DAY 10
RUTHERFORD/NICOLS/EDWARDS/BERESFORD @ The Roundhouse - Performance Centre
I got my first death threat at this performance. The man I was sitting next to, apparently having seenme taking notes, held up a notebook upon which was scrawled the words, ‘It better be good’. Well, he needn’t have. Of course, I fear no imminent danger from Porland Dave. We have similar tastes, you see. And although he IS very jealous that I live here in close proximity to 1067 and Rime and the Western Front and all that Coastal Jazz & Blues has to offer year round, and it tortures him to receive the 1067 emails announcing that week’s gig, I think I’m safe. Especially cause this was a great gig and it reached me. Having heard vocalist Maggie Nicols on a couple of other occasions, and not connected with it outside of being kind of annoyed by some of her more exuberant antics, I finally made my peace with her talent at this performance. And I even enjoyed it. She lead the foursome through silliness and heartbreak (all in one piece centred around an unusual rendering of “My Foolish Heart”) and inhuman human-made noises and offbeat sounds into musical brilliance. Talented and prominent as they all are, this was definitely her show, and they all seemed willing participants in the fun. She lead and they followed, right down to Steve Beresford dragging his piano bench across the floor in an overly excessive nails-on-chalkboard kind of way, and then echoing the melody of the tune (still on “My Foolish Heart” here – yep, that mesmerizing) on what I think was perhaps a toy harmonium or something like it to send the piece out on a sort of pseudo-suburbs of Paris semi-poignant note. It was sweet and sad and inventive and a joy to watch and listen to.
It was also during this performance that it occurred to me that I’ve always said good improv pushes thoughts through my head and gets things moving up there, processes especially those things that may have been stuck, yet I’ve NEVER considered that I listen to music with my head, only my heart. It sort of took me aback for a bit, because I don’t like to dissect it, or intellectualize it – I’d rather just feel it do its magic and wash over me and be transported by it, if it and I are willing and able. There’s a beauty in it when it’s transporting that you can’t put your finger on or truly describe (though I sometimes try with words and pictures to get a sense of the experience… ;o) You just exist in it and wish it could last forever.
LISA MILLER’S GREEN IDEAS @ The Roundhouse – Performance Centre
Much as I have admired pianist Miller’s playing and compositions in past situations, I found it hard to be in this room for long. The music was obviously very challenging, and with such a large group they couldn’t have had much opportunity to rehearse, so it felt very much like a reading of music as opposed to a performing of it. Oh, forgot to mention yesterday that I thought the new seating arrangement of the room was really great. It was much less noticeable than in previous years when people leave during the show. It’s gonna be an aspect no matter what during a free show, but this seemed the least disturbing so far of the set ups tried since this weekend moved to the Roundhouse some years ago from the Plaza of Nations (remember that?! Seems so long ago…) But where’d that groovy massive painting go that’s hung in that room the last few years? What a great backdrop for photographs – I missed it this year.
ESQ @ The Roundhouse – Festival Hall
7:00-8:00pm is a strange slot to be in on the final day of the Fest at the Roundhouse. Many have gone home for dinner and are done for the night and weekend, but there was still a pretty decent crowd in the house, and they were well rewarded for their effort, particularly with a simmering performance by tenor saxist Dave Say. Every time I hear Say play, I think, ‘Man, I don’t hear him play enough’ and it’s entirely my fault. I know he’s out there gigging all the time – I’m just not getting out enough. He makes me want to get out more. Now if only I didn’t work 13-14 hour days… Say co-leads this group with the wonderfully warm trumpeter Kevin Elaschuk, and I really don’t think these two get their due sometimes. Both are amazingly passionate players who come from a place of emotion, as far as I can hear, and are out there constantly gigging without great fanfare, though they certainly deserve it. The vibe’s the thing for these guys, above technical wizardry, though either of them could certainly hold their own on that front, too – and to these ears anyway, that’s everything.
