Jazz was heard at Daylesford Theatre last Thursday evening in a Bermuda Festival concert dedicated to the memory of the late bassist and blues singer, Wendell 'Chalky' Virgil.

Playing to an almost full house, pianist Toni Bari, Bermuda's legendary drummer Clarence 'Tootsie' Bean, and virtuoso bassist David Jackson offered a programme of standards featuring an A list of jazz composers including Duke Ellington, Billy Strayhorn, Thelonius Monk, George Shearing, Miles Davis, Dizzy Gillespie and others.

Opening with "Thou Swell', an obvious nod to the departed bassist being honoured, the band launched into its programme. They soon established what would become routine during the evening; the pianist would solo after the head was played, then the sidemen would each take a turn.

The well known introduction to Miles Davis' 'All Blues' drew applause of recognition as the trio essayed that famed number. Bari seemed somewhat restrained at the start, but soon the sidemen were pushing him to his limits. His playing, especially on the ballads became more limpid and whimsical as he searched the entire length of the keyboard for his effects.

Interesting things awaited the audience, none more so than Tootsie Bean's making good his promise to add a Bermudian touch to Sonny Rollins' St. Thomas. And he did; out came his whistle, as he drummed up rendition Bermuda Gombey drummers, to the delight of the audience.

Bean and Jackson's understanding of each other no doubt was built on their former association as sidemen for Ruth Brown. Jackson is an exceptional artist as we found out from the start, but especially in his featured piece 'Softly as in a Morning Sunrise'. He was using on of the three instruments owned by Chalky.

There came a moment when one thought we were about to hear Chalky's song/poem 'Save A Little Money for a Rainy Day', perhaps via a recording, but that never materialised. Instead Jackson dazzled the audience with a virtuoso turn on 'Softly'.

Bean has surrendered little to the accumulating years. He's been playing for more than 60 years, all over the world, and looks and sounds as sprightly as ever. Jackson's resume too is extremely impressive, and is borne out with exception artistry. His placement high on the bridge, his glissandos, upward and downward, his tone, and his rhythm were a source of delight.

The band featured one of Chalky's favourite star turnd that he used to play pizzicato 'Polka Dots and Moonbeams'. It brought the man straight back to mind. Almost, one could hear his growling vocals accompanying the bass. Wonderful.

A wonderful surprise was when Toni called Sheila Smith out of the audience; she graciously obliged with Cole Porter's 'Night and Day' and the currently revived classic, 'At Last'. Both sung beautifully. What a fine singer Ms Smith is. She lit up the audience.

Bari did the honours announcing the numbers. He introduced a medley of Ellington's 'Lush Life', joined with Monk's 'Round Midnight'; somber and beautiful. When Bari announced 'The A Train' we knew that soon it would be time to go. Glancing at my watch I noted we'd been in the theatre fully 90 minutes. While we were having fun time was flying.

Music transforms the space it occupies, I have observed twice very recently. Both occasions involved Chalky; the first was at Wesley Methodist Church, when his musical brethren played a prelude to the service. The other was Thursday evening at Daylesford. This was a joyous affair; one could hear audience members exhorting the players with an encouraging 'Yeah!'

Then when Bari announced 'All Aboard' it was time to go out on the 'A Train', with great solos from all three players.

Chalky was to have played this concert. I got the feeling he was there, anyway.