2003 Vancouver International Jazz Festival Diary
Kenny Wheeler & John Taylor
The tension of expectation was palpable in the air at the Cultch as trumpeter/flugelhorn player Wheeler and pianist Taylor took to the stage on this sold-out night. It's a wonderful thing to witness the awe and respect musicians have for certain predecessors who have taught them through their records and even through private lesson; entertained them; and paved the way for them. They were not disappointed on this night with the combined genius of the 73-year-old Wheeler's very presence, his fluid, gentle tone and the telepathic connection he shares with the extraordinarily giving Taylor. Humour and warmth permeated the duo's lengthy set of their own compositions, (about 75 minutes) in which Taylor's purposeful lyrical meanderings were the perfect complement to Wheeler's subtle beauty and remarkably intact strength as horn player. On a strange note, the house lights came up for a few short seconds during the set, in what was probably due to the effect of the duo's electric influence over their rapt audience.
Jon Bentley Quintet featuring Kenny Wheeler & Brad Turner
Rendered practically speechless by Wheeler & Taylor's set, tenor saxophonist Jon Bentley said he wasn't going to be able to do much talking during his quintet's set featuring Wheeler, and they got right to the business of playing. The influence of what they'd just heard and experienced combined with Wheeler standing up there with them was clearly visible throughout the set on the faces and audible in the playing of the young and talented five Vancouverites (Chris Gestrin/piano; André Lachance/bass; Bernie Arai/drums). Already very in sync with each other through years of playing together in various settings, their love for Wheeler's music and musicianship fuelled them on to even greater playing for a magical set of Wheeler's compositions. The set culminated in a stunning improvised piece that had Turner - whose clear singing tone has maybe never sounded better - and Wheeler trading short lines in what at least a few people thought was a written composition. Can't get much more connected than that. An absolute delight to see very different generations of musicians get together and make seemingly effortless beautiful music where the outside influences of age differences and varying experience levels had no effect whatsoever.
Eric Boeren 5tet
Sought to keep feeling the musical high, so onward to the late-night action at Studio 16. Looks like half the city had the same idea. Arrived to a packed, sold-out room… again. Great for the fest, sad for those who couldn't get in - at least at first. But everyone knows the late sets feature a lot of coming and going and a seat or floor space always opens up sooner rather than later. Could hear and feel the jaunty crazed-energy of this jaunty band of Amsterdam musical adventurers from the bar area outside the performance space. Bracing oneself seemed to be in order. Walked in to a hot, sweaty standing-room only theatre and immediately backed out. The best way to attack this seemed to be from the beginning of the set where you could start at 0 and not be thrown into the middle of it, unprepared and untethered in the dark. So set two began a little after midnight, and by the time they finished (complete with an encore) you'd think they could've played all night. Those crazy Dutchmen (Eric Boeren/trumpet; Sean Bergin/sax; Wilbert de Joode/bass; Han Bennink/drums; Michael Moore/clarinet, alto sax… well, ok, one of them is an adopted Dutchman, but close enough). They whizzed and screeched and buzzed and sawed and thumped and thundered and flew and laughed all through that set with the same manic energy I've seem them all display at every single other gig I've ever seen most of them play in the days and years prior. They love playing and they love playing with each other. No flagging energy in that room. In a bizarre and maybe not unrelated event, the house lights popped on for a second or two during the set, although this time I'm sure everyone would agree that this one was the direct and singular result of the stunningly manic energy of drummer Han Bennink.
P.S. Listened to the new sizzling, dramatic, and spacious improv-informed modern European jazz "Instants (Live at Teatro Olimpico)" recording of compositions mostly by Italian drummer Robert Dani, with clarinetist Louis Sclavis, cellist Vincent Courtois and trumpet/flugelhorn, piccolo player Kyle Gregory (on the Velut Luna label). Nothing relaxed about this concert recorded on May 22, 2002 in Vicenza, Italy (it kills me to imagine I was not far from there at the time and had no idea this was going on), it's heavy and haunting and even quite ominous in its insistent pace. Quite an amazing listen first thing in the morning.
-30-
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.