Monday, November 22, 2010
Thursday, November 18, 2010
Tuesday, November 16, 2010
Monday, October 11, 2010
Sunday, September 26, 2010
- L'Office Québec-Amériques pour la jeunesse
- Liliane Braga
- Guga Stroeter & Centro Cultural Rio Verde
- Rael da Rima, Paulo M.Sario, Bruno du Braga Dupré & Cauê
- Amadeu Zoe @ Serralheria
- Caroline @ Jazz nos Fundos
- Letícia @ Syndikat
- Dino Verdade @ Bateras Beat
- Dina Thrascher at the Canadian Consulate
- Mauricio Tagliari @ YB
- Flávio de Souza
- Carlos Ezequiel
- Daniel Gralha
- Loco Sosa
- Túlio and the entire staff of Vila Madalena Hostel
Saturday, September 25, 2010
Sunday, August 22, 2010
Tuesday, August 03, 2010
Saturday, July 10, 2010
Sunday, July 04, 2010
It's obvious I have created an atmosphere where I don't even have to say anything and everyone knows what is going on. So, the people behind that person, take their camera away and I'll shut up.
Saturday, July 03, 2010
Setlist: Within Me; Butterfly; On the Other Side; Doralice; Better Than; I Can't Help It (setbreak); Blue in Green (as a swinging hip-hop inflected tune); Juju; Me and You; Winter Wind; Ugly Beauty (duo w/ Eigsti); Weak.
Adam Rudolph's set was, frankly, plagued by all sorts of disappointments. I had high hopes for this show, solidified by the promise of his album Dream Garden and his work with Yusef Lateef. Gésu was half-empty and the concert started more than 20 minutes late, due to bassist Jerome Harris running over from his earlier show with Jack DeJohnette. Both reed players from the album (Ned Rothenberg and Steve Gorn) were absent, replaced by Ralph Jones. Graham Haynes was on flugel, trumpet, and borrowed a couple of flutes from Jones. Brahim Fribgane was the revelation of the festival for me, on cajon, frame drums and oud. Kenny Wessel was on electric guitar and banjo.
They opened with the steamrolling percussiveness of "Oshogbo," Fribgane's cajon and Rudolph's congas locked into each other with the horns cueing small figures and guitar swells. It then broke down into an open, free section of bowed bells, gongs and "little instruments" reminiscent of the Art Ensemble, except it was painfully static and not moving towards anything. I found Jones, throughout, to be distracting and interruptive - some beautiful moments courtesy of Fribgane and Rudolph would be derailed by Jones picking up another ethnic flute and noodling on it off-mic. Wessel seemed to be in his own world, not listening or responding to anything else going on. That's fine, though it either needed someone else also improvising out of context or he needed to lay out more. There were fragments of potential themes, melodies and rhythms that never cohered or moved anywhere. It picked up steam in the last third of the concert, with a meditative raga-like piece in D with a repetitive melody chased around the group, and another uptempo theme in Eb.
If the concert had been a half-hour shorter and the interludes more condensed, it would have been a thrilling mixture of folkloric rhythms and free improvisation. As it stood, it was a concept unrealized and promise unfulfilled.
Thursday, July 01, 2010
Then it was off to Slavic Soul Party. I've been meaning to see this Balkan brass band of Brooklynites for years, and they pulled no punches in their 9 pm set. Furious amounts of energy, tremendous precision by the trumpeters in their ornamentation, and the loudest tuba I have ever heard, played by the mohawk-sporting Ron Caswell.
Last night was also my first time seeing Dave Douglas' Keystone live. Playing music from the new film collaboration with Bill Morrison, Spark of Being, two things struck me immediately: 1) the absence of DJ Olive (on parental leave, and being subbed by Jeff Countryman behind the scenes); and 2) the similarity between Keystone and Dave's quintet. The instrumentation, obviously, is remarkably similar - Marcus Strickland on tenor, Adam Benjamin on Rhodes, Brad Jones on Baby Bass, and Gene Lake on drums. It's the slight differences in the players from their counterparts in the Quintet that really mark the two bands apart - Strickland has more air around his sound than the razor edge of Donny McCaslin; Benjamin processed his Rhodes with filters and delays that allowed him to be the glue between the band and the sound design; Jones' Baby bass has a hollow sound (and unfortunately wasn't working for most of the show); and Lake is an entirely different beast on kit. But it seems that Douglas' compositional voice is now cohesive across his many projects - the Quintet, Keystone and Brass Ecstasy are all quintessentially Dave.
