DAY 3
Sunday, June 26, 2005
Ok. Bear with me. Sunday was a BIIIIIIIIIIIIIIG day. Monday is a work day. Get it? We're gonna (once again) try something a little different this year - appropriate in light of the fact that: a) I'm posting these things myself, without the aid of my trusty friend and semi-editor Nation and therefore deadline-type-things... (see - worked you in, just like that); and that means I can go in and change anything, anytime - AFTER THE FACT. I kinda like that thought, but mostly I don't, because although sometimes you WISH you could go back when you realize after the fact that you could've said something SOOOO much better, I guess I prefer to live in the moment and do it the best I can at that time... so, thus far am avoiding writer's remorse and haven't changed anything, except bits of layout. (Which, actually, Nation changed. Thanks Nation.) Of course, I haven't had the time to go back and read anything I've written... Did I also mention I believe in never saying never? As stated, gotta go with the moment. And moments change. So. Right.... b) All that said in my usual roundabout fashion for which I beat myself up daily, here's the thing, posted in installments as time allows. Yes, it's 2:01am and I've just returned from the Jam Session at O'Doul's and am tired, not to mention tipsy. It's hard to stay home and write when there's music going on out there. Stopping now. Goodnight.
Here's the first piece of Sunday...
----
GASTOWN
SCORCH TRIO
Two blocks around the corner, approaching the Maple Tree Stage on Water Street, I could hear what sounded distinctly like death metal screaming in the distance. On a Sunday morning. Well, ok, it was 1:15pm, but it was still morning to me, not to mention practically the first show of the day. A smile spread across my lips as I rounded the corner to realize it wasn’t blaring from somebody’s car or a speaker propped in an open window. It was coming from a Jazz Festival stage! Rock on Jazz Fest! And it was only three guys! Three loud guys. Guitar, bass, drums. Yes, it was the aptly named SCORCH TRIO letting ‘er rip a la Jimi Hendrix’s wake-up call at Woodstock all those years ago, but with a sorta jazz sensibility. Or at least a Northern European crazy-assed, semi-maniacal pseudo-hardcore-rock-meets-jazz sensibility. Hadn’t ever heard anything quite like it, so it was worth it for sheer novelty. Musically, hard to go wrong, especially with one of our semi-resident Norwegians Paal Nilssen-Love at the drum kit, thundering away with that look of grim determination on his face. Bassist and fellow Norwegian Ingebrigt Haker Flaten (his real name, especially delightful when pronounced with a Swedish accent by the leader of Atomic Fredrik Ljungkvist – who has quite the moniker himself - later that night at their fantastic Atomic gig), and particularly guitarist Raoul Bjorkenheim seemed to know no limitations and operated under that guise, much to the delight of the perhaps somewhat stunned audience shaking their heads in disbelief while rooted to the spots they stood on. For me, it did the trick, wiping away any remnants of a disappointing Saturday with lightning speed and clearing the ears and head for a fresh day of Festing. Yahoo!
----
... more to come as soon as I can get to it...
----
UPDATE #1
ANDRE LACHANCE TRIO @ Victory Square
Yet another abrupt gear shift took me back to V. Square for some of my fave musicians anywhere, playing what I expected to be a really nice set of swinging tunes. It’s an awesome thing when expectations are not merely met, but surpassed by a long shot, and this was one of those times. Hearing this trio at last year’s fest was fun (save for the noisy, crowded room), particularly because we hadn’t yet heard all that much of Lachance, known primarily as an excellent bassist, on guitar and as a group leader. (And I gotta say, he’s looking awfully comfortable with that guitar on his lap.) Yesterday’s performance started out nice and easy, with ‘Almost Like Being In Love’, which swung sweetly. Great, I thought, this’ll be nice – just sit back, relax and enjoy some classic tunes. But as the set progressed, it started to weave its way inside. Something was different. It seemed to me that the trio had reached another level, emotionally speaking, and I was all about going along for that ride. When they went into something I think was called ‘Time Space’, my first thought was about its groove. But that quickly evolved into marveling that, although the tunes they do are really nice and they do them very well, that piece, in their hands, had soul. To me, the ballads and slower-tempo pieces are the joy of this trio, like ‘For Rob’ an original by Lachance. I do believe it’s the first piece of his I’ve ever heard, after probably six or more years of hearing him play (and 99.5% or so of that bass), in many situations. I think a lot of us have now had our appetites whetted and are looking forward to more, which Lachance reports is in the works… :o)
