Saturday night was designed as a tribute to the late Billy Higgins, a long-time collaborator of Charles Lloyd, and with whom he spent a good deal of his final year before succumbing to liver failure in 2001. Lloyd's wife, photographer/filmmaker Dorothy Darr, filmed conversations and musical interactions between Lloyd and Higgins that documented the making of their duo recording, “Which Way Is East,” released earlier this spring on ECM. Excerpts of the resulting DVD “Home” provided the introduction to Lloyd and Hussein, and about two dozen of Darr’s still photos were displayed during the festival at the Hotel Healdsburg.

The evening concert was the first-ever sell-out at the Raven since the Jazz Festival began six years ago, and the fourth festival appearance of California resident Lloyd, who previously played in Healdsburg with Higgins. With Hussein on tablas and Lloyd using a variety of reeds (soprano and tenor sax, flutes, Tibet Oboe), the duo performed from the repertoire of the African/Indian tinged “Which Way Is East.” Hussein communicates beauty, humor, and surprise through his hands, creating hypnotic rhythms for Lloyd to explore. This collaboration yielded the most interesting music of the festival, and for Higgins one can not imagine a more fitting tribute.

Sunday afternoon was typically hot and dry for inland Sonoma County, and there was little shade to shield the crowd on the lawn of the Rodney Strong winery. Appropriately, the final two sets were sizzling displays by old masters and young lions. With veterans Curtis Lundy on bass, Billy Hart on drums, and George Cables on piano, Frank Morgan’s energetic alto (see photo) belied his 70 years and three decades of heroin addiction. His comeback in the 1980s to the highest level of burning bop was nothing short of remarkable. Marking the passing of Ray Charles a few days earlier, Morgan started the set with a moment of silence followed by “Georgia on My Mind” before launching the quartet into a crowd-pleasing run through such modern classics as “Footprints” and “I Mean You.” A special treat, vocalist Carmen Lundy (sister of Curtis) reprised her Saturday afternoon show at the winery with a spirited “Sophisticated Lady,” an apt selection title for this multi-talented and under-appreciated improviser.

The grand finale was a ninety-minute set from the youngest 79-year-old on the planet, the tireless titan of the drum kit, Roy Haynes. As always, Haynes surrounds himself with the best of the new generation, and his current quartet of pianist Martin Bejanero, bassist John Sullivan, and saxman Marcus Strickland has jelled into one of the most eloquent, well-integrated ensembles in modern jazz. Each of these young lions is on track to be among the most significant contributors to jazz in the coming decade. With only this foursome, the closing set at Rodney Strong would have been glorious, starting out with smoldering takes on Monk’s “Twinkle Trinkle” and Metheny’s “Question and Answer,” the latter highlighted by Strickland’s earthy soprano.

But Haynes went further for the remainder of the set, adding the reigning champion of 21^st century alto, Kenny Garrett, creating a quintet that boomed and soared through a list that included “Remember,” “Green Chimneys,” and “Summer Night.” When I last heard Haynes about six months ago, he was generous with his sidemen but prone to taking long aggressive solos—the sort that routinely bring down the house. In this setting, he was more laid back, giving more space to Strickland and Garrett in particular, who engaged in some fast and furious trading choruses; both Bejanero and Sullivan also had ample opportunity to show their chops—which are substantial.

The 2004 Healdsburg Jazz Festival closed with the stage—and early summer sun—still burning as we headed back to town, past the acres of vineyards that give substance to California wine country and provide such a unique backdrop to this gathering. This is not Montreux, Montreal, or Monterey; this is not the size or scope of Chicago or JVC New York. There are just a few venues and only one option at any one time, and for the most part the music is not ongoing throughout the day. It is highly affordable ($84 got me into all the events described here); intimate (even outdoors); and user-friendly. This is a small town setting off the usual path in a most unusual landscape, and it just happens to be the home of one of the most elegant annual celebrations of jazz.

For information on the 2005 Healdsburg Jazz Festival, visit www.healdsburgjazzfestival.com or call (707) 433-4644.