2003 Vancouver International Jazz Festival Diary
Day 0 - Thursday, June 19, 2003
Opening Gala – Commodore – Sekoya / Meta4 Collective
Here we go…! I’m still shocked that it’s here and festival
has started! It’s going on out there right now. (Well, ok, maybe
not RIGHT now, but it’s still morning. Jazz doesn’t start before
noon real often. Thank god.) Sneakiest sneaking up of a festival ever.
Too fashionably late to catch the Meta4 Collective, but walked in to a rockin’ party digging the hot, fun sounds of groovin’ Sekoya, who had a good crowd writhing on the dance floor. Had been wanting to hear gal-about-town Amalia Townsend sing for a while, and am finally glad I did - and a little sorry now that it hadn’t happened sooner. God has been good to that girl. Her husky, sexy, yet sweet voice and buoyant stage personality drew the audience into the palm of her charming hand. Having a killer band with her only made sense: Jack Duncan/percussion; Bernie Arai/drums; Chris Gestrin/keys; Dan Kearley/programming; Alvin Cornista/sax & flute; and Kent Wallace/trumpet. These guys were on fire and it was a perfect example of that desired full-circle experience: music fuelling audience fuelling music, round and round and round again. And lest anyone think Sekoya’s ‘just another groove band’, take note that these cats are all well-trained, well-versed jazz musicians. Very exciting stuff! I do believe there was a direct correlation between the music and the game of Spin The Bottle that I hear went on after. Or perhaps it was that wicked Henckell Trocken again… Anyway, if you weren’t there, I highly advise checking it out if you want a great musical and social experience.
Day 1- Friday, June 20, 2003
Michael Moore’s White Widow
Dylan van der Schyff International Project
DJ Amon Tobin
Came in late to Michael Moore’s White Widow at the Cultch and found (despite the cool sprinkling happening outside) a hot, musty, but happy room full of believers worshipping – and rightly so – at the feet of clarinet/sax star Michael Moore with his latest project featuring outlandish (and fantastic, natch) drummer Han Bennink; low-key but deep pianist Achim Kauffman; and subtle yet deadly bassist Mark Helias. Not surprising, gorgeous, spacious stuff from a quartet with deep connections to each other.
Dylan van der Schyff’s International Project. Sounds ostentatious. Not. A new project for Vancouver’s talented and highly expressive drummer van der Schyff, this one brings together some of the brightest stars on the jazz and creative music scene. Further expanding his musical boundaries, on trumpet Brad Turner; on clarinet/bass clarinet/alto sax, Michael Moore; pianist Achim Kauffman; and bassist Mark Helias. An interesting outing into songs each of the members had written that found some magical moments despite their only having come together during the week preceding. That the two ‘factions’, if you will of Kauffman, Helias and Moore, then van der Schyff and Turner have an established rapport certainly added to the effort, and by the end of the set the tension and stiffness of a new group’s first performance together had dissipated. The highlight of the set was a Moore tune so dreamy and quietly sensual it took me quite unexpectedly to that wonderful, blissful state that is the goal of listening to music. You’re almost not aware that it’s happened until it’s over and you realize something delicious has washed over you. And you remember what the point is. And you’re thankful. Didn’t quite catch the name of it, but am determined to find out. Must buy that record.
Almost seemed dumb to try to follow after that, well, immediately anyway. But it was Day 1 and there was music going on out there, dammit. So, off to check out the new venue. The Centre for the Performing Arts. Gotta think of a shorter name. Still wanting to and still sometimes calling it the Ford Centre. It’s easier. But alas, music over. Done. Finito. At 11:30. Seems to me the new groove stuff is meant to go on late into the night, partying, dancing, enjoying long past dark. Oh well. Not meant to be. So, over to the Commodore to catch the famed/hyped DJ Amon Tonin and upon arrival went immediately to the bathroom to stuff tp into the ears. I’m taking bets that calls to the eye, ear and throat specialist will skyrocket shortly. Probably the loudest, heaviest bottomed thing I’ve ever been aural witness to. Wowzer. Once clogged, headed upstairs to get a bird’s eye view of a shadow outline spinning behind a mesh screen, sandwiched between two giant screens onto which mostly black, gray and red images were being projected. In a pitch black room. Hmmmm. A few tunes in, that bottom end bottomed me out. I couldn’t hear anything musical over the frickin bass. Oh well, everyone in the room was happy, and it seems that’s the point of that one. So I did what came naturally: vacated the room filled with thoughts of all the possible moments of magic that still awaited in the days to come.
P.S. Listened to Shirley Horn’s “May The Music Never End” and Holly Cole’s “Shade” during the writing of this diary. Dame Shirley’s depth of emotion and experience that saturate her music makes this a simmering, heart-breaking stunner of a record; and Cole’s shtick-ey vocal antics and detached coolness well, don’t. Oh alright, her version of ‘Moonglow’ is kinda cool. Shame Shirley’s not coming to the fest.
Diary Day 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10
Got your own opinion on what went down? Visit the Jazz Forum.
Diary Day 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10
Writer/Photographer Josephine Ochej is a regular contributor to The Jazz Review, the Westender, Planet Jazz, and Coda Magazine.