It was a great set of music from this trio of musicians who have played together in various groups for many years, and it was especially nice to see them looking as though THEY’D had as great a time as their audience did. All too often you tell a musician how much you enjoyed their set, and they remark they could’ve done this better or they weren’t too pleased with it, but these guys were grinning ear to ear - as they should have. Don’t miss their next gig! Oh, and I also hafta say that this park venue grew on me at this show, too, with its concert-bowl like sloped-hill grassy-knoll type setting and a bit of sun; although I also then have to say that it’s not so easy to forget it’s Downtown Eastside, and really shouldn’t be forgotten anyway. (Chris Gestrin, Hammond; Brad Turner, drums)
BIK BENT BRAAM @ Vancouver Sun Stage
Caught a tiny bit of this - enough to know I wanted to hear them in the respectfully quiet confines of the good ol’ Cultch when they play Tuesday, June 28. There’s a little crazy edge to these Northern Europeans (see Atomic below) that is none too subtle in their music and stage manner, and I think I really love it. They’re passionately zany and fun-loving and unrepentantly shameless theatrical performers. Of course, there’s the danger of slipping across the border into over-the-top kind of annoying and losing focus on musicality for schtick when straddling the line too closely, as oft-visitor drummer Han Bennink sometimes finds in his audiences – although I can’t imagine he’d notice… ;o) That said, Bik Bent Braam, at least for the short time I heard them so far, blended just a healthy dose of fun into their lumbering, creeping, demented, sometimes warped multi-faceted, genre-defying Eurojazz. (Michiel Braam, pianist; Wilbert de Joode, bass; Joop vanErven, drums; Frans Vermeeerssen, t. sax; Frank Gratkowski, a. sax/clar., Jan Willem van der Ham, a. sax; Bart van der Putten, a. sax/clar., Peter Haex, Patrick Votrian, tubas; Eric Boeren, cornet; Angelo Verploegen, trump., Wolter Wierbos, Hans Sparla, trombones; me, phew)
----
UPDATE #2
THE MARKS BROTHERS @ The Western Front
Easily my favourite show so far this fest. Because it not only reached me, it reached deep inside me and pulled me inside out on myself and took me in to complete and utter bliss – for more than just a few minutes. That seems to be getting harder and harder to find somehow, although I think I’m still searching as hard for it.
So - first trip to the Front this fest, and it’s rare to be disappointed at the Front. It’s a combo of permanent venue atmosphere (open, willing), the type and calibre of artist (usually excellent) and personal readiness factor (something about walking up those stairs and around that corner abuzz with anticipation from so very many superb shows past). And of course there was no way on Earth I could go wrong with Dresser and Helias, right? Correct! What a fantastic show. I furiously wrote 5.5 pages in my little notebook at this one, in between tripping. Two astronomically talented and creative bassists from the capitol of Creative, NYC. (Hmmmm, although as I say that I have to admit I’m leaning so much farther toward Europe as the New Capitol of Creative… whady’all think?)
Their first piece was called ‘Tonation’, a completely in-tandem bowing effort that had the singularity of one player, and the strength and depth of the two (and we must, of course, take into account here that these particular two equal, oh, about a hundred in terms of talent). Visualizations of planes taking off and landing – sometimes rather rapidly, in terms of safety - kept flowing through my head. Next piece was ‘Zeppo’, showcasing how remarkably full a group sound two upright basses can make, amidst texture and rhythm and melody - in the right hands, of course. In ‘The Combover’, the musicians illustrated their kinetic relationship by not only finishing each other’s musical sentences in this lively piece, but pretty much alternating words within every sentence. Their rapport is as amazing as the sum of their combined talent. The highlight of the set for these ears was part of a film suite composed for a Luis Bunuel/Salvador Dali film entitled ‘Un Chien Andalou’ that lived so fully in those moments and sadly, is now gone: I was unable to write a thing, and I could only tell I was alive by the chest-heaving, deep-breathing state of disbelief that I’d actually reached the all-too-rare lately dream world called musical nirvana. I wanted to live in it fully and not stop to think – just feel. During that piece and in its wake, the room was so alive with connection amongst so many. We’d all fallen for it. I believe 98% of the packed room was on its feet immediately following this set, and it was certainly well-deserved applause. Only shame about this gig was hearing from the Marks that their only CD together as a duo is currently out of print and not currently available. (Mark Dresser, bass; Mark Helias, bass)
