Clearwater Jazz Holiday Again Sparkles: Station Square Park Report

[Feature image by Cristin Garrie Photography is Ghost-Note]

For four evenings and two afternoons, Clearwater was full of dazzling music of all shapes and sizes, from The Beach Boys and The Average White Band to Los Lobos and Kenny Wayne Shepherd at Clearwater Jazz Holiday October 19-22.

We spent our time Saturday and Sunday afternoon at Station Square Park, one of the three locations for the free afternoon programs, with spectacular music curated by CJH with help from program sponsors Jessica Majeski and Shua Seif.

Great thanks to all the photographers who contributed and to Tim Mulaly for his great videos!

SATURDAY, OCTOBER 21

It was all Miami/South Florida all afternoon with three of the greatest proponents of funk fusion jazz, beginning with the tighter-than-tight grooves of POCKiT. This excellent quartet had played a CJH Wanderlust show at the same venue in December of 2021. POCKiT are: Moi Linares, drums; Josh Walton, bass, loops; Chip Gardner, keyboards, synths, organ; and Sebastian Pareja, guitar.

Every tune in the setlist hit that perfect groove, including band favorite “Hialeah Traffic” (the song, not the actual traffic), penned by Chip Gardner. Linares kept the beat inspired, and Pareja’s guitar was spot on. Tenor saxophone master Rob Smiley joined them for “Bolsillo.” He and Gardner play in several other bands together. The set wrapped up with brand new funk fusion tune “Greasy Napkins.” As the jam progressed, we thought we detected a recognizable bass line offered by Walton, and sure enough The Meters’ classic “Just Kissed My Baby” emerged, a great way to end the set. 

[POCKiT: Glitchy Tacos, Corn Bread, How Do You Say It?, Bolsillo, Greasy Napkin > Just Kissed My Baby]

Next up were the Latin funk fusionistas Electric Piquete, and we were treated again to great playing from Smiley (saxophones, flute, vocals) and Gardner and their bandmates Ed Rosado, drums, vocals; Michael Mut, bass, vocals; Chris Correoso, guitars; Rich Dixon, trumpet, flugelhorn, vocals; and Raymond Ayala, percussion, vocals.

They opened with standard tune “Manteca” (Gil Fuller, Dizzy Gillespie, Chano Pozo). Smiley and Dixon were a great tandem all afternoon, and Correoso killed on guitar. The band leader, Mut, introduced band members and gave us setlist information. The Buena Vista Social Club track “Chan Chan” was a great setlist addition as was the Pee Wee Ellis composition “Ham.” The band’s 2019 single “Still Reeling” was hot; Mut explained that described a prior condition thankfully long past. The set ended with a really hot Spanish rap tune delivered by Ayala.

That left it to Sacred Steel master Roosevelt Collier and bandmates to finish out the afternoon. Collier, who plays pedal steel and lap steel guitars, was joined by his favorite touring combo: Tommy Shugart, organ; Harry Ong, bass; and Aaron “Bucky” Buckingham, drums.

The set was scheduled for 3:00 to 4:30, but that was severely shortened, of necessity. One of the evening’s performers, blues legend Buddy Guy, had to cancel a series of appearances, so Collier and band had to wrap up at 4:10 to jet over to The Sound, the new amphitheater in Coachman Park, where they would get sound checked to perform at 5:30.

This set, like many of Collier’s, was a series of insane jams (I know some of them have actual names, but…) that gave everyone an opportunity to shine. Shugart’s B3 adds so much to the sound of Collier’s pedal steel. Collier slowed the proceedings down for a reverential take on Sam Cooke’s “A Change Gonna Come,” so righteous. Then, acknowledging they would have to split soon, the quartet tore through Michael Jackson’s “Off the Wall” triple-time (well, it was incredible).

SUNDAY, OCTOBER 22

We regrettably missed the opening pairing of John O’Leary & Trace Zacur & Friends. Everyone was buzzing about their dynamic set.

Majeski told me that the next set, by Scone Cash Players, would be the set of the festival. She wasn’t wrong. The quartet was led by Adam Scone, a veteran Hammond B3 player who is part of the Daptone family, records on Colemine Records, and has a lengthy resume highlighted by his time with Sharon Jones and the Dap Kings, JJ Grey and Mofro, and The Sugarman 3. He was joined by Addison Rifkin, guitar; Samuele “Sem” Puppo, guitar; Michael Duffy, drums; and Nicola A., percussion.

This amazing band specializes in boogaloo jazz, a style that incorporates R&B, soul, and mambo… and lots more. Famous proponents include Lou Donaldson, Boogaloo Joe Jones, and Eddie Roberts, among others.

The set was fabulous, start to finish. Scone’s left hand covered the bass duties for the band while his right hand demonstrated that he’s a true organ  badass. Duffy and percussionist Nicola were dynamic on song after song. And it was stunning watching Rifkin and Puppo, each with a different style, blow it up all set long. They did play “Chicken Half,” Scone’s composition with The Sugarman 3. 

Puppo sang a tune called “Canned Champagne.” The vocal mic was not turned up, and we had to shout and point to the sound engineer, who was busy talking to someone in the back of the venue. Come on, fellas! You have ONE job!

Ghost-Note would have the final say… eventually. Robert “Sput” Searight is meticulous about getting the sound right, but with seven band members, the process can be tedious. Tedious enough that Ghost-Note began their set 53 minutes late (they were 48 minutes late a week later at Suwannee Hulaween). There HAS to be some way to make this process more efficient… and shorter.

Ghost-Note is the Snarky Puppy pup led by drummer Searight and percussionist Nate Werth. The band included Dominique Xavier Taplin, keyboards, synths; Jonathan Mones, alto saxophone, flute, vocals; Danny Wyantis, trombone; Peter Knudsen, guitar; Justin “Jay McK” McKinney, bass; and amazing frontman and vocalist McKenzie.

Searight and Werth twist up the headiest blend of funk fusion, James Brown, George Clinton, deeper than deep R&B, specializing in the stop-start groove with Searight somehow directing the chaos and keeping the ship on what occasionally resembles an even keel. This is fun to the power of fun, brilliantly delivered.

The jam launched with “Silver and Gold,” a track from the band’s upcoming album. Taplin switched from clavinet to organ for “Be Somebody,” which featured a trombone (“trAmbone”) solo from Montanez. Some straight-up James Brown groove slid into the wildest jazzy “Big Payback.” Searight honored The Average White Band as the band played “I’m the One Who Wants You,” Monez soloing. They offered up the title track of new album Mustards & Onions.

There was a song dedicated to bad knees (we can relate), then some clavinet funk on “We Gonna Give It to You.” Monez attempted a solo, but his mic level was far too low. Searight asked the sound engineer to turn it up, but there was nothing. McKenzie saved the moment by holding his vocal mic at Monez’s horn. (SERIOUSLY!) A funk medley included The Isley Brothers’ hit tune “Work to Do” before final band introductions and some “One Nation Under a Groove” groove.

Two superb afternoons of jazz at Clearwater Jazz Holiday. Do yourself a favor: look up ALL these artists and support their music!

Finally, we need to thank the Clearwater Jazz Holiday for all they do. If you’re not aware, CJH is a local charitable organization that has positively impacted the community for 44 YEARS. In addition to putting on live music events like this, they help to develop and cultivate young artists and performers by providing music programming and support for local children throughout the year. Keep up the good work!