DAY 9 UPDATED 7/10/05 2:44pm
Ok. So the whole thing's over. I can hardly believe it, but so it is. It's sad and depressing in a way, but with no time off turning this year's festivities, it was hard to keep up - and I certainly didn't see anywhere near my average 60 shows! I shudder at the thought of counting, but I will give a final tally in my Day 10 report.
So once again we'll go in stages for these last two very big days. I will try to post as much as I can as quickly as I can during the coming days... stay tuned! Oh, and photos to come, too! Thanks to all of you who said you get some kind of kick or diversion out of reading this thing - although it still weirds me out somehow to think people are actually reading this... Anyway, I love doing it, even though it's difficult to cough up sometimes... especially this year, but the goal here is the same as it always was - to share the experience in the hope that others will want to come play along next time.
---
RON SAMWORTH AMBIDEXTROUS @ The Roundhouse - Performance Centre
One of the things helping to make this an unusual festival this year is the fact that I didn’t have the program in my head as much as I usually do, resulting in less anticipatory excitement than usual. So, of course I’d largely forgotten in advance exactly who would be on this gig, but once they all strolled out from behind that curtain, one by one all my senses started jumping with glee: Ron Samworth, guitar. Peggy Lee, cello. J.P. Carter, trumpet. John Korsrud, trumpet. Jesse Zubot, violin. Dylan van der Schyff, drums. Throw in less familiar-to-these-ears Montrealers Pierre Tanguay (drums) and Jean Derome (a. sax, b. sax, flute) and you’ve got a knockout group of improvisers that guaranteed an adventurous and delightful show. Their first piece was an incredible sensory experience, featuring, well, all of them, but especially astonishing were John Korsrud with his beautiful, crisp, clear ringing tone circling around our heads; Tanguay’s creative use of all the pieces of his instrument, which included fluttering his wire brushes by his head near two mics over his kit, and picking up and shaking his snare drum; Carter’s textury noises that despite their subtlety, don’t get lost in the mix – and in fact because he’s so quiet over there off to the side, compel you to lean in a little closer to find out what he could possibly be up to next (hint: it’s often something new with this one); and Lee, whose wide open ears and emotional quotient almost never fail to result in a quiet-but-resonating-strength beauty, particularly with her bowing work. I got to spend the first piece in listening bliss because I’d left my notebook at my chair to take some photos from the front row, and couldn’t really get back to it without causing a distraction to both listeners and possibly musicians – but I’m glad that it left me no choice but to stay put and just watch and listen. In fact, one of the most enjoyable things about this set was how much time each musician spent just listening to the others, hearing what they were doing and picking up on it where they left off, being inspired by what just came before, and carrying it forward. It was absolute improv heaven. How lucky are we to get to have the opportunity to hear musicians from different parts of the world – and in this case, different parts of the country – perform together in this kind of setting?! It energizes and inspires the performers to be able to connect with others, it exposes them to new ideas and techniques and gives us a unique perspective to be able to listen in on the whole experience. It’s one of the great gifts of this festival. That, and (like so much of the fest) it was free! Oh yes, and I have to say that despite a few comers and goers between pieces, it was great to hear an audience at a free show stay semi-largely put for the whole show – at an improv gig! Yes, it was that fantastique!
...more to come...
