2003 Vancouver International Jazz Festival Diary
A pattern has emerged. It seems that after a day of solid wall-to-wall listening, it follows that the next day must be lighter, which is a blessing if the schedule allows. Not to mention that Im becoming more selective with my listening choices. Its still great fun to run around checking out as much as possible, but the pleasure of more absorption time before moving on to the next show is something to savour for as long as possible.
PaulRutherford/Torsten Mller/Wolfgang Fuchs
Last 5:30 and second-to-last Western Front gig for this years fest. Heavy knowledge with which to go into what shouldve been a heavy gig. Sitting stageside, found myself briefly mesmerized by Mllers complete and thorough manhandling of his bass. His physical presence is as commanding as his sound hes a whole-body player. His low-end, combined with trombonist Fuchs subtleties provided a study in contrast to Rutherfords propensity toward piercing, shrill sustained notes that were jarring and unnerving. Concentrating on taking photos made it even more difficult to find a connection to this one.
Paul Plimley Id like to see pianist Plimley improvise at the piano for an entire set. You know he could do it. And hed want to do another hour after that was over. All musicians love to play, but Plimley lives, eats, sleeps and breathes to play. Hes the excited kid who will do everything to avoid chores so he can play. And when he sits down at the piano, that vigorous enthusiasm propels the learned skills and inborn soul of an ancient being, resulting in some of the liveliest, most awake and aware music youll ever hear. Its so vibrant you can almost touch it. Plimleys compositions for this solo set journeyed from the most delicate tinkling whispers to whirling dervish explorations that are classic Plimley. A national treasure and a joy to both listen to and watch.
NOW Orchestra featuring George Lewis The ongoing creative relationship Vancouvers large improvising ensemble has with composer/trombonist George Lewis has been extremely fruitful musically, both for the participants amongst the musicians and those within its enthusiastic audiences. This performance consisted of three pieces; the first two very open, highly improvised pieces conducted, respectively, by Co-Artistic Director/guitarist Ron Samworth and Co-Artistic Director/saxophonist Coat Cooke, both requiring a NOW specialty of turn-on-a-dime instant creativity, first through the use of a system of numeric flashcard signals and then with more traditional conducting methods. The third piece, a lengthy composition by Lewis which left plenty of room for improv, included an almost country groove, a rawkin guitar solo, no-holds-barred sax wails, and to-infinity-and-beyond energy from the entire rollicking, swaying, heaving, beautiful unit. Oh how I longed to sit in the middle of this group to be levitated by the power of this magical thing they were creating how they all mustve felt! Lewis himself, between rejoining the trombone section for occasional blasts, danced back and forth in the space between the orchestra, which was seated in a long line in front of the Cultch stage (with several on-stage, including guest pianist Achim Kauffman) and the audience. A burst of energy set that burned bright and came to an all-too-fast conclusion for all in the room.
P.S. Listened to new Denzal Sinclaires new self-titled disc while writing today. Have not managed to hear Sinclaires new group which includes the fabulous pianist/keyboardist Bruno Hubert, but based on this recording on which Huberts sound adds much, you can bet Im there next gig (which is tomorrow how convenient). One of Vancouvers many blessings, the velvet-voiced Sinclaires music is informed by his very heart and soul, something this disc makes abundantly clear. With the unit of Hubert and ber-guests bassist Reuben Rogers and drummer Gregory Hutchinson surrounding him, Sinclaire makes best use of them on more groovin, spirited numbers like Day In Day Out, Tofu & Greens, You and the Night and the Music and laidback funk- and blues-infused tunes like Exactly Like You, Having Found You and the disc standout, the slow burning sexy (You Dont Know) How Glad I Am.
Diary Day 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10
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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.