Dean Owens and the Sinners, Spiegeltent, St Andrew Square, Edinburgh Festival Fringe

What is there to say that I haven't said before in several reviews of Dean's shows?  The line up was the same as the last time I saw him, last December, but without the drummer present.  The quality, both of music and Owens' storytelling, was high as ever.  A fun show, that left me buzzing with enjoyment.

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.

Rose Room, Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 

Scotland's leading Gypsy Jazz band features Seonaid Aitken on fiddle and vocals, Conor Smith on lead guitar, rhythm guitarist (and occasional singer) Tam Gallagher, and Jimmy Moon on upright bass. Not a tribute act, but a loving evocation of the era and music made famous by Django Reinhardt and Stephane Grapelli. They played numbers from the canon, their own versions of other jazz standards, and the odd modern composition.

Aitken has a sweet voice, perfectly suited to the crooning style, and if she doesn't quite match Grapelli (but who does?) she does a mighty fine job of trying. Plenty of imagination in her phrasing, and technical excellence. the arrangements are clever too. Smith is more than her match, with a lovely touch and inventive style. Their duet sections were a delight.

Gallagher got up for one song, a joyously rendered version of Everybody Wants to be a Cat, from Disney's Aristocats. That got the audience involved! And while Seonaid did pretty much all the talking, introductions and jokes, Tam had his sort, relating the tale of how the band came about, but without the modesty that Aitken had been using to cover up the real story. Tam had wanted her as a violinist, and the discovery of how good her vocals were was a huge bonus _so that the money could be split four ways rather than five!

A wonderful ninety minutes that got a deserved standing ovation.  

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.

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.

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.

Breaking The News, BBC Spiegeltent, St James Square, BBC at the Edinburgh Festivals

 A recording of the BBC Scotland comedy panel show, on one of the hottest days we've had this year.  There was no warm up act (warming up was the last thing the audience needed!), but one of the producers explained what was going to happen, what was expected of us, and read out a few funny comments to get the laughter going.

Then on with the show, and chair Des Clarke promising to get it over as quickly as possible to get everyone out of the sauna.  A few sound checks for applause levels and bring on the guests.  Jim Smith and Sophie Duker 'against' Val McDermid and Andrew Maxwell.  All weel kent faces.

The show's well established format brings up recent news stories in various forms and asks the panellists to comment.  Today the subjects included the Scottish schools exam results, the cost of rising energy bills and much more.  Plus a lot of Liz Truss gags (but they almost write themselves).  You can listen to the half hour edit of the show from tomorrow to get a flavour, but there was so much more to the live version which lasted well over 90 minutes.

Smith was his usual laconic self, relating everything back to farming (handy hint - if you can't pay for your heating in the winter take in a cow or sheep, instant heat and you can cuddle them as well...).  Duker remained bubbly despite the oppressive atmosphere, and produced some unexpected slants.  McDermid was sharp, almost sensible compared to the others, but threw in some great one liners.  And Maxwell was... Andrew Maxwell.  Rambling non sequiturs, firing off at tangents and occasionally saying something that actually related to the question being posed.  And so, so funny.  He talked and talked and his 20 plus minutes of comedy should make for a wonderful 25 seconds in the final edit!  But long before the end he was beginning to flag from the heat and that gave rise to some of his funniest comments.  

That was the show.  There are plenty more BBC shows on this month, but most will have had all their tickets allocated by now.  If you are going to the Spiegeltent I'd advise getting there at least 90 minutes before the show and get registered early; find somewhere to go for a while, out of the sun; and if it's still anything like this hot, take water in with you.  Lots of water...

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.

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.

Blues Afternoon (Lisa Mills, Cinelli Brothers, Stacy Mitchhart), Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 A solo act to get things going.  Mississippi's Lisa Mills belts out blues, gospel and soul, in a mix of original songs and covers.  No finger picking fanciness, but she's an excellent chord guitarist, has a powerful voice that brings a hint of gravel, a heavy punch and a sense of soulfulness, and an engaging smile and personality that makes an audience feel a part of the show.  It's hard work being first on in an early afternoon show, but Mills did a fine job.  With the highlight being a stunning unaccompanied gospel number aided by the audience clapping along.  A ggod staert to the show.