----
Oh look. Here it is now... More... UPDATED 7/10/05 2:44pm
FRANK MAROCCO/CAMPBELL RYGA QUINTET @ Festival Hall
Ran between this and the improv going on in the next room, and was reminded yet again of the wonderful diversity of this festival. Very traditional, old school swingin’ jazz here, and way out exploration there. I love that. This was great fun, and very easy to chill out to. Cool to hear a few tidbits of accordionist Maraocco’s accomplishments, including being on The Beach Boys’ “Pet Sounds” and even Pink Floyd’s “The Wall” – I mean, how cool is that?! Highly enjoyable music from terrific musicians. But the improv was calling me… (Bill Coon, guitar; Jodi Proznick, bass; Craig Scott, drums)
BOURNE/LEE/ZUBOT @ Performance Centre
The improv was – surprise surprise – once again the thing for me this fest. When I’m feeling highly strung (which is surprisingly often, though maybe it shouldn’t be at all surprising at this point!), this is the only thing that seems to make sense of it all. Something about the organized chaos and spontaneity of it all keeps you on your toes and flitting from thought to thought rapidly. Now THAT I can relate to. Cellist Peggy Lee, I’d go hear anytime, anyplace, no convincing necessary. As I’ve been saying in previous posts, she’s always got something new to say through her instrument, and it’s always worth hearing. The more I hear Zubot, who’s been playing in more and more improvisational settings, the more I dig. Like Lee, he’s very ‘at one’ with his instrument, playing as if it’s a very extension of his self, and every note, scratch, thwap or pluck he plays reverberates with that intimacy. When you add the unconventional British pianist Matthew Bourne to the mix, it completes a very zen triangle for this performance. The whole time I was in the room, Bourne never once sat on the piano bench or touched the keys. The lid of the grand piano was open and he hovered over the strings, choosing the textural route of manipulating the strings to connect with the ‘other’ stringed instruments of Lee and Zubot. This set was one of my favourites for being as interesting visually as it was aurally, to actually be able to see the connection amongst the three as much as hear it. The open and willing vibe of the trio to take this thing somewhere was discernible indeed.
JOHN KORSRUD’S ELECTRIC SEXTET @ Festival Hall
Just the name of this one sounds exciting. Electric. And they were indeed electrifying. Nevermind John Korsrud. That guy’s got a rep for always being up to something new and interesting – man, the pressure! No matter, he’s up for it. And this is another fine example. The surprise here (cause there always is something with JK) was that it wasn’t anything crazy or funny – all energy put into the music, making it fiery, passionate and very, very hot. There aren’t too many electric bands around that I can think of. With Chris Tarry in NYC, Junction’s not been active to my knowledge. Metalwood seems to be on a hiatus. Hmmm… I can’t think of any others off the top of my head… perfect timing for Korsrud’s Electric Sextet, which boasts a couple of members of those groups (keyboardist Chris Gestrin and guitarist Daryl Jahnke are in Junction; so is electric bassist Chris Tarry, also of Metalwood, and who was scheduled to perform on this gig, but we heard André Lachance on electric bass - nice). My only complaint during this gig was that I could’ve used much more trumpet than Korsrud was giving us. He gave the others lots of room to roam and brought tantalizing hits of gorgeous, even, fiery clarity, sent winging on its way with echoey effects. He stood off to the side through much of the set, enjoying the ride along with the rest of us, and I suspect he was of the ‘leave them wanting more’ school this afternoon. It worked. I hope this wasn’t a ‘fest special’ and that we’ll get to see this become a regular group. (Don Powrie, drums)
TRIO DEROME/PLIMLEY/TANGUAY @ The Ironworks
The ad campaign for this one could’ve read “Go Big Or Go Home”. For there no one in the world quite like pianist Paul Plimley. Arrived to this set at what I figured to be a little past the halfway point, and found the three of them hard at it, and already sweaty with the intensity they were creating. Of course, at the logical set break point, as the others started to move away from their instruments, Plimley piped up and said, ‘Oh, we’ll do one more’. It just wouldn’t be right if this exuberant, creative and in possession of childlike enthusiasm pianist didn’t want to keep on going forever. It’s what we love about him. Gamely, saxist Jean Derome and percussionist Pierre Tanguay went along for the ride and blasted us with another onslaught of pounding, head-clearing, shit-kicking free-for-all improvisation. Sitting in the front row only enhanced the experience, and I’m grateful to those who arrived before us and left those seats free – fools!!!! What a trip! And what a great way to clear the head for yet another full day of jazzing to come!
