Sun Mi Hong, Fergus McCreadie and Elio Villafranca shine at Sligo Jazz Project 2024

NY-based Cuban pianist (and Sligo Jazz Project’s artist-in-residence) Elio Villafranca’s grace and magnetic force embodied the spiritual centre of SJP 2024: aspiration, achievement, community and diversity. Elio’s classical training underpins his ’African Clavé, his bluesy motifs tell wordless stories from the legacy of slavery.

As poet Michael Longley answered in a Q&A from the Irish Times a few years ago, when asked “What is the most remarkable place you have visited? New Orleans. I have loved jazz since my teenage years. Born out of slavery’s evil, its redemptive radiance is more than we deserve”.

Thursday’s headline concert showed the wonder of Elio’s music. Jazz lay down beside its deep ancestral groove and revelled in its richness. A meltingly beautiful piano solo introduced a lullaby that morphed into a spirited cha-cha.

A never-ending Afro-Cuban flow coursed through the virtuosi playing his compositions, Freddie Hendrix’s, soaring trumpet, Dion Parson’s elemental drums, Alejandro Aviles’, muscular sax, Manel Fortia’s strong bass, Paul Dunlea’s highest-octane trombone, Gareth Lockrane’s shining flutes, Julian Siegel’s mean tenor, doubling bass-clarinet as did baritone player Cathal Roche. Paul Clarvis added tasty percussion.

Elio’s lecture and workshop were seminal events, whose contextual and historical effects will linger long in the memories of those who heard.

Wednesday saw the Siegel/Lockrane’s six-piece ensemble (pictured above). A bright number ‘On the Fly’, led into fine originals and a re-harmonised take on ‘Skylark’. Lockrane particularly injected excitement into his solos.

Next, ace drummer Sun Mi-Hong’s trio of Tom Ollendorff on guitar and Oli Hayhurst on double bass absolutely tore into Jimmy Heath’s ‘Gingerbread Boy’. Sun is a powerhouse player, sometimes using all four limbs in unconventional ways during solos, her left foot kicked bells on her hi-hat stand, her right foot kicked different bells while her sticks maintained intricate patterns. Commanding our full attention, she lowered the intensity for several original compositions prefaced by some disarming dialogue. A slow melody ended with a drum solo that defined and inhabited the space. Duke’s ‘Come Sunday’ brought an unexpected, delightful conclusion.

Tuesday opened with Scottish/Celtic/Jazz originals mixed with standards from Young-Artist-in-Residence Fergus McCreadie. He conjured atmospheric moods of storm and water developed by saxist Michael Murray’s otherworldly harmonic wind sounds. ‘Orkney’ strode over a strong waltz form. Tom Ollendorff’s guitar haunted Ellington’s eastern-flavoured wisp, ‘Isfahan’. A fine Conor Murray solo bass piece introduced Cedar Walton’s ‘Bolivia’.

Friday saw, Veronika Morscher, Christine Tobin and Emilia Martensson’s The Power of the Voice (pictured above), mixing originals with works as diverse as Jimmy Rowles’ ‘The Peacocks’, and Leonard Cohen’s ‘Take This Waltz’.

Saturday’s concert unleashed the SJP All Stars, playing Tony William’s ‘Sister Cheryl’, J.J. Johnson’s ‘Lament’, and everything between!

Young alumni from previous years, Fraser Gaine and Sam Purcell’s composition ‘Atlantic’ was given a crisp rendition by Elio, Manel, Gareth, Tom and Dion. Later, Veronika’s quirky ‘Troubleshoots’ was performed by the composer and a wind quartet of Matt Halpin, Julian, Gareth and Alejandro.

Who better than Dion to de/re-construct Sonny Rollins ‘St. Thomas’? He’s from the island, and his arrangement was, of course, memorable.

Part two started with ‘Nardis’, honouring a young, recently deceased SJP participant.

The wild conclusion saw 30 musicians on stage queueing and sharing their instruments in an outlandish extravaganza. With the flamboyant orchestra already roaring along, trumpet astronaut, Freddie Hendrix took on the mantle of ad hoc conductor (herder of cats?) steering this unwieldy vessel towards the zone, without losing fellow travellers en-route…some feat! Some climax!

It was great to see and hear SJP stalwart of many years, John Goldsby turning up to play in a wide variety of gigs. He’s retiring after 30 years in the bass chair of the WDR Big Band.

Opening Sunday afternoon’s final concerts at the Hawk’s Well Theatre Italian guitarist Eleonora Strino and her trio combined eloquent guitar and sweet, clear vocals.

The SJP Little Big Band, plus Mike Nielsen, guitar and Linley Hamilton, trumpet, provided trombonist/MD Paul Dunlea with a scintillating vehicle for his arrangements. Starting with his own composition ‘Corner Tree’, he worked his way through a terrific set joined by Elio on piano. Paul’s Irish-themed melodic and harmonic lines intertwined with Elio’s Afro-Cuban flavours to produce a rich confluence of cultures, subtly telling stories from both traditions.

During the lush wood and brass harmonies, Gareth spun a neat quirk producing an Irish Low Whistle, he had only purchased two days previously. He played it like it was his primary instrument!

Next year marks the 20th Anniversary of SJP. There’s no doubt that Eddie Lee and his organising team will make it another memorable week of music and ideas.