Number 142002 Vancouver International Jazz Festival Diary
Day 10 - Sunday, June 30, 2002
Distressingly, missed all but last 5 minutes of always beautiful Talking Pictures, first up for the day in the Performance Centre at the Roundhouse. Have slapped own wrists in punishment, but cannot slap too hard for must retain typing strength - these diary entries are work, man. Hoping there is something upcoming in the not-too-distant future from TP: Ron Samworth, guitar; Peggy Lee, cello; Bill Clark, trumpet; and Dylan van der Schyff, drums. Pretty please?
Next up Icelandic pianist Sunna Gunnlaugs Quartet (Quinsin Nachoff, tenor sax; Matt Pavolka, bass; Scott McLemore, drums), which was too low-key to engage. It might’ve been the room, too large and open for such a delicate sounding group, or maybe it was mood, but it just wasn’t happening.
Popped into Performance Centre for some of Gail Brand’s Lunge with Vancouverites Masa Anzai (saxes, electronics); Torsten Müller (bass); and Ron Samworth (guitar) and found a rotating group that had Lungers (Brand, trombone; Pat Thomas, keyboards/electronics; Mark Sanders, drums, percussion; Phil Durant, violin/electronics) and Vancouverites in various settings from duo to full-on seven-piece improvising units. The constant coming and going of players kept things very fresh and on-edge as new groups had to move quickly to establish on-stage rapport and dive in to making music together as their shots at it were limited.
Tried to catch a bit of Joseph ‘Pepe’ Danza & El Sur! in David Lam Park, finding rhythms and vocals enticing, but was driven away by earthquaking, too-loud bass - something I found problematic all weekend with sound in the park.
Over in the Festival Hall, many were bracing themselves for the expected unexpected from the improv group featuring Dutch drummer/musical madman Han Bennink. I say featuring, because though it is not officially listed this way, it is simply the way it is when Bennink’s involved he’s just that in-your-face, otherwise known as The Han Bennink Show, some say. He’s definitely always entertaining, and a total blast to photograph, if ya can keep up with the abrupt switches. Along for the adventure (and more than keeping up, though Bennink’s high-gear hi-jinx always keep him firmly in the driver’s seat) were Rob Armus (tenor sax and ex-Vancouverite); Tony Wilson, guitar; and Chicago bassist Jason Roebke. The foursome found much common ground and somehow even their way into a round of laid back blues, probably most surprising coming out of Bennink. I get a kick out of Bennink, and of course he’s a terrific musician, but the downside is that you really have to concentrate hard to hear and see what the others he’s playing with are up to, because he’ll grab your attention at every possible turn. You have to wonder what the other musicians are thinking, and if they’re really connecting with each other in a situation where spectacle can distract from the music.
Caught Mike Zilber Quartet’s set at the Cultch for first show of the evening. Hadn’t heard of Zilber prior, but I’ll go check out any saxophonist once, and Vancouver’s Chris Gestrin (piano) and Bernie Arai (drums) were joining Zilber for his two local shows, along with his (I think) regular bassist John Shifflet. There were moments, in quieter pieces, but overall, Zilber’s brash, loud playing style grated and just made me tense. Taste is such an amazing thing to behold; much of the packed house was really digging his outgoing horn work, but these ears only found pleasure in the trio supporting him so beautifully and understatedly.
An abrupt gear switch took me to Studio 16 for an improv session with Amsterdam-based violinist/violist Mary Oliver; and Vancouverites bassist Torsten Müller; drummer Dylan van der Schyff; and cellist Peggy Lee. Many don’t find peace in improvised music, but with these four versatile players, that was exactly what I found following the tension of the previous gig. All are such interesting musicians to watch: Oliver with her expressive face and hula-style hip sways; Lee with that intense focus on her instrument; Müller’s imposing physical presence coupled with an evident desire to be playing; and always listening van der Schyff watching the others closely to make the connections.
The Tony Malaby Trio finished off what would usually be the last night of the fest with a smokin’ show in a packed room that was quite enjoyable. Really dug watching drummer Tom Rainey’s stoic-faced, full-body assault on his kit - how he remains so expressionless playing such physical, big music is astonishing. And despite there being a whole additional day of music the next day, the big closing-night bash happened on schedule, complete with the odd cast of characters that are festival regulars and folks who want to join the party. It wasn’t anywhere near as crowded as in recent years, which was nice for the breathing-room factor. I think the party, like the festival this year (like this year itself) was lower-key and more mellow. Much to do with the mood of people, heavy shit happening in lots of lives and around the world, and the fact that there was more music starting at noon the next day. Didn’t get my annual long, tipsy walk home over the bridge this year because of the thunderstorm and downpour that came on late in the night, but managed a lovely, even giddy hungover walk back to Studio 16 next day to retrieve vehicle (ticketless, thank you very much, City of Van). Felt slight pangs of sadness seeing venue being loaded out and shut down for another jazz festival. Full-on melancholy not necessary though, was far too excited for another whole day of jazzing that lay before me just waiting to be soaked up and reveled in.
Diary Day 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11
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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.