There may be no living jazz musician better loved than Jean (Toots) Thielemans, the harmonica virtuoso who came to America from his native Belgium more than 50 years ago. Mr. Thielemans, who turns 84 next month, has gamboled through seemingly the entire landscape of mainstream jazz during his career; from gypsy swing to bebop and every variety since. Along the way he developed an exuberantly expressive voice on the chromatic harmonica, pioneering its use as a solo instrument. And at every turn he made friends, including an illustrious and kaleidoscopic array of fellow musicians.Half a dozen of them made guest appearances in a tribute to Mr. Thielemans at Carnegie Hall on Thursday night, and it was no surprise that a warm and blithesome feeling prevailed. What was somewhat surprising about "The Magic of Toots: A Celebration of Toots Thielemans" was the way the feeling suffused the concert, overcoming even its all-star conceit. What could have felt tediously programmatic came across as a genuine celebration.
There were reasons for this — including the careful designs of the concert's producers, Pat Philips and Ettore Stratta — but none was more crucial than the omnipresence of Mr. Thielemans. Seated in an upholstered chair for an opening solo piano meditation by Herbie Hancock, he smiled but also fidgeted, as if it pained him not to join in duologue; on the following tune, Paul Simon's "I Do It for Your Love," he did, answering Mr. Hancock's sweeping arpeggios with trills and flurries of his own. For the rest of the night he was perched on a stool at center stage, harmonica in hand; it wasn't his intention to merely bask in acclaim.
In an all-acoustic first half, Mr. Thielemans traded sentiments not only with Mr. Hancock but also with the clarinetist Paquito D'Rivera (on "Brussels in the Rain," a song by Mr. D'Rivera) and the tenor saxophonist Joe Lovano (on the balladic essay "Body and Soul" and a gallant theme by Mr. Thielemans, "For My Lady"). The strongest chemistry, not surprisingly, was between Mr. Thielemans and his regular partner Kenny Werner, the concert's main pianist and musical director. Backed by a sensitive rhythm section, they amplified the sumptuous melancholy of Michel Legrand's "Windmills of Your Mind."
Mr. Thielemans likes to luxuriate in a melody; his most natural cadence is a regal yet confessional rubato.
He employed it to marvelous effect on "Ne Me Quitte Pas," the Jacques Brel chanson; his soaring, entreating interpretation, performed as a duet with Mr. Werner, deserved the standing ovation it received.
Much of the second half was more rhythmic, with an emphasis on the Brazilian music Mr. Thielemans has also fruitfully explored. The guitarist Oscar Castro-Neves joined the ensemble, presenting a fetching original, "Felicia e Bianca"; the pianist Eliane Elias did the same, singing in a sensuous alto and contributing a handsome ballad. Ivan Lins, the popular singer, brought star presence to a pair of songs, including "Madalena," one of his earliest hits.
Mr. Thielemans introduced his own early hit, the lilting waltz "Bluesette," on guitar, the instrument he played before picking up the harmonica. But before long, the song morphed into a samba, for a parade of solo turns. Some of the guests, like Ms. Elias, achieved a sparkling charisma. But no one stole the spotlight from Mr. Thielemans; he was having giddy fun, and the feeling was contagious.
By NATE CHINEN - nytimes.com
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