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ing intricate compositions and free-improvisedexcursions with the accent on rich sounds andlyrical, trance-like moods. The concert alsoshowcased the dynamite, free-improv Britishduo of Chris Cundy (bass clarinet) and AlexWard (soprano clarinet), and Dutch cellist ErnstReijseger topped off the program with a ravishingsolo set.In a dark and moving set in the Pillar Roomby the Profound Sound Trio, drummer AndrewCyrille’s rolling thunder and bassist HenryGrimes’ glissandos spurred British saxophonistPaul Dunmall to a spiritual lift and cry. On aRadio 3 broadcast at the Everyman, Dunmallalso offered a solo set on bagpipes.A tribute to Billy Strayhorn made for an illuminatingevening, as actors Clarke Peters andMichael Brandon read a dramatic narrativeabout the Duke Ellington collaborator and theluxurious, 70-piece BBC Orchestra and hardswingingGuy Barker Big Band performed classicssuch as “Take The ‘A’ Train,” “ChelseaBridge” and “Lush Life.” Popular U.K. vocalistIan Shaw soared on “Daydream,” MadeleineBell put shivers up spines on “Something ToLive For” and Emma Smith’s peppy “Jump ForJoy” raised the period into full view.Over at the Daffodil, young British vocalistLizzy Parks radiated insouciant charm, whileAmerican singer Lea Delaria spoiled a fluid scattechnique with tasteless stand-up comedy. At theEveryman, in a set with guitarist Phil Robson,festival artist-in-residence Dave Liebmanoffered tenderness and expressive, angular originalityin favor of his fabled hyper-virtuosity.In a demonstration of commitment to passingon the tradition, Cheltenham presented a cracklingset by Jack DeJohnette with a handpickedbatch of young British musicians he’d rehearsed,the Jerwood All Stars. Flutist Gareth Lochraneplayed a killer solo on a tribute to Eric Dolphy,“A Bitter End To A Tender Griot.” More kidsgot into the act at a jubilant, community-vibe festivalopener by the Ruach Mass Choir, a Londonblack gospel unit that had mentored local schoolchoirs earlier in the day, to the delight of theirparents, who swamped the concert in the gym innearby Gloucester. —Paul de BarrosCleveland’s Tri-C JazzFest Turns 30For the past 30 years, April inCleveland has been the crucial monthfor longtime jazz listeners and foryoungsters seeking sage advice fromthe masters. Still considered one ofthe country’s preeminent educationaljazz festivals, Tri-C JazzFest waschock full of concerts, master classes,jam sessions and student ensemblecompetitions that ran the courseof the festival’s 11 days.Two artists who have been perennialfavorites at the festival kickedoff the opening weekend. GeorgeBenson showed the crooner side ofhis personality for a tribute to NatKing Cole, with backing provided bya full string orchestra. The next evening the temperaturerose with Eddie Palmieri and his LaPerfecta II. Fronting a large unit that included afull percussion section and vocalists, Palmieri’smontuno groove afforded inspiration for dancingon such iconic pieces as “Azucar Pa’ Ti.”Chicago flutist Nicole Mitchell and her BlackEarth Ensemble emphasized richly variegatedoriginals. While the soloists often soared into thestratosphere, tight ensemble passages put swingat a premium. “Afrika Rising” functioned as atravelogue in and of itself, with an engaging programmaticapproach. Demonstrating that her talentswent beyond just composing, Mitchell’sflute work was equally impressive, particularlyon the tour-de-force “Journey For Three BlueStones.”Later in the week, Randy Weston and RoyHaynes played a double bill. Weston’s solo settouched on many of his original compositionsNicole Mitchellbefore he waxed rhapsodic for a medley of DukeEllington and Fats Waller numbers that tiedtogether sections of stride and ballad artistrywith earthy African rhythms. Haynes pulled outall the stops, while bolstering his status as one ofthe music’s most dynamic drummers. Alto saxophonistJaleel Shaw and pianist David Kikoskimade the most of their leader’s elated prodding.The festival ended on a high note with thedebut TCJF Soundworks, co-led by Cleveland’sHowie Smith and Glenn Holmes. Featuringtrumpeter Sean Jones, the seven-piece bandtackled the works of McCoy Tyner, who hadbeen on the bill the first year of the festival. Byvarying ensemble combinations and touching onless obvious numbers such as “Three Flowers”and “Walk Spirit, Talk Spirit,” the diversity ofTyner’s music became fodder for performancesthat spoke well for the group’s viability as arepertory unit.—Chris HovanCHRIS HOVANAugust 2009 DOWNBEAT 21