Production One’s remarkable annual production of Jazz Artists on the Greens is now pretty much taken for granted as one of those unmissable musical events. Its 20th edition on a rainy Saturday, April 5 helped prove the point, despite the challenge of other compelling events that day.
It might be, as quipped by one organiser, that “climate change” can eventually force a rethink in timing, but moderately soggy conditions—met by more umbrellas than in previous years—did little this time around to distract from a programme that generated keen audience interest, and participation, from the earliest notes struck.
Latecomers delayed by early rains would have missed the accomplished ASPIRE Showcase (Steel) Band near the entrance to the venue, but been just in time to witness guitarist/composer Kyle Peters and Vizion’s opening salvos, with support from vocalist Kye De Vere’s defiant energy against the elements.
By that time, the weather had begun to settle, and the umbrellas disappeared as quickly as the crowd grew. Just in time for a first instalment of Ju-né who offered a mix of popular smooth jazz and R&B. She would return later in the programme with an even more energetic set that brought the audience to its feet.
When it was the turn of Canada-based drummer/composer/producer Larnell Lewis and wife, Antigua-born pannist Joy Lapps, there was a discussion by some over the possibility that the musical quality onstage, including a line-up of local and international accompanists, had in fact outstripped much of what has been experienced over the two decades of the event.
This was particularly supportable when a protracted interplay between T&T percussionist, Sheena Richardson and Lewis raised pores and passions on an increasingly cool and breezy evening.
Richardson’s class kept full and energetic pace with Lewis’ well-known skill and innovation.
The band’s setlist included Rejoice, composed by Larnell Lewis with the sax, guitar, and drums in full flight. Coconuts provided a memorable encounter, along with Lapps’ composition Serena which followed.
By the time Lapps’ closing composition, Josie’s Smile, was being executed, there was little to add to the accolades being loudly proclaimed by most in the crowd.
“How can it get better than this?” one guest loudly declared.
Then came Charmaine Forde to re-establish her place as a leading songstress of our time. That her appearance had been delayed and shortened, due mainly to the weather, should probably not have been the stuff of public complaint, and the experienced campaigner should have known better than to so declare.
But a forgiving audience danced its way into a truncated closing act left to acclaimed Dominican singer, Michele Henderson, who made her return to a JAOTG stage with typical flair as featured performer.
Henderson remains, by far, one of the region’s leading and prolific recording artistes with global performances and a growing repertoire that position her at the top of the Caribbean game.
By the time she took to the stage, the skies had darkened but lifted, leaving a pleasantly cool evening ahead. JAOTG had done it again.
Who is there to wait patiently for 2026?