ATOMIC @ The Centre
I loved these guys when they were here three years ago, and when at least some of them played in Per ‘Texas’ Johansson’s band a year or two before that. Now I was talking earlier about that Northern European kinda wacky musical sensibility, and these guys embody a somewhat more intensely crazed vibe than, say, Bik Bent Braam (speaking only based on the two 15-minute portions I heard of BBB’s sets at their two gigs this fest). There’s a manic energy pummeling these guys along, and I really want to find out what it is all about. It’s like Scorch Trio earlier today, or Humcrush Saturday night. There’s something going on in Northern Europe to drive these guys to near-freakish intensity, and I need to see it up close and personal. One exception to that fast and furious thing this set was a ‘new’ piece entitled ‘Sooner Or Later’ that started slow and had me waiting for the beautiful insanity to suddenly resume, but after a lengthy solo bass section, it revealed its core as a gorgeous bluesy melancholy haunter, complete with echo-ey minor piano chords reverberating around along with the bass pluckings. It sent me to the lobby after the set to find their disc containing 'Sooner Or Later' and snap it up, but alas, it's so new it's not released on disc yet. I'll be waiting. During the last piece called ‘Boom Boom’, I had a thought. Maybe it’s about freedom, a lack of self-restraint in a society completely different from ours. Somehow they’re just not even remotely afraid of sticking their necks out beyond far – or do they even think they are? Maybe this is just who they are. And maybe I’m just in love with Europe. Ya, it’s probably the norm there. As we have our life experiences that fuel and colour our doings in our polite, restrained society… I really do think I’m going to have to spend more time there to figure it out upon further, intense, up close and personal study… more on this I’m sure. For now, once again I’ve just returned from the Jam at O’Doul’s, and it’s bedtime. (Fredrik Ljungkvist, sax/clar.; Haavark Wiik, piano; Ingebrigt Haker Flaten, bass; Paal Nilssen-Love, drums; Magnus Broo, trumpet/really cool name)
----
UPDATE # 3 (This completes - at last! - this day's reportage... )
DAVE HOLLAND QUINTET @ The Centre
With the wild ones of Europe turning my crank as far around and back again as they do, it’s not gonna come as a surprise to anyone that, while I could appreciate the musicianship of Holland’s band, it wasn’t getting past the gates in the head, let alone anywhere near the heart. Dunno why, just didn’t. These guys are obviously extremely well-trained and excellent musicians, and I loved the trombone, sax front line: “solid” is what I wrote in my notes. And I mean it in the most positive way. File under c’est la vie, and try, try again. Cause I will. (Holland, as if you don't know; Chris Potter, saxes; Robin Eubanks, trombone; Steve Nelson, vibes; Nate Smith, drums)
ANDERSKOV ACCIDENT @ The Ironworks
Arrived here around 11:20 to find no band on stage, and loud horn honks coming from the band room upstairs. ‘Huh?’, queried I. Performance art from above? Not so much. Anders Banke’s sax had apparently fallen victim to loosened joints or soldering or some such, so it’s a damn good thing Vancouver saxist Graham Ord (on sound detail at the venue) just happened to have a tenor in his pocket. Well, practically. It was nearby, and delivered with next-to-lightning speed, allowing the extremely youthful Danes to hit the stage with only an approximately 30-minute delay. So, I caught about 5 or 6 minutes before I had to fly off because I promised to meet someone. I really have nothing to add, unfortunately, to my previous experience of this band the day before. I wish I did. (Same musicians as yesterday. Go on, look it up.)
JAM SESSION W/ MIKE ALLEN TRIO @ O’Doul’s
I was here. I drank beer. I stayed too late. I listened to music I didn’t take notes about, and it’s now 2 jams and 3 nights later, so the bottom line is I can’t remember clearly what happened what night. But I really really really enjoyed myself far too much for someone who had to be up at 7:00am to work a 11-12 hour day the next day… Some of Dave Holland’s Quintet hit the stage: I distinctly recall tenor saxist Chris Potter up there, doing his sax acrobatics (not my favourite take on this luscious, deep-throaty instrument), and I do remember chatting briefly with bassist Mark Helias – or was that the next night? As I’ve said in these writings before – memory like a sieve. If I don’t write it down immediately, it’s gone. And now so must I be. Buono notte.
