August 7, 2014. Posted by Michael Bourne.
I first encountered Dweezil Zappa, who played FIJM at Montreal’s Metropole this year, in the womb.
I met his father, Frank Zappa, on the 4th of July, 1969, in Indianapolis at a Holiday Inn. I was interviewing Frank for a cover story in Down Beat. Frank's wife Gail was great with child. Dweezil.
I was nuts about Frank's uniquely jazzy/rocky/funny theatrical music, and I hung with The Mothers of Invention variously on the road from '69 into the 80's.
I'd never heard Dweezil playing his father's classics until Montreal, and I was singing along from the jump. "Call Any Vegetable." "Suzy Creamcheese." Mostly songs from the early Mothers albums and some of the best of Frank's satiric ("I Am The Slime," about television) and surreal ("Montana," about dental floss) classics.
Dweezil's band was loudly orchestrated, almost as if the living albums with the volume turned up, and all in the band are virtuosic enough to whip it out — especially singer and saxophonist Scheila Gonzalez, whose animated presence on stage reminded me of Frank's sexy (and very musical) Ruth Underwood.
Except that he didn't play extended concerto-like improvs, Dweezil's guitar chops sounded very like his dad's.
I missed every other gig that night. "Zappa Plays Zappa" was so cool I was flooded with great memories — and the contact high with all the other older Zappaholics in the crowd was quite bulbous.
© 2014 WBGO
August 6, 2014. Posted by Tim Wilkins.
I enjoyed Montreal for 12 days. And of the festival's more than 800 concerts, I attended all or most of 40. That's not even 5 percent of the Festival International du JAZZ de Montreal. That's how big it is.
Here's (some of) what else I enjoyed at FIJM 2014. At Gesu:
Gamak, the intensely (and very differently swinging) Indo-jazz of alto saxist Rudresh Mahanthappa.
Now This, the lyrical almost-dreamscapes of pianist Marc Copland, bassist Gary Peacock, and kaleidoscopic drummer Joey Baron.
Dr. Lonnie Smith with his octet. Playing 4 (or was it 5? or more?) keyboards. He's one of the best (and one of the last) of the McDuff/McGriff/Smith generation on the Hammond B3. He played like a tidal wave. Or like a baby's whisper. He played tunes, but really much more as if a sculptor of grooves. He blew the roof off the Jesus.
Some of the best (often world-class) "locals" played the 6PM gig at L'Astral in the Maison du Festival, including pianist Vincent Rehel, trumpeter Jacques Kuba Seguin, and the lively kids-play-Pops group Misses Satchmo.
Guy Belanger is a helluva harmonicat. Comes from blues essentially, but he erases all the lines between blues, jazz, and whatever other genres get too often boxed. On even what looks like a dimestore harmonica from his pocket, he can sound orchestral.
Honored this year with the Oscar Peterson Award for a Canadian musician, trumpeter Ron DiLauro played Kind of Bluealmost note-for-note.
Usually when a great (and frequently Miles Davis) album is performed, I feel that I'd rather listen again to the actual album — but Ron's sound is so exquisite (especially through the mute on "Flamenco Sketches" and "Blue In Green") that the masterpiece of Miles et al came alive again.
So many good players on the Montreal scene never get heard much (if at all) below the 49th Parallel, and some of them (like Ron DiLauro) have played for decades with Vic Vogel. Sorry that I missed his big band. He's the only musician who's played all 35 years of FIM.
© 2014 WBGO
July 31, 2014. Posted by Tim Wilkins.
I’m a judge for the festival's annual week-long competition of jazz groups from across Canada. They compete on outdoor stages for the TD Bank Grand Prix: money and three festival gigs.
I have a ritual with my long-time frere de jugement, Martin Roussel, director of the jazzfest at Rimouski (334.9 miles along the St. Lawrence seaway north-east from Montreal).
When we hear, sometimes more than half-way through the contest, a group good enough to win, we show an index finger: "That's One!"
Whoever plays thereafter will have to be better, and this year the TD "One" was a swingingly interplaying piano-bass-drums trio from Ontario, The Pram Trio.
There's also a special prize for the best composition, granted by the satellite television service Galaxie.
This year, we voted the Galaxie prix to Montreal bassist Rick Rosato, composer of a tune without a title - only called “New Untitled”…
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