After more than 40 years on Robson Street, O’Doul’s Restaurant & Bar (1300 Robson Street), located at the Listel Hotel, is closing its doors after dinner service on June 2.

Read the entire article.

The article doesn’t explain that the restaurant will be undergoing a major renovation and reopen under a new name sometime in the fall. The jazz policy may or may not resume.

Contemporary Jazz Album Of The Year
Changing Seasons, Phil Dwyer Orchestra feat. Mark Fewer (Alma/Universal)
See Changing Seasons – Phil Dwyer In Conversation with Nou Dadoun

Traditional Jazz Album Of The Year
Verge, David Braid (Independent)

Vocal Jazz Album Of The Year
Le carré de nos amours, Sonia Johnson (Effendi/Sélect)

Instrumental Album Of The Year
Stretch Orchestra, Stretch Orchestra (Independent)

More info: Jazzblog

Balkan Beat Box plus special guests Geoff Berner
Wednesday, June 27 @ 9pm Vogue Theatre

The Cookers with George Cables, Billy Harper, Billy Hart, Cecil McBee, Eddie Henderson, Craig Handy and David Weiss
Friday, June 22 – Two Shows @ 7:30 & 10pm Performance Works – Granville Island

Eliane Elias Brasileira Quartet
Sunday, June 24 – Two Shows @ 7:30 & 10pm Performance Works – Granville Island

Eivør / Yggdrasil
Monday, June 25 @ 7:30pm Performance Works – Granville Island

Terje Rypdal “Crime Scene” featuring Palle Mikkelborg, Ståle Storløkken, Paolo Vinaccia & Bergen Big Band
Tuesday, June 26 @ 7:30pm Performance Works – Granville Island

Terrell Stafford Quintet – This Side of Billy Strayhorn
Friday, June 29 @ 7:30pm Performance Works – Granville Island

Jill Barber
Saturday, June 30 – Two Shows @ 7:30 & 10pm Performance Works – Granville Island

Ndidi O plus special guests Copilots
Monday, June 25 @ 9pm Venue

Kyprios and The Chaperones plus special guest SonReal
Tuesday, June 26 @ 9pm Venue

The Sway Machinery plus special guests BADBADNOTGOOD
Wednesday, June 27 @ 9pm Venue

Get The Blessing plus special guests The SSRIs
Thursday, June 28 @ 9pm Venue

More info at http://www.coastaljazz.ca

George Benson
Saturday, June 23 @ 8pm Orpheum Theatre
Tickets Advance $75/70/65 + SC
10-time Grammy award winning superstar George Benson is both a matchless jazz guitar legend and an extraordinary vocalist with a lush soulful tenor that draws comparisons to Nat King Cole. During his early days he played with the likes of Miles Davis, Herbie Hancock, and Frank Sinatra while leading his own bands. In the 70s he surged to cross-over stardom with the triple-platinum album Breezin.’ A track from the album, “This Masquerade,” was the first song in history to reach #1 on the jazz, R&B, and pop charts. The decade also brought chart busters “Nature Boy,” “Give Me The Night,” and “Turn Your Love Around.” Since then Benson has consolidated his global reputation as one of the giants of music—no matter what the genre. http://georgebenson.com

The Avett Brothers
plus special guests The David Mayfield Parade
Tuesday, June 26 @ 8pm Orpheum Theatre
Tickets Advance $40/35/30 + SC
The Avett Brothers have found that sweet spot where Americana meets the pop savvy of Nick Lowe. – Chicago Tribune.
Exquisitely blending fraternal harmonies and a sense of songcraft that’s a brighter shade of Townes van Zandt, the Avett Brothers have fully embraced their shared birthright of melody and passionate performance. Their latest album, produced by Rick Rubin (Johnny Cash, RUN DMC), is a propulsive, foot stomping “punkgrass” folk master- piece that filters CSNY countrified boogie through the Brothers’ early neo-punk roots. Like their contemporaries in Mumford and Sons, these rowdy but sensitive brothers are hitting their stride with their stunning folk-pop songwriting and rousing live shows. http://www.theavettbrothers.com

Bill Frisell plays John Lennon “ALL WE ARE SAYING”
plus special guests The Pugs & Crows Band featuring Tony Wilson
Friday, June 22 @ 9pm Vogue Theatre
Tickets Advance $45 + SC
The most innovative and influential jazz guitarist of the past 25 years. – Wall Street Journal. Reflective and lyrical, Grammy Award winning guitarist Bill Frisell (Jack DeJohnette, Elvis Costello, Norah Jones) selects notes and textures with the same care and unparalleled taste he uses in selecting his high-calibre collaborators. For this project, Frisell applies his soulful arcs and rootsy undertones to an exploration of the music of John Lennon, alongside some of the most broadminded and expressive musicians on the planet including longtime John Zorn accomplice Kenny Wollesen drums, Lounge Lizard and Willie Nelson sideman Tony Scherr bass, and string-master Greg Leisz steel guitar. http://www.billfrisell.com

