The cosy, elegant ambience that patrons have, over the years, come to associate with the Air Jamaica Jazz & Blues Festival seemed missing last Thursday night – a situation which most believe stems from the relocation to The Aqueduct on Rose Hall, Montego Bay.

“The Cinnamon Hill venue was much nicer,” shared one patron, “this [venue] gives you the feeling that you’re at [Reggae] Sunsplash rather than Jazz.”

Another patron, Janice Thompson, added that the venue just did not carry the same “air and sophistication” as the former. Her companion, Keisha Carter, agreed, saying that, though the new venue seems bigger and therefore more spacious, it does not mean a better ‘Jazz experience’.

“I have been coming for three years now. I would have been willing to forego space for elegance and ambience,” Carter said. “Almost tripping over people in the usually tight walkways of Cinnamon Hill was well worth it when you look back”.

It is the absence of this feature, however, that makes Sean and Leila Morgan appreciate the more spacious Aqueduct.

“Last year it got dangerous,” said Leila, adding that she encountered a number of quarrelsome patrons who blocked the walkways and were offended at her need to pass them.

Her husband added that the new venue gives patrons a better opportunity to see all the booths which outline the area and is flat and ultimately less tiresome than the hilly golf course where the festival was previously staged.

The Observer contacted festival organisers TurnKey Productions in an effort to have its principal Walter Elmore comment on the patrons’ concerns.

“The whole idea was for greater comfort and an overall better Jazz experience,” said Elmore, “for the most part we have received good feedback and I think we have achieved that.”

The patrons’ nostalgia for Cinnamon Hill aside, Thursday night’s staging proved to be one of rich and eclectic sounds. First up, Jamaican-born R&B singer Roy Young paved the way for the night’s later performers.

“I’m one of you and I’m home tonight so we’re gonna celebrate,” said the singer as he greeted the audience.

Young, who had not visited the island in 30 years, was quite easy on the ears, superbly delivering Don’t Call It Love and other tracks from his upcoming album Memphis. From Ray Charles-type crooning to the melodiously dramatic sounds of little Jessica Yap on violin, the night’s early acts were clearly appreciated.

The appreciation continued when authentic ‘Jazz cats’ Curtis Hammon, James Lloyd and Eddie Baccus – artistes that comprise Pieces of a Dream – took to the stage. The group filled the venue with emotionally fluid instrumentals that had true Jazz aficionados enthralled. They were perhaps the night’s most elegant performers.

But the yearning for elegance, however, seemed to be a non-issue by the time Arrival – a tribute band to Swedish pop group Abba – and Michael Bolton entered the stage. With respect to the former, their similarity in look and sound to the real thing (Abba) is simply uncanny. The Tribute, which comprises two of the band’s original members, elevated the vibe from fluid jazz to infectious disco with favourites like Waterloo, Money Money Money, Chiquitita and Mamma Mia.

Throughout their performance, patrons waved and sang along with great enthusiasm. The group introduced guest artiste Max Ronander to facilitate a quick wardrobe change. With white jumpsuits gone, the band re-entered in toga-inspired costumes before going into the big 1970s ballad The Winner Takes It All – sung by Victoria Norback who performs as Abba’s Frida.

“This song is about a lady in a high position, she likes to move,” said the lead vocalist.

But even though the mere introductory chords of Dancing Queen received favourable responses from the audience, it was the night’s closer, Michael Bolton, who sealed the deal for many patrons.

During the half-hour band change, Bolton’s ‘super fans’ seemed to forestall his performance, loudly singing the artiste’s material long before he hit the stage. The spontaneous choir-type display had patrons excited and one woman even chided, “yuh change the key man”.

Time elapsed, and Michael bolted on stage, opening with Love Is A Wonderful Thing before telling the audience that he was “happy to be here”. Sporting a black velvet blazer, white shirt and blue jeans, the singer rocked with a reggae-inspired Said I Love You But I Lied followed by To Love Somebody. Ladies screamed, even as they, in unison, put one hand upon their chests while stretching the other upwards.

“You make it a lot easier for us when you just take over like that,” Bolton said, commenting on the sing-along session that was taking place. He delivered superb renditions of Ray Charles’ Georgia and You Don’t Know Me, Gershwin’s Summer Time and Otis Redding’s (Sittin’ On) The Dock Of The Bay during which he sang, “I left my home in Georgia, headed for Montego Bay”.

The favourable eruptions continued even as he performed tracks like jazzy show tune New York, New York and That’s Life from his latest project Michael Bolton Sings Sinatra.

A quick wardrobe change would give way to an emotionally stirring electric guitar solo, which seemed to surprise patrons, some even saying that they did not know he played an instrument. The singer closed with the crowd-favourite Soul Provider, bringing the first of the three major shows to an end at approximately 3:00 am with most patrons dancing and singing as they headed for the exit.