After another fantastic season blessed by perfect weather and an eclectic collection of performances by domestic and international artists, last Sunday night marked the end of the Beck’s Music Box for 2010.

Having enjoyed impressive attendance levels throughout the season, a capacity crowd was in attendance at Beck’s for the closing night performances, which featured American brass collective Hypnotic Brass Ensemble and international tastemaker Gilles Peterson.

Now based in New York City after growing up in the jazz and blues Mecca of Chicago, Hypnotic Brass Ensemble sound like an intriguing group on paper, featuring eight brass instrument-playing sons of Phil Cohran (a jazz trumpeter who played in the Sun Ra Arkestra and who was clearly just as prolific outside the studio as he was inside it).

Coming onto stage right on 8pm, the ensemble was a sight to behold live – the eight sons standing in a line across the stage belting out some of the most powerful brass tunes you are ever likely to hear, backed by a drummer – who, somewhat refreshingly, was not a son of Phil Cohran.

Three trumpets, two trombones, a baritone and one giant sousaphone (a type of tuba that one wears as much as plays and that is frequently used in brass marching bands) all contributed to the mighty sound, which was not only loud but also warm and rich – like any good brass should be. And it was tight, perhaps a function of the sibling status. Sharing the MC duties, various sons took turns at talking to the audience, which was clearly enthralled by the set-up.

Having supported the likes of Blur and Mos Def, as well as having played on the streets of Chicago and New York City, Hypnotic Brass Ensemble are literally born entertainers. There was plenty of diversity within their set, as they showed their wares early on with the track Kryptonite, before launching into a gypsy tribute.

Some light-hearted rapping from one son then featured on the track Party Starter before another son commenced some games with the crowd involving the waving of mobile phones. The waving was then accompanied by music and was entirely apposite as the ensemble presented a tribute to the otherworldly Sun Ra Arkestra.

Finishing off the main set with a tribute to legendary Afrobeat drummer Tony Allen (a version of a collaboration with the drummer off their most recent album), there was a fair degree of showboating, but I do think the ensemble had genuinely enjoyed their time in Australia. And clearly the crowd had as well, as there was a sense of disappointment when the single song encore rounded out the performance at 80-minutes in length.

But any disappointment quickly evaporated as Gilles Peterson quickly assumed his position behind the decks and got to work on ending the evening and the season in style. News of Gilles’ abilities had clearly spread far and wide, as a long line queued outside the venue, hoping to gain entry and catch a glimpse of the Englishman.

Having seen Gilles supporting Fat Freddy’s Drop the night before, I was interested to see how the Beck’s set would differ. There was a similar opening in terms of intensity, as Gilles worked in some lounge and nu-jazz tracks before gradually upping the ante. Some funk and Afrobeat followed, and a track off Gilles’ recent Havana Cultura album was well-received by the audience. There was some overlap from Gilles’ set the night before, as Jay-Z’s collaboration with Alicia Keys, Empire State of Mind got another workout, as did K’Naan’s collaboration with Chali 2na and Mos Def, America.

But as you would expect from a man with so many records, such diverse tastes and such a command of so many different styles of music, the amount of overlap was limited. Finally hitting full pace (for Gilles), there were some more hard-hitting 4/4 tracks and some deep house grooves. Another fabulous set from a consummate professional. Perth should consider itself lucky to have had the privilege of two Gilles Peterson sets in two days.

All in all, it was a great way to finish another quality Beck’s Music Box season, as judged by the enjoyment of the capacity crowd and the length of the queue of people trying to get into the venue. I can’t wait for next year’s season, and no doubt I’m not the only one.