It was all over too soon.

A comment that applied to the whole afternoon.  This was the best Blues Afternoon I went to in this festival, and maybe the best I've ever experienced.  Three great acts, all with very varied approaches to the blues, with the constant thread being that most essential blues element, the harmonica.  Wonderful.

James Brown is Annie & The Hamish Stuart Band, Assembly Hall, Edinburgh Jazz and Blues Festival

 Edinburgh's own funk and R&B band is a slick outfit, here playing as a septet with three decent lead vocalists to choose from and the ability to swap instruments around to suit each song's needs.  Drums, bass, guitars, keyboard plus both tenor and alto sax.  Another outfit to mix up classic numbers from the genre, plus some of their own material, and lots of variety in style and tempo.  A friendly bunch too, full of enjoyment, happy to interact with their audience and have a good time.  Some impressive solos, especially from the guitarist who started out as the bass player, and the alto sax.  A really fun set and I'd have been happy if they'd been on all night.

Confession time.  I hadn't really heard of Hamish Stuart, although, of course, I did know of The Average White Band.  So I wasn't quite prepared for the legend treatment he received for a clearly adoring audience.  But he knew exactly what to expect and traded on it with some charm.    Stuart certainly has stage presence, and I can't fault anyone who expresses their dislike for tories and admiration for the videos of Janey Godley!

But his singing voice is clearly suffering as he ages, although the phrasing is good and he can muster an impressive falsetto.  He was backed by a talented band, most, like the man himself, in the veteran category.  Drums, bass, lead guitar, keyboard.  The latter was the youngest of the bunch and by far the best soloist, although I enjoyed the bass player's too.

The afficionados were in heaven , and would disagree with me no doubt, but JBiA were the highlight of the evening.

Blues Afternoon (Dixie Fried, Kara Grainger, Grainne Duffy), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 First up were the local rocking blues duo with Craig Lamie on guitar and vocals, and John Murphy on Drums.  There wasn't much chat, just launched straight into an energetic set.  Lamie makes up for the lack of a bass player by having his top string tuned deep, and it works well.  Only a short set, but, even with just the 2 of them on stage, they still managed to have a disagreement about the set list!  Not that it made a lot of difference.  Lamie has a decent enough voice, but little inflection, and most numbers lacked a truly discernible melody.  The musicality was a good standard though, and Murphy is highly entertaining to watch, so it certainly wasn't all bad.

Kara Grainger is a US-based  Australian singer and guitarist, here accompanied by Sam on keyboard, Marcel on bass and Luke on drums.  They played a mix of classic blues numbers and some of her own compositions.  Grainger's got a strong, distinctive voice and good guitar technique, including a bit of slide, so both vocals and solo are a pleasure to get into.  A real rocker having a good time, with an excellent backing band.  Keyboard solos were wild, bass and percussion solid, and the audience got involved.  A highlight was one of the best versions of A Good Day For The Blues I've heard live.  

Headliner was Irish singer/guitarist Duffy, with Paul on guitar, Mickey playing bass and Gavin as percussive anchor at the back.  She asked if we were ready for some rock and roll... then, remembering where she was added "and the blues".  Which gives some clue to the approach.  Loud and rocking and none the worse for that.  Duffy has a gritty voice with a wide range, and uses it well.  Her version of I'd Rather Go Blind was impressive, with a soaring long note held well at the end.  Paul took most of the guitar solos, and is a real rocker with fast fingers, while Duffy is not far behind him, and did some nice work with the slide.  

A rocking afternoon, with the Australian being my pick of the gig.

Katie Whitakker sings Etta James, Piccolo, George Square, Edinburgh Jazz and Blues Festival

 Does what it says on the tin.

Perth Based Whittaker belted out Etta James songs, with a Bessie Smith thrown into the mix, with passion and feeling.  She's got a voice that's well up to paying tribute to one of the all time greats of blues, jazz and soul, and the personality to put on a good show.

But.  She deserved better than the five piece band - guitar, keyboard, piano, bass and drums - were able to deliver on the day.  The wonderful percussionist Signy Jakobsdottir did a sterling job of trying to hold it all together, but there was always a feeling of being under rehearsed as an outfit, and a little shambolic at times.  That doesn't mean they were bad, but not up to the standard we've come to expect from JazzFest bands, and the one Whittaker's vocals deserved.

On another night this would probably have been a much better gig, but on this occasion I left underwhelmed.