Sea Walk Pavillion
Jacksonville Beach, Fla.

When Craig Chaquico introduces the song "Luminosa" during his live shows, he talks about people who just seem to light up a room when they walk in. It's an intangible thing that you can't pin down, but you just feel great when they are around. That describes Joyce Cooling perfectly. She's one of the nicest, most gracious people you'll ever meet and it shines through whether you're meeting her or watching her play. And she can play! Sometimes the aura of ease that seems to surround her makes it look effortless, but she can tear into a solo and work it from jazz to rock, especially deeper into the set where the band gets looser and start to smoke.

I got there late and stressed because what would a day or evening at the beach be without having to drive around in slow moving circles in search of a parking space. It was easy to let go of the horn honking finger and waving drivers when I saw keyboardist Jay Wagner playing side by side while drummer Billy Johns went into some powerful rhythms. "Come and Get It" had Wagner delivering that churning B-3 sound and Joyce delivering some blues-rock runs. She showcased her crisp, clear fingerpicking style on "Expression," which wrapped up with a steamy percussion jam between Cooling, who picked up various shakers and things to bang on, and Johns. Introducing "I'll Always Love You (Ode To The Audience)," she talked about starting out and playing in little clubs where only one or two people would actually be paying attention. Sitting on a stool and singing with just her guitar for accompaniment, she caught the feel of those early gigs where it is just you in a room with your guitar and the hope that someone is listening. As a singer she's refreshingly natural and unaffected, and there's a jazzy swing to her voice.  She showed her rock-blues side on "Revolving Door," delivered a stretched out version of "Before Dawn," and added a polyrhythmic breakdown to an energized version of the hit "Caliie." The band really turned the heat up on the final song, an extended jam called "Something Different" that was punctuated by a chant about "Joie De Vive" and was, indeed, joyous with its slides into Latin rhythms, a stunning solo from bassist Victor Little that veered between thumps so low they shook the ground, and speedy guitar-like fretwork. Jay Wagner's keyboard work through the whole set was indescribable. He's got the churning momentum reminiscent of Gregg Allman with Corea-ish fusion chording on top. He got a lot of room to stretch out and solo during the set and the effect was jaw-dropping.

Maybe Michael Lington saw how the crowd was eating it up when Cooling's band ventured into blues-rock territory, or maybe its just pure luck and his new set always opens that way, but he let guitarist Jorge Evans open the show standing at the front of the stage playing an electrifying blues rock solo straight out of the Clapton/BB King treasure chest. Needless to say, the crowd was on their feet for that.  Tthen Lington walked to the front of the stage, joking said "This is a smooth jazz concert, huh!" and ripped into a high octane version of "Pacifica." Lington reminds me a lot of Koz before he got more wrapped up in the show biz side of things. He's an engaging performer.  His onstage banter is entertaining, he's totally at ease and his musicianship is superb. He showcased his straight-ahead chops and improvisational skills on the jazz classic "Harlem Nocturne," skillfully shifting from powerful blasts to spaces where he brought subtle nuance to every note. He talked about recording the next generation's standards on his latest CD and turned Stevie Wonder's "All In Love Is Fair" into a power ballad, then added some substance to the nostalgic, but melodically fragile "It's Too Late," by improvising to the point where he created a new melody off the original song’s theme lines  A medley of his format hits featured four infectious pop/R&B instrumentals, the kind of music that brings new fans into the fold when they walk up and hear it at these free concerts. He gave his band a lot of room to play too, often stepping aside to let them solo or jam with each other. There was an eye-popping (or should we say ear-popping) guitar-sax duel during "Harlem Nocturne."   Keyboardist Kim Hansen was showcased throughout, especially during the hits medley. Bassist Smitty Smith and drummer Phillip Beale got to do a pumped up bass and drums breakdown. By sunset the crowd that had gathered on the ramps leading up from the beach and the sidewalk was several layers thick with passers-by who couldn't tear themselves away. He delivered a spirited version of "Show Me" that had everyone on their feet, so the encore - a powerful but sensitively played take on "My Love"- was the perfect wrap up, a familiar song that mellowed out another evening of inspired playing by two groups of musicians who go way beyond the borders of "smooth" or "jazz" and just play music that reminds people how grand it is to experience live music.

-  Shannon West