Jazz in the Clubs used to mean packed nights in downtown Port Townsend, with music drifting out of doorways and spilling into the streets – literally. I remember one year, trombonist Wycliffe Gordon wrapped up a set inside, stepped out the door, and led a second line right down the block — pure small-town festival magic. These days, though, the late-night club sets have found a new home on the grounds of Fort Worden State Park. Some still miss the downtown buzz, but there’s a clear upside: students under 21 who spend the week in Jazz Port Townsend workshops can now soak up performances that would have been off-limits in the bars and taverns.

As the sun started to set, the old military buildings in Fort Worden started to come alive. Students wandered the lawns after a day of rehearsals and master classes, making their way toward the makeshift venues as distant riffs from musicians warming up filtered out through open doors. Inside, rooms slowly filled up as people settled in for a night of hopping from set to set, never quite sure where they’d end up — but always sure it’d be worth it.

In Building 204, Jeff Lederer’s tenor sax lit up the room with his commanding tone and fast, Dorian riffs. Ivan Malespin’s smooth trombone lines balanced Lederer’s edge nicely, while Miles Okazaki, a Port Townsend native, anchored the two with his guitar work, Trevor Ford locked in on bass, and Gary Hobbs provided the backbone on drums. The group even managed to give a nod to the recently passed Ozzy Osbourne as they threw in a music quote from Black Sabbath toward the end of their set.

A short walk down the hall, veteran jazz trumpeter Terrell Stafford lit up the stage alongside up-and-comer saxophonist Anisha Rush. They dug into Thelonious Monk’s “Ask Me Now” and Herbie Hancock’s “One Finger Snap,” trading sharp phrases that kept the crowd pulled in tight. Pat Bianchi filled the corners on keys, moving from thick chords to unleashing solos that commanded the room.  Michael Glynn laid down steady bass lines, Steve Kovalcheck added textured guitar work, and Jeremy Dutton kept a tight groove on drums, locking in each solo right in the pocket.

For those looking to hear some vocals, the Chapel offered an intimate set from GRAMMY Award-winning Johnaye Kendrick. She was joined by Shane Endsley on trumpet, Eric Verlinde on piano, Chris Symer on bass, and Matt Wilson on drums. And if a classic jazz trio was more your style, the Commons was the place to be. Pianist George Colligan, whose résumé includes work with Phil Woods, Cassandra Wilson, and Christian McBride, among others, led the group alongside Jon Hamar on bass and Quincy Davis on drums, giving listeners a solid dose of straight-ahead jazz to round out the evening.

During Stafford’s closing set, festival director Dawn Clement was beaming (as we all were) as she slipped into a seat right in front of me near the stage. Spotting her, Stafford gave her a shout-out, reminding the crowd this whole thing runs because of her steady hand. Clement, fresh off the release of her new album Delight last week on Origin Records, will be back on stage herself tonight with bass legend Buster Williams, and Matt Wilson on drums — another reason to stick around.

And that was only night one. At Fort Worden, jazz keeps finding ways to surprise you — no matter which door you walk through.