The Sun Finally Shines on the Newport Festival

The third time proved to be the charm for the Glen Ellen Newport Jazz Festival. After wrestling with less-than-perfect weather and a bit of an identity crisis in its first two years, the fest seems to have found itself, snuggled on a hillside on the grounds of the Hyatt Newporter Resort.

Last year’s unsettled conditions and brisk evening temperatures contributed to a low turnout. The first evening of the fest’s first year was rained out. This year, a clear, blue sky and temperatures in the upper 70s greeted Sunday’s closing day of the two-day event.

In addition, organizers made up their minds about what kind of event they wanted. There was no mainstream-contemporary, split-personality problems. Contemporary sounds ruled in ‘96, most appropriately so for this giant party.

In fact, the more party-oriented the band, the better it succeeded with the crowd. That’s why saxophonist Boney James’ midafternoon boogie-down set was so enthusiastically received, while serious pianist Joe Sample garnered only polite acknowledgment.

But Sample’s sunset performance was the most musically satisfying. Playing material that dated back some 20 years, Sample gave a well-rounded overview of his career outside the Jazz Crusaders.

Not surprisingly, the older material operated on the same principles as tunes from his new release, “Old Places, Old Faces,” as Sample established smart, accessible beats, painted them with suitable moods, then let his fingers do the talking.

Backed by bassist Jay Anderson and percussionist Lenny Castro, Sample explored various moods with harmonically pleasing, rhythmically intensive improvisations that were sleek, stylish examples of his craft.

There were reminders of the jazz tradition as Sample played “Souly Creole,” a tune dedicated to Louis Armstrong, “Stormy Weather” and his own “Cannery Row” with its decided ragtime feel. Despite the historical framework, the pianist gave each a modern treatment, like putting a new engine inside a classic old car.

Castro stimulated Sample’s rhythmic style of play with a full complement of percussion instruments. The drummer constantly swiveled around among snare, cymbals, congas, bongos, bells, shakers and chimes, creating the kind of depth that usually requires both a drummer and a percussionist. Sample’s signature tune, “Carmel,” seemed especially designed for an outdoor event like this.

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Guitarist Earl Klugh, who closed the show after sunset, watched as a large portion of the crowd made for the exits. Those who stuck around for the soft-jazz headliner were rewarded with a sampling of his best-known tunes and recent material. His smilingly optimistic material was the perfect wind-down for a party that was hot when the sun was shining.

Klugh long ago learned the attractiveness of acoustic guitar played against a layered synthesizer wash. His “Happy Song” pretty much described his entire set. There were few serious moments, and a minor-key mood never once surfaced.

Still, Klugh played with technical ability and melodic pleasantness. His six-piece band, featuring two keyboards, two percussionists and saxophone along with his own guitar, provided sturdy support and entertaining solos. But Klugh could take a lesson from Sample, who deals with life’s more serious side in his music while maintaining his overall good-times feel.

The show also featured performances by keyboardist Gregg Karukas and vocalist Shelby Flint, who moved the crowd with their melodically pleasing brand of adult-contemporary material, and by saxophonist Joseph Vincelli.

The crowd’s hands-down favorite was fireplug saxophonist Boney James, who combined beat tunes and sultry ballads into a set that had the near-sellout crowd of more than 4,000 on its feet. James’ warm, Grover Washington-influenced tone on tenor and his intimate Kenny G-like soprano sounds fit best into the sun-and-fun atmosphere.