Sessions which I was able to attend, were:
(a) The Kenny Davern Quartet with John Bunch (pno), Dave Green (bs), and Steve Brown (drms).
(b) Fapy Lafertin Quartet with Bob Wilber, gypsy jazz of the Hot Club of France.
(c) "Mr Braff To You" cornetist, with Scott Hamilton (tenor), Jon Wheatley (gtr), John Bunch (pno), Dave Green (bs) and Steve Brown (drms).
(d) Scott Hamilton, and pianist Brian Kellock.
(e) Benny Green & Russell Malone, pianist and guitarist from New York.
(f) Harry Allen and the Brian Kellock Trio.
(g) Gully Low Jazz Band with David Ostwald (side-valve-tuba/ldr), John Allred (tmb), Jon-Erik Kelso (tpt), Howard Alden (gtr), Dan Levinson (cl, c-melody) Mark Shane (pno), Joe Ascione (drms).

And those that I was not able to attend, were:
Rebecca Kilgore Dan Barrett Quintet; Summit Reunion; James Chirillo & Jon Wheatley; Solo pianist Ray Bryant, and all three sessions on Saturday and Sunday the 10th and 11th of August 2002.

Nairn: Inbhir Naraan, Gaelic, pronounced Ga-Lick by the Scots, which differs somewhat from the way those living in Eire speak it.

Nairn - pronounced Nern by the Nairnites, was once known as Invernairn, meaning the ‘mouth of the river Nairn’ or uisge nearn ‘water of the alders’ trees of genus related to the Birch tree that stand abundantly over a long stretch of ground on the banks of the river to this very day.

The deluge of Tuesday 6 August 2002, the night following my sleeper rail journey from Euston to Inverness, which closed the railway line at Pitlochry, caused the Nairn river to run red in torrent with red-sandstone sludge flowing into and being accepted to a stretch by the sea.

This gives the clue why the houses in Nairn are built in the main of that kind of brickwork.

The view from the front of the Newton Hotel, the main venue for the jazz festival, opens onto a field where sheep and highland cattle graze happily together in peaceful harmony, where further down the picture-scope stands the Nairn Golf Club 1887, a par 72 course, situated alongside the sandy beach overlooking the Moray Firth to the Black Isle, Cromarty, Invergordon and Easter Ross beyond.

The other golf club is called Dunbar, and it is situated on the other side of the river, East of the town.

At the gateway to Archareidh stands the Newton proudly where one approaches it from the South to the back entrance of the buildings, old and new, when approaching them from the railway station, off Academy Street, a street which forms part of the A96 Inverness to Aberdeen main thoroughfare, by way of an old established un-tarmacademed drive enshrouded in a thick woodland canopy forest of various tree types encompassing some Beech trees with girths of up to 20 feet and more, and, of heights - well I don’t know, and I can’t guess.

This event afforded a most adventurous, pleasurable, forenoon walk as I booked in at the Newton Hotel to discover what was in store for an old-timer fan and resident visiting Nairn for its International Jazz Festival.

When popular events go smoothly, without chaos or any cancellations, Newspaper journalists would more than likely deem them as non-events, but this was not to be so as far as the Inverness Courier was concerned when it reported on Friday 9 August that rising American star, singer Steve Tyrell who was to play his first major UK concert next day Saturday 10 August at the Universal Hall, Findhorn had to pull out "when his wife was rushed to hospital for emergency surgery" and, that the jazz festival promoter Ken Ramage was frantic "to find someone who could match the newcomer’s pulling power." When I left Nairn early Saturday that morning I had not heard of the replacement.

However, in the same Inverness Courier edition, there is an excellent review by JL of the Sunday 4th Rebecca Kilgore Dan Barrett Quintet concert in the Conference Centre, and the Summit Reunion one with Kenny Davern and Bob Wilber, on the Monday the 5th, and the Fapy Lafertin Quartet with Bob Wilber on Tuesday the 6th, both at the Universal Hall, Findhorn. In the "Weekend Extra" section, a review by Kenny Mathieson on pianist Mark Shane, and Shennachie at the Jazz Festival did the Newspaper proud.

Photo credit of Summit Reunion - Inverness Courier:
l to r, James Chirillo (gtr), Dave Green (bs), Kenny Davern (cl), Steve Brown (drms) & John Bunch (pno), both not in view, and, Bob Wilber on soprano saxophone.

The standard of musicianship at the Nairn International Jazz Festival of the concerts I attended was supreme of the superb.

