2003 Vancouver International Jazz Festival Diary
I spent much of yesterday thinking it was Saturday; when I decided against parking in a spot marked commercial loading zone Mon-Sat and instead took a $2/hour meter; and a couple of times when I looked blankly at the weekend's daytime schedule, for example. Wishful thinking. I know it's not over, but it FEELS over. It's early-onset post-fest blues and lack of purpose in life syndrome. Ya ya, July 1 Canada Day at Granville Island. Like I said, I know it's not over. And it has been a smashing festival at which I have heard and seen much to be grateful for.
Paul Plimley/Torsten Müller/Hamid Drake
Quite the wake-up for my first show of the day. And probably a mid-afternoon snap-to for many others. I came in during a piece that cranked up with energy and volume that hadn't even reached its peak yet! It soon turned into a percussion onslaught with not-so-distant thunder rolling Drake drums and Plimley leaning into his piano and hammering away with rubber mallets and Müller being his usual full-on self wrapped around his bass and giving it his all. An intense hard-hitting set that was perhaps inspired by the weather looming outside, pressure building up up up and waiting for the explosive rains and storm to unleash itself when we least expected it.
Susie Ibarra Trio
An overlong soundcheck put this gig 15 minutes behind schedule and had the natives outside restless and knocking to be allowed in. Not on jazz time here - people expect their shows to start on schedule, and it's rare for a late set at this fest. But if they'd heard the introduction and the ending of a song Ibarra's Trio played for their final overall check, they would've known that it would be worth the wait. I'd heard mixed reviews of the trio's show the night before, but it was divided down love or hate lines and despite the strong feminine presence in the trio, not strictly down male-female lines either. I was prepared for extremes, but not for the depth of my reaction to it. From the first whispers of Jennifer Choi's lightly scratched violin bow sighs, Craig Taborn's moody distant piano and gently eerie computer-generated sounds, they took the electricity in the air and brought it right down, setting the mood for a set of quietly gut-wrenching beauty thorough in its ache. Each piece (Ibarra originals save the set-closing stunner whose title I wish I had - if I only knew a little more Spanish - by hot New York drummer/composer/bandleader Roberto Juan Rodriguez), all from her recent "Songbird Suite" disc on the Tzadik label) exhibited a deeply emotional intention that featured Ibarra's precision and control over her kit, while leaving plenty of room for fiery outbursts from Choi's violin and simmering undercurrent from Taborn at the piano, keyboards and computer. Not only an interesting player to watch, Ibarra as bandleader is quite fascinating in itself. Her exacting and expressive hand and facial signals had an element of puppeteering to them, but they speak to a musician/leader who knows just what she wants and how to get it. One very smart choice Ibarra has made as a leader is allowing Choi's violin ample room to freely sing in so commanding and mesmerizing a fashion that one can forget Susie Ibarra is on the bandstand. Definitely music for the heart.
Ross Taggart Quartet
Really really really wanted to let the last performance linger for a bit (it was practically demanding it), but Ross Taggart was on stage in the next room. Playing piano. And the thought of sliding easily into his always fresh and vivacious take on standards and his own lush rooted-in-tradition originals was most welcomed. Expected soothing and swinging, but was, like the rest of the packed festival hall, stopped in my tracks by the quartet's gentle tribute to our much-beloved Linton Garner, "Lament for Someone" with heartfelt subtle elegance flowing from Taggart's fingers at the keys and signature Jon Bentley soft blowing sweet-toned tenor sax - that man's control is unreal. A beautiful set that got the attentive, listening audience it so rightly deserved. (Jodi Proznick/bass; Paul Townsend/drums.)
