July 11, 2010. Posted by Michael Bourne.
I brought back some music from the jazzfest in Montreal, especially some of the "very Montreal" musical crissers and crossers ...
Lorraine Desmarais Variation #1 from Montreal Variations
Parc-X Trio Fight First
Daniel Mille Sacha
Manouche String Quintet Four
Streetnix Dinner Music for a Pack of Hungry Cannibals
L'Orchestre International du Vetex Fon-der-choppe
Red Baraat Punjabi Wedding Song
Caravan Palace Jolie Coquine
Trombone Shorty Hurricane Season
Brian Setzer Jump, Jive, and Wail
-- Michael Bourne
© 2010 WBGO
July 8, 2010. Posted by Joshua Jackson.
Two very important musicians are central to the development of this group: saxophonist Jackie McLean and drummer Michael Carvin. In 1975, they released a duet recording called Antiquity for Inner City/SteepleChase Records. It is a very good record. Here's a taste of it:
"Antiquity: The Hunter And His Game," by Jackie McLean and Michael Carvin, Antiquity (SteepleChase/Inner City). Jackie McLean, alto saxophone; Michael Carvin, percussion. New York, N.Y.: Recorded Oct. 30, 1974.
Who are these musicians?
Michael Carvin is a master musician and educator who gets little recognition beyond those who know his formidable coaching method of drum rudiments. He has taught the A-list of modern jazz drummers over the last 30 years. His pupils have included Nasheet Waits and Eric McPherson, the rhythm behind Aethereal Bace and many a great recording, including the aforementioned Two Top (Piano) Trios released recently.
Jackie McLean influenced a lot of saxophonists, especially those who sought his tutelage at the Hartt School of Music at the University of Hartford, where McLean founded the Department of African-American Music in 1980. (It was later renamed the Jackie McLean Institute of Jazz in his honor.) Wayne Escoffery, who played the Village Vanguard recently, went there. So did Steve Lehman. Abraham Burton, the saxophonist in Aethereal Bace, received his degree in music and performance there too. And Eric McPherson, McLean's last drummer, studied on scholarship. He is now a faculty member at Hartt.
This is just to say that a lot of today's music owes a great debt to McLean and Carvin. Their recording of Antiquity is a testament to how much music can come out of them, literally and figuratively.
© 2010 WBGO
July 7, 2010. Posted by Michael Bourne.
Myself and three other scribes in Down Beat wrote fourteen pages about the Montreal Jazz Festival last year -- and altogether we reported on maybe 5% of what happened. FIJM 2010 offered another 800 performances on more than 20 stages in and around Place des Arts, No other jazzfest presents more. Or (sez me) is better at it.
I've written about most of my favorite shows already on the blog, but here's a retro of my faves:
Day One, June 25th: the opening event on the TD Bank stage, with 100,000 or so folks, dancing to the rockabilly swing of Brian Setzer.
Day Two, June 26th: Lebanese trumpeter Ibrahim Maalouf at L'Astral.
Day 3, June 27th: French accordionist Daniel Mille at the Gesu.
Parc-X Trio played the winning performance of the TD Grand Jazz Prize. I was a judge. We also appreciated the groups of saxophonist Cameron Wallis and trombonist Darren Sigesmund -- the later getting the Galaxie Prize as the contest's best composer.
I especially enjoy arguing with fellow judge Martin Roussel from the jazzfest in Rimouski. He'll have more than 50 concerts September 2-5, including some of Quebec's best -- Vic Vogel, Lorraine Desmarais, Alain Caron -- plus last year's FIJM contest winner (from BC) pianist Amanda Tossoff.
Day 4, June 28th: Spanish pianist Chano Dominguez in the festival's flamenco series at Theatre Nouveau Monde.
Day 5, June 29th: L'Evenement Special, the annual multi-media (and always edgy) spectacular of FIJM programmer Laurent Saulnier, always played free for 100K+ in the Place des Festivals: the trip-rock twosome Beast.
Day 6, June 30th: Streetnix, my favorite of the festival's street bands, have played FIJM (saxophonist Jennifer Bell thinks) 23 years -- playing jazz (and sometimes rock or Raymond Scott) classics with the spirit of a NOLA second line and always amusingly. Bill Mahar played "La Vie en Rose" on a coachman's horn -- looks like a shrunken French horn -- and "The Haitian Fight Song" featured 6' 7" (there was a contest to guess how tall) Christopher Smith on the tuba. I was all the more amused by the typical jazzfest crowd, squatting or dancing in the gravel of the CBC Stage, photographing relentlessly, or meandering through for only a tune or two -- like the parade of miscellaneous Asian tourists or the woman with 8-10 (couldn't count, too fidgety) 3-year-olds on long pink ropes.
Bobby McFerrin in the Theatre Maisonneuve, with composer/conductor Roger Treece and a local choir, re-created Bobby's Vocabularies album -- although the concert's highlight was Bobby's vocal variations on "Itsy Bitsy Spider" climaxing with Bobby conducting choir and audience through an impromptu kaleidoscope of voices.
French guitarist Christian Escoude played exquisitely the verse of "Stardust" before kicking off a swinging chorus, just for starters at the "Gypsie Planet" concert in the Theatre Maisonneuve. Escoude showed his Romany blood, and his players included (showing his musical blood actually genetically) Django's grandson Daniel Reinhardt.
Day 7, July 1st: "Punk Bop" in the Gesu, the best (for me) surprise of the festival, a jazz quartet playing pretty much straightahead, but with a refreshing (and somewhat nuclear) feeling for the dynamics of rhythm more than melodies. Ari Hoenig at the drums often played the lead and was sensational, swinging so hard.