Based on Morrison's film, which is itself based on Frankenstein, the opening themes had that quality of unpredictable ascension that only Douglas writes. The recurring themes often featured repetitive motivic figures, in one tune sounding like an air raid siren. The repetition of repetition led to a couple of "Epistrophy" quotes - how very meta. In other places, it seemed that Douglas has been checking out J Dilla and Flying Lotus, Lake delivering powerful beats that had Douglas and Strickland in full-out headnod mode. At times it was truly difficult to tell what was Benjamin's processed Rhodes and what samples Countryman was triggering from the stage, and that was truly important: the samples were truly integrated into the band sound. Lake used his powers of chops and gear for good and not ill - there were some pyrotechnic rolls but they were at the service of the music, and very few have a groove as deep. He absolutely nailed the unique swing of Dilla and post-Dilla experimental hip-hop, the Afro-Cuban 12/8 feel that popped up a few times, and the swampy funk and shuffle of the encores.
The first few pieces of Spark of Being were delivered continuously, and I think the music may have even been more effective delivered as a continuous suite or even screened with the film. Even without that, Spark of Being is compelling music and perhaps the most seamless integration of electronics in Douglas' career.
Wednesday, June 30, 2010
Walking into Chapelle historique de Bon Pasteur, the home of the new Solo Piano series and a beautiful Fazioli piano, I saw elegant elderly patrons of the festival sitting in the foyer. I was genuinely curious as to whether or not they knew what they were getting into. With a row of guitar pedals and a MIDI controller atop the grand, Benevento wasted no time announcing that this would not be your usual "solo piano" concert. Performing his original trio repertoire in the company of Nintendo-sounding drum loops and processing the Fazioli through delay and tremolo effects, the row of 70-somethings in front of me seemed thoroughly baffled and proceeded to talk through most of the concert. Benevento has a penchant for simple, almost child-like melodies, and was very much musically aligned with the orchestral indie rock scene of this city (see: Arcade Fire and Bell Orchestre). The first part of the concert was comprised of mostly original compositions, including "Greenpoint" which featured an interpolation of Nirvana's "Come as You Are."
As much as I loved the electronics, samples, and beats, the concert really took off as Marco started to abandon the effects and dig into the piano. He has a way of selling melody, as evidenced in his covers of My Morning Jacket's "Golden" (played over a drum loop that sounded pilfered from Paul Simon's "Late in the Evening") and homeboy Leonard Cohen's "Seemed So Long Ago, Nancy." The final three songs of the concert - an F-major soundscape piece in 5/4, the "Real Morning Party" delivered as a James Booker-style New Orleans piano raveup, and his arrangement of Monk's "Bye-Ya" in 7, in an appropriate and tasteful display of piano chops - were easily the strong point of the set.
Oddly enough, the older audience members were buying Marco's new album, Between the Needles & Nightfall, in droves after the concert. Maybe, as Josh Jackson hypothesized, it was for their grandkids. But that would have been an interesting crowd to survey for Meet the Jazz Audience.
Monday, June 28, 2010
The first half of the show featured Chano, drummer/cajon player Guillermo Mcgill, vocalist Israel Fernandez Munoz, and dancer Joaquin Grilo who also played cajon. They performed Chano's adaptations of music from Catalan classical composers Enrique Granados, Manuel de Falla, Isaac Albeniz and Federico Mompou. It was evident that space was opened up for improvisation within the pieces but not being familiar with the original works I couldn't say where. Dominguez has found a way to truly incorporate the phrasing and feel of flamenco guitar to the piano - the rolling flourishes, repeated notes, and a real hook-up with the palmas and the cajon. Jazz has been hybridized with his harmonic and melodic sense, some well-incorporated bluesy touches, as well as Dominguez's penchant for quotations à la Dexter Gordon. "Lush Life" and "St. Thomas" popped up in the first half. Fernandez did not sing on every piece, but deployed these heart-wrenching vocal ornamentations at exactly the right time. Grilo played a lot of cajon and palmas but when he danced he was a welcome addition. His opening choreography reminded me a lot of modern circus, and some of his footwork and posture to my eyes was more akin to James Brown than flamenco dance. He and Dominguez shared a great chemistry onstage.