The Cinelli Brothers are a powerful 4 piece band inspired by the Chicago Blues of the sixties and seventies, with R&B, soul and funk influences.  The eponymous siblings are Marco on lead guitar and keyboard, with Allesandro on drums.  They're joined by bassist Stephen Giry and Tom Julian-Jones on guitar and harmonica.

Initial impressions weren't all that encouraging.  Largely unsmiling, little attempt to engage the audience, and a couple of songs that suggested this was little more than a good quality pub band.  But that soon changed.  A longer piece saw three solos from Marco on piano, Julian-Jones on guitar, and Giry's bass.  The first two were decent enough, but not inspiring.  But Giry sparked into life and showed off his feel for the capabilities of the four-string, and his own musical imagination.  How often do you see the spark that lights up a gid being provided by a bass solo?!

Something seemed to click with the entire line up because they were like a different outfit after that.  Effervescent, filled with enjoyment and feeding off one another, they got better and better over the fifty minutes.  Mostly covers, some original material, with a tight rhythm section and strong vocals.  Largely from Marco and Tom, but both the others showed they had decent voices.  Arrangements were smart and the solos improved, keys, guitar and harmonica.  At one point Giry handed his bass over to Marco and played a mean slide guitar, while Allessandro had his chance to shine near the end, with a drum solo lasting a a few minutes.  Which proved to be one of the best of the set, and I was sad to see it come to a close.  

The Cinellis provide rowdy fun with some classy touches.

Even before he reached the stage there was no doubting who the star of the afternoon was.  With an empty spot in the middle of the stage, the drums, bass, keyboard and sax started up, quickly joined by the sound of a wailing blues guitar, and Stacy Mitchhart swaggered in from the back, saying hi to the audience along the way.  Charisma is hard to define but easy to spot.  Mitchhart has an abundance.

He's probably not everyone's cup of tea - a joker, a showman, a flirt, with some questionable attitudes to women being evinced - but he's very much his own man, a larger than life creation of his own making.  While we and the band sweltered in the increasingly humid Spiegeltent, Stacy's fedora and suit jacket remained in place with no ill effects.  As he said, that's what living in Tennessee does for you.  

The set was a mix of blues classics, some original songs, and his inventive arrangements of a Beatles song (Come Together) and a Led Zep rocker (Whole Lotta Love).  Mitchhart played electric guitar, steel guitar, and one of his home-made cigar box three-strings.  Lots of chat, some funny stories, and one very moving tale when he introduced the cigar box.  And plenty of great music.  Mitchhart has a fine blues voice, less distinctive than Mills, but equally powerful and full of inflections.  His guitar playing is at another level though, and we were treated to some wonderful solos.  He's also generous to his band, and everyone got their chance to shine.  Beautiful, soulful sax work, keys with a sixties feel to them, and decent bass and drum solos (albeit not in the same class as the spectacular offerings from the Cinellis).  

But the focus remained with the star of the show, an imaginative musician and great entertainer.  He left the way he came in, walking off through the audience and doing what he does best with his fingers...

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

A rocking three hours of Scottish blues in a (sweltering) Spiegeltent.  Opening proceedings was the SIMON KENNEDY BAND.  Drums, bass, an entertainingly enthusiastic keyboard player, and Kennedy leading the way on guitar and vocals.  Later joined by singers Rachel Lightbody and Ellyn Oliver.

Jacket Potato, the opening instrumental number, seemed interminable, and I wondered if we were in for a long 50 minutes.  But they turned out to be a solid R&B outfit, Oliver added some class to the lead vocals, and the Mirek Hodun on keyboards was hugely entertaining to watch, as well as providing most of the best solos.  A fun act to watch and a good start to the gig.