TONY WILSON 6TET @ The Roundhouse – Performance Centre
Have also not had much chance to hear guitarist Tony Wilson in the last year or so, and was determined that despite usually being history from the Roundhouse by this late in the evening, bound for the evening’s shows around town, I would catch some of this. Once in the room, there was no way in hell I was leaving until they were done. This was one of the few shows where I was thoroughly grateful for my photo pass that allowed me to get very close to the action. In fact, I was wishing I could walk right on stage and stand in the middle of the stunning glory of this performance and be completely swallowed into it and live in it. There was so much going on, such an intensity in the room, so thick and so present, that it felt like there was a wall of it before me as I came through the door and I wanted to connect with it, not just be beside it. This was such an astonishing performance that could not and would not have been the same without any one group member, so I almost hesitate in singling any one out, but I have to say that trumpeter J.P. Carter’s “fucking amazing sound” (my note during the show – not eloquent, but accurate) was so beautiful and stunning that I have to praise it. In improvised situations he often flies a little under the radar, quietly exploring textures and coaxing unusual small sounds from his horn. But in this mostly scripted scenario of Wilson’s always heartbreakingly moving music, he takes a more traditional approach of (ahem) forcing air through the horn, resulting in a thrilling full-bodied circular surround sound (aided by an effects set-up) ringing out around the room and enveloping us in its wake and holding us so happily in place. What a thrilling ride. I can’t even recall when it was I last heard him, but it was SO good to hear Wilson again. It seemed to me that there was less melancholy in not only his playing, but the compositions, and more anger. One particular piece saw the Sextet completely rock out in a heavy, loud, pissed-off kinda way. Absolutely glorious. This show literally blew me away, and would’ve been a perfect end to the festival if I had only thought of it then, and not been greedy and made hungry for more after experiencing such a high. So on I went to…
BRUNO HUBERT’S WAYNE SHORTER PROJECT @ The Roundhouse – Festival Hall
I’m sure this would’ve been great any other time, especially as this was a new and interesting combination of Vancouver musicians not seen all together before, but after the above, I think my ears were satiated and satisfied and well, done. Loved the stage set-up of them essentially in a circle, too. Perhaps we’ll see this group do another performance sometime at the Cellar maybe?
ROSCOE MITCHELL QUINTET @ The Cultch
Foolish foolish me. Everyone said go to the Dedication Orchestra. They’d been the night before and said it was amazing and inspiring. But after getting out of Tony Wilson’s show at 8:30 and checking out a bit of Bruno Hubert’s group, I essentially missed it by the time I would’ve gotten up to The Centre (not to mention I wasn’t thrilled at the idea of going back there after the last time…). And everyone said they were going to Roscoe Mitchell, because they’d been to Dedication last night and this was THE show for the night. So I went. Musically, I was done and unreachable, and even if I had been, I suspect this wouldn’t have done it for me. Great chops all. Living legend, sure. And I LOVE pianist Craig Taborn, who was here w/ Susie Ibarra last year (year before?) and in another setting more recently that I currently can’t recall. And yeah, Mitchell’s trumpeter Corey Wilkes wowed by playing two horns (trumpet and flugelhorn, I think it was) at once, but I’d still rather hear J.P. Carter’s explorations any day. Yep, Tony Wilson’s 6tet did me in. I love that. Because I will get to hear them all again soon. Much as I bitch about Vancouver being such a small town, it is gloriously and hugely alive with interesting creative musicians constantly on the move musically, and their music is ours for the taking – all year round. It is a glorious thing.
ME @ 1067, July 3, approx. 12:00am
Ended the fest not at the unofficial official closing party, which I had intended to go to, but at a show featuring sets including Tony Wilson and J.P. Carter, two of my fave musicians of this fest (and anytime, really) at 1067. It wasn’t about the party and the socializing this night, as it usually is for the final night of the fest. It was about hearing a little more greatness, and integrating back into normal life post-fest, in a room I’m used to and love and have spent a lot of time in during the last 6 or 7 years, hearing a lot of amazingly creative music. A perfect end to the fest, hanging with a few friends, drinking a beer, and listening to great musicians. Sigh.
ME @ Home (July 10 – feels like a month later… not a week!)
Wow. I can’t believe it’s all done. The listening. The writing. The picture taking. It was a challenging fest in so many ways, and that made the great moments that were experienced all the more special. Thanks to Coastal for once again bringing great musicians from around the world and right here at home together for some amazing musical times – Happy 20th Anniversary and may the music go on forever! Thanks to the musicians for allowing us in. Thanks to Granville Island Brewing for making Hefeweizen. Thanks to the fellow Jazz Warriors out there who were up for a hang (and those who are too far away, but were here in spirit!) Thanks to my car for not conking out. And a big thanks to Brian Nation for allowing me to blither on within the hallowed pages of his great vancouverjazz.com site. It’s been an honour and a pleasure.
Oh yeah. Final tally for this year: 35 gigs.
PHOTOS ON THE WAY…!
