Jamie Cullum could not be described as edgy but he passionately likes jazz and wants much more people to get his point. "It is only the second time that I was out of the House since the birth of my child," he advised a variety of worship at the Cheltenham jazz festival, "and it is simulcast in 75 cinemas in six countries".
After a nervous in a rare one-man show, his first concert since the birth of her daughter in March, Cullum, Director of the festival guest, done through two sets of pop covers, new records and songs he had played there as a year wine bar pianistplaying with all the happy bounce boy, rollercoaster momentum and sound Sinatra-soul which has made him a star.
With no doubt intentional irony, he started with the babblers and slightly caustic I want to be a Pop Star of pointless nostalgic album of 2003 and threw jazz fans a bone leading traditional stride piano Groove under it. In two sets to its growing relaxation is just obvious its excretion of jacket and tie, but more and more spontaneous and turns in the music, then moved up to the gears Cullum.
The standard that comes love begins sensual but grow over agreements peremptorily punchy, classic vehicle of Nina Simone good feeling was interwoven with You Got the love and of vocalese Legend Bob Dorough, but for now received a tender unfussily treatment that reinforced how Cullum is concerned about the old school love intricacies of the song.
But it is an account of aspiration Radiohead high and dry and a version of classic spring really can you hang up of Fran Landesman, the most - in which he bold but intimate ballads successfully attached to Human Beatbox - which persisted longer in the mind.
It may be a jazz festival, but it is not on the bare bulb basements and shadowy characters in hats of pork-pie/h saxes of Cheltenham. Children were turning prospectus on the grass in the white tents holiday sun, while the silver, the Rainbow hair and hair non-aux chosen their way through the sportscasters, fans and bands.
In the distance, a guitarist sounding more like Hendrix of the 21st century as 1940s, Django Reinhardt blew power chords on a ragged brass section. During this time, tents and sober municipal buildings around imperial gardens in the centre of the city hosted some of the hippest jazz musicians, more cools and legendarily long-in-the-tooth of Europe and the United States. found surreally threw together in a town in the English countryside, celebrating the sky blue with hot dogs, reddening flesh and plastic pints of lager.
Sunday began with an artist much closer to the idea of the world jazz of a star, the Challenger of the 2010 Kit Downes Mercury Prize. The day before, the young pianist and British composer had created a pin-sharp code still wheel free piece for host Lesley Barnes and the scientific Adam Rutherford BBC educational show on the evolution and joined in a few breathtaking rhythmic riddles in a new group led by composer Django Bates.
But on Sunday, his powerful sextet explored his own themes inspired by the Scandinavian folk songs, contemporary bebop fast and Skip James. Then, former keyboardist of Brand New Heavies Neil Cowley showed it retains a penchant vibrating for jackhammering rock-piano, even to the sides on this particularly thunderous together but sometimes cinematically brooding and an acoustic trio, a String Quartet.
A huge ascetic contrast followed by Norway's Tord Gustavsen, a hitmaker in his native country with acoustic music of tiny, runoff of reasons, softly brushed cymbal and quietly humming double bass parts. The Gustavsen discreet gospel roots and his musical attention to detail bring audiences of epate silence and his saxophonist Jan Garbarek-like Tore Brunborg was perfectly suited to the atmosphere.
Jazz from the States has been less in evidence that he would have been any Festival jazz UK still ten years, there is a measure of independent jazz more identities in addition to Europe. But harmonic Quartet America, with pianist Jason Moran and saxophonist Chris Potter, rubbed home sustainable power of place of birth of jazz music and bass solos and drum which were models of clarity and melodic force for bassist Larry Grenadier and eye-catching features, drama and the race of momentum to drummer Eric Harland.
"Thank you for supporting live music," was a key message in the Cullum farewell. Throughout the day at Cheltenham was an amen to that.