Second in line were hard rocking Chicago Blues band THE JENSEN INTERCEPTORS, who provided the expected step up in class and pace.  Led by the bullish Gary Martin on vocals, harmonica and slide guitar, with guitar, keyboards, bass and drums backing him up.  A solid rhythm section, strong guitar solos, another energetic keyboard player, and some respectable horn from the front man.  Songs from Howlin' Wolf and Muddy Waters are always a good sign of a well curated set.  It was a shame Martin suffered  few tech problems, but he battled on.  Loud, energetic, accomplished, they paved the way for...

The undoubted star act of the show, the MAGGIE BELL BAND.  The now familiar line up of drums, bass and keyboard, plus the excellent Sandy Tweeddale on guitar, and maybe the greatest blues singer ever to come out of this country.  Bell might be in her seventies now, but she can still rock it with the very best.

Opening with Free's Wishing Well, and following up with a Tom Waits song, this was top quality R&B.  Bell's gargled-with-gravel voice might not quite hit the notes it once did, but her phrasing and timing remain top notch, and her energy irrepressible.  Great interaction with the crowd too, Bell is a proper star, and deserving her legend status.

Not afraid to have a bit of fun too.  When you can switch from Etta James to a bit of Kylie Minogue there's clearly a wicked sense of humour at work.  The gig ended with Steve Marriott's All Or Nothing, the audience on their feet belting out the classic line and illuminated by the presence of a phenomenon.

Bell remains a must see.

Gonzalo Bergara Quintet, Edinburgh Jazz and Blues Festival, George Square Spiegeltent

Bergara has taken the swinging gypsy jazz style of the great Django Reinhardt and injected it with the passionate tango music of his native Argentina, and emerged as one of the most prodigious guitar talents in the jazz world.  Starting out as a trio, backed by double bass and rhythm guitar, the concert opened with a Reinhardt composition, and an impressive display of  virtuosity.  With brother Maki joining in on the cajon the line up expanded to quartet and playing Bregara's own compositions.  Finally the quintet came into being with the arrival of an Italian violinist (whose name I sadly didn't catch) who lifted what was already an enjoyable experience into the something more sublime.  Her playing has classical influences, but a true jazz heart, full of imagination and the unexpected, both in her hugely impressive solos and the interplay with Bergara.

Backed by a tight rhythm section, who had their own individual moments to shine, the two leads spurred each other on.  Playing with passion and wit, they consistently surprised their listeners, the fiddle taking on the tones of brass and wind, reaching soaring high notes and clawing at emotion.  In between numbers Gonzalo was disarmingly charming, self deprecatingly funny, and informative.

A jazz delight.

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

The best value events of the festival offer up three different blues acts in three hours in the humid atmosphere of the Spiegeltent.  And a chance to stand up and have a welcome stretch and some air every hour!  This was the first of the four that take place on each Saturday and Sunday of the ten day festival period.  The idea is that the quality improves with each act, so the opener sets a standard for what's to follow, and up first today was...

BABY ISAAC

Longstanding stalwarts of the Scottish blues scene, the Fifers are a good cut above your average pub band standard and an ideal starter act for the show.  They're a five piece band with drums, double bass, guitar and harmonica, fronted by Angela Moore on vocals, and serve up conventional blues-rock with no gimmicks or frills.  A solid rhythm section, decent enough harmonica, and a guitarist who got better as the set went on.  Good rocking stuff, with the best bit being Moore's classic bluesy voice with a rough edge to the tone and good phrasing.  She's an excellent front woman too, keeping the intros short, with the odd joke thrown in, and concentrating on the music.  Forty five minutes of Baby I had the audience warmed up in more ways than one.

STACY MITCHHART

So we had a strong opening act, but the step up in quality was clearly a big one when the Nashvillian made his entrance.  Coming in from the back of the audience playing his 3 string cigar box guitar, engaging with the crowd, he quickly established himself as a special talent and a real entertainer.  Singing a mix of classics and his own songs, with acoustic and steel guitars on hand, his 50 minute set flew by.