Ok. Bear with me. Sunday was a BIIIIIIIIIIIIIIG day. Monday is a work day. Get it? We're gonna (once again) try something a little different this year - appropriate in light of the fact that: a) I'm posting these things myself, without the aid of my trusty friend and semi-editor Nation and therefore deadline-type-things... (see - worked you in, just like that); and that means I can go in and change anything, anytime - AFTER THE FACT. I kinda like that thought, but mostly I don't, because although sometimes you WISH you could go back when you realize after the fact that you could've said something SOOOO much better, I guess I prefer to live in the moment and do it the best I can at that time... so, thus far am avoiding writer's remorse and haven't changed anything, except bits of layout. (Which, actually, Nation changed. Thanks Nation.) Of course, I haven't had the time to go back and read anything I've written... Did I also mention I believe in never saying never? As stated, gotta go with the moment. And moments change. So. Right.... b) All that said in my usual roundabout fashion for which I beat myself up daily, here's the thing, posted in installments as time allows. Yes, it's 2:01am and I've just returned from the Jam Session at O'Doul's and am tired, not to mention tipsy. It's hard to stay home and write when there's music going on out there. Stopping now. Goodnight.
Here's the first piece of Sunday...
----
GASTOWN
SCORCH TRIO
Two blocks around the corner, approaching the Maple Tree Stage on Water Street, I could hear what sounded distinctly like death metal screaming in the distance. On a Sunday morning. Well, ok, it was 1:15pm, but it was still morning to me, not to mention practically the first show of the day. A smile spread across my lips as I rounded the corner to realize it wasn’t blaring from somebody’s car or a speaker propped in an open window. It was coming from a Jazz Festival stage! Rock on Jazz Fest! And it was only three guys! Three loud guys. Guitar, bass, drums. Yes, it was the aptly named SCORCH TRIO letting ‘er rip a la Jimi Hendrix’s wake-up call at Woodstock all those years ago, but with a sorta jazz sensibility. Or at least a Northern European crazy-assed, semi-maniacal pseudo-hardcore-rock-meets-jazz sensibility. Hadn’t ever heard anything quite like it, so it was worth it for sheer novelty. Musically, hard to go wrong, especially with one of our semi-resident Norwegians Paal Nilssen-Love at the drum kit, thundering away with that look of grim determination on his face. Bassist and fellow Norwegian Ingebrigt Haker Flaten (his real name, especially delightful when pronounced with a Swedish accent by the leader of Atomic Fredrik Ljungkvist – who has quite the moniker himself - later that night at their fantastic Atomic gig), and particularly guitarist Raoul Bjorkenheim seemed to know no limitations and operated under that guise, much to the delight of the perhaps somewhat stunned audience shaking their heads in disbelief while rooted to the spots they stood on. For me, it did the trick, wiping away any remnants of a disappointing Saturday with lightning speed and clearing the ears and head for a fresh day of Festing. Yahoo!
----
... more to come as soon as I can get to it...
----
UPDATE #1
ANDRE LACHANCE TRIO @ Victory Square
Yet another abrupt gear shift took me back to V. Square for some of my fave musicians anywhere, playing what I expected to be a really nice set of swinging tunes. It’s an awesome thing when expectations are not merely met, but surpassed by a long shot, and this was one of those times. Hearing this trio at last year’s fest was fun (save for the noisy, crowded room), particularly because we hadn’t yet heard all that much of Lachance, known primarily as an excellent bassist, on guitar and as a group leader. (And I gotta say, he’s looking awfully comfortable with that guitar on his lap.) Yesterday’s performance started out nice and easy, with ‘Almost Like Being In Love’, which swung sweetly. Great, I thought, this’ll be nice – just sit back, relax and enjoy some classic tunes. But as the set progressed, it started to weave its way inside. Something was different. It seemed to me that the trio had reached another level, emotionally speaking, and I was all about going along for that ride. When they went into something I think was called ‘Time Space’, my first thought was about its groove. But that quickly evolved into marveling that, although the tunes they do are really nice and they do them very well, that piece, in their hands, had soul. To me, the ballads and slower-tempo pieces are the joy of this trio, like ‘For Rob’ an original by Lachance. I do believe it’s the first piece of his I’ve ever heard, after probably six or more years of hearing him play (and 99.5% or so of that bass), in many situations. I think a lot of us have now had our appetites whetted and are looking forward to more, which Lachance reports is in the works… :o)