Sharon Minemoto Trio
One of the endearing things about many Vancouver jazz musicians is how humble they are. This despite the fact that they are the ones who play year-round, go out more than anyone else to hear live music, write beautiful compositions that can hold up against most from around the world, and support each other in many ways within the music community. They are the reason Vancouver is such a musical hotbed and why it draws musicians to visit year-round from around the world to play with them, and to even move here to become part of it. Coastal Jazz & Blues has long recognized this, and has built a festival that not only includes players and groups from the local scene, but features them and is created around them (unlike pretty much every other jazz festival out there). These thoughts go through a person's mind when a pianist and burgeoning and talented composer like Minemoto is on stage, and having danced delightfully through a couple of tunes/arrangements by the likes of Bill Evans and Oscar Peterson, describes their work as genius and the next piece as the work of 'not a genius'. It's her beautiful "Thankfully" from her Quintet's excellent debut album "Side A". It's a funny moment that gets its laugh, and sets a person thinking (yet again) about how incredibly lucky this town is to have the talent it does (like the energetic and well-respected Minemoto) despite its size and frequent lack of audience. (Paul Rushka/bass and the ubiquitous-this-fest Paul Townsend/drums.)
Denzal Sinclaire
Popped into the outrageously beautiful Orpheum to snap a few pics of the divine Mr. Sinclaire and hear a few tunes. Dates on the road (on a bill with Holly Cole) and an ongoing relationship with pianist Bruno Hubert have obviously tightened Sinclaire's band enough that the relaxed, funky grooves of his record take on a whole other dimension live in the flesh. Not sure who the drummer and bassist are (not Gregory Hutchinson and Reuben Rogers from the recording), but the group energy was palpable and Sinclaire was his warm, exuberant self, undoubtedly happy to be home and on stage in that historic and stunning room of a size deserving of his gifts.
Kate Hammett-Vaughan Quintet
How does she do it? Yes, vocalist Hammett-Vaughan's repertoire of standards, musical classics and, well, good songs, is vast, and I've heard her sing very often. Yet she manages a different delivery on songs I've heard her do before, and every time she makes them sound like the delivery the composer intended. Interpretation is key to good jazz and Hammett-Vaughan is a jazz singer through and through. Her Quintet (André Lachance/bass; Tom Foster/drums; Chris Gestrin/piano; Jim Pinchin/tenor sax) sailed through an exciting and emotional set (dedicated to Hammett-Vaughan influence Katharine Hepburn, who died earlier this day), which included "Monk's Dream" (major scat break in the middle); a number from "West Side Story" (sexy and saucy and theatrical - Hammett-Vaughan specialties); two heavily weighing Joni Mitchell songs - "For the Roses" and "Cold Blue Steel and Sweet Fire"; "On The Street Where You Live" (all-out swinger featuring that ol' Gestrin verve and fresh-idea factory set on high for a jumpy, swinging solo that touched down in classical, blues and swing) and the quiet and disturbing Charles Mingus' composition "Weird Nightmare". I always expect everything from Hammett-Vaughan, particularly when she's backed by this remarkably finely tuned group of big-eared musicians (and you know I mean that metaphorically), but the thrill is always compounded in being one-upped by their excellent, creative musicianship and constant freshness. A knockout show to end the Roundhouse festivities with.
Theo Jörgensmann Quartet
Last show of the last night. (I know I know, what can I say - I don't break with tradition very easily). You'd have to be a curmudgeon or well, dead, not to appreciate the humour-infused solid musicianship and bouncy, at times manic energy of this German quartet. A most lively and entertaining group to finish off the regular schedule and host the end-of-fest late-night party at Studio 16. The phrase "ain't what it used to be" came up a fair bit during this evening, and I'd have to say I had that experience in terms of the party vibe. Hmmm, maybe I can break with tradition. Usually it's all about the party by 11pm on the Sunday night, but this night it was all about Jörgensmann and particularly his engaging vibraphonist Christopher Dell, who spent his time both at his instrument and away from it entranced in a sort of interpretive dance that was hard to take one's eyes off. Once you got used to his somewhat spasmodic movement and could regain concentration on the music, you realized how much a part of it he was and that he wasn't entirely a distraction. Oh, except for the 10-minute verbal improv he did centre stage at Jörgensmann's mic, complete with physical movements to illustrate his points, that managed to connect soccer on several continents, Donald Rumsfeld, some lost German named (hmmmm….) Rumpel and somewhat existential theories on various types of space. It was all part and parcel of the experience that is the swirling high of the Theo Jörgensmann Quartet musical experience. Delightful and delighting, two sets and an encore and we all probably still could've gone on indefinitely. Without the quartet's energy to prop me up, however, sleep, not beer, became the priority. Finito.
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.