2003 Vancouver International Jazz Festival Diary
Day 2- Saturday, June 22, 2003
Gastown
Woke to gray skies, said a few curses and crawled back into bed. Then
I remembered where I lived and that this IS Vancouver in June. All we
could do was pray it wouldn’t rain gray was ok as long as it wasn’t
accompanied by wet. And, well, the show had to go on. Dressed carefully
in the event of possible weather, zipped down for the block party/street
festival atmosphere that two great days in Gastown every June are. Surprised
to find the sun peeking through more and more (dare we hope?), and before
long the clouds adiosed leaving sunny skies for a gorgeous day of beautiful
music and running into old friends.
Sharon Minemoto Quintet started things off on a nice roll with music from the pianist’s lively debut disc “Side A” (on the Cellar Live label) and some new tunes. The Quintet (including bassist Darren Radtke and drummer Paul Townsend) turned in a terrific set, and was the perfect musical accompaniment to bring sleepy day to life, picking up the energy and pace with every lively number. The highlight of the set was the title track of the aforementioned album, with some hot (and crowd-pleasing) solo work from the front line of trumpeter Brad Turner, tenor saxist Jon Bentley.
Down at the other end of the street, there was a darkly driving vibe eminating from the stage where the new Tony Wilson Quintet seemed really quite possessed by the stunning music they were creating, but somehow seemed to be under the spell of. If you were there, that sentence actually might make sense. But it all went by so fast there was not a lot of time to think, just to feel. Guitarist Wilson has long held a special place in the hearts of fans of adventurous music that is rooted in tradition and especially emotion. With him, it all begins with the heart and the influence of life’s experiences, and he holds nothing back. Sharing the stage were some of the finest of the former ‘young pups of jazz’, who have so obviously graduated from that moniker: Travis Baker/bass; Masa Anzai/alto sax; J.P. Carter/trumpet; Skye Brooks/drums. I can’t tell you how absolutely thrilled I am that these guys all live HERE and look forward to seeing how this brave new quintet gels and develops their connection even further as a unit over the coming months and years. And I hafta say, am wowed by the confidence and depth of Carter’s ever-growing prowess on his trumpet he’s been playing around town for years, but seems to be playing a lot more and in quite a few groups as well as his own J.P. Carter Trio. If you haven’t heard him lately, check him out during the fest, and at gigs at 1067 and the Sugar Refinery concurrent to the fest, as well as year-round.
Highlight of this sunny afternoon was undoubtedly the powerful, unstoppable knockout sextet known as Ugetsu. Everybody knows this, but once again I sit floored by the excellent level of musicianship we have right here in this crazy-weathered town, and these guys are among the very finest: Ross Taggart/piano; Brad Turner/trumpet; Jon Bentley/tenor sax; Rod Murray/trombone; André Lachance/bass; Bernie Arai/drums. Yet another set that flew by in a ferocious barrage of powerhouse, spirited, wicked-solo-peppered bop-informed jazz. That’s the stuff. Only shame is it was their only gig at the fest. Look for them in the calendar this site for future gigs around town, though…yahoo!
Was in late-afternoon sleepy needing coffee stage when I happened upon Springer and Ducommun were in the middle of a particularly loud, kickin’ tune and found myself in front of one of the stacks, which turned out to be not such a bad place to be.(hris Springer/guitar; Craig Ducommun/keys; Dave Say/saxophones; Jamie Havorka/trumpet; John Raham/drums.) Heavy grooves, great musicians, and what the people came for: burning, high-energy solos that ripped through the air and squelched this listener’s need for caffeine-stimulation. Fun.
Waited around for the Mystery Groove Band, which turned out to be not too much of a mystery in the end. Having seen Cinematic Orchestra at last year’s fest and not hearing what I’d hoped and anticipated, was leary about it, but hey, I’m always up for a second chance. Found them a little laidback and mellow (or ‘atmospheric’ as one musician said to me) at the Commodore Ballroom last fest, but thought maybe a sunny afternoon in beautiful Vancouver with mountains as a backdrop would maybe bring out their more energetic side, shall we say. Alas, no. Sound problems (which seemed to be a bit of trouble for the big stage at the Maple Tree Square end) marred things at the start with heavy emphasis on bass, and not enough on the tenor saxist, in my opinion. Aaaaaaaaaanyway, three tunes and I was out. Besides, there were places to go where amazing music was guaranteed.