It was a great set of music from this trio of musicians who have played together in various groups for many years, and it was especially nice to see them looking as though THEY’D had as great a time as their audience did. All too often you tell a musician how much you enjoyed their set, and they remark they could’ve done this better or they weren’t too pleased with it, but these guys were grinning ear to ear - as they should have. Don’t miss their next gig! Oh, and I also hafta say that this park venue grew on me at this show, too, with its concert-bowl like sloped-hill grassy-knoll type setting and a bit of sun; although I also then have to say that it’s not so easy to forget it’s Downtown Eastside, and really shouldn’t be forgotten anyway. (Chris Gestrin, Hammond; Brad Turner, drums)
BIK BENT BRAAM @ Vancouver Sun Stage
Caught a tiny bit of this - enough to know I wanted to hear them in the respectfully quiet confines of the good ol’ Cultch when they play Tuesday, June 28. There’s a little crazy edge to these Northern Europeans (see Atomic below) that is none too subtle in their music and stage manner, and I think I really love it. They’re passionately zany and fun-loving and unrepentantly shameless theatrical performers. Of course, there’s the danger of slipping across the border into over-the-top kind of annoying and losing focus on musicality for schtick when straddling the line too closely, as oft-visitor drummer Han Bennink sometimes finds in his audiences – although I can’t imagine he’d notice… ;o) That said, Bik Bent Braam, at least for the short time I heard them so far, blended just a healthy dose of fun into their lumbering, creeping, demented, sometimes warped multi-faceted, genre-defying Eurojazz. (Michiel Braam, pianist; Wilbert de Joode, bass; Joop vanErven, drums; Frans Vermeeerssen, t. sax; Frank Gratkowski, a. sax/clar., Jan Willem van der Ham, a. sax; Bart van der Putten, a. sax/clar., Peter Haex, Patrick Votrian, tubas; Eric Boeren, cornet; Angelo Verploegen, trump., Wolter Wierbos, Hans Sparla, trombones; me, phew)
----
UPDATE #2
THE MARKS BROTHERS @ The Western Front
Easily my favourite show so far this fest. Because it not only reached me, it reached deep inside me and pulled me inside out on myself and took me in to complete and utter bliss – for more than just a few minutes. That seems to be getting harder and harder to find somehow, although I think I’m still searching as hard for it.
So - first trip to the Front this fest, and it’s rare to be disappointed at the Front. It’s a combo of permanent venue atmosphere (open, willing), the type and calibre of artist (usually excellent) and personal readiness factor (something about walking up those stairs and around that corner abuzz with anticipation from so very many superb shows past). And of course there was no way on Earth I could go wrong with Dresser and Helias, right? Correct! What a fantastic show. I furiously wrote 5.5 pages in my little notebook at this one, in between tripping. Two astronomically talented and creative bassists from the capitol of Creative, NYC. (Hmmmm, although as I say that I have to admit I’m leaning so much farther toward Europe as the New Capitol of Creative… whady’all think?)
Their first piece was called ‘Tonation’, a completely in-tandem bowing effort that had the singularity of one player, and the strength and depth of the two (and we must, of course, take into account here that these particular two equal, oh, about a hundred in terms of talent). Visualizations of planes taking off and landing – sometimes rather rapidly, in terms of safety - kept flowing through my head. Next piece was ‘Zeppo’, showcasing how remarkably full a group sound two upright basses can make, amidst texture and rhythm and melody - in the right hands, of course. In ‘The Combover’, the musicians illustrated their kinetic relationship by not only finishing each other’s musical sentences in this lively piece, but pretty much alternating words within every sentence. Their rapport is as amazing as the sum of their combined talent. The highlight of the set for these ears was part of a film suite composed for a Luis Bunuel/Salvador Dali film entitled ‘Un Chien Andalou’ that lived so fully in those moments and sadly, is now gone: I was unable to write a thing, and I could only tell I was alive by the chest-heaving, deep-breathing state of disbelief that I’d actually reached the all-too-rare lately dream world called musical nirvana. I wanted to live in it fully and not stop to think – just feel. During that piece and in its wake, the room was so alive with connection amongst so many. We’d all fallen for it. I believe 98% of the packed room was on its feet immediately following this set, and it was certainly well-deserved applause. Only shame about this gig was hearing from the Marks that their only CD together as a duo is currently out of print and not currently available. (Mark Dresser, bass; Mark Helias, bass)