The second half of the concert was a tribute to Kind of Blue, its repertoire re-imagined by Dominguez to varying degrees of success. The group was completed by bassist Mario Rossy, whose bottom end filled out the sonic spectrum and who also proved to be a fantastic soloist in his intro to "So What." "Flamenco Sketches" began this half, appropriately enough, and it went to a much higher-energy place than the song's roots in Bill Evans' "Peace Piece" would suggest, ending essentially as a bluesy descarga in G. Fernandez also improvised admirably over the changes. "Freddie the Freeloader" was recast over an Afro-Cuban 6/8 that did not feel as inspired or as cohesive. When the band switched to a buleria 6/8 feel with two cajons under Rossi's solo, the groove suddenly gelled and felt much better. The highlight was "Blue in Green," with Rafael Alberti's "Poema 51" set to its melody, opening in a powerfully moving duo between Dominguez and Fernandez. "So What" was the most radical transformation, transposed to F, reharmonized, and preceded by a brilliant Rossy solo. Dominguez invited Grilo to dance, trading with Mcgill. The encore was "All Blues," which in an ironic twist was played in a funky 4. A bit of an anticlimactic ending, with Dominguez playing Michael Jackson's "Black or White" for a chorus and really not catching the inspirational spark of the first half.
Dominguez, in his best moments, exhibits a true understanding of both the jazz and flamenco traditions. When they're not forced together by external concept but dovetail with each other through musicality, it's a vivid and thoroughly gorgeous experience.
Sunday, June 27, 2010
Derome, in deadpan delivery, described the tunes as a suite dedicated to the mundane incidents of life on the road, with titles like "Nez qui coule" and "Cogné de genou."
Dostaler is a very deliberate player in every comping phrase and every line. It took a while before Tanguay unleashed his irreverence in the solo of "Prières." Cartier sang "La grenouille et le boeuf" admirably in a trembling baritone and his electric bass allowed for a sustained, almost post-rock undertone to "Nez qui coule." Walsh often relied on glissandi and extreme high register, often complemented by a plunger. Derome, on alto and soprano saxophones and flute, played with a fairly clean tone, marked by intentional spurts of overblowing and other extended techniques.
Compositionally, the pieces featured some intriguing structures - the Berg-like stacked tone row of "La grenouille," the intervallic unisons of "Nez qui coule." The blend between Walsh's trombone and Derome's alto was especially notable. The centrepiece of the set was "Prières" (based on Protestant hymns), with the horns in harmonized chorale, the cued repeated figures for Tanguay's solo, and splitting the band into two time feels. Throughout the show, it was all very interesting but the spark was lacking - perhaps that was part of the tribute to the mundane as well.
The Kalmunity Après Jazz party was off the hook. It started off slow and took a while before people showed up, but around the stroke of midnight people started flooding in. Half of San Francisco's Jazz Mafia crew came in, and various drummers, singers and horn players came in to join us. Jazz Mafia seems to be Kalmunity's West Coast twin - they also hold down a weekly Tuesday gig, and are a sizable collective that has led to other smaller ensembles. Drummers E.J. Strickland and Obed Calvaire were just hanging out.
Saturday, June 26, 2010
Friday, June 25, 2010
I've been collaborating with Claude Thibault of SortiesJazzNights for some of his video interviews. My meeting with Omar Sosa is up, and I just interviewed Vijay Iyer earlier today. I'm looking forward to his shows tonight. Watch this space for reviews.
Thursday, June 17, 2010
Both sets were continuous, with fragments of various tunes creeping in and out of the improvisations. In the first set, Parker and Drake were very clearly driving the bus, with Jordan riding over them. Opening with unison punches on a major 9th that launched into a fast swing, Jordan exhibited his full-bodied sound across the entire range of his horn. Ideas from all three performers were dovetailing with each other, Drake fluidly moving from groove to groove - hints of backbeat led to a Latin-ish groove duet between him and Parker. An eerie combination of Parker's bowed bass with Jordan's plaintive altissimo register dissolved into a 6/8 feel. After quoting Coltrane's "Pursuance," Jordan got so overheated he exclaimed "Hallelujah!" and left Parker and Drake alone while he cooled himself off with his towel. The set ended with an interpolation of "Nature Boy."