Tuesday at 1pm on the 6th August in the Conference Centre to hear the Kenny Davern Quartet was my first of the festival, and this masterful clarinettist, was true to form in both talent and wit. With John Bunch on piano, bassist Dave Green and drummer Steve Brown, the call and response routines, the improvisional skills were all there in extended numbers like Bye Bye Blackbird, Wrap Your Troubles in Dreams, and the Armstrongesque long note, but here at the top-end of the clarinet register scales on My Gal Sal set a mood in the packed hotel room that I shall long remember.
I’ll quote from Shennachie of the Courier, "Wet and Dry." A deluge had caused a landslide on the railway line to Inverness and Kenny was stranded in Perth waiting for a bus up North - Davern dry wit at this concert, "On my way here, I noticed you have lots of water - But I guess you turn it into your wonderful Scotch whisky." Lazy River - without doubt inspired by the sight of the swollen streams. An invaluable antidote for adversity - I’d say.

Tuesday at 8.30pm on the 6th of August in Universal Hall, Findhorn, to hear Bob Wilder as quest to the Fapy Lafertin Quartet. I have reviewed one of their CDs by Timeless Records entitled "Fleur D’Ennui" and as expected the group was well received by a full house in the Hall, who travel from far and wide to attend the Nairn Jazz Festival concerts, that is to say, from Inverness and as far away as Tomintoul on the day.

One can savour a delicious Jazz Brunch in the Newton restaurant prior to attending the evening concerts.

Bob Wilber brought a special dimension to the Lafertin group devoted to the music of Django Reinhardt and the Hot Club of France music. The Universal Hall has pleasurable fine acoustics.

It was 9pm in the Conference Centre of the Newton on Wednesday the 7th of August with over 400 people or folk (not persons) in place for the concert "Mr Braff To You" when I entered to claim my as usual paid-for seat at the back of the room. The eloquent cornetist who adores playing the melody line had appeared in Nairn in the past, but this year, he would be teaming up with tenor saxophonist Scott Hamilton with backing group, John Bunch (pno), Dave Green (bs), and Steve Brown (drms) on stage.

It was sad to see Ruby being wheeled in up to the stage-setting, but well-being, when he slowly with a sparkle in his eye, nestled himself in with pillow as a prop-up to his seating arrangements all set to stomp-in on the opening number this evening.

Up to and until I Want A Little Girl perhaps through apprehensive confidence, and settling-in admiration of this great jazz artist, the first session was lacklustre, with only flashes of brilliance of his old-self coming from the Braff cornet.

I heard that it was brandy and not malt which was his fancy at the interval, or was it a read of the JJI article of himself presented to him in appreciation that turned him on, whatever, tunes like the Hoagy Carmichael & His Orchestra Rockin’ Chair of May 1930 in New York one, showed how Ruby had become his true self, conducting his group in professional style, blowing phrasing qualities, only, that that beautiful Braff cornet tone sound could sound. In being asked by him for a choice of song, someone at the rear of the audience, I shan't say who, but I've known him since before I was born, cried out "Just Play Nice Tunes - Ruby" perhaps referring to a CD of Mr Braff with that title, and thereafter, unique to him alone, and always to be remembered, there in front of us for the listening, we heard tunes, played as if they were all coming from heaven.

Ruby Braff was developing a good rapport with his audience, but as he came to announce Yesterday by US composer of more than a thousand songs, Jerome Kern, whose successful musical in 1927 was Showboat, Ruby became infuriated as he mentioned the song of the same title by a famous Pop group, going on to say, that Sir Paul McCartney formerly of that group, the Beatles’ effort, coined for a concert this year in the aftermath of the New York twin towers disaster of 11 September last year, that "a three year old could have written it better."

Following that outpouring and rage, it was then, that the Ruby Braff rendition of Yesterdays with this group became a masterpiece.

It was on The Man I Love that the "Mr Braff To You" concert ended one half-hour after midnight to a tumultuous applause of appreciation from the crowd.

Thursday the 8th of August signalled the Scott Hamilton & Brian Kellock concert due at 1pm in the Conference Centre, and it was there that Dave of Aberdeen asked me, if I had ever heard Scott before. I had not, and classed him from the previous evening as being a mainstream saxophonist.

As an accompanist, in this case, Scott Hamilton with Ruby Braff the day before, and as leader this afternoon highlighted important elements of his playing in those roles, in particular in duo with pianist Brian Kellock, who gave a handful of humourous key tinkles waiting for Scott to start.

After two ballads and what then seemed like an ages run on Groovin’ High, I recognised a measure plus one of Whispering, within which I could mark into the melodically complex rhythms of the tune, this one is by Dizzy Gillespie.