An Evening with Dianne Reeves
Saturday, June 23 @ 9pm Vogue Theatre
Tickets Advance $45 + SC
You may have seen Diane Reeves in George Clooney’s “Good Night, and Good Luck”, performing recently with Wynton Marsalis and the Lincoln Center Jazz Orchestra or singing at the 120th Anniversary Gala of Carnegie Hall. The four-time Grammy winner seems to be everywhere. Recognized as one of the world’s pre-eminent jazz vocalists, Dianne belongs to the pantheon of great jazz singers such as Ella Fitzgerald and Sarah Vaughan. She engages audiences with her strong, multi-octave voice, rhythmic virtuosity and powerful storytelling style. Reeves combines all her influences to create a jazz-world-pop-bop synthesis that the Boston Globe calls “breathtaking.” http://www.diannereeves.com

Spectrum Road featuring Jack Bruce, Cindy Blackman-Santana, John Medeski & Vernon Reid
Monday, June 25 @ 9pm Vogue Theatre
Tickets Advance $45 + SC
A sensational jazz-fusion supergroup, Spectrum Road features Jack Bruce (Cream) bass, Vernon Reid (Living Color) guitar, keyboardist John Medeski (Medeski, Martin, and Wood), and Tony Williams protégé Cindy Blackman-Santana (Lenny Kravitz, Santana), channeling Tony on the drums. Originally conceived as a tribute band to the late great jazz drummer Tony Williams’ Lifetime project, Spectrum Road has evolved into a cohesive group incorporating original tunes into their fiery reworking of pieces from the famed fusion group. The ridiculously talented musicians who make up this group are now guided more by using the musical spirit of Tony Williams as a starting point for new explorations in sound. www.ny1.com

Wayne Shorter Quartet
featuring Brian Blade, John Patitucci and Danilo Perez plus special guests Brad Turner Quartet
Tuesday, June 26 @ 9pm Vogue Theatre
Tickets Advance $55 + SC
Legendary saxophonist Wayne Shorter is widely acknowledged to be jazz’s greatest living composer, possessed of a rare combination of technical mastery and boundless creative energy. His output as a leader for Blue Note records, as well as his work with Art Blakey’s Jazz Messengers and the second classic Miles Davis Quintet of the 1960s, may arguably be the finest and most productive ten-year stretch in the history of music. In the ’70s he co-led Weather Report, a unit that helped define the fusion movement of the era. He then went on to collaborate with the likes of Herbie Hancock, Santana, Joni Mitchell and Steely Dan. Today, with pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade he leads an acoustic powerhouse band that critics and fans are calling “the best small group in jazz.” http://www.wayneshortermusic.com

Destroyer
plus special guests Inhabitants
Friday, June 29 @ 9pm Vogue Theatre
Tickets Advance $25 + SC
Indie rock’s idiosyncratic and sometimes inscrutable crown prince, Dan Bejar, has transformed his critically- acclaimed Destroyer project once again, this time letting his trademark lyricism take a back seat to extended smooth grooves, reverb-drenched horn solos and yacht-invoking synth pads. The Polaris Music Prize nominated album Kaputt sees Bejar, the unorthodox singer/songwriter, standing back and letting the musical interplay have a far more significant role than on any previous releases. Bejar’s relationship to the confident soft rock sonics of his band evokes a wise and winking outsider poet, wandering the neon streets of a vibrant cosmopolitan city, bemused, a bit detached, but enthralled by the pulse of the night. http://www.destroyersongs.com

Robert Randolph & The Family Band
plus special guests Rich Hope & His Evil Doers
Saturday, June 30 @ 9pm Vogue Theatre
Tickets Advance $40 + SC
Randolph’s latest album—the T Bone Burnett-produced “We Walk this Road”—is a celebration of African-American music of the past one hundred years, from gospel to early blues, to good old rock and roll. Named one of Rolling Stone’s Top 100 Guitarists of All Time, Robert Randolph learned to play the pedal steel (aka “Sacred Steel”) in Church, and this upbringing is reflected in his musical mission to bridge generations and uplift audiences. Flying without a set list, an onstage dance party always on the verge of outbreak, Robert Randolph and the Family Band deliver their message of hope with virtuosic playing and a wickedly funky beat. http://www.robertrandolph.net