** Listened to The Chad Makela Quartet’s new disc “Flicker” while writing this. Loose, groovy, laidback stuff – like it’s not trying too hard. It doesn’t have to. OK, hold on a sec here, just got to track 7, the aptly titled “Uprising”, and they’ve kicked it up a notch to driving tempo to underscore Turner’s specialty, the hot and fast solo. Great energy on this disc, and I look forward to spending some more time with it. First listen made me think, ‘Hey, isn’t the leader a bari sax player? Why do I feel I’m not hearing much sax?’ That said, it’s nice when a leader isn’t hogging the spotlight, but sharing it and letting the band shine on the (mostly his) compositions. Will have to investigate further – I’m down with that. (On Cellar Live, of course. With Paul Rushka, bass; Jesse Cahill, drums) **
So once again we'll go in stages for these last two very big days. I will try to post as much as I can as quickly as I can during the coming days... stay tuned! Oh, and photos to come, too! Thanks to all of you who said you get some kind of kick or diversion out of reading this thing - although it still weirds me out somehow to think people are actually reading this... Anyway, I love doing it, even though it's difficult to cough up sometimes... especially this year, but the goal here is the same as it always was - to share the experience in the hope that others will want to come play along next time.
---
RON SAMWORTH AMBIDEXTROUS @ The Roundhouse - Performance Centre
One of the things helping to make this an unusual festival this year is the fact that I didn’t have the program in my head as much as I usually do, resulting in less anticipatory excitement than usual. So, of course I’d largely forgotten in advance exactly who would be on this gig, but once they all strolled out from behind that curtain, one by one all my senses started jumping with glee: Ron Samworth, guitar. Peggy Lee, cello. J.P. Carter, trumpet. John Korsrud, trumpet. Jesse Zubot, violin. Dylan van der Schyff, drums. Throw in less familiar-to-these-ears Montrealers Pierre Tanguay (drums) and Jean Derome (a. sax, b. sax, flute) and you’ve got a knockout group of improvisers that guaranteed an adventurous and delightful show. Their first piece was an incredible sensory experience, featuring, well, all of them, but especially astonishing were John Korsrud with his beautiful, crisp, clear ringing tone circling around our heads; Tanguay’s creative use of all the pieces of his instrument, which included fluttering his wire brushes by his head near two mics over his kit, and picking up and shaking his snare drum; Carter’s textury noises that despite their subtlety, don’t get lost in the mix – and in fact because he’s so quiet over there off to the side, compel you to lean in a little closer to find out what he could possibly be up to next (hint: it’s often something new with this one); and Lee, whose wide open ears and emotional quotient almost never fail to result in a quiet-but-resonating-strength beauty, particularly with her bowing work. I got to spend the first piece in listening bliss because I’d left my notebook at my chair to take some photos from the front row, and couldn’t really get back to it without causing a distraction to both listeners and possibly musicians – but I’m glad that it left me no choice but to stay put and just watch and listen. In fact, one of the most enjoyable things about this set was how much time each musician spent just listening to the others, hearing what they were doing and picking up on it where they left off, being inspired by what just came before, and carrying it forward. It was absolute improv heaven. How lucky are we to get to have the opportunity to hear musicians from different parts of the world – and in this case, different parts of the country – perform together in this kind of setting?! It energizes and inspires the performers to be able to connect with others, it exposes them to new ideas and techniques and gives us a unique perspective to be able to listen in on the whole experience. It’s one of the great gifts of this festival. That, and (like so much of the fest) it was free! Oh yes, and I have to say that despite a few comers and goers between pieces, it was great to hear an audience at a free show stay semi-largely put for the whole show – at an improv gig! Yes, it was that fantastique!
...more to come...
----
Oh look. Here it is now... More... UPDATED 7/10/05 2:44pm
FRANK MAROCCO/CAMPBELL RYGA QUINTET @ Festival Hall
Ran between this and the improv going on in the next room, and was reminded yet again of the wonderful diversity of this festival. Very traditional, old school swingin’ jazz here, and way out exploration there. I love that. This was great fun, and very easy to chill out to. Cool to hear a few tidbits of accordionist Maraocco’s accomplishments, including being on The Beach Boys’ “Pet Sounds” and even Pink Floyd’s “The Wall” – I mean, how cool is that?! Highly enjoyable music from terrific musicians. But the improv was calling me… (Bill Coon, guitar; Jodi Proznick, bass; Craig Scott, drums)
BOURNE/LEE/ZUBOT @ Performance Centre
The improv was – surprise surprise – once again the thing for me this fest. When I’m feeling highly strung (which is surprisingly often, though maybe it shouldn’t be at all surprising at this point!), this is the only thing that seems to make sense of it all. Something about the organized chaos and spontaneity of it all keeps you on your toes and flitting from thought to thought rapidly. Now THAT I can relate to. Cellist Peggy Lee, I’d go hear anytime, anyplace, no convincing necessary. As I’ve been saying in previous posts, she’s always got something new to say through her instrument, and it’s always worth hearing. The more I hear Zubot, who’s been playing in more and more improvisational settings, the more I dig. Like Lee, he’s very ‘at one’ with his instrument, playing as if it’s a very extension of his self, and every note, scratch, thwap or pluck he plays reverberates with that intimacy. When you add the unconventional British pianist Matthew Bourne to the mix, it completes a very zen triangle for this performance. The whole time I was in the room, Bourne never once sat on the piano bench or touched the keys. The lid of the grand piano was open and he hovered over the strings, choosing the textural route of manipulating the strings to connect with the ‘other’ stringed instruments of Lee and Zubot. This set was one of my favourites for being as interesting visually as it was aurally, to actually be able to see the connection amongst the three as much as hear it. The open and willing vibe of the trio to take this thing somewhere was discernible indeed.