Will post a link to photos once they’re all done and the exhibit is up!
I got my first death threat at this performance. The man I was sitting next to, apparently having seenme taking notes, held up a notebook upon which was scrawled the words, ‘It better be good’. Well, he needn’t have. Of course, I fear no imminent danger from Porland Dave. We have similar tastes, you see. And although he IS very jealous that I live here in close proximity to 1067 and Rime and the Western Front and all that Coastal Jazz & Blues has to offer year round, and it tortures him to receive the 1067 emails announcing that week’s gig, I think I’m safe. Especially cause this was a great gig and it reached me. Having heard vocalist Maggie Nicols on a couple of other occasions, and not connected with it outside of being kind of annoyed by some of her more exuberant antics, I finally made my peace with her talent at this performance. And I even enjoyed it. She lead the foursome through silliness and heartbreak (all in one piece centred around an unusual rendering of “My Foolish Heart”) and inhuman human-made noises and offbeat sounds into musical brilliance. Talented and prominent as they all are, this was definitely her show, and they all seemed willing participants in the fun. She lead and they followed, right down to Steve Beresford dragging his piano bench across the floor in an overly excessive nails-on-chalkboard kind of way, and then echoing the melody of the tune (still on “My Foolish Heart” here – yep, that mesmerizing) on what I think was perhaps a toy harmonium or something like it to send the piece out on a sort of pseudo-suburbs of Paris semi-poignant note. It was sweet and sad and inventive and a joy to watch and listen to.
It was also during this performance that it occurred to me that I’ve always said good improv pushes thoughts through my head and gets things moving up there, processes especially those things that may have been stuck, yet I’ve NEVER considered that I listen to music with my head, only my heart. It sort of took me aback for a bit, because I don’t like to dissect it, or intellectualize it – I’d rather just feel it do its magic and wash over me and be transported by it, if it and I are willing and able. There’s a beauty in it when it’s transporting that you can’t put your finger on or truly describe (though I sometimes try with words and pictures to get a sense of the experience… ;o) You just exist in it and wish it could last forever.
LISA MILLER’S GREEN IDEAS @ The Roundhouse – Performance Centre
Much as I have admired pianist Miller’s playing and compositions in past situations, I found it hard to be in this room for long. The music was obviously very challenging, and with such a large group they couldn’t have had much opportunity to rehearse, so it felt very much like a reading of music as opposed to a performing of it. Oh, forgot to mention yesterday that I thought the new seating arrangement of the room was really great. It was much less noticeable than in previous years when people leave during the show. It’s gonna be an aspect no matter what during a free show, but this seemed the least disturbing so far of the set ups tried since this weekend moved to the Roundhouse some years ago from the Plaza of Nations (remember that?! Seems so long ago…) But where’d that groovy massive painting go that’s hung in that room the last few years? What a great backdrop for photographs – I missed it this year.
ESQ @ The Roundhouse – Festival Hall
7:00-8:00pm is a strange slot to be in on the final day of the Fest at the Roundhouse. Many have gone home for dinner and are done for the night and weekend, but there was still a pretty decent crowd in the house, and they were well rewarded for their effort, particularly with a simmering performance by tenor saxist Dave Say. Every time I hear Say play, I think, ‘Man, I don’t hear him play enough’ and it’s entirely my fault. I know he’s out there gigging all the time – I’m just not getting out enough. He makes me want to get out more. Now if only I didn’t work 13-14 hour days… Say co-leads this group with the wonderfully warm trumpeter Kevin Elaschuk, and I really don’t think these two get their due sometimes. Both are amazingly passionate players who come from a place of emotion, as far as I can hear, and are out there constantly gigging without great fanfare, though they certainly deserve it. The vibe’s the thing for these guys, above technical wizardry, though either of them could certainly hold their own on that front, too – and to these ears anyway, that’s everything.
