June 21-27, 2010

By Brad Winter (jazz journalist / Portland, Oregon – contributor Cadence Magazine)

Brad Winter   Eric Boeren 4tet with Michael Moore, Wilbert de Joode, Eric Boeren, and Han Bennink.

Since 1995: Brad Winter celebrates 15 years @ TD Vancouver International Jazz Festival I'm not exactly sure when I first heard about Vancouver's annual jazz festival.  I know that I read wonderful things about it in magazines like Coda and that one of the DJ's at our local community radio station (Jim "Jacques" Olding) would feature all sorts of great music from musicians that performed there each year.  I knew little about the Canadian Jazz scene and not too darned much more about Europe's contributions.  In 1995 my wife Laura and I agreed that we had to go up there (we live in Portland, OR) and see what the buzz was all about.  I remember having mapped out the gigs I simply had to see.  Among these were performances by Tim Berne's Blood Count, Dave Douglas, Fred Anderson and Hamid Drake.  All accomplished American jazzers of course.  The wild card was to be the trio of Evan Parker, Barry Guy and Paul Lytton. I'd heard a lot about Parker but really didn't know much of his music and I intuited that I had to address this shortcoming.  So, off to BC we drove.  Our only previous trip to Canada had been a couple of days in Victoria a decade before.  We were floored by the majestic setting of Vancouver.  And the hustle bustle of the West End (Robson st.) was exciting.  As chance would have it we had reserved a small suite in the Tropicana Hotel located directly across the street from the Barclay Hotel, where a good number of the visiting musicians were billeted.  So, there always seemed to be "celebrities" coming and going in white vans. Most of the venues were within walking distance or easily reached by water taxi (Discovery Theatre / Plaza of Nations, Studio 16, Granville Island).  We were in jazz heaven. That first year we only came up for the first weekend but the amount of great music we took in was mind blowing.  And we definitely got exposed to a lot more than just the musicians we had planned to catch.  The parameters of our understanding of what this music was about were to be stretched in every direction imaginable.  And we were already well aware of out-cats like The Art Ensemble, Anthony Braxton, Air, Sun Ra, Steve Lacy, etc.  But now in a few short days we heard outrageous original voices from everywhere.  Holland: Ab Baar's trio, Han Bennink. France: Joelle Leandre, Marc Ducret. Britain: Steve