I then began to recall the views of Dave of Aberdeen - his reclassification of jazz, namely, that "Traditional as Vintage; Mainstream as Traditional; Bop therefore becoming Mainstream. A sliding down of the categories, but of course one can’t really specify exactly what jazz is." To hear this was up my street - keeping the jazz debate alive has to be good for the music, and I went on to enjoy listening to The Nearness Of You - request, and Wish You Upon A Star, from this very fine saxophonist.

Solo pianist Ray Bryant in running over his time by an hour earlier in the evening of Thursday 8 August, delayed the 9.45pm start of the Benny Green & Russell Malone set from New York.

The names of Art Blakey, Ray Brown, Oscar Peterson and Diana Krall can be apportioned between them on the festival brochure, but here’s what I heard.

An inquisitive piano opening coming from the Dösendropher Grand, delicate interactive guitar string movements, blending sensitively to beautifully measured piano runs, counter melodying, signifying that a great understanding and enjoyment of their music had developed, between this boyishly deceptive-looking, expressive pianist, and the colourful artist caressing lovingly his guitar of splendour dimensions, reflecting the stage lights to dramatic effect.

It was truly amazing how well they had managed to cover exquisitely their programme in shortened time. Within it we heard: Getting To Be A Habit With Me, Intimacy Of The Blues, A Misty Night, When Lights Are Low by Benny Carter.

In getting the 6pm following Saturday evening four part series Radio 3 programme time wrong to listen to the life-time story of Benny Carter by Michael Pointon - well, can I put it down to the excitement of the Nairn jazz festival that did it? A great reason to have done so !

This Benny Green - Russell Malone concert flew past all too fast, ending at midnight. They were captivating. They were the festival’s unique, giving a stunning duo jazz performance, such, that I'd say - was very hard to beat.

Credits to the United Reformed Church for the adjacent coloured poster of Harry Allen who replaced Joe Temperley in the Brian Kellock Trio concert.

The Church is situated on the main road skirting the town and all credit to it having had jazz played to a full church of jazz fans. The poster was presented to me from its locked outside display cabinet on departure.

The 24 organ sound pipes lit up served as a nice background for the group, and with the evening sunshine shinning down through the windows on it, it created a scene which looked sparkling.

Ballads like The Way We look Tonight and After You’ve Gone were a fitting tribute to the venue, clearing up all apprehension as to whether it was right for the group to be there at all on that early evening of Friday the 9th of August.

Significant on the Harry Allen style is his beautiful sustained long saxophone big contrasting notes, interaction with Brian on piano, and direction of bass and drums, inspiring the latter to produce Chick Webb like heightened forceful control of dynamics drum shots at one point.

The church is hoping to build an extension that will be in place for the festival next year. Let’s hope all goes to plan.

The Gully Low Jazz Band at the Universal Hall, Findhorn at 9.30 on Friday 9 August was to be my last concert of the festival. It was playing to a full house. Leader David Ostwald on side-valve tuba - sidemen noted in introduction.

The band by name passed my expectations of it. The terms gutbucket, barrelhouse, low down, gutsy-jazz came to mind, and, to me that was a drawing power, but the Gully Low were much more, mastering to a high level the music of Louis Armstrong, George Lewis playing tunes from the New Orleans and the West Coast period had placed them at the top of the league.

It was fascinating to see the audience spellbound, listening with great appreciation of their music, whereas I, familiar with all the tunes, normally would get up and dance to all of them.

At long last it looks as if the tables are turning back to the halcyon days of Traditional jazz, and the fact that the Gully Low Jazz Band now has a weekly residency at the celebrated Birdland Jazz Club in New York frequented in the past by Charlie Yardbird Parker, Dizzy Gillespie, John Coltrane, speak louder than words for another Dixieland revival.

The Gully Low top-class professional Traditional styled jazz group put the cream topping on what had become an exceptional jazz festival, hosted in an exceptionally beautiful part of the world, so all praise goes to promoter Ken Ramage and his team for creating an excellent turn of events, making any jazz fan long to return to Nairn.

My stay at the Newton was most enjoyable - Oh! how I miss it tonight.

Coda

The Highland Hotel, Nairn circa 1940

Photo credit Alan Barron from his booklet Old NAIRN

The Highland Hotel photo is as I then knew it, and from whence I was drafted.
Nairn once had a wooden castle, rebuilt in stone by King Willian The Lion in the Twelfth century.
Founded in 1797 the Fishermen's Society was one of the first friendlies in the country.
Nairn is in an enviable position with favourable weather conditions throughout the year, with many places, in and surrounding, of interest to visit.
Fort George close to Nairn, built by King George II after the battle of Culloden wary of those Picts.
I can recall days when marching on the Fort George square numbed the brain, but that's another story, not of Nairn.

Ian King
Kings Jazz Review
Friday the 16th of August 2002