ATOMIC @ The Centre
I loved these guys when they were here three years ago, and when at least some of them played in Per ‘Texas’ Johansson’s band a year or two before that. Now I was talking earlier about that Northern European kinda wacky musical sensibility, and these guys embody a somewhat more intensely crazed vibe than, say, Bik Bent Braam (speaking only based on the two 15-minute portions I heard of BBB’s sets at their two gigs this fest). There’s a manic energy pummeling these guys along, and I really want to find out what it is all about. It’s like Scorch Trio earlier today, or Humcrush Saturday night. There’s something going on in Northern Europe to drive these guys to near-freakish intensity, and I need to see it up close and personal. One exception to that fast and furious thing this set was a ‘new’ piece entitled ‘Sooner Or Later’ that started slow and had me waiting for the beautiful insanity to suddenly resume, but after a lengthy solo bass section, it revealed its core as a gorgeous bluesy melancholy haunter, complete with echo-ey minor piano chords reverberating around along with the bass pluckings. It sent me to the lobby after the set to find their disc containing 'Sooner Or Later' and snap it up, but alas, it's so new it's not released on disc yet. I'll be waiting. During the last piece called ‘Boom Boom’, I had a thought. Maybe it’s about freedom, a lack of self-restraint in a society completely different from ours. Somehow they’re just not even remotely afraid of sticking their necks out beyond far – or do they even think they are? Maybe this is just who they are. And maybe I’m just in love with Europe. Ya, it’s probably the norm there. As we have our life experiences that fuel and colour our doings in our polite, restrained society… I really do think I’m going to have to spend more time there to figure it out upon further, intense, up close and personal study… more on this I’m sure. For now, once again I’ve just returned from the Jam at O’Doul’s, and it’s bedtime. (Fredrik Ljungkvist, sax/clar.; Haavark Wiik, piano; Ingebrigt Haker Flaten, bass; Paal Nilssen-Love, drums; Magnus Broo, trumpet/really cool name)
----
UPDATE # 3 (This completes - at last! - this day's reportage... )
DAVE HOLLAND QUINTET @ The Centre
With the wild ones of Europe turning my crank as far around and back again as they do, it’s not gonna come as a surprise to anyone that, while I could appreciate the musicianship of Holland’s band, it wasn’t getting past the gates in the head, let alone anywhere near the heart. Dunno why, just didn’t. These guys are obviously extremely well-trained and excellent musicians, and I loved the trombone, sax front line: “solid” is what I wrote in my notes. And I mean it in the most positive way. File under c’est la vie, and try, try again. Cause I will. (Holland, as if you don't know; Chris Potter, saxes; Robin Eubanks, trombone; Steve Nelson, vibes; Nate Smith, drums)
ANDERSKOV ACCIDENT @ The Ironworks
Arrived here around 11:20 to find no band on stage, and loud horn honks coming from the band room upstairs. ‘Huh?’, queried I. Performance art from above? Not so much. Anders Banke’s sax had apparently fallen victim to loosened joints or soldering or some such, so it’s a damn good thing Vancouver saxist Graham Ord (on sound detail at the venue) just happened to have a tenor in his pocket. Well, practically. It was nearby, and delivered with next-to-lightning speed, allowing the extremely youthful Danes to hit the stage with only an approximately 30-minute delay. So, I caught about 5 or 6 minutes before I had to fly off because I promised to meet someone. I really have nothing to add, unfortunately, to my previous experience of this band the day before. I wish I did. (Same musicians as yesterday. Go on, look it up.)
JAM SESSION W/ MIKE ALLEN TRIO @ O’Doul’s
I was here. I drank beer. I stayed too late. I listened to music I didn’t take notes about, and it’s now 2 jams and 3 nights later, so the bottom line is I can’t remember clearly what happened what night. But I really really really enjoyed myself far too much for someone who had to be up at 7:00am to work a 11-12 hour day the next day… Some of Dave Holland’s Quintet hit the stage: I distinctly recall tenor saxist Chris Potter up there, doing his sax acrobatics (not my favourite take on this luscious, deep-throaty instrument), and I do remember chatting briefly with bassist Mark Helias – or was that the next night? As I’ve said in these writings before – memory like a sieve. If I don’t write it down immediately, it’s gone. And now so must I be. Buono notte.
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