By Ashley Kahn
Special to MSN Music

Saturday, Aug. 12

11:30 a.m.

The weather could not be better: bright, clear and surprisingly cool, with a constant breeze lifting off the bay and into the crowd. The main stage (one of three) is backed up against the western wall of old Fort Adams, with a mammoth video screen off to its right, juxtaposing the archaic and the modern.

Dan Melnick, the festival's artistic director, welcomes the audience, suggests sunscreen and introduces the first act of the day: the Robert Glasper Trio. Without a pause, the young, dreadlocked pianist -- on a career boost thanks to recent notices in Time and People magazines -- launches into a fleet, energetic set of mostly originals. His style is best described as upbeat and uplifting (joyous rather than moody) and clearly stated -- like a modern Wynton Kelly (to these ears anyway.)

12:53 p.m.

Time for another pianist and a true legend: McCoy Tyner takes the main stage accompanied by Eric Gravatt (Weather Report's first

drummer) and Charnett Moffett, who can handle a bass like a toy (his arco work is jaw-dropping, though there'll be none of that today given time constraints). The pianist's trademark -- those left-hand explosions that propelled so many of John Coltrane's classic recordings -- split the morning air.

12:59 p.m.

Tyner brings up his new all-star frontline: trumpeter Wallace Roney, trombonist Steve Turre, alto saxman Donald Harrison and -- leaping onto the stage having just arrived -- tenor saxophonist Eric Alexander.

On a historical footnote, the remoteness of Newport has made for more than one of those "moments-to-spare" arrival stories, including Tyner himself. His first Newport gig as leader took place in '63 and was recorded. The liner notes for the album talk of his crazed arrival after a flight into Boston and the thrown-together backup, including trumpeter Clark Terry and altoist Charlie Mariano, that yielded the impromptu tune "Newport Romp."

Tyner's group today kicks off the soulful, stuttering theme to "A La Carte," an Art Blakey number, written by fellow Jazz Messenger Curtis Fuller. The impetus for Tyner's current lineup is the old Impulse label and is easily his best band in years, a textbook example of how stellar talent when performing side-by-side can transform great into greater. Please, please let this be recorded!

1:11 p.m.

(Sound of open palm slapping forehead) Damn! Looking at the schedule, I realize that in my reverie -- brought on by the supercharged solos taken by Tyner's band -- I've missed violinist Jenny Scheinman, who was playing with pianist Jason Moran and others at the Waterside stage. Apparently, her mix of Eastern European tinge with a New York downtown looseness has been receiving positive reviews. So much for best-laid plans, but this happens at every jazz festival. I'll catch her next time.

1:38 p.m.

Tyner brings an incredible set to a close with his new flag-waver, "Impressions," which brings to mind the heyday of Coltrane's classic quartet. The flow of ideas and escalating energy in Harrison's solo (on this tune and previously on Tyner's "Blues on the Corner") earn him my personal MVP award for this afternoon's performance. Got to pay closer attention to this man from New Orleans. OK, on to the smaller stages.

At the Waterside stage -- more like a little tent with approximately 100 seats inside -- guitarist Marc Ribot is huddled over an acoustic, wearing a jacket and glasses that make him look like a college professor seeking knowledge, as his fingers squeeze out a tune that resonates with an old-timey folk feel. It sounds more familiar than not. Is it an old bluegrass

2:11 p.m.

tune or some spiritual? Then I realize it's the melody from Albert Ayler's "Ghosts," taken from its more avant-garde context and picked on guitar as if it's a Mississippi delta blues tune. Brilliant! Exactly the kind of rethinking that keeps old new in jazz.

2:20 p.m.

Having switched to electric, Ribot ends his set with a tune that begins in the noise realm. His feet pump away at electric switches, and feedback and static leap from the speakers. It turns out to be an attention-grabbing prelude to a relatively sedate (but still punchy) rendition of "Body and Soul"!

This surprise cover of the standard cannot help but bring to mind the more swing-era version performed by John and Bucky Pizzarelli last night on guitars. It's one of those unexpected musical links -- the old compare/contrast game -- that argues for including all of this music under the banner of "jazz."

2:55 p.m.

On the nearby Pavilion stage, another solo guitarist is holding forth. Raul Midón is singing a plaintive vocal line, then making trumpet sounds

(actually singing a trumpet solo), while his fingers chop away at a complex Latin-like rhythm on the strings.

"If You're Gonna Leave" is typical Midón: part flamenco, part R&B, with a jazzy feel. The more veteran jazz crowd might complain that his approach leans more toward soul music, but the little girls -- as the song goes -- understand.

Midón's recent arrival has been marveled at by a wide-range of listeners in and out of the jazz circle (including Stevie Wonder who played harmonica on his debut album last year). What is most astounding as one watches him, standing stock-still onstage, is his uncanny ability to play runs and chordal patterns on his guitar even as he sings, without diminishing his precision on either.

3:07 p.m.

Trumpeter Arturo Sandoval's set on the main stage is drawing to a close with its party-perfect, Cubano-funk-jazz musical blend. It veers a little too close to the "smooth" edge of the jazz gamut for my tastes -- a little too polished and safe. The need for chance-taking, for the thrill that improvisation might result in mistakes, is sometimes lost in situations like these. I move back to the smaller stages again.

3:11 p.m.

