Spotlight on French Jazz - Part One - 2013 (by kp)

Spotlight on French Jazz (Part One) - 2013

(by Ken Pickering Artistic Director)

Building on the success of this very special program in 2012, we’re especially pleased to bring a second edition of Spotlight on French Jazz to the festival this year in partnership with Institut Français & the Consulat Général de France à Vancouver. There are five distinctive projects in this year’s Spotlight program, three of which are of a collaborative nature. Let’s have a look at what we’ve got.

 June 21 – The Ironworks – 9pm

 The French American Peace Ensemble is a powerhouse all-star quartet that brings the severely under recognized Francois Tusques to Vancouver for the first time. Mr. Tusques (along with Evan Parker, Misha Mengelberg, Peter Brötzmann, Alex Schlippenbach) was one of the architects of the new European free jazz scene in the 60’s and is credited with recording the first French free jazz album in 1965. “Free Jazz” is an incredible album that was reissued on disc on In situ many years ago, yet the original vinyl remains one of the holy grails for international avant jazz collectors. Read about Francois Tusques:

http://www.allaboutjazz.com/php/article.php?id=20242#.UaUIveukAfI

Francois Tusques

Listen: http://www.youtube.com/watch?v=_5qFybqeQ0k

On the American side of this project, the powerhouse rhythm section and long time pillars of the scene William Parker ((Cecil Taylor, Frank Lowe, Matthew Shipp and his own ensembles) and Hamid Drake (Don Cherry, David Murray, Pharoah Sanders and dozens more) probably need little introduction to avid listeners. Here's a little taste of Hamid and William to whet your appetite  http://www.youtube.com/watch?v=e7iIXoDUczk

Hamid Drake / William Parker

Kidd Jordan

However, one our very important elders deserving of wider recognition that might need an introduction would be New Orleans saxophonist and educator (b 1935) Kidd Jordan. With credits as diverse as Ray Charles, Aretha Franklin, Cannonball Adderley and Cecil Taylor; mentorship of young talent emerging on the New Orleans scene and his critical role in the education system, some consider Mr. Jordan to be one of the most important jazz musicians to emerge from the Crescent City. And that's before we even get to his incredible playing – Kidd Jordan takes no prisoners. This will be one helluva concert. 

Kidd Jordan talks and plays: http://www.youtube.com/watch?v=CecjA0FH_Mg 

http://www.coastaljazz.ca/performance/french_american_peace_ensemble_featuring_fran%C3%A7ois_tusques

June 22^nd – The Ironworks – 9pm

 Didier Petit’s East-West Ensemble is a collaboration that’s very different in nature. Each of the musicians involved in this project have performed in the festival with a wide variety of projects over the past couple of decades. 

The lineup includes musicians from France, China and the USA: Didier Petit (cello), Sylvain Kassap (bass clarinet), Miya Masaoka (koto) and Xu Fengxia (guzheng) and Larry Ochs (saxophones). They’ve also played a number of concerts together and will be further developing their concepts on this run across North America.

Didier Petit's East - West Ensemble

Larry Ochs (Rova Saxophone Quartet) has been involved in a few cross-cultural mashups – this is what he says about the project, “Melding the sensibilities of traditional Asian folk musics with the sounds of avant-jazz and the forms of contemporary new music and improvisation”. He also wants everyone to know that this music is not only serious – more importantly its FUN!  That’s one of the keys that will open the door to this very particular sound world that melds a link between two unique types of music.  These are some of the finest improvising musicians on the planet. 

A sample of Didier's cello music http://www.youtube.com/watch?v=-V170VQNdJA

http://www.coastaljazz.ca/performance/didier_petits_east_west_ensemble

June 23^rd – The Ironworks – 11:30pm

Sylvain Kassap / Viviane Houle / Stefan Smulovitz / Didier Petit is a collaborative (France / Canada) project with roots at the 2009 festival. This constellation was a festival spin off from Kassap’s Quartet, (touring select Canadian festivals in 2009) with Sylvain and Didier joining west coasters Vivian and Stefan for a first time performance with this very same quartet.

Photo: Stefan  / Viviane / Sylvain / Didier

That first meeting was successful by all accounts and I've been told that the musical relationship further developed through follow up work in Europe. Often it’s difficult to arrange encore performances with these types of one-off projects. On this occasion we’re extremely happy that there's an opportunity to bring these four amazing musicians back together for their second festival concert in Vancouver. Prepare for a daring and exhilarating high wire evening of electro-acoustic chamber music.

http://www.vivianehoule.ca/index.php?mpage=music

http://www.sylvainkassap.com/

 http://www.coastaljazz.ca/artist/sylvain_kassap_viviane_houle_stefan_smulovitz_didier_petit

These three concerts take place on the opening Friday and Saturday evenings  and are part of the Innovation Series at the Ironworks.

