July 18, 2014. Posted by Tim Wilkins.
FIJM 2014's opening night Evenement D'Ouverture happened on the biggest stage, the TD Bank stage, at the end of the Deambulatoire.
When the festival first presented these "Grand Events," some 20-some years ago, they were always mid-fest. Through the years, Grands Evenements, have often attracted more than 100,000 fest-goers in the street.
Sometimes these have been jazz-ier concerts: Uzeb, a local legend fusion trio, a Louis Armstrong tribute, a Balkan extravaganza, a Turkish extravaganza, a 3-hour non-stop blast with fest fave Pat Metheny, and twice with that other Montreal phenomenon, Cirque du Soleil.
And then came Laurent Saulnier, a new VP of programming I have called "VP of the Edge" for having expanded the festival's musical spectrum and virtually redefined jazz.
Hip-Hop, electronica, nueva Latino, and a spectacular variety of multi-media have all become a familiar presence at the jazz festival. Especially enormously in the street. And none more definitively than Woodkid.
Out of blackness on the stage came white light, turning the stage (and the world) black and white. Images appeared on the jumbotrons either side of the TD Bank stage. Videos appeared with cameras rolling along forests or up mountains. Out of the darkness came the growls of bass trombones.
And onto the stage bounced a kid in a baseball cap. Bearded, with a beaming smile. Looking like he wanted to play Frisbee. Woodkid.
I'd never heard of him, but Woodkid has become a sensation through the theatrical and video designs and animations he creates for the likes of Taylor Swift, Katy Perry, and other million-selling pop stars. He's also a composer and singer, although I never understood a word he was singing, and his songs never really sounded melodic.
What he created was a full-tilt multi-media spectacle, with the music (mostly brass and strings, also orchestrated electronics, plus two thunderous drummers and a choreographed parade of hooded drummers) mostly meant to pull everyone into the darkness and then burst into the light.
Almost like a haunted (but fun) house
And what was all the more fantastic was that everything pulsed and shifted suddenly, light and sound turning all on a razor-edged dime.
"How do you actually do all of that?" I asked him the next day. "Just the timing of it all is insane!"
"Yes" he said and he shrugged and he smiled. "And it's hard hearing what we're doing from the delay of the speakers."
I've never heard or seen anything like Woodkid.
Except that I've come to expect something as different, as weird, as wacky, as what I call "very Montreal" every year at FIJM.
Meanwhile, plenty more was happening that same opening night:
Ranee Lee and Cecile McLorin Salvant singing at the festival's year-round jazz joint L'Astral,
Cassandra Wilson singing at the Theatre Maisonneuve,
Angelique Kidjo singing at the dancehall Metropolis,
Charlie Hunter joining the Harry Manx Guitar Bazaar early in the Salle de Gesu,
"Tarantino In Concert" continuing in the Cinquieme Salle,
"Newport at 60" with Anat Cohen and Randy Brecker playing at the Theatre Duceppe,
Canadian singer/songwriter Daniel Lanois with Emmy Lou Harris in the big Salle Wilfrid-Pelletier,
Roy Hargrove playing the late show in the Salle de Gesu,
Not to forget the ten other jazz and whatever gigs in and around Place des Arts.
And that was just for starters …
© 2014 WBGO
July 17, 2014. Posted by Tim Wilkins.
FIJM 2014's opening night Concert D'Ouverture featured the OSM (Orchestre Symphonique de Montreal) playing Gershwin classics in the city’s still-new Symphony Hall.
The OSM opened with Gershwin’s "Cuban Overture," which was not quite as lively as it ought to be played. They maybe could've used more Cuban drummers. They have oodles of Cuban musicians living in very international Montreal.
Classical pianist Alain Lefevre played some charming Previn-esque originals in a trio with two of the jazz scene's masters, bassist Michel Donato and drummer Paul Brochu.
"Rhapsody In Blue" climaxed the first half, with Lefevre playing more jazzfully than classically, across the bar lines and feeling improvisatory -- although the linchpin of the orchestra was a clarinet soloist whose name I never knew.
Lefevre certainly knew, and as the orchestra was cheered, Lefevre walked through all the horns to shake the clarinetist's hands.
© 2014 WBGO
July 16, 2014. Posted by Tim Wilkins.
FIJM's first jazz day begins at 11 a.m. with La Petite Ecole du Jazz, an annual “little school” of jazz for kids set up in the middle of Montreal's enormous Complexe Desjardins mall.
And all through the day, noon-midnight, shows happen outdoors: school bands, street bands, gypsy bands, blues bands, and plenty of singers.
What was once an artery of traffic alongside Place des Arts is now the avenue-long Deambulatoire, the walkway of Place des Spectacles — where something is always happening.
Mountebanks (jugglers, tumblers, stilt-walkers, and other colorful clowns) perform. Periodic fountains burst up from the street for kids to wetly dance around and in. And all the while, countless thousands of folks eat and drink, meander and listen.
I’m amused especially when a NOLA-style brass band, the Swing Torque Jazz Band, plays trad classics at one end of the street, while at the other end is a group that’s been playing the festival for most of FIJM’s 35 years: Streetnix.
Streetnix plays everything -- from Mingus (“II BS”) and the Average White Band (“Pick Up The Pieces”) to pop songs (“La Vie en Rose”). And then they march down the walkway into an Ives-ian showdown with the Moldy Figs.
When the two groups meet in the middle of the Deambulatoire, full-tilt New Orleans brassiness ensues as the crowd sings along and dances.
© 2014 WBGO