Number 4
June 3 , 2001
HELLO WORLD, AH, it’s good to be back on-line after a hard-drive failure nearly two weeks ago that made me realize how scarily dependent on computers and the Internet my life has become. Thankfully, I’m back and, more scarily, not worried about this computer because it’s sorta "new". Famous last words? If only I wasn’t superstitious…
MEANTIME, THERE’S BEEN some serious jazzing going on. And coming
up. JUNCTION released a new CD of their dreamy, spacious jazz with
a party at The Cellar on May 25-26. Self-Portrait
is a collection of nine tracks pretty evenly distributed writing-wise,
amongst the foursome who make up Junction. What’s really cool about
an album like this is having been lucky enough to have heard some of the
tunes played and worked out in live situations prior to the disc’s
creation and release, particularly in the case of the consistent excellence
that keeps coming from Chris Gestrin. His two compositions here,
1199 and I Got My Mofo Workin’, are well-known
funky-edged classic Gestrin tunes heard many a time at his weekly Sunday
gig at the one and only Cellar. It’s a bonus to have heard them played
by Gestrin with other musicians, and then hear the ‘final’ version
come to life on the disc. Now, I’ve gotta say that I’ve never
been a huge fan of the sort of clear, ringing jazz guitar sound that Daryl
Jahnke executes so well the coolness of it eludes my heart’s
grasp. Having said that, I also have gotta say that I’m really enjoying
this album, guitar and all. I’m chalking it up to being one of the
beauties of jazz: having players you really dig who will, in turn, play
with all kinds of others and as such, bring some of those others to your
attention and maybe turn you on to them. I’ve heard lots of Gestrin,
their great drummer Dave Robbins, and fantastic electric bassist
Chris Tarry, and only in more recent times am I becoming more acquainted
with Jahnke’s work. Each member’s playing and writing personality
is clearly audible on this disc, so it’s fun to check out where they’re
each at, and then to see where they head next with each other.
AND
THEN, THE RECLINE, METALWOOD’S fifth disc arrived.
And that can only mean one thing. Music fans across Canada know what that
means. And a whole bunch in Europe. And soon so will everyone everywhere
else. It’s an incredibly exciting thing that the group has left its
joyous indie label days behind for even more joyous major label status
with the Blue Thumb Records imprint of Universal Jazz (a
Verve Music Group division). Now, by now, everyone around here has heard
this album (and if you haven’t, shame on you, get thee to a record
store) and knows it’s an absolutely fantastic piece of work. And
everyone knows John Scofield lays down some heavy guitar work on
four tracks, and Mino Cinelu’s outstanding percussiveness
adds some awesome rhythmic texture and DJ Logic, well, he’s doing
that awesome DJ Logic spinning thing on a couple of tracks; all
those guys are such a rich, tasty gravy, but the real sustenance, the
meat of the thing is the foursome of kickass jazzers going by the names
of Brad Turner, Chris Tarry (there he is again!), Mike
Murley and Ian Froman. Now, I just love this disc. It’s
groove-heavy, chunky-edged, crisply jazzy in parts, the tunes are distinct
and memorable, and it’s just so goddamned much fun. From the easy
cruisin’ of disc opener Strollin’ to the rollicking ride
of Bumpus to the breath-catching beauty of the U.B. the Monster
bass solo intro to the downtown grooves of The Hipster through
the highly charged finish of Pressure, it’s a blast straight
through. I couldn’t possibly imagine how it could get any better
until I got my hands on the three-track remix disc! It includes
Pressure (containing Scofield’s most intriguing solo
work of the four tracks he played on); a radio edit of Bumpus
and the piece de resistance: an unbelievably riotous ‘Red Planet
Club Mix’ of U.B. The Monster which is really rather mind-blowing
with its sexy vocal by local chanteuse Beverley Staunton and suped-up
beats. It’ll definitely take the long-time Metalwood fans by surprise,
so give yourself a minute to wrap your head around the possibility, but
wowza it’s an amazing thing. The remix disc is only available in
a limited capacity as an add-on, so look for that out there now before
they’re history. And for goodness sakes, pick up your ticket for
the John Scofield Groove Band/Metalwood/Bloomdaddies triple bill at the
Commodore June 25 as part of the Vancouver International Jazz Festival.