Wayne Shorter Quintet
Chris Gestrin Stillpoint
Anxiously walked (ok, ran) to the Centre for the Performing Arts anxious because I was wondering how this new venue would feel and sound and what the pit in front of the stage was like from a photog’s standpoint. Well, it’s a beautiful venue with big, comfy seats and (mostly) great sound. Yeeha. Not a lot of room in front of the stage, really, but it was manageable. Big problem was the stage lights. Where were they? Of course there’s a certain mood that has to be set with lights, but I found it incredibly dark down there not just because of difficult light for photography, but I simply couldn’t SEE some of the players. Strange strange strange. However, the music prevailed over the lighting, and one of my favourite pianists anywhere, Chris Gestrin and his Stillpoint group delivered a gorgeous set of melodic, spacious, dreamy ambient jazz. (Brad Turner/trumpet; Jon Bentley/tenor sax, bass clarinet; André Lachance; Dylan van der Schyff/drums, electronics; Pepe Danza/percussion. It was very exciting to see these guys on a big stage in a big theatre and have them seem right at home. Of course you want them to go on to these spacious halls where they belong, but it’s sure nice to know that, for now, we have access to them regularly in places like the Sugar Refinery and The Jazz Cellar.
Next up on the Centre stage was the latest project of the awe-inspiring saxophonist/composer Wayne Shorter that had the place packed to the rafters (literally) with musicians coming to bear witness. His terrific quartet fed off each other in what felt kind of like a game of catch where nobody dropped the ball. Ever. And they made it look so easy. Especially Shorter his luscious, soft tone on the tenor and lilting soprano sound look absolutely effortless. That is, until his face gets all screwed up with the intensity surrounding and fuelled by him or he pulls the horn out of his mouth and thrusts it to the side and looks at it with ‘how’d you do that? You behave’ kinda look. Thrilled to finally see/hear bassist John Patitucci, drummer Brian Blade and pianist Danilo Perez live in the flesh. Patitucci hit hardest with his stunning, rumbling (sometimes too much rumbling, but that was a sound issue a problem in front of the stage, but sounded great upstairs) and then gentle bass urgings. It’s a beautiful thing to witness musicians going inside the music and expressing that in their body language and on their faces, and an unbelievable joy to capture that on film. Would love to have seen Blade as well as hear his less-is-more approach to the drum kit, but the man was bathed in darkness the entire set. Maybe it was a special request, but I’m really puzzled by that one. Answer anyone? A lovely experience in all, but not the life-altering one I found many musicians had experienced (damn!) when I talked to some at the next stop on our itinerary, the late-night jam session at my favourite neighbourhood bar O’Doul’s.
Jam Session with Mike Allen Trio
The personable and talented pianist/tenor saxist Mike Allen is the perfect guy to host the fest’s official late-night jam, and I’m glad I got in early on this very happening event. Missed Friday, but will attempt to check out more and not just cause it’s within stumbling distance of home. What a kicker of a night of standards jacked up with the gentlemanly one-upmanship that is part of the fun of the situation. Allen’s trio of drummer Julian McDonough; and bassist Paul McDonough are the base of the jam, and a revolving array of musicians took the stage for the set and a half that I witnessed last night. Pianist George McFetridge whipped up some lively piano and a drummer from Seattle named Greg Williamson jacked up the energy quotient even higher, but the knockouts of the night were two American trumpeters who had the place on the edges of their seats. First to hit the stage was Roger Lent, a Texan now based in Brooklyn who’s in town off the ships for a week and picking up gigs where he can. (If you happen to give him one, please tell all of us by posting it in the calendar section of vancouverjazz.com, like for example this: a little bird told me he was maybe possibly sitting in for the first set of a show this evening at a certain well-known jazz club on the west side.) Major chops, sweet tone and lyrical solo work made us all very happy indeed. The last two tunes of the night featured a Bellingham trumpeter named Paul Chandler. Remember that name. You will be hearing it. Holy shit. Really. Huge natural gift of music that just seemed to flow unhindered from that man through that gorgeous-sounding and gorgeous-looking instrument. I’m actually kinda speechless on this one you simply HAVE to hear this guy. Thank god Bellingham is so close! I’ve always loved that town, and now I know why. Pray he sits in again this week maybe tonight! See you there!
PS Listened to the new Keith Jarrett/Gary Peacock/Jack DeJohnette disc “Up For It” during the writing of this report (twice!). Wow. Recorded a year ago at the Festival de Jazz d’Antibes Juan-les-Pins in France, it’s a sneak-up-on-you kind of thing. Oh sure, it’s up-tempo and practically peppy from the start, but their very obvious connection allows them to build it up into this huge, beautifully punishing finish of the Jarrett-penned title track. Three words: oh my god. Now about that moaning-along thing… I would completely love this disc instead of mostly if he could just maybe… not… do that. Sigh.
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.