Peavy Plaza: Mercedes-Benz Main Stage

With so many venues, each with its unique ambience and list of talented performers, it is perhaps unfair to single out any one as the “main” attraction. Yet there is no doubt that the epicenter of the 2004 festival was the Mercedes-Benz Main Stage in the shadow of Orchestra Hall. With concessions, merchandise tent, KBEM's broadcast center, and multi-level seating areas, it seemed that ultimately all roads led to Peavy Plaza. From Thursday noon til Sunday night, there was one outstanding set after another. Again, the following highlights reflect personal taste and opportunity, recognizing that many wonderful sessions were missed.

When Nachito Herrera crossed the river to Peavy Plaza on Friday, he recreated Puro Cubano, this time with a crew of Cuban musicians giving more emphasis to brass and percussion, adding trumpet and congas. And in contrast to his Mears Park set, the vibe was decidedly more “Cubanissimo.” Again his daughter provided high energy vocals, and by the last number, this engaging bandleader had the audience clapping and local vocal master Bruce Henry joining the group on stage.

Slowing down the pace but with the masterful tweaks and turns of their years in the jazz life, Max Roach cohort Billy Wallace and local octogenarian icon Irv Williams delighted the Friday afternoon crowd. With the sophisticated backing of Gordy Johnson's bass and Kenny Horst's drum kit, the set turned into a real blowing session in more ways than one, with gusts knocking over anything that wasn't nailed down. Echoes of Ben Webster flowed through Williams' tenor and pianist Wallace added his velvety vocals to several tunes. Williams popped up again that evening with the Ron Fosses Trio for the early set at the Dakota, using a chair but otherwise giving no recognition to his 80 years.

Having missed all but a few final notes of Papa John Kolstad and the Hot Club of East Lake the night before, I caught up with this unique band, probably best known here for appearances on Prairie Home Companion and stints at the West Bank's old Triangle Bar. With a repertoire ranging from blues to folk to ballads, highlights of the set included Clint Hoover's utterly mellow harmonica on “If I Had You” and a decidedly bluegrass rendition of “Lady Be Good.”

After indulging in fish tacos at the Dakota, I returned to Peavy Plaza in time to catch the last half of Kristin Korb's engaging set, taking her band through “Wouldn't It Be Loverly” and “Cheek to Cheek” as well as some charming blues. A vocalist and bassist, this Ray Brown protegé manages somehow to coordinate the two with style and swing.