Number 6 2002 Vancouver International Jazz Festival Diary
Day 0 - Thursday, June 20, 2002
Opening Gala – Commodore – Bugge Wesseltoft: New Conception in Jazz / Crash
Best opening gala ever! Tons of people and you could actually see them and find your friends amongst the partying throng. One of the complaints I hear about the Commodore is how dark it is in there and how annoying it is to not be able to see two feet in front of you. The addition of white signage that looked cool and brightened up the joint (and conveniently were used as screens for projected images like the word ‘jazz’) made a huge difference. It was easy to find your friends – and make new ones!
Crash was their brash and funky selves, but kicked up a few notches with the addition of the crisp-and-clear-toned Jamie Havorka on trumpet and Bernie Arai sitting in on drums, and anyone who’s heard Arai knows that putting him in the drummer’s chair guarantees punchy rhythms to fuel it all along. It was so awesome to hear this fab band that just doesn’t play enough these days. Bugge Wesseltoft’s laidback trippiness was the perfect accompaniment to a great hang with their live grooves – and by live, you know I mean actual percussionists and drums and keyboards along with the electronics. Maybe it makes me a music snob, but I dunno, I just like my music played by live musicians – it’s the aural/visual package that is most stimulating as far as I’m concerned, and Wesseltoft and pack did it up right. Tons of musicians, local and visiting made the scene, well, a scene. Wicked fun and I hafta say, the addition of Henkell Trocken as a sponsor was an absolutely enlightened decision.
Day 1 – Friday, June 21, 2002
Finally! The day we all wait for all year long… Started with Eastwind blowing all sweet and lovely at the CBC Studio One, being recorded for “Hot Air” as well as by CBC video cameras (about 7 of them) for a documentary on the group. Wonderful to hear George McFetridge on piano as my experience has found this a rarity. Beautiful stuff to daydream to. Off to Performance Works to catch the last bit of trumpeter Axel Dorner, clarinetist François Houle, drummer Raymond Strid, and bassist Torsten Muller, enough to get a sense that the improvising quartet had found ‘the spot’, you know, the one where they clicked and were off out in the atmosphere together tripping.
Next was the soulful Ab Baars Trio at the Western Front. Wondered whether their American Indian music might be more mellow than what my mood was looking for, but was most pleasantly surprised to find much soul, passion, joy and humour in some serious and some very loose and even goofiness. A trio that’s been together that long can read each other so well, and it’s such a gift to be in that room enjoying the benefits of that. A beautiful concert from breathy and intense saxist/clarinetist Baars, unbelievable and joltingly powerful drummer Martin van Duynhoven and the huge, strong hands (were they born that way or did they grow into their awesomeness?) of bassist Wilbert de Joode.
The improv trio of Paul Plimley/Travis Baker/Gerry Hemingway at the Cultch knocked some socks off, including, it seemed, the musicians themselves. Plimley, whose expressions it is a joy to watch as he hovers over his piano (and even the seat itself) in joyous anticipation of what his fellow musical travelers will do next, sat at a grand piano facing away from the other two. I think this added to that element of ‘what could possibly happen next?’, and required a certain amount of trust in the others as well. A thrilling performance to behold, particularly as it was a major next-level gig for the former ‘young pup of jazz’ bassist Travis Baker who I have had the pleasure of hearing for the better part of 10 years now. Way to go, Travis Baker Bass! Did I mention Gerry Hemingway was up to his old tricks? That is to say, creating sounds and noises and being generally creative in ways that are a kick to listen to and to watch. Bravo!
Switched gears for Kenny Werner Trio at the Vogue performing gorgeous, lush not-so-standards and injecting gentle humour into the proceedings with his song introductions. Only complaint here was unbelievably horrid distortion coming through left house speaker, most audible when Werner was playing piano’s upper register. Sitting about 5 feet from an oblivious sound guy, was amazed he couldn’t hear it. Midnight. Only one place to be!
Studio 16 with Fredrik Lundin (saxes, electronics), Ron Samworth (guitar); and Dylan van der Schyff (drums, trumpet – yep, trumpet!- electronics). That’s a lot of electronics. These ears could’ve stood a little more horn action, particularly as it was a total trip to hear and see van der Schyff with a horn to his lips – way cool! However, it’s their show and they were having a blast with sounds, sound effects, loops and distortion. Only shame was it ending as early as it did.
Diary Day 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11
Got your own opinion on what went down? Visit the Jazz Forum.
Diary Day 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11
Writer/Photographer Josephine Ochej is a regular contributor to The Jazz Review, the Westender and Coda Magazine.