So on to the penultimate day of the 2026 Malta Jazz Festival and the event has moved to Ta’ Liesse, Valletta’s harbour front – an open air venue where you can watch the multi-storied cruise liners depart while listening to some of the finest bands Jazz music has to offer. The first of the three bands playing this evening was ĦOSS Project, a Rotterdam-based (but with strong Maltese connections) jazz-fusion quartet, which, according to the programme notes “pushes the boundaries at the cusp of improvisation, electronic textures, and modern groove.”
Picture courtesy of the website Batavierhuis from left to right: Dean Montanaro, Miran Noh, Pete Galea, Cosimo Gentili
We were treated to five numbers, all composed by drummer Pete Galea, and at this point I have to say that I was impressed by what I heard and should have liked to have heard more. Pete Galea leads the band from the back with a solid drum technique. He is supported in the rhythm section by bassist Dean Montanaro (who I had the pleasure of meeting Thursday evening at the Offbeat Music Bar) whose bass lines on the number Qlejgħa Valley stood out. Pete and Dean provided the perfect backdrop over which synth player Miran Noh and saxophonist/flautist Cosimo Gentili wove their soundscapes and melodic lines. The musical movement between Noh and Gentili was wonderfully demonstrated on the tune Wait, which had a free-jazz section that did not feel was out of place – and the way Gentili came out of it and back to the main theme caught my breath.
The final two numbers of the set were a great example of the different influential styles of jazz music that band draws on. Grief had a beautiful airy melodic line played with a genuine sounding connection by Gentili on the flute backed by the subtleist of brushwork from Galea. Jazz-fusion vibed Robot Eyes brought the set to a close with its angular, sharp sax playing, expansive synth work from Noh (Weather Report briefly came to mind); solid driving bass lines from Montanaro; and an opportunity to hear Galea stretch out on the drums. This was a fantastic set of well composed numbers from a band I really do want to hear more of (hopefully the promise of a soon to be released album coming my way for review will be honoured).
Next to the stage came pianist Aaron Parks along with bassist Ben Street and drummer Cornelia Nilsson. A classic jazz trio set up that delivered delightful melodic modern jazz numbers, a ballad, and a Latin-styled number all composed by Parks. Anywhere Together, from the most recent album release “by all means!!” (out on the Blue Note label), had a lingering, reflective quality about it; a thoughtful, emotional composition that I very much enjoyed. The number written for his wife For Maria Jose had a great modern jazz sound and was played with real feeling (perhaps unsurpisingly). We moved on to Dense Phantasy, which I admired for Cornelia Nilsson’s drumming, and in particular her use of the cymbals.
The unnamed-checked tune five was the standout number for me. The extended brushed opening drum solo was a masterclass in the powerful effect of subtlety and the patterns created continued whilst Aaron Parks added sound over the top – it was some time before a discernible refrain broke through, though it was worth the wait. The final number, which Aaron introduced as “one more song” (for clarity, not its title), was a fine example of a jazz unit playing off each other, trusting each other, listening to each other and creating the most wonderful example of modern jazz trio music.
The final, and headline, act of the evening was Ghost-Note, a percussion-based funk, hip-hop and jazz group from Dallas, Texas, with a rotating membership based around founding drummer Robert “Sput” Searight and founding percussionaist Nate Werth – two members of the jazz band Snarky Puppy. For this evening the band comprised of drummer Robert “Sput” Searight, keyboardist Dominique Xavier Taplin, Jonathan Mones played saxophone and flute (though not at the same time), trombonist Daniel Wytanis, Peter Knusden was on guitar and, finally, the vocalist was Mackenzie Green.
There is not really much I can tell you about this act for the simple reason that nothing I write can do justice to the atmosphere this band generated. This was full-on, high energy jazz funk that American bands like this do do well. Terrific tunes; a tribute to James Brown; a Prince cover; and an audience that was on its feet dancing to the most danceable of music (even I shook my hips – and let me assure you that it has been some time since these hips have had a good shake). Band member solos were jaw droppingly good – Jonathan Mones played some sax notes that I feel sure are illegal in some States – and I can’t remember previously seeing, or feeling, the unadulterated joy that I witnessed on display last night at this festival, or any other for that matter. If tis band return to Malta in the future, artistic director, Sandro Zefara, will need to make more room for a dance area at Ta’ Liesse.
SimplyJazzTalk 