It is soooo gonna sell out. And wouldn’t you just kick yourself if
there was a jam amongst these amazing musicians appearing that night and
you weren’t there????(Tix $32 @ 872-5200, 280-4444)
TRUMPETER KEVIN ELASCHUK’S back in town, in case you didn’t
know yay! which ought to delight local fans of beautiful,
creative music infused with personal warmth and a rare honesty. Caught
a set of a version of his Quartet the other night at 1067 and it
was so wonderful to hear him play again, knowing he wasn’t just popping
in for a quick hit with the Tony Wilson Sextet, but that there
is much more to come. Elaschuk’s tone is as inviting as ever, but
there’s something more; a greater strength, a confidence that’s
coming through. A couple of his own compositions provided a taste of what’s
to come with this relatively new group, which included tenor saxist Dave
Say, bassist Darren Radtke and Brad Turner on drums.
Say, as usual, smoked (well, they all did, but you’d know that if
you were there). The guy can lay down amazing solos at the drop of a hat
and seems to always give everything he’s got. He’s the kind
of player you either don’t want in your band cause then you’ve
got to live up to him and coexist beside his considerable talent, or,
you want him beside you to inspire and challenge you, depending on where
your own weaknesses and strengths lie. This quartet (or one very close
to it) plays The Cellar on Wednesday, June 20, filling in what would regularly
be a Brad Turner group show. Go. AND the Kevin Elaschuk/Dave Say Quintet
(with Ron Samworth/guitar, André Lachance/bass and
Bernie Arai/drums) makes its debut at the Vancouver International
Jazz Festival at the CBC Café on June 29 (and check it out,
it’s a lunchtime freebie!) 8pm show. Info: 738-1959.
HAVING MADE QUITE a huge impression on the jazz world for one so young,
Chicago’s KEN VANDERMARK has had a lot of rep to live up to,
and he seems to be managing to do just that 
handily.
His appearances at last year’s jazz festival with the AALY Trio
and Peter Brötzmann sealed the worthiness of the hype surrounding
the tenor saxist. I remember being completely rapt in amazement at the
precision of Vandermark’s technique, heightened by well-planned and
brilliantly executed emotional release. His very stance on stage!
one foot in front of the other, arms outstretched, holding the horn away
from his body so he could see it, as if it might burn him if he let it
get too close, poised for anything and everything, and very aware of the
power of the horn in his hands and mouth - it all belied a determination
for absolute control. The prospect of more of this will lead many over
to the ANZA Club on June 4 for a concert by Vandermark’s newest
group, SCHOOL DAYS, which includes trombonist Jeb Bishop,
Kjell Nordeson on vibes (who is also the killer drummer in the
AALY Trio), drummer Paal Nilssen-Love, and bassist Ingebrit
Haker-Flaten. Expect severe intensity and challenging free jazz that
will rattle your brain and make you question your very existence. Presented
by Zula Productions, the wonderful folks who recently brought us (sigh)
Masada and Dave Douglas’ Charms of the Night Sky. Monday, June 4,
show @ 8pm. ANZA Club, 3 West 8th Avenue. $17 advance at Black Swan, Highlife,
Zulu Records. $20 @ door.
QUICKIES…
THE INVISIBLE UNIVERSITY, a multi-media live music, painting performance piece by TOM ANFIELD and BRAD MUIRHEAD sounds like a challenging and ambitious project by the painter and trombonist. It happens Thursday-Friday, June 7-8 at The Crying Room. It’s an interactive show that starts with a digitally reworked sampled trombone soundscape (by Anfield, under the guidance of Muirhead), which sets the shape and progression of the work, adding live painting by both artists (under Anfield's guidance) and live music on trombone, composed by Brad Muirhead (following directions from Anfield). The idea is that this allows the two artists to "explore the veil between conscious and unconscious thought and how the two enhance and influence each other in our goal to find both our individuality and our common collective unconsciousness". Still with the program? Then you’ll be fascinated by this show. The Crying Room, 157 E. Cordova. Thursday & Friday June 7 & 8. 8pm show. Info @ Crying Room: 734-0716.
THE THIRD ANNUAL VANCOUVER BASS CONFERENCE goes down Friday-Sunday,
June 15-17 at the King Edward Campus of VCC. The conference, which has
grown from two to three days this year, will again include instruction
from Chris Tarry, André Lachance, Laurence Mollerup
and Kerry Galloway, with a special guest clinic by Alain Caron
on the Sunday. Information and registration information can be found at
www.vbass.com.
AND, OF COURSE, VANCOUVER INTERNATIONAL JAZZ FESTIVAL programs are everywhere
by now, so pick yours up and start circling. Lots of planning and reading
to do to make sure you don’t miss anything vitally important to your
jazz health and well being. More on this next time.
Related links:
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jazzie archive:
2002
6 Jazz Fest Diary
Writer/Photographer Josephine Ochej is a regular contributor to The Jazz Review, the Westender and Coda Magazine.