Billed as A Love Supreme: The Philly-Detroit Summit, the 29th annual Detroit International Jazz Festival brought with it a plethora of spectacular music that kept jazz fans hopping for the entire fours days of the recent Labor Day weekend. Even without the themed presentations highlighting iconic musicians from both Philadelphia and Detroit, there was a feeling in the air that something special was going down as some of the nation’s finest came together for a festival that just keeps getting better and better.

This reviewer didn’t make the scene until Saturday afternoon, but I quickly made up for any wasted time by checking in with saxophonist Javon Jackson in a set featuring soul-jazz legend Les McCann.  In this cross generational meeting of the minds, Jackson managed to put a funky spin on his own style, while McCann kept the groove happening with such numbers as “Cold Duck Time” and “Gingerbread Boy.”  Not surprising, the pair waited to the end to break out the anthem “Compared to What.”  Over at another stage, bebop was the message with alto man Sonny Fortune leading a crackling quartet featuring pianist Michael Cochran, bassist Cecil McBee, and drummer Steve Johns.  Fluid and melodic on numbers like “You and the Night and the Music,” Fortune also unleashed an amazing display of circular breathing on his homage to Wayne Shorter entitled “Wayneish.”

As artist in residence for the festival, bassist Christian McBride was a ubiquitous presence the entire weekend working in a number of capacities.  A set with his own band of heavyweights featured keyboard man Geoff Keezer, saxophonist Ron Blake, guitarist David Gilmore, and drummer Terreon Gully.  Still knee deep in the fusion sounds of the ‘70s; McBride’s own pieces are like miniature symphonies filled with all kinds of clever twists and turns.  Particularly memorable were “Technicolor Nightmare” and the lovely Hancock-esque “Hibiscus.”  Joe Zawinul’s “Boogie Woogie Waltz” was another highlight which also provided plenty of stretching room for Gilmore.

Wrapping things up on Saturday was a tribute to Latin jazz heroes Hilton Ruiz and Mario Rivera.  The all-star ensemble included pianist Arturo O’Farrill, trumpeter Ray Vega, trombonist Steve Turre, and percussionist Pete Escovedo.  The emphasis was on the montuno with lots of spirited jazz soloing all around.  Not taking away from anyone else on the bandstand, it would be fair to say that O’Farrill stole the show on more than one occasion with his incendiary work.  Numbers like “La Cuna”, “Siboney,” and “Puente of Soul” made it hard to sit still and there were more than a fair share’s worth of listeners dancing in the aisles.

Philly came to the fore early on Sunday afternoon, first in a rare set by guitarist Pat Martino and then with a spiritual and uplifting salute to Alice Coltrane.  Martino may have played it a bit too cool at times, but he certainly can fire off those Wes Montgomery octaves and other tricks like nobody else around.  His romp through “Full House” left no doubt that he still wields chops a plenty.  Ravi Coltrane then honored his mother with the help of Geri Allen, Charlie Haden and Jack DeJohnette.  Playing with a much harder attack than usual, not unlike that of his father, Ravi was clearly in the moment and pieces such as “Translinear Light” and “Blue Nile” put one in a trance with their hypnotic grooves.  Harpist Brandee Younger was also somewhat of a revelation; her swirling sounds setting a ruminative tone on “For Turiya.”

The rest of the evening found me stage hopping between sets, taking in the legendary Benny Golson, who talked almost as much as he played, but who was backed by a fine rhythm section that included pianist Mike LeDonne and drummer Carl Allen.  Detroit’s own Gerald Clever could also be heard in a program of original compositions, his session mates including trumpeter Jeremy Pelt and saxophonist J.D. Allen.  Somewhat of a mixed bag was a less then perfect set by alto man Kenny Garrett, the banal and funky grooves proving to be a downfall for the normally combustible performer.  Much more to my liking would be Roy Hargrove’s strong-willed set, one that gave you the impression that the trumpeter was playing every note as if it might be his last.  There has been a giant leap in maturity to Roy’s playing lately, not withstanding the fact that he has always been an immensely talented performer.  Focusing on many of the numbers from his latest album, Earfood, Hargrove and company shuffled between rollicking up tempo lines and reflective ballads, spurred on by the complex rhythms of drummer Montez Coleman.

Although my time was limited on Labor Day proper, having to drive back home to Cleveland well before things officially concluded, I did manage to take in two fine piano trio sets.  Up first would be Kenny Barron, working with his current trio of Kiyoshi Kitagawa and Francisco Mela.  A bit heavy on the ballad numbers, the set would nonetheless find time for some interplay among the trio members and a fine drum solo from Mela on “New York Attitude.”  Detroit legend and veteran of countless recordings, Barry Harris was in fine form with bebop on his mind.  Guest Charles McPherson effortlessly ran the changed on staples of the repertoire such as “Now’s the Time” and “All God’s Children Have Rhythm.”

The last set I took in prior to departure would also be my favorite of the entire festival.  Matt Wilson’s Arts and Crafts has quickly become an ensemble in the upper echelon of current working bands.  What’s so amazing to witness is how this group breathes and almost thinks as one.  For just one example, it was absolutely fascinating to hear how Wilson brought the tempo up and down during organist Gary Versace’s solo on “Rejoicing.”  Throughout, Wilson could be heard dragging out his whole bag of tricks, from shakers and rattles to penny whistles and other exotic toys.  A true entertainer, Wilson brings out the best in his band mates, trumpeter Terrell Stafford and bassist Martin Wind playing an integral part in the proceedings.  Perhaps the drummer best summed it up when he boasted, “If every city in America had a jazz festival, the United States would be a better place.”