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Photo: V. Sreenivasa Murthy

Innovative derivatives Gerard Machado Network guitarist K.N. Prakash (left) and on drums Yogendra Tillu

Thus the two-night “Indigo and Blues International Jazz and Blues” extravaganza at the Jayamahal Palace Hotel, featuring around 50 artists in almost a dozen acts, duly whetted the city enthusiast’s appetite for more. And what’s more, producers Radio Indigo promised to have this at least once a year.

Guitarist Amit Heri and Carnatic vocalist Rama Mani’s interactions showcased exquisite ‘Indian jazz’ subtleties. Held together by the indomitable duo of Adrian D’Souza on drums and Karl Peters on bass, the Amit Heri group was as definitive as ever with sprightly funk grooves, gripping harmonies, and interactive solo improvisations.

Adrian D’ Souza’s virtuosity on his kit shone through commendably in his many performances: Global Unity, Amit Heri Group and Kaya Quartet. His non self-indulgent but clear jazz drumming for the most part made him the ideal team-man. His support for jazz-guitarist Sanjay Divecha in the Global Unity trio was especially interactive with Divecha easily being nudged into his own virtuoso solos.

The Barracuda Blues Band, quickly gaining reputation for their authentic treatment of the blues, dished out some heady classics “Mustang Sally” and “Stormy Monday”. Radha Thomas’s blues vocals provided the Gerard Machado Network with a soulful spin to their jazz-rock compositions. Bass players K. N. Prakash (Gerard Machado Network), Karl Peters (Global Unity and Amit Heri Group) and Keith Peters (Kaya Quartet) were all cool and complex in their approach typical of jazz bassists, with some serious exuberance both in their comping and soloing. Saxophonist Matt Littlewood, with his trio of bassist Mishko M’Ba and drummer Suresh Bascara, showcased exquisite renditions of jazz standards, apart from their own compositions.

The audience was also treated to some eclectic fusion (mostly brassy and funky) by Junckt!, a jazz-funk band from Mumbai, headed by the exciting flautist Rajeev Raja (who, even as a college student back in early-80s Bangalore, had shown considerable talent on the flute).

The eight-piece band seemed to cover a wide and interesting repertoire from “My favourite things” and Herbie Hancock’s “Cantaloupe Island” to their own compositions. Peter Isaac’s The Chronic Blues Circus (well known since “The Bangalore Music Strip” days) delighted the audience with some spirited blues. A fusion act, Moon Arra, featured Prakash Sontakke on the Hindustani slide guitar.

Although the much-awaited acoustic-duet performance by city guitarist Konarak Reddy and the French Bob Bonastre could not happen, their solo performances were awe-inspiring. If Konarak’s compositions, laced with mellifluous Indian Classical improvisations, were drawn into deep melodic reveries, then Bob’s forceful rhythmic and harmonic textures, aided by his Africa-influenced vocals and slap-percussion on his guitar, were just as enrapturing. One could only imagine what would have come out of a confluence of these two guitarists.

While one might have dubbed most acts of the festival as innovative-derivatives of their influences and backgrounds, even as they were still being distinctive in their own right, it was the German jazz quartet brought down by Max Mueller Bhavan, Café Du Sport, that was thoroughly distinctive with authentic jazz sounds flowing out from their very first note. Their individual bop sensibilities, together with a collective swing approach, came through splendidly as the support ensemble of Christian von Kaphengst on bass and Guido May on drums worked with Jan von Klewitz on saxophone and Bruno Müller on guitar. Klewitz especially could be noticed leaning into his music with awesome subtlety and power to match the trio’s harmonic interplay. Each of their improvisations over effortless rhythmic backdrops had many a magical moment. Any jazz puritan would have come out pleased.

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