Thanks to: Institut Français & the Consulat Général de France à Vancouver 

These international projects were also made possible in part by the FACE program (French American Cultural Exchange)

Bettye LaVette / Lee Fields & the Expressions / Dr. John & the Nite Trippers (by: Ken Pickering)

Bettye LaVette / Lee Fields & the Expressions / Dr. John & the Nite Trippers  

Vogue Theatre 2013

(by: Ken Pickering Artistic Director)

If you have a penchant for old school RnB and Soul music, the festival is hosting three of the most authentic and powerful voices out there on today’s music scene. I’m talking about Bettye LaVette, Lee Fields and Dr. John. All have compelling back-stories and these festival performances are going to be burning – I for one will not be missing any of these shows barring a catastrophe!

Let’s start with Bettye LaVette. After years and years in the trenches this amazing lady has deservedly earned her place as a cult favourite in soul circles. Her roots are deep and harken back to her family’s living room in the Motor City of Detroit where she was exposed to the very best as a youngster: a home juke box with Dinah Washington, Bobby “Blue” Bland and the Soul Stirrers for starters.

After fifty years in the music business Bettye Lavette has been called an overnight sensation. Let’s just say she’s back with a vengeance! It’s been said that she now rivals Aretha Franklin as this generation’s most vital soul singer. I’ve still got some treasured Bettye Lavette vinyl (80’s reissues) from the 60’s in my collection.

More recently, in the 2000’s her fortunes began to shift after signing with Mike Kappus’ famous roots music agency – Rosebud – and her subsequent signing of a 3 album deal with the very hip ANTI label.  She’s been moving from strength to strength ever since. Her fourth for ANTI was released last year “Thankful N’ Thoughtful” and it’s a gem. http://bettyelavette.com/cd-releases.html

Canadian ethnomusicologist Rob Bowman has this to say, “Bettye has always had big ears and a wide open mind, preferring to fulfill the role of a song interpreter, rather than attempt to write her own material. Bettye’s near mystical ability to get inside a song’s lyric, melodic line and harmonic implications, in the process invariably making anything she covers her own, stems from the tutelage and guidance of her late manager Jim Lewis. A veteran of the big band era having played with the screaming and stomping Buffalo-based Jimmie Lunceford Orchestra, Lewis managed LaVette for ten years beginning in 1968 and constantly harped on her to listen to master song interpreters such as Sarah Vaughan and Frank Sinatra, pointing out the intricacies of phrasing and timbre manipulation that are part and parcel of the sonic art of any truly great vocalist."

Listen: Dirty Old Town - from her latest album "Thankful N Thoughtful" 

http://www.youtube.com/watch?v=xk36sGVjDE8

Perhaps more than all other modern soul stylists, Bettye LaVette has gained an unparalleled command of the fundamentals of interpretation through decades of hard work in the trenches that have finally catapulted her to the top. Have a look through http://bettyelavette.com/biography.html – you’ll be amazed at her back story, she’s hung with the greats, her autobiography “A Woman Like Me” was published last year and without question she’s at the peak of her powers. She has been called the female Otis Redding, meant as a compliment of course, but in reality she really needs no comparisons. She’s the real deal! Don’t miss this generation’s finest soul singer at the Vogue Theatre June 22^nd.  http://www.coastaljazz.ca/artist/bettye_lavette

The Lee Fields story has certain parallels with Ms. LaVette – both of these great soul artists take us back to their beginnings in the 60’s. The first Lee Fields release came in 1969 (when I hit my senior year of high school). With a catalog that that ranges from James Brown funk to southern soul, this native of North Carolina has played and toured with a slew of heavyweights – most notably Kool and the Gang.

Sometimes known as Little JB (for obvious reasons), Lee Fields was active throughout the 70’s, but the 80’s saw a lengthy hiatus ending in the 90’s when things began to change for the better. Once again he was actively touring the southern soul circuit and through being sampled and name checked by rare groove aficionados on both sides of the Atlantic he was beginning to be heard and noticed by an entire new generation of hipsters.

In the last 15 years he’s hooked up with Desco, a label that morphed into Dap Tone with his current recordings being released on the Truth & Soul imprint. Today Lee Fields resides in New Jersey and the resurgence of his career in recent years is mind blowing. With a sound that’s rooted in James Brown and hard core funk – a take no prisoners attitude, incessant touring and incendiary lives shows at every stop, Lee Fields & the Expressions have been solidly embraced by both old and new generations of the funk nation. The word is that the show is amazing – this is real music played on real instruments by a band that exudes the deepest and most soulful groove. I remember hearing bands like this in clubs that toured the west coast when I was a kid. 

