Number 132002 Vancouver International Jazz Festival Diary
Day 8 - Friday, June 28, 2002
First of all, Oops, again… Man, I did it again, to the same band.
And I actually like these guys! First I forgot to mention them, then I
forgot to list the names of the players. A big fat sorry to Millennium
Project, who are: J.P. Carter, trumpet; Jon Bentley,
saxes; Dave Sikula, guitar; Scott Sanft, keys; John Raham,
drums; Scott Tucker, bass.
After sweet relief from night before’s NOW Orchestra performance, was hungry for more good music and went to the very dependable Performance Works 3pm show, this day for Montreal’s Bryn Roberts Trio (Roberts, piano; Kelly Jefferson, saxes; Karl Jannuska, drums; Fraser Hollins, bass). I quite like Roberts’ debut CD, "Present Tense", but this day was somehow unable to connect with this group. It was lovely and light, though felt restrained. I found myself wishing they’d really let loose, but only Jefferson’s tenor and soprano saxes went that route during a few solos, and it was just too much for the ears over the gentleness otherwise all around.
Don’t wanna keep beating up on the technical folks at the Vogue, but yet another terrific gig was marred by bad sound, this time tonight’s Mike Allen Quartet show. What a joy for local fans to hear Allen’s super group on stage at the Vogue and what a bummer the sound was, well, lacking. There was a couple of comment points: Allen was too low in the mix, and the overall sound of the group was thin, and it still sounds like there’s something wrong with the left house speaker it crackles and distorts. I’m amazed the sound peeps can’t hear it. Anyway, despite that, Allen and co. (Miles Black, piano; Darren Radtke, bass; Dave Robbins, drums) turned in a wonderful performance full of great energy and verve. And will the multi-instrumentalists in this town never stop crawling out of the woodwork? Was pleasantly surprised to hear, for the first time, Allen at the piano for their set opener, and when he moved centre stage to pick up his horn and start the next tune, Black sauntered on stage to great applause and slid onto the piano bench and launched right in. A highlight was the last tune, a playful Dave Robbins’ tune called “At The Mark”, that showed off each player’s formidable chops and put their great interaction on display. I heard later that Radtke was ill with a cold or flu, so bravo to him for putting on a great show and never letting on. Oh, and last but not least, nice suits, guys!
The awaited return of the Brad Mehldau Trio came to pass next up at the Vogue. Having eaten a few (long ago written) words about the first time I saw Mehldau four years back, and finding myself coming to enjoy his work, I was looking forward to this show. So maybe it was partly expectations, maybe it was partly a lack of food, but it was definitely partly heavy, twirling, descending, dizzying notes from Mehldau’s almost never restful fingers that actually made me tense. So I tried to go with it, let myself get lost in it and be carried away, but then I started thinking maybe that’s not the point: maybe stirring things up and being angsty is the point. Then I started to think maybe it was only sweet relief for one person: Mehldau. I just don’t know. But I know the next time he comes to town, I’m quite determined to get live what I get from his trio records. Ah well, I suppose it’s good to have goals.
Had to bail early once I found out that a groovy little quartet was happening down the street at the Sugar Refinery, a non-festival happening, that is. Tenor saxist Jon Bentley and trumpeter J.P. Carter were playing some tunes with some new friends, the Paris-based and aforementioned drummer Karl Jannuska and bassist Fraser Hollins. First off, was awesome to visit the Shug as I hadn’t been in quite some time, which, upon reflection, is a really stupid idea: it’s undoubtedly the coolest place in town, still. Even despite a lot more people knowing that (judging by the crowds steadily streaming in), it’s still cool and got that underground feel; part of the charm is the ever-changing décor and art, and much of it is the laidback staff and vibe and the great, original music that gets a chance on this stage precisely because they’re original and unique something most places won’t take a risk on, but something the Shug is famous and respected for. Anyway - blithering - sweet relief was finally mine upon hearing this quickly clicking foursome do some standards while mixing in a few originals. For the life of me, I can’t recall what tunes they played, and you know, it didn’t really matter, because they just sounded great and were having fun and the audience was digging it. That said, I think there was some Monk in there, and an original of Carter’s called “Assignment” (‘cause it was’), but what sticks in the mind is the great soloing from all. Man, I can’t imagine the pressure musicians must constantly be under to deliver, particularly at a gig when at least a dozen of your peers are sitting there waiting to see what you can do. And these guys can do. I was especially wowed by a ripping Carter solo that really shook the place up during the Monk tune. One of the best things of this fest is discovering and rediscovering players who live right here and you’ve not seen or heard much in a while. Gives me hope for the Annual Post-Fest Depression to be staved off somewhat by all the great music that lives right here in this gorgeous town. Yahoo!
Tried to go to Rob Armus “Aros” midnight show at Studio 16, but was thwarted by extreme lack of energy and most joyous fullness after the Bentley/Carter/Hollins/Jannuska experience.
As I write this, we’re down to one day and one night of festing left. But I get to experience three whole more days of traveling down memory lane in these little reports. It was getting a little rough there mid-week what with life getting in the way of jazzing (what up), but it’s become fun again (and isn’t THAT what it’s all about?) - tell you why next time!
And now, here’s the third installment of…
‘What the Best Thing You’ve Seen So Far?’
with
Paul Plimley - Pianist
Gail Brand’s Lunge with Jason Roebke & Marc Ducret Thursday, June 27 - Studio 16
“Because of the superlative group interaction and the way the improvisations were very compositional. Special mention must go to the keyboard player Pat Thomas, and drummer, Mark Sanders.
Unfortunately, Paul has no more gigs during the fest, but lucky us, he lives here year ‘round, so check the vancouverjazz.com calendar for upcoming shows.
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.