The second set was more of an egalitarian triologue, Jordan digging into the rhythm section and solo spots opened up for each member. The powerful hook-up between Parker and Drake was still present in abundance. Coltrane quotes - this time "Cousin Mary" - were prevalent from Jordan. Drake became a one-man batucada for a minute while Jordan and Parker played a descending D minor scale. "Wade in the Water" appeared over Drake's patented rubbery reggae feel. The ending was awkwardly humourous, continuing past the point of its intended conclusion into a series of extended attempts to end it. The strange ending did nothing to detract from the preceding two hours of inspirational music. It was clear from both body language and musical interaction how much respect the three musicians had for each other, and how much fun they were having.
Sunday, June 13, 2010
In my experience of nearly 7 years of making Universal Music, and in 6 years of living with its creator, my beautiful love and master Hermeto Pascoal, I learn and realize more and more that:- Harmony is the Mother of Music, Rhythm is the Father, and Melody or Theme is the child;- Universal Music is mixed without prejudice, but with good taste;- Good Taste is not learned at school;- All is Sound;- To be a Universal Musician is to love, create, imagine and be inspired by the sounds of Nature;- Nature is all that it exists. It is all worlds, and beyond;- The Universal Musician does not compare, does not generalize, only seeks to find himself;- Everyone has much to contribute to music;- The only label we accept for the music that we make is Universal Music;- Universal Music is the brotherhood and the love among people;- The essence is already in everyone, naturally;- To be a Universal Musician is to be open to natural influences, without premeditation;- A Universal Musician is anyone that feels Universal Music;- Practice is the master;- You need to use the theory in favour of the music;- Universal Music is food for the soul;- In Universal Music I found myself.
Monday, June 07, 2010
Due to space, I'm letting my recommendations go without comment. Bios are available at http://www.montrealjazzfest.com/
EDIT: Always go with your first instinct. Commentary has been added.
June 25 - Vijay Iyer two ways - solo at Chapelle historique de Bon Pasteur, 7 pm; trio at Gesu, 10:30 pm [Vijay's Historicity was deservedly the talk of best-of-2009 lists, and having seen glimpses of his solo piano work at Banff I'm very curious to hear him solo in the great space of Bon Pasteur]
- Yosvany Terry Quartet at L'Astral, 9:30 [I'm a sucker for the fusion of Latin rhythms with sophisticated jazz composition and Terry does it at a very high level]
- Paolo Fresu & Omar Sosa, Gesu, 6 pm (part of Fresu's Invitation series) [Interested to hear this pairing of Fresu's trumpet, which I must admit I'm not so familiar with, with the pan-Afro-Caribbean pianism of Sosa]
June 26 - Jean Derome & les Dangereux Zhoms, L'Astral, 6 pm [local musique actuelle supergroup led by one of the founders of the scene]
- David Sanchez Group, Theatre Jean-Duceppe, 9:30 (with Omar Sosa opening) [see my love for forward-thinking Latin-influenced jazz]
June 27 - Chano Dominguez Flamenco View (also June 28), Theatre du Nouveau Monde, 8 pm [Dominguez's hybrid of flamenco with jazz intrigues me; I'm not familiar with it and I think it may be best witnessed live]
June 28 - Marco Benevento solo, Chapelle historique de Bon Pasteur, 7 pm [big fan of Marco's work with the Duo and his own work as a leader; interested in seeing how he ties in his use of pedals and electric instruments into a solo show]
- Chet Doxas, L'Astral, 6 pm [a stalwart local tenor player and composer, whose music is equally indebted to Lovano, Giuffre and Frisell]
June 30 - Bobby McFerrin Vocabularies (with choir from College Laval), 6 pm, Theatre Maisonneuve [What is there to say about Bobby McFerrin? High level vocalism, and I'm interested to see how he presents the cut-and-pasted choirs from the new album with a live collegiate choir]
- Dave Douglas & Keystone, Gesu, 10:30 pm [I'm an overall fan of Dave's work, especially the programmatic nature of Keystone, scores to the movies of Fatty Arbuckle]