Listen: http://www.youtube.com/watch?v=0izlYypNyu0

Lee Fields has been at the top of our festival want list for a couple of years now. We’re thrilled that it’s finally going to happen. Another burning old school show that should not be missed by anyone that wants to really feel the deep groove!

Smokin' Lee Fields clip from: Live at Jazz à Vienne 2010 http://www.youtube.com/watch?v=MahsaJU9dMM

Vogue Theatre on a double bill with Nick Waterhouse, June 24^th.

http://www.coastaljazz.ca/artist/lee_fields_expressions

So you think you know Dr. John? Kinda like been there done that –  household name, legendary New Orleans studio guy.. have heard his stuff for years etc. Well here’s the deal - unless you’ve dug into his deep back catalog and checked out that first Gris Gris album released back in 1969 you just might find yourself surprised when you hear Mac Rebennack’s latest. Just for fun let’s revisit “I Walk on Gilded Splinters” from 1969 and get into some of that early voodoo. http://www.youtube.com/watch?v=kWvdO3l4_P8

In a nutshell, Dr. John is back with "Locked Down" produced by Dan Auerbach of the Black Keys and the sound is a radical departure from his recent stuff, instead taking us back to some of those late 60’s gris gris grooves but with a fresh energetic modern sensibility that is 100% today!

This is a fantastic rendition - excellent quality! - Ice Age: From "Locked Down"

http://www.youtube.com/user/OfficialDrJohn

 “It was way cool cutting this record with Dan and the crew he put together for it,” says Rebennack. “It’s reel HIP”.  So let’s leave it at that. Check out the links and get yourself together for what will surely be one of the best shows of the festival - at the Vogue Theatre – June 26th.

http://www.nonesuch.com/albums/locked-down

http://www.coastaljazz.ca/artist/dr_john_nite_trippers

Jazz Ahead - Bremen, Germany 2013 (by: Ken Pickering)

Jazz Ahead / Bremen, Germany – April 2013

(On the Road with Ken Pickering / Artistic Director)

It’s been three weeks since Jazz Ahead, nevertheless, just gotta say I’ve grown quite fond of the beautiful Hanseatic town of Bremen (10^th largest) in the northern reaches of Germany (about an hour from Hamburg). So what’s the attraction? First of all, it’s Vancouver bassist Torsten Müller’s hometown and during his years there he worked for Jazz Ahead (co-founder) Peter Schulze at Radio Bremen. So there’s a connection to Bremen that began before Jazz Ahead was even established. Fortuitously I finally met Peter at the Swedish Jazz Celebration in Stockholm around the time the JA event was founded. I’ve attended six (of 8) editions and an annual journey to Jazz Ahead (now the largest and most important conference and meeting place for the international jazz community in the world at this time) is a highlight on my calendar. 

Photo: Bremen 

At the heart of the matter it’s about ongoing research and networking. That’s exactly what happens every moment of the day at this conference; with over 1000 professional participants: there's showcases, scheduled meetings / impromptu meetings with agents / managers, musicians, presenters, media, recording companies, with colleagues old and new during the daytime and after hours at the bar until late. JA is an incredibly intense few days. Then again, that’s where the value is – there’s so much generosity, sharing of information, ideas for new projects, collaborative opportunities and new relationships that emerge from the dynamic nature of this gathering that it literally can make your head spin. Without exaggeration I must have received at least 200 requests for a meeting in the two weeks leading up to Jazz Ahead. So being strategic in time management is the biggest challenge of all. I can’t even begin to run down the number of amazing conversations and opportunities for involvement in great projects that were talked about. 

Photo: European Jazz Network meeting

Who was there? Everybody (well almost)! Personally I knew at least 200 people if not more. Happy to see quite a strong Canadian presence (though mostly agents / musicians from Quebec); showcases by Laila Biali, Chloe Charles (a new and very well received discovery), Shuffle Demons, L’Orkestre des pas Perdus, Chet Doxas and Marianne Trudel. Hopefully the Canadian profile can broaden through increased presence and engagement through our arts service organization umbrella Jazz Festivals Canada. The North American west coast was also well represented with Earshot Jazz (John Gilbreath, Seattle), Portland Jazz Festival (Don Lucoff) and the Athenaeum (Dan Atkinson, San Diego) in attendance this year.

