Sunday's midday rain reduced attendance at the Main Stage for the early sets, but did not dampen the enthusiasm of the musicians or of the serious fans who arrived well before the sunshine returned. Mulligan Stew (photo on page 1) is a tribute band honoring the great Gerry Mulligan, featuring local legend Dave Karr on baritone sax, bassist Gordy Johnson, drummer Phil Hey, and most recently, pianist Tanner Taylor. Having missed Taylor's early set on Saturday, I was happy to have the opportunity to hear the young Iowa transplant take off on such Mulligan standards as “Line for Lyons” and “Walking Shoes.” And Dave Graf's trombone added a layer of sonic texture to the mix. But the center of attention rightfully was Dave Karr, more often heard locally on tenor, flute, and clarinet, but perhaps Mulligan Stew will provide more visibility for his baritone chops.

Ira Sullivan is another multi-instrumentalist who took the stage with his full arsenal of horns and flutes. Doing triple duty this weekend (he headlined the Artists' Quarter on Friday and Saturday nights as well as presenting a MacPhail clinic), his Sunday gig on Peavy Plaza was enhanced by the always-exciting Bill Carrothers on piano, Chris Bates on bass, and AQ's Kenny Horst on drums. Billed as the sound check, the band's run through “All or Nothing at All” was a tour de force for Sullivan's flute. Moving into the “real” set list, the master next demonstrated his tasty tenor on “The End of the Affair,” then grabbed the flugelhorn for the band's rich reading of “Dear Old Stockholm.” Carrothers shined throughout but took the lead on a subtle, dynamic “Someday My Prince Will Come.”

This is hardly the full list of Mercedes-Benz Main Stage attractions during the festival, with many more hot acts from the youthful Rare Medium, Chill 7, and Tanner Taylor bands, to area veterans Bobby Commodore, Butch Thompson, and Departure Point, to favorite vocalists Prudence Johnson, Alicia Wiley, and Cookie Coleman, Chicago sax legend Von Freeman, and the great Hammond B-3 master Jimmy McGriff's tribute to Jack McDuff….and more. Without leaving Peavy Plaza, one could experience the full history (and future) of jazz. Complicating decisions for Hot Jazz Festival participants, this was only one of many enticing venues.

Hits and Misses

This review can not do justice to the scope of the 2004 Twin Cities Hot Summer Jazz Festival. Jazz hit the suburban stages of Hopkins and Plymouth, Minneapolis' Uptown, and additional downtown venues at Copeland's, Caribou Coffee, and at the intersection of 10^th and Nicollet. I missed many personal favorites (notably Mary Louise Knutson, Connie Evingson and Bruce Henry) as well as opportunities to hear new and less familiar artists. But the fact that one can not do it all only underscores the scope and quality of this year's festival and gives me a list of performers to check out next time, as well as new names to follow and greater appreciation for those already in my pool of “favorites.” Thanks and kudos are due to festival producer Steve Heckler, director and emcee Craig Eichhorn, and the many sponsors and volunteers that have built the festival from its meager beginnings to this glorious ten-day event.

For years, summer visitors to the Twin Cities have praised the unique activities of the Aquatenniel, the international flavor of Sommerfest, and the diversity of the State Fair. The Hot Summer Jazz Festival is another reason to visit the metro area or, for local residents, to stick around at least through June. Even if it's cool, the music is hot; the bandstands smoldering; the enthusiasm electric. And most of it is free, making it the best music and entertainment bargain of the summer.

Photos courtesy of Andrea Canter. For information on the 2005 Hot Summer Jazz Festival, consult the KBEM website at www.jazz88fm.com.