- Jose James & Jef Neve duo, Savoy du Metropolis, 7 pm [James is in the midst of defining what it means to be a 21st century male jazz singer, and his rapport with Neve is a must-see]
- Joel Miller featuring Geoff Keezer (also July 1), Upstairs, 7 & 9 pm [Joel is a great friend and a local inspiration, and Geoffrey Keezer is a highly impressive and inventive pianist]
July 1 - John Zorn's Masada Marathon, Theatre Maisonneuve, 6 & 9 pm [looks like it will be a mix of the electric and acoustic configurations of Masada with a whole whack of the best improvisers around]
- Charles Papasoff, L'Astral, 6 pm [another local saxophonist/composer whose music I always find intriguing; I have not yet seen him live]
July 2 - Gretchen Parlato Band (also July 3), Savoy du Metropolis, 7 pm [I can't get enough of Gretchen's two records, a phenomenal singer with a great ear for reworking repertoire]
- Jack DeJohnette Group, Theatre Jean-Duceppe, 8 pm [a supergroup led by possibly my favourite living drummer - Rudresh Mahanthappa on alto, Dave Fiuczynski on guitar, George Colligan on piano and Jerome Harris on bass. To me it looks a bit like an odd grouping on paper but I'm fascinated to hear it]
- Robert Glasper w/ Terence Blanchard, Gesu, 6 pm [Glasper came up in Blanchard's ranks and I love both of their playing]
- Adam Rudolph's Moving Pictures, Gesu, 10:30 pm [Rudolph is a percussive multi-instrumentalist with influences from all over the globe]
July 3 - Robert Glasper w/ Bilal, Gesu, 6 pm [boundary-pushing jazz-influenced R&B, or is that R&B-influenced jazz? Who knows? It will be fantastic]
- Andreya Triana, Bonobo & Mr. Scruff, Metropolis, 8:30 pm [a Ninja Tune triple bill - Andreya is a luscious voice to be heard and Bonobo & Scruff will keep the party rocking]
July 4 - Allen Toussaint solo, Gesu, 6 pm [for anybody who cares about the history of New Orleans music and New Orleans piano playing in particular, this will be a master class]
- Bugge Wesseltoft solo, Chapelle historique de Bon Pasteur, 7 pm [Norwegian "nu-jazz" phenom whom I've only heard in group projects, very curious about his solo concept]
July 5 - Allen Toussaint Bright Mississippi, Theatre Jean-Duceppe, 9:30 pm [the touring version of his acclaimed last record, with another interesting "on paper" grouping: Nicholas Payton, Don Byron and Marc Ribot]
- Christian Scott Quintet, Gesu, 10:30 pm [see www.nextbop.com]
- Gale/Rodrigues Group, Upstairs, 7 pm & 9 pm [local B3 advocate Vanessa Rodrigues and her group with Toronto tenor Chris Gale; I'm a sucker for the mighty B]
- October Trio, CBC/Rad-Can stage, 8 & 10 pm [Vancouver/Toronto group - saxophonist Evan Arntzen also plays with Amanda Tosoff, and was in Banff with me this past year; great young players to discover]
June 27 - Parc-X Trio, CBC/Rad-Can stage, 8 & 10 pm [my boys! Back in the Grand Prix competition after a stellar performance last year garnered them an honourable mention]
- Elizabeth Shepherd Trio, Rio Tinto Alcan stage, 8 & 10 pm [really fascinating pianist/singer/songwriter that gets odd meters to groove and sway; sophisticated, intelligent pop music]
June 28 - Isaac Neto (also June 29 & 30), Balmoral Bistro, 9 pm [my good friend and colleague, a brilliant Brazilian guitarist and singer]
- Narcicyst, Bell stage, 10 pm [member of hip-hop collectives Euphrates and Nomadic Massive, an insightful, incisive MC]
June 29 - Cameron Wallis, CBC/Rad-Can Stage, 8 & 10 pm [another local saxophonist/composer, man about town, musical director for many great singers and a compositional voice to follow]
June 30 - Slavic Soul Party, TD Stage, 9:30 & 11 pm [holding down the weekly residency at Barbes in Brooklyn with their Balkan brass madness]
- Le Golden, Bell stage, 10 pm [formerly known as Jedi Electro, the francophone session wizards unite for improvised electronic goodness]
- LA-33 (also July 1), Bell stage, 8 pm [who doesn't love a mambo version of the Pink Panther theme? but are they a one-trick pony? Curious to find out more]
July 1 - Rich Brown & rinsethealgorithm, TD Stage, 6 pm [Toronto electric bass stalwart with his band influenced by the London "broken-beat" scene, a group of old friends from T.O.]