Photo: Alison Loerke, Patrick Darby, Bram Stadhouders 

A few highlights:

Notable on opening night was the presentation of the Skoda Award to Han Bennink – a great musician and good friend known for his work with ICP, Eric Dolphy, Clusone and Peter Brötzmann to the younger musicians of this era like Brodie West and Terrie Ex. The master of New Dutch Swing has been at the forefront of the maelstrom that is the European scene since the 60’s. 

On this occasion the award was followed by a superb performance by his fantastic young trio (under his own name for the first time in his career) with Simon Toldham and Joachim Badenhorst. Everyone was elated and very happy for the maestro and this very special recognition.

A brief aside, I was fortunate to hear him in London (at Evan Parker’s ‘Might I Suggest” festival at the Vortex) for the final ICP performance with co-founder Misha Mengelberg in the band at the beginning of February. It was truly beautiful to see Han’s transition into a statesman like role within the current context of ICP.

Photo: Han Bennink & Marianne Trudel (by Heidi Fleming)

On Friday, there was another award ceremony – again with a Dutch twist – this was the EJN award (European Jazz Network) for adventurous programming and the winner was the brilliant Amsterdam venue, the Bimhuis and director Huub van Riel was in attendance to receive the award. The Bimhuis is one of the great venues in the world and a model for many others to emulate. I’ve been to a great many shows at the Bim and there’s good reason that it’s considered by many musicians to be their favourite place to perform.

Photo; Huub van Riel of the Bimhuis

One of my favourite shows was presented at a 200 seat hall with perfect acoustics,  the amazing Sendesaal (Keith Jarrett recorded the Bremen segments of his legendary Bremen / Lausanne concerts for ECM there when it was Radio Bremen). 

This concert was double bill (thanks to JA's Peter Schulze) with Canadian / Quebec pianist, Marianne Trudel’s trio - Trifolia and Norwegian big band juggernaut Ensemble Denada. Both groups were in top form. For me I was happy to assist Marianne coerce some key presenters into the room to hear her music, since heretofore she wasn't that well known in Europe. Her trio’s gorgeous performance knocked out the capacity audience. Now I’m even more excited about her impending VIJF (festival) performance next month. Marianne is one of our great Canadian pianistic talents and more people need to hear her music.

Photo: Marianne Trudel / Peter Schulze (Jazz Ahead / Sendesaal Director)

Marianne Trudel Trifolia

One of the key programs at Jazz Ahead is the German Jazz Meeting – designed as a showcase to profile and discover some of Germany’s most interesting jazz / improvising musicians. Sebastian Gramss’ Fossile3, the Clarinet Trio (with Gebhard Ullman) and Field were among the performers this year. In past editions I heard Angelika Niescier (VIJF 2012), Silke Eberhard (appearing this year), Nils Wogram Julia Hülsmann, Monk’s Casino, Aki Takase and many others that we’ve either presented or are looking to present.

Israel was the focus country at this year’s Jazz Ahead, but other countries also helped broaden the international perspective with artists from afar afield as the USA, Finland, Sweden, Switzerland, Albania, Brazil, UK, Australia to name a few. Didn’t get to hear anywhere near as much of the UK contingent as I’d liked (missing Django Bates!) due to scheduling conflicts but was very impressed by the power of pianist Zoe Rahmann’s Quartet in their showcase.

The ECM recording artist Elina Duni (Albania, Switzerland) presented one of the most moving concerts of the event; she provide context for the songs (in Albanian) by telling the stories in English as a prelude and her strong delivery and beautiful voice brought tears to the eyes of many in the audience. Her band was the Colin Vallon Trio (at the Rounhouse 2012). Incredible!

Elina Duni Quartet

The Swedes have brought a new annual tradition to JA (as of 2012) to the final day of the conference where they invite folks along for a bus ride to Kito, a lovely refurbished wooden structure on the harbour for a Sunday brunch, Swedish style complete with bubbly and a round of showcases. This year Naoko Sakata Trio, Filip Jers and David’s Angels - a standout with great vocals by Sofie Norling, plus Maggi Olin, David Carlsson and Danish drummer Michala Østergaard-Nielsen - a stunning performance.

David's Angels (at Gothenburg)

So here’s the deal: Jazz Ahead was on FIRE! Some of us joke that we need to go into training leading up to this event because it requires extreme stamina and energy to hang in for the long haul and get the most out of it. Many of the fine folks in attendance you might only get to meet once every year or two at the most, so really would you say – man I’m too tired, got to hit my room early? Not going to happen right? In jazz parlance – it’s about the quality of the hang. And a damn fine hang it was.

Thanks to Peter, Maleni and everyone on the Jazz Ahead team for their unwavering commitment to this important event that brings the international jazz community together.