A word about other attractions at the site: Walking away from the larger stage, where roughly 5,000 can sit comfortably, there's a gauntlet of crafts and multi-culti food booths. A lot of hand-tailored clothing, tchotchkes, music-related items (CDs, rhythm instruments) and promotional stuff. Interesting, tempting, but all I end up buying is two CDs.

At one juncture, because of the wind pattern, there's an unplanned confluence of thick barbecue smoke enveloping a long line of festivalgoers waiting to use the Port-o-Lets. Best to find another I would think, but when you gotta go ...

3:13 p.m.

Trombonist Sarah Morrow -- American-born but living in France -- has assembled a group using Glasper's trio, and an impromptu performance is in full swing. No rehearsals, limited preparation. I recognize the theme to "Blue Monk" as I near the Waterside tent; it sounds intriguing, save for the septic truck backing up nearby. Too bad its beep-beep-beep is out of tempo.

The truck is off soon enough, and the tune proves enjoyable for several reasons: Damien Reid's charged and conversational drumming; Morrow's

unusually fluid, smooth approach to an instrument that often leans more toward growls and slurs; and Glasper's ability to raise blues (well, Monk's version of the structure) to a level of elegance with a simple series of sparkling chords.

4:00 p.m.

Chillin' in the late afternoon shade that starts creeping from the fort toward the Pavilion stage at this time of day, enjoying watching a crowd cluster, then break off into small dancing groups as New Orleans' Preservation Hall Jazz Band is holding forth, performing the Dixieland classic "Bourbon Street Parade." This is the revived version of the legendary band -- originally created in the early '60s as an outgrowth of the trad-jazz revival. The lineup now features young players and many veterans of the general music scene. Bassist Walter Payton (best known as a R&B session player and father of trumpeter Nicholas) has taken over mic duties, singing "Shimmy Like My Sister Kate" with a throaty, Satchmo-like delivery, urging all out of their seats.

What is it about this music that works so universally well at getting folks up and dancing? Perhaps it's the ease with which anyone can groove to the two-beat rhythm with those cowbell accents; perhaps its natural ebullience is just so ingrained that it cannot be denied, no matter how hip or young the listener. I spy two teenage girls kick off their sandals and start improvising moves that can be found on Bourbon Street -- but not where the jazz bands play.

4:23 p.m.

Al Jarreau -- vocalist extraordinaire with his own approach to good-time music -- is on the main stage, proving the undying popularity of the jazz/R&B crossover. It's fun stuff, but in many ways, a little too smooth and predictable for my taste and seems all the more on the pop side when one comes from another tent where the music has a certain edge and sharpness, whatever the style.

4:36 p.m.

I drift back to the Waterside tent and am immediately drawn to the sound of a growling tenor sax -- very bluesy and honking, in the King Curtis mold. It's James Carter, leading the group Gold Sounds, a quartet with keyboardist Cyrus Chestnut (playing piano and Fender Rhodes); bassist Vicente Archer (his third gig of the day); and drummer Ali Jackson (one of a new generation of drummers operating in the funk/out-jazz overlap).

Gold Sounds was born as an album, assembling this powerful quartet to interpret and record the rock songs of Pavement. A novel idea: Other bands have seen their music generate tributes, but this one drew positive attention for its unusual matching of rock songs (albeit melodic and arrangement-focused) with jazz heavyweights. It led to a great night in New York City, and now here in Newport.

I admit that being a Pavement fan did not help me recognize certain songs, and after awhile I just sat back and enjoyed the jams for what they were, not what they came from. The dynamics of the group shifted from frenzied to hushed and atmospheric, and back again. Jackson's rock-funk beat had plenty of space in the pocket for the others to fill. Carter's impossibly long tones on soprano, and his dialogue with Chestnut on the electric Rhodes, tossed disjointed phrases back and forth.

4:58 p.m.

The collective power of the group reached a climax as the set ends with a driving version of "Cut Your Hair" -- somewhat slower than the original -- and I depart thanking the festival for including the unusual and unexpected. Next to the Tyner set, this is easily one of the highlights and close to the best sets of the day.

5:32 p.m.

Guitarist George Benson is one of the few giants left who matured in the golden age of jazz in the '60s, had a big crossover in the '70s and has a roster of familiar hits that bring to mind that certain era for many fans in and out of the jazz circle. Plus he can still play the heck out his guitar.

Still, here come the warm hits: "This Masquerade," "On Broadway," "Turn Your Love Around." And of course, "Breezin'" -- the instrumental that first put Benson on the pop charts and that was actually written by the unfairly forgotten Hungarian guitarist Gabor Szabo.

6:45 p.m.

"Tutu"? As in the Miles Davis, reggae-flavored hit from '86, penned by bassist Marcus Miller?

Al Jarreau is singing the song -- originally an instrumental -- with George Benson and his band. A nice, mood-setting end to a wonderful day. Tomorrow's supposed to be as clear, sunny and cool as today was. Can't wait.

Ashley Kahn is an American music historian, journalist and producer. He has toured as road manager with artists such as Ladysmith Black Mambazo, Hugh Masekela, Paul Simon, Peter Gabriel and Britney Spears. Kahn has also written books about two essential jazz albums: Miles Davis' "Kind of Blue" and John Coltrane's "A Love Supreme." His writing has appeared in the New York Times, Downbeat, Jazz Times, Rolling Stone, Mojo, New Statesman and GQ; he's also a regular commentator on NPR's Morning Edition.