- Jose James Blackmagic Band, TD Stage, 9:30 & 11 pm [see my comment about James above; this is the band performing his more R&B/electronic leaning work]
- Rafael Zaldivar Trio, Festival stage, 7 pm [Cuban pianist extraordinaire featuring my colleagues Nic Bedard and Kevin Warren]
July 2 - Chicago Goes West, TD Stage, 6 pm [drummer Karl Schwonik, Nic Bedard once again, and Chicago trumpeter James Davis; great straight-ahead trio with inventive arrangements]
July 3 - Amanda Tosoff, TD Stage, 6 pm [Amanda's group was out at Banff, she writes some beautiful music and the band concept grew by leaps and bounds out there]
July 4 - Michelle Gregoire, CBC/Rad-Can stage, 8 & 10 pm [Winnipeg-based jazz advocate whom I'm eager to discover]
- L'Orchestre Septentrional d'Haiti (also July 5), Bell stage, 8 pm [I honestly don't know anything about them but in Montreal it seems I'm surrounded by Haitian music and this is a great opportunity to get it from the source]
July 5 - Emir Kusturica's No Smoking Orchestra, TD stage, 9:30 pm [I know Kusturica mostly as a director who furthered the reputation of Balkan trumpet virtuoso Boban Markovic; this will be a lot of fun]
- NOMO, Bell stage, 10 pm [Detroit-based Afrobeat]
- Terry Clarke/Don Thompson/Phil Dwyer, CBC/Rad-Can stage, 8 pm [three Canadian jazz masters]
July 6 - Closing Mardi Gras with Allen Toussaint, Trombone Shorty and the Soul Rebels Brass Band, TD stage, 8:30 pm [do I really need to explain this one? Again, if you care about New Orleans music at all, this cannot be missed]
- Late night closing party with Soul Rebels Brass Band, L'Astral, midnight
Wednesday, May 26, 2010
Sunday, May 16, 2010
What bothers me about the so called "jazz wars" (popping up online all over the places these days!) is the idea that there are two camps; the purists and modernists. I think the reality is that most people actually fall somewhere in between on the spectrum. To be quite honest, I just don't buy the idea that a significant percentage (at least significant enough to be ranting about) of young musicians are shunning the history, abandoning melody, refusing the learn the standards, playing 30 minute solos void of meaning. Please, tell me where these people are???!!! Because in my experience studying and playing, I don't think I've met one.
In my opinion some of the more successful "jazz" musicians today have been able to meld the art form's history with modern influences, to create their own unique voice. I mean, that's what Bird did. Miles. Coltrane. Bill Evans. All of them. Let me cite five contemporary examples, off the top of my head: Brad Mehldau, Kurt Rosenwinkel, Dave Douglas, Brian Blade, Seamus Blake. All four are "hip". You can clearly hear the entire history of their respective instruments when they play. They can swing like crazy, they aren't afraid to play a blues or in 4/4, and they also play chromatically and often in odd meters. They play standards and they also compose beautiful music. The don't sound like anyone else, and they just happen to be some of my favourite musicians.
I agree that there is a lot of "insider jazz," to use a term from Kurt Rosenwinkel, that is more concerned with its own hipness than with any sense of emotional connection. However, that doesn't mean that every multi-metric, harmonically knotty, straight eighth tune is devoid of emotional significance. I can be left cold by tunes overstuffed with Giant Steps changes, or by rhythmic mind-melters that have no relationship to the tune being played; in other contexts those same elements of craft can astound, impress, and deeply move me if played with conviction and understanding. It's about cultivating a relationship to what you are playing, and again, a broad knowledge and respect for music is key.