Day 8, July 2nd: Robert Glasper played three Invitation concerts in the Gesu, including jamming and laughing with trumpeter Terence Blanchard. Glasper quoted "Sleigh Ride" frequently for a chuckle, but mostly was impressionistic at the piano. Glasper and Blanchard deconstructed "Autumn Leaves" and, with bassist Vicente Archer and drummer Kendrick Scott, climaxed with an arrangement of "Footprints" that became a master class of dynamics. Blanchard sometimes played through a device that multiplied his trumpet, or he'd end a sequence with an electronic !
Just a couple blocks from Place des Arts is the St James Church -- where Howard Moody resurrected an enormous church organ. Four keyboards, plus foot pedals and about a hundred stops. Several thousand pipes, from tiny whistles to 20' bellowers. They discovered some of the pipes were clogged with plastic bags. Moody, unplugged, played everything from the whispers of a pixie to seismic tremors, all with the charming soprano/baritone saxist John Surman. They opened with what sounded like lovely "Rain on the Window" and, as a tribute to the Dutch soccer team in the World Cup, re-created circus-like tunes of a street organ in Amsterdam. One piece featured Surman's penny whistle like a bird stuck in a barn, with Moody's organ as a dyspeptic (and flatulent) bull. They ended with spirituals -- a lovely hymnal "The River Is Wide" and a darkly soulful "I'm Troubled" -- with an encore of a joyous wedding march.
That same evening's finale was a "concert surprise" on the big TD stage with the delightful hip-hop-swing group Caravan Palace.
Day 9, July 3rd: John Scofield and the Piety Street Band in the Maisonneuve. He's been playing Montreal since the first year with Miles Davis. He's one of the players I've heard countlessly around the world and always plays best in Montreal. Sco's New Orleans gospel group was perfectly in tune with this year's Mardi Gras spirit. Sco's solo guitar on "Angel of Death" was frightening, and the "Big Army (of the Lord)" climax featured John Cleary's piano possessed.
Day 10, July 4th: I celebrated America's birthday in the press room, wearing Cardinals red and singing to the press corps "Take Me Out to the Ballgame" -- "le vrai" national anthem.
FIJM artistic director Andre Menard said that if one could distill New Orleans into one person, it would be Allen Toussaint. Toussaint played the first of three concerts in the Gesu, a solo recital. Mostly, he reminisced, telling stories (and playing with a lyrical groove) his hits. "Java." "Mother-in-Law." "Workin' in a Coal Mine." Montreal's audience is always hip, as Toussaint observed when folks spontaneously sang along, including the whoop of "Coal Mine." When he talked about how his songs became hits after covers by Bonnie Raitt, The Stones, et al, I only then realized how many of the hits were Toussaint's. "Southern Nights" was a money-maker when covered by Glen Campbell, but on the recital, all the while playing the lyrical refrain, "Southern Nights" became a memoir of Toussaint's childhood. He remembered growing up in New Orleans, remembered especially trips to visit relatives in the country, remembered the porch and the outhouse, remembered the laughter and the love of his family, but especially remembered how, without all the blinding lights of the city, the stars in the southern skies magically sparkled in the nights.
That same night, Toussaint sat in with Cyndi Lauper, singing the blues at the festival's mostly seat-less joint Metropolis. Chops she's got vocally, if not truly bluesfully. Maybe something sounded...off about her show because she looked so silly in leopard pajamas with enormous hair. "She looks like Phyliis Diller," said my Other Half. Charley Musselwhite played harp in her band and was a treat, but Metropolis is always crowded, standing is not fun for anyone old, they sell undrinkable beer, and one sweats without actually dancing to the grooves -- so, the two songs with Toussaint were enough.
I missed Toussaint the next night, re-creating his Bright Mississippi album with trumpeter Nicholas Payton and clarinetist Don Byron. I was attending the festival's Concert de Cloture with the festival's contest-winning Parc-X Trio and the musician who turned me on to jazz and changed my life, Dave Brubeck. Brubeck's performance with the Quartet was, as always, majisterial.
Toussaint starred on the festival's final night. FIJM ended unusually on a Tuesday and so became a Fat Tuesday. Andre Menard attended this year's Mardi Gras in New Orleans. He'd never been before and was flabbergasted. He actually acquired ten floats from the parade, trucked to Montreal for a parade on Ste Catherine, Main Street of the jazzfest.
Giant heads of kings and queens!
A samba band! A brass band! A marching band of drummers! A stilt-walking crawfish! Commedia clowns! Scantily-dressed dancers! (Beads everywhere but no toplessness.) Bagpipers! Carnaval drummers! Giant marionettes of clowns!
Girls turning somersaults! Girls throwing frisbees! Mardi Gras Indians! Giant heads of Dr John and Harry Connick Jr! More giant puppets! Another brass band! And a trad band! All ending at the corner of Place des Arts.
Countless folks along the street. Countless folks in the Place des Festivals. And in the middle of the crowd, Zachary Richard on a platform played zydeco. Soul Rebels Brass Band marched through the crowd, blasting funk, and were joined on the TD stage by the evening's other headliner, Trombone Shorty. Shorty's own show was a sweaty whip-up of soulful grooves, including Shorty's NOLA-flavored "Shout" a la James Brown.
Allen Toussaint -- "The High Priest of New Orleans Music," as his saxophonist shouted -- at last played a show of his own and other New Orleans classics. "Yes We Can Can." "Southern Nights." Don Byron joined in a second line romp of Monk's"Bright Missisisppi." A Pops-finale of "The Saints." Some, but not all of the crowd, were dancing. So much heat. So much humidity. Everyone, after a dozen great "Northern Nights" of music, was pooped.
And then ... a sky full of fireworks.
Festival International de Jazz de Montreal happens next June 24th through the 4th of July, 2011.
I'll be there. My 19th ...
"A la prochaine festival!"
© 2010 WBGO