Mitchhart's got a good voice, with some pleasing individuality to the phrasing,but it's his guitar work that marks him out as exceptional.  Full of unexpected transitions and arpeggios, imaginative and frequently fun too, he's a joy to listen to.  His final song, a cover of the Beatles' Come Together, showcased his ability to transform the familiar.  Add in a great sense of humour - imbued into many of his lyrics, such as the one suggesting he wanted to marry his mother in law - and Stacy is a man to leave an audience wanting more.  Definitely worth seeing.

IAN SIEGAL BAND

Whether or not the final act was a step up in quality from Mitchhart is debatable, but it certainly upped the volume and energy levels.  Backed by a young trio on drums, bass and guitar, Siegal initially comes across like an ageing wide-boy, but has the talent to more than back up the image.  his songs have decent lyrics and melodies, but it's his gruff voice and guitar work that mark the performance, especially playing slide at which he excels.  Sharing the lead guitar work Dutchman Dusty Ciggaar impressed with his solos, and some agonised facial expressions(!).

It was shame that Ciggaar and Siegal both suffered a few tech problems during the performance, but they did well to keep it all together and kept the music coming.  A strong rocking performance to end the show.

With each set only 45 to 50 mins the artists kept chat to a minimum, letting the music do the work, but both Mitchhart and Siegal each managed a piece of entertaining storytelling that suggested they could have done more given more time.  But Blues Afternoon is a showcase for variety in blues music, and delivers.

Zac Harmon Band, Edinburgh Jazz and Blues Festival, George Square Spiegeltent

Mississippi Blues.  Harmon was very specific about that.  Not Chicago Blues, but the real thing from his home state.  That and a lot of fun.

Harmon is singer, songwriter, storyteller, guitarist, philosopher and personality.  He knows how to make an entrance, and an exit, and talk to a crowd.  Maybe not the greatest vocalist, nor the most distinctive, but he makes good use of what he's got in a smooth and masterful style.  As a guitarist he's economical, making the notes do the work.  He can play the fast stuff when he wants to, but the sparser style predominates and allows for a more ensemble sound than some would do.

That's a plus, or he has an excellent backing band.  Ralph Forrest on drums, Chris Gipson on 5 string bass, Texas Slim providing rhythm guitar, and the coolest man on the stage, Corey Carmichael on keyboards and piano.  All provide backing vocals, all have their moments of solo glory, and all take their chances well, whilst providing a solid unit for Harmon to shine against.  Gipson stood out as a great bass player, solid and imaginative, an important part of the fun element and no mean dancer.

Harmon tells stories, the guys joke around.  There was a fun dance sequence between Carmichael and Gipson I managed to capture a bit of, and that's a good indication of the atmosphere they'd built up in a steamy Spiegeltent by half way through the set.  Following a great version of Dylan's Knocking On Heaven's Door they had the audience on their feet and singing along big time, with Harmon taking a mike around the floor.

Quality music, real entertainment and a jumping venue.  For me this was the perfect opener to this year' Jazz and Blues Fest.  And the Harmon CD will be getting a lot of play now.

The Hot Seats, Marwick Spiegeltent, Fringe by the Sea

A Virginian country band providing great musicianship, decent vocals and a lot of fun.  Banjos, fiddle, mandolin, guitar, drums, washboard and a double bass that all 5 band members had a go on at some point or other.  Old early 20th century songs and tunes, from the country, bluegrass and ragtime traditions, self penned songs in the same idiom.

They're fronted by Josh Bearman whose singing might not be note perfect, might not have the greatest of ranges, but does have an authentic country tone and and real feel for the genre.  Ed Brogan also sings lead, a stronger voice technically, but lacking Bearman's plaintive sound.  There's far less to criticise in the music.  5 excellent musicians, strong arrangements with their own signature, plenty of virtuosity demonstrated in the solos.  An exciting bit of ragtime, a cover of a song by the great Jim Croce (why don't more people cover his material?), an anti-Trump number, slow songs and fast tunes, a real mixture and a well balanced set.  Add in a few laughs, a bit of banter between band members, and some informative introductions and you have a truly enjoyable gig that gets the feet tapping and the audience leaving with a smile on their faces.

Worth catching if they come your way.

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....