TONY WILSON 6TET @ The Roundhouse – Performance Centre
Have also not had much chance to hear guitarist Tony Wilson in the last year or so, and was determined that despite usually being history from the Roundhouse by this late in the evening, bound for the evening’s shows around town, I would catch some of this. Once in the room, there was no way in hell I was leaving until they were done. This was one of the few shows where I was thoroughly grateful for my photo pass that allowed me to get very close to the action. In fact, I was wishing I could walk right on stage and stand in the middle of the stunning glory of this performance and be completely swallowed into it and live in it. There was so much going on, such an intensity in the room, so thick and so present, that it felt like there was a wall of it before me as I came through the door and I wanted to connect with it, not just be beside it. This was such an astonishing performance that could not and would not have been the same without any one group member, so I almost hesitate in singling any one out, but I have to say that trumpeter J.P. Carter’s “fucking amazing sound” (my note during the show – not eloquent, but accurate) was so beautiful and stunning that I have to praise it. In improvised situations he often flies a little under the radar, quietly exploring textures and coaxing unusual small sounds from his horn. But in this mostly scripted scenario of Wilson’s always heartbreakingly moving music, he takes a more traditional approach of (ahem) forcing air through the horn, resulting in a thrilling full-bodied circular surround sound (aided by an effects set-up) ringing out around the room and enveloping us in its wake and holding us so happily in place. What a thrilling ride. I can’t even recall when it was I last heard him, but it was SO good to hear Wilson again. It seemed to me that there was less melancholy in not only his playing, but the compositions, and more anger. One particular piece saw the Sextet completely rock out in a heavy, loud, pissed-off kinda way. Absolutely glorious. This show literally blew me away, and would’ve been a perfect end to the festival if I had only thought of it then, and not been greedy and made hungry for more after experiencing such a high. So on I went to…
BRUNO HUBERT’S WAYNE SHORTER PROJECT @ The Roundhouse – Festival Hall
I’m sure this would’ve been great any other time, especially as this was a new and interesting combination of Vancouver musicians not seen all together before, but after the above, I think my ears were satiated and satisfied and well, done. Loved the stage set-up of them essentially in a circle, too. Perhaps we’ll see this group do another performance sometime at the Cellar maybe?
ROSCOE MITCHELL QUINTET @ The Cultch
Foolish foolish me. Everyone said go to the Dedication Orchestra. They’d been the night before and said it was amazing and inspiring. But after getting out of Tony Wilson’s show at 8:30 and checking out a bit of Bruno Hubert’s group, I essentially missed it by the time I would’ve gotten up to The Centre (not to mention I wasn’t thrilled at the idea of going back there after the last time…). And everyone said they were going to Roscoe Mitchell, because they’d been to Dedication last night and this was THE show for the night. So I went. Musically, I was done and unreachable, and even if I had been, I suspect this wouldn’t have done it for me. Great chops all. Living legend, sure. And I LOVE pianist Craig Taborn, who was here w/ Susie Ibarra last year (year before?) and in another setting more recently that I currently can’t recall. And yeah, Mitchell’s trumpeter Corey Wilkes wowed by playing two horns (trumpet and flugelhorn, I think it was) at once, but I’d still rather hear J.P. Carter’s explorations any day. Yep, Tony Wilson’s 6tet did me in. I love that. Because I will get to hear them all again soon. Much as I bitch about Vancouver being such a small town, it is gloriously and hugely alive with interesting creative musicians constantly on the move musically, and their music is ours for the taking – all year round. It is a glorious thing.
ME @ 1067, July 3, approx. 12:00am
Ended the fest not at the unofficial official closing party, which I had intended to go to, but at a show featuring sets including Tony Wilson and J.P. Carter, two of my fave musicians of this fest (and anytime, really) at 1067. It wasn’t about the party and the socializing this night, as it usually is for the final night of the fest. It was about hearing a little more greatness, and integrating back into normal life post-fest, in a room I’m used to and love and have spent a lot of time in during the last 6 or 7 years, hearing a lot of amazingly creative music. A perfect end to the fest, hanging with a few friends, drinking a beer, and listening to great musicians. Sigh.
ME @ Home (July 10 – feels like a month later… not a week!)
Wow. I can’t believe it’s all done. The listening. The writing. The picture taking. It was a challenging fest in so many ways, and that made the great moments that were experienced all the more special. Thanks to Coastal for once again bringing great musicians from around the world and right here at home together for some amazing musical times – Happy 20th Anniversary and may the music go on forever! Thanks to the musicians for allowing us in. Thanks to Granville Island Brewing for making Hefeweizen. Thanks to the fellow Jazz Warriors out there who were up for a hang (and those who are too far away, but were here in spirit!) Thanks to my car for not conking out. And a big thanks to Brian Nation for allowing me to blither on within the hallowed pages of his great vancouverjazz.com site. It’s been an honour and a pleasure.
Oh yeah. Final tally for this year: 35 gigs.
PHOTOS ON THE WAY…!
Will post a link to photos once they’re all done and the exhibit is up!