JOHN KORSRUD’S ELECTRIC SEXTET @ Festival Hall
Just the name of this one sounds exciting. Electric. And they were indeed electrifying. Nevermind John Korsrud. That guy’s got a rep for always being up to something new and interesting – man, the pressure! No matter, he’s up for it. And this is another fine example. The surprise here (cause there always is something with JK) was that it wasn’t anything crazy or funny – all energy put into the music, making it fiery, passionate and very, very hot. There aren’t too many electric bands around that I can think of. With Chris Tarry in NYC, Junction’s not been active to my knowledge. Metalwood seems to be on a hiatus. Hmmm… I can’t think of any others off the top of my head… perfect timing for Korsrud’s Electric Sextet, which boasts a couple of members of those groups (keyboardist Chris Gestrin and guitarist Daryl Jahnke are in Junction; so is electric bassist Chris Tarry, also of Metalwood, and who was scheduled to perform on this gig, but we heard André Lachance on electric bass - nice). My only complaint during this gig was that I could’ve used much more trumpet than Korsrud was giving us. He gave the others lots of room to roam and brought tantalizing hits of gorgeous, even, fiery clarity, sent winging on its way with echoey effects. He stood off to the side through much of the set, enjoying the ride along with the rest of us, and I suspect he was of the ‘leave them wanting more’ school this afternoon. It worked. I hope this wasn’t a ‘fest special’ and that we’ll get to see this become a regular group. (Don Powrie, drums)
TRIO DEROME/PLIMLEY/TANGUAY @ The Ironworks
The ad campaign for this one could’ve read “Go Big Or Go Home”. For there no one in the world quite like pianist Paul Plimley. Arrived to this set at what I figured to be a little past the halfway point, and found the three of them hard at it, and already sweaty with the intensity they were creating. Of course, at the logical set break point, as the others started to move away from their instruments, Plimley piped up and said, ‘Oh, we’ll do one more’. It just wouldn’t be right if this exuberant, creative and in possession of childlike enthusiasm pianist didn’t want to keep on going forever. It’s what we love about him. Gamely, saxist Jean Derome and percussionist Pierre Tanguay went along for the ride and blasted us with another onslaught of pounding, head-clearing, shit-kicking free-for-all improvisation. Sitting in the front row only enhanced the experience, and I’m grateful to those who arrived before us and left those seats free – fools!!!! What a trip! And what a great way to clear the head for yet another full day of jazzing to come!
** Listened to The Chad Makela Quartet’s new disc “Flicker” while writing this. Loose, groovy, laidback stuff – like it’s not trying too hard. It doesn’t have to. OK, hold on a sec here, just got to track 7, the aptly titled “Uprising”, and they’ve kicked it up a notch to driving tempo to underscore Turner’s specialty, the hot and fast solo. Great energy on this disc, and I look forward to spending some more time with it. First listen made me think, ‘Hey, isn’t the leader a bari sax player? Why do I feel I’m not hearing much sax?’ That said, it’s nice when a leader isn’t hogging the spotlight, but sharing it and letting the band shine on the (mostly his) compositions. Will have to investigate further – I’m down with that. (On Cellar Live, of course. With Paul Rushka, bass; Jesse Cahill, drums) **
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