Musically, a Solid Alibi: Kathy Brown & Friends

Even if the Barron's courtyard in Kingston was filled to overflowing Sunday night, there was certainly and appreciative spirit among the faithful who gathered for the most recent renewal of the Alibi 4th Sunday Jazz Jam.

And there was lots of good music to appreciate. Keyboardist-composer Dr Kathy Brown liberally sprinkled her own fine tunes (Spirit, By Sunday) amongst some equally tasteful covers. "Satta A Massa Gana" segued neatly but robustly into "I Shot The Sheriff" There is of course a trend for Jamaican instrumentalists to put their spin on Bob Marley Tunes (indeed, he remains a global musical preoccupation) and several Bob Marley gems went down, this time in the (appreciative) presence of long time Bob Marley engineer Dennis De Menace Thompson.

And Brown had plenty of help in her quest. Drummer Desi Jones and the always improving Paul Smiley Madden rounded out a robust rhythm section that was further strengthened by the addition of Stephan on percussion and - all too briefly - trombonist Pesso - who did a nifty vocal turn on Fly Me To The Moon.

In between sets there was the always impeccable selections of Merritone's Monte Blake, who remains a fount of knowledge and a supreme encourager of quality.

vocal fans were also in for a further treat later in the night. The CyberSka man, David Madden, normally heard on both trumpet and vocals, was time out content to add lyrics to a sprightly arrangement of eastern Standard Time. He then made way for the evening's highlight. Ellan Edwards-Neil, very much with child, who delivered a silky Besame Mucho in tribute to former colleague and well-known bon vivant Walter Campbell. Her pinnacle however, came with an exquisite delivery (musical and vocal) of Jimmy Cliff's I Can See Clearly - with the bridge especially setting a new standard for intelligent and inventive interpretation.

The music went on for a wee bit after that, but this writer was already sated (and with a young one of my own to help raise) departed a very happy camper, hoping the series my have the longevity and the popularity it deserves.

Dennis Rushton Group @ Regency bar & Lounge....Serious Musical Fun

its a most rewarding scene for an audience, whether composed of aficionados or musical neophytes, to hear musicians who not only have ability, but are clearly enjoying themselves.

Such was the scene last Thursday evening at the tony Regency bar & lounge, the Terra Nova's category-defining upgrade of its former El Dorado Room. Dennis Rushton on piano, Paul Madden on bass, Obed Davis on drums and Ian Hird on alto sax and flute treated a very receptive gathering to a night of rumbling resonance, sharp stick work, sonorous keyboard runs and plangent horns.

No surprises on the set list, of course. Starting with the Joe Zawinul-Cannonball Adderly classic Mercy Mercy Mercy and encompassing Nat King Cole's "L-O-v-E" Spyro Gyra's "morning Dancer" and "Blue Monk" among others. It is part of the commercial aspirations of the project, after all, to set a familiar and refreshing scene for the executive, professional and self-made types who gradually brought the room to near capacity over the course of the 3-set show.Conversations of all types were conducted in the chic lounge and on the adjoining terrace. A multi-screen plasma composite, mounted on the far wall facing the entrance showed muted hip-hop/r n'b videos, and ironic counterpoint to the music on the floor.

That said, musical aspirations were undoubtedly met, and the interplay between the four - all longtime fellow travelers on the city's cocktail music circuit - was palpable and made for a hugely enjoyable evening. Madden and Davis have grown beyond even their considerable talents of a few years ago - Madden coaxing deep resonance from the irridiscent strings of his instrument. Davis meanwhile continues to show the fruits of continuous application and study of the trapset - offering bursts of speed and power without sacrificing musicality nor slipping too far from his bandmates. His work on the high-hat was particularly distinguished on the night.

While working the flute on a couple selections, Hird reeled off some tart alto sax runs, including one extended solo that literally brought all other proceedings to a halt and elicited cheers from even the white-jacketed bartenders behind the counter. Leader Rushton smartly worked a modulated version of  his more outre show mode - offering tasteful fills punctuated, rather than obliterated, by appropriate flourishes.

This show was the third since the inauguration of the weekly series, the prior ones sadly missed by this writer. Not that it was even needed, but the night's performance provided ample incentive for more consistent attendance going forward.

Beauties & the Beats: Denver & the Family @ Red Bones

It was all about the music, but yet, there was more to enjoy than just the mere musicianship.

Its been a while since this writer saw an eight-piece percussion set, rarer still to see them all miked as they were fro percussion maestro-bandleader Denver Smith at Red Bones in Kingston last night. Supported by an extremely fluid bunch of players (the drum chair especially; all were brilliant) and a very fetching trio of back-up vocalists, he offered Latin, rock, roots reggae and straight African rhythms to an appreciative crowd, with some familiar covers and some sterling originals that deserve a wider audience (Reggae Sumfest bookers: take note!) Chevaugh Clayton of C-Sharp (above) joined in for an impromptu session reeling off NAt King Cole and Sam Cooke chestnuts to the delight of the crowd.