Los Amigos Invisibles
Sunday, July 1 @ 9pm Vogue Theatre
Tickets Advance $25 + SC
Be it Brazilian techno, Afro-jazz flavored pop, soul-samba or tropical disco, it’s all about hip-shaking beats. Imagine a world music party with a Latin flavor; (LAI) is the band filling the dance floor. — San Antonio Express. Latin Grammy award winners Los Amigos Invisibles have been spreading their fiery dance band grooves around the world ever since they roared out of Venezuela in 1995. The band actually got its first break when David Byrne discovered one of their albums in a record shop and shortly after signed them to his label, Luaka Bop. Years later, these Latin alternative kingpins continue to electrify audiences with their explosive live shows. http://beta.amigosinvisibles.com

Visit http://www.coastaljazz.ca

MAY, Arni We are deeply saddened by the passing of Arni May on Tuesday, December 13, 2011, in Vancouver. He will be greatly missed by his loving wife of fifty-five years, Anne Angert, sons and daughters-in-law, Mark and Janette, Stephen and Ikuko, Shayne and Shannon, beloved grandchildren, Harrison, Kevin, Malia (Devin), Aaron, Brigitte, Sammy and Miki. Loving son of Anne Mayberger Blair, and the late Hyman Mayberger. Loving brother and brother-in-law of Shelly and Morris Schachnow, Linda and the late Morty Mayberger, Ruthy Eliesen, and the late Charlotte Kuttas. Loving uncle to his many nieces and nephews. Arni was a brilliant jazz musician, a man who participated and gave so much to so many, namely Sunny Hill Health Center for Children and Linton Garner Scholarship Foundation. In the eighteen years of his family restaurant Rossini’s, he created a Jazz haven and home for so many. He will be forever missed. Funeral service on Thursday, December 15th Schara Tzedeck Cemetery, 2345 Marine Dr. New Westminster. Donations in Arni’s honour may be made to the Sunny Hill Health Center for Children c/o BC Children’s Hospital Foundation, 604-875-2444, or to the Linton Garner Scholarship Foundation at Capilano University, (604) 984-4983.

Published in Vancouver Sun and/or The Province on December 15, 2011

Since its release last month, accolades for the Phil Dwyer Orchestra‘s release Changing Seasons have been seemingly unanimous. Writing for a large ensemble, especially incorporating strings is notoriously tough to pull off.  Most jazz projects with strings end up being star vehicles (like Charlie Parker or Clifford Brown “with strings”), head-butting exercises (Stan Getz or Ornette Coleman “versus strings”), sonic sweetening, or unnaturally forced third-stream amalgamations.  As a composer Phil Dwyer has managed to write an extended jazz orchestra piece which is not only an organic blending of all the members of the ensemble but profoundly democratic in its approach.

In fact, rather than being a star vehicle for Dwyer himself (whose talents on both saxophone and piano would certainly justify that role), the featured soloist is violinist Mark Fewer who straddles the jazz and classical world having performed with the Vancouver Symphony Orchestra (as concertmaster from 2004 to 2008), as featured soloist with the Hard Rubber Orchestra, is chair of the Schulich School of Music and who has numerous recordings of contemporary music.

Phil Dwyer was my guest on the A-Trane earlier this month and after taking pains to ensure that pianist Chris Gestrin was properly credited for his outstanding solo in the Spring movement of Changing Seasons, he expanded on his sister’s comment:

PD: Sometimes when I listen to it I feel the same way.  When I listen to it, I can hear the results of all those years of hard work and studying and trying to decode some of the mysteries of the great players.

The string session was just magic, one thing I try to do every time I write something is bring the lessons of the previous projects to bear on whatever I’m working on.  So over the last number of many years of writing for string players in different situations, you start to learn how to speak their language and what kinds of things they feel comfortable doing. The same concept as writing for horn players but they tend to be different things, you can write for a great string section but sometimes it’s rhythmic issues that creep in and stop it from sounding really integrated.  I got lucky or I’ve been paying attention because the first few times I wrote for strings there were definitely some things that I just didn’t know and I went on a mission to try to learn as much as possible.  It continues, not really a process that I can see an end to …

ND: Let’s back up a little bit, can you talk a little bit about how the session came about?

PD: The piece came about as a piece that I had proposed to [violinist] Mark Fewer, he thought it was a good idea and we went through a few early drafts in terms of what instrumentation it would be.  Eventually we worked out a partnership between the jazz program and the string program at McGill University.  We did a performance there almost exactly a year ago with a combination of McGill students, some teachers and some members of the freelance community.  It went well and it really gave us an idea of what went well in the piece.

So from November of last year to July of this year [2011], I did anything I could to make the recording happen. I tried to figure out where to do it and I’m really happy that we decided to do it [at The Factory studio] in Vancouver.  I was on the floor with a bunch of musicians that I grew up playing with, and some of them were my teachers when I was younger like [saxophonist] Tom Keenliside and [trombonist/composer] Ian McDougall.  The comfort level between the musicians was really high.  There were a few people I wanted to bring in as special guests, Walter White who has worked with Maynard Ferguson and Jazz at Lincoln Center came and played lead trumpet, [trumpeter] Ingrid Jensen came in and did a cameo solo on one tune, her husband Jon [Wikan] was playing drums and [saxophonist] PJ Perry came from out of town.  But out of the 38-piece band, 33 of them were Vancouver musicians.

ND: I was thinking with Ingrid Jensen’s solo spot, she drops into so many sessions and does one tune that just lifts the bandstand.  Like her performance on Transit with Darcy James Argue’s Secret Society or the Diva Jazz Orchestra or Maria Schneider – always comes in and nails it beautifully, and her solo on Winter is so wonderful.

PD: We did six takes of her solo and each take was better than the other one!  But the one that’s on the record is so great, she’s ridiculous!  By the way, you’ll notice that Winter is the longest track which is a tribute to Canadian reality but in the middle of it we go south!

ND: The recording is marked as recorded in association with The Hard Rubber Orchestra which I believe both you and Mark Fewer have collaborated with and of course, John Korsrud and a number of other hard rubbers play on the recording.

PD: The Hard Rubber organization and Diane Kadota were absolutely key in getting this done from an administrative standpoint.  I had a bevy of very generous private sponsors for a very expensive project – I was really lucky in knowing people that believed in what I was doing and I was able to tell people with an absolutely straight face that this was the best work that I’d done ever.  So now that it’s out and it’s getting really well reviewed, I think that everybody’s really pleased to be a part of it.

ND: You don’t really do that many projects as a leader, even the trio recording [Let Me Tell You About My Day] is a few years old now.

PD:  That’s almost ten years ago, I’m trying to be the least recorded as a leader ever!

ND: But on the other hand as a sideman, you’re incredibly well-recorded …

PD: Well that’s my thing, I could make records all the time I guess but I played on – I wouldn’t even know where to start counting – there are about 50 records that I could unreservedly recommend to people to listen to that have my playing on them.  I worked as a freelance sideman for so long in Toronto that I never really got that leader mentality. I worked as musical director jobs and that sort of thing but this project was just one of those things that popped into my mind and before I could even start thinking about all the reasons why if wouldn’t be possible, I was well underway!

If you’re looking at recording a 35 minute piece of contemporary art music for a 40 piece band, you wouldn’t have to think too hard to find reasons why not to do it.  But I’m sure glad that I hung in there, it was well worth it – I’m 45 years old, I joined the union when I was 16 and so 29 years into my career here I am …

ND: It’s funny this morning I was just thinking about the first time I heard your name, I started doing this very radio show back in 1986 at the old location of Coop Radio and you had recorded a cart for Coop Radio that I think I can still paraphrase as “when I’m at home I’m either practicing or listening to Coop Radio” and then you went off on some great long saxophone cadenza and I thought that sounds great, gotta hear more of this.  And you must have been all of 19 …

PD: Exactly, I did that for Les [Szabo] who used to do The Joint is Jumping [live from the Classical Joint] which I could get in Qualicum if I put my arm out at a 38 degree angle and held a wire coat hanger …

ND: and you probably still can … so how’s life in Qualicum Beach [on Vancouver Island] these days?

PD: Pretty nice, it’s kind of a sleepy town, it comes and goes – right now not so much time on the road but I’m enjoying that too, I’ve got a big two and a half acre yard and there’s always something to do out there. we have a big vegetable garden and we’re trying to eat out of the garden twelve months a year (ed note: Changing Seasons?).

ND: One of the things on my list (someday) is to come over to the Music and Culinary Arts Festival that you put on every year – is it on again for this year?

PD:  We’re trying to decide that right now – it looks like it’s going to be a pretty busy summer playing-wise so we’ll see.  Last year I did a few private camps for adult musicians that went really well, it was really fun.  We’ll probably do some version of it but two years ago, we did a month straight with about 25 concerts, had a hundred and twenty students and it was a big undertaking.  Looking after the administration myself, it’s a lot of work but a lot of fun, sure ate well though….

ND: Were you involved with the Bamfield Festival as well?  Some friends of mine went up to that and were talking about how wonderful it was – the setting and the integration between the chamber music and the jazz, the feeling that there no musical borders there at all, all put together so wonderfully.

PD: It worked well this year, more so than in previous years – right from the beginning this year, people were making plans to work together and I wrote an expansion of a piece that I’d written a few years ago that had almost everybody, I think about 25 out of 28 musicians, that was pretty fun.  But it’s an amazing spot, I just love the west coast!  I go out to Bamfield and I would live there …

ND: It sounds like there are more and more musicians who are based on Vancouver Island who travel for work but love to stay there, bassist Ken Lister who’s on the recording and a bunch of other folks …

PD: There are lots of well-known people that live on Vancouver Island but travel for work.

ND: So what’s upcoming on your calendar?

PD: I’m playing in Vancouver with my good buddy [drummer] Alan Jones and a bass player from Portland named Tom Wakeling (Wednesday Dec 7th at the Cellar also with Chris Gestrin, Brad Turner, and Steve Kaldestad) and Friday/Saturday (December 9/10) I’ll be at the Cellar again with my Great Canadian Songbook project (with Jillian Lebeck, Vince Mai, Dave Sikula, Andre Lachance and Joe Poole).

ND: Wonderful stuff, I know quite a few people who couldn’t get into the CBC show at the Jazz Festival last year because it was so packed so it’ll be great to have another opportunity to hear it live.

—

The Changing Seasons Suite really does mark a new stage in Phil Dwyer‘s development as an artist, an ambitious work that totally delivers on its promise.  As Phil Dwyer has described it, the theme running through the composition is change.  “Changing weather, changing climatic conditions, the changing economic structure of the world and some big changes in my own life.  It’s a call to acknowledge the fact of all these changes taking place and a query as to what are we going to do about it.”

In this case at the very least, the change is for the good.

—

This interview was condensed and edited from an interview on The A-Trane Radio Program recorded on Nov 4th 2011.

The full interview with excerpts from movements Spring and Winter can be heard here:

The A-Trane Friday November 4th 2011 3PM

The 2011 Vancouver Jazz Festival performance of Phil Dwyer‘s Great Canadian Songbook project is available through CBC’s Concerts on Demand, the full concert in audio and selected performances as video (under the Jazz tab).

As mentioned above, Phil Dwyer will be appearing at the Cellar in early December with two different ensembles, more information available at The Cellar website.

Changing Seasons by the Phil Dwyer Orchestra Featuring Mark Fewer, composed and arranged by Phil Dwyer is now available on the Alma Records label.

The Phil Dwyer Septet featuring Laila Biali videos are now online.

Look for 5 new videos of the Nightcrawlers with the Big Band Sound coming soon.

All CBC music videos here:
http://www.cbc.ca/radio2/videos/

Almost from the day he arrived in Toronto in 1963 from his birthplace in Bristol, England at age 26, Bill Smith has been one of Canada’s most powerful and intelligent forces for the advancement of jazz and improvised music here and around the world — as a musician, journalist, photographer, record producer, film producer, record store owner, and more. Teamed up with John Norris, who had founded CODA Magazine just a few years earlier, and in whose honour he shares the award, Smith was art director and, later, an editor of CODA. He co-founded the Jazz & Blues Record Centre in Toronto, wrote perceptive and illuminating essays about, and conducted interviews with, many of the luminaries of jazz and improvised music of the second half of the twentieth century. Steve Lacy remarked that Smith’s interview with Cecil Taylor, published in CODA, was the best interview with a jazz musician he’d ever read. Smith also produced a book of his photos of musicians, “Imagine the Sound” and a film documentary by the same name. As a soprano saxophonist and drummer, Smith has performed and recorded with Michael Snow, Leo Smith, Evan Parker, Vinny Golia, and many others.

Bill’s been contributing timeless reviews, interviews, and articles from his archive to this site.
See: http://vancouverjazz.com/billsmith and http://vancouverjazz.com/bsmith

Smith moved to British Columbia about twenty years ago and is a resident of the Gulf Islands.

I “interviewed” Bill before the ceremony last night:

More at: McGill Alumni Portal

Supposedly the producers had  Jeremy Steig in the studio to record new tracks for the voice of The Pied Piper and then decided to use older material that he’d recorded with Eddie Gomez on Outlaws.

I first noticed the William Steig/Jeremy Steig connection on an animated version of one my favorite William Steig stories called The Amazing Bone (slap forehead here) for which Jeremy and Eddie Gomez did the music.  It’s unfortunately not on youtube but I did find it on a Chinese website – you can skip Shrek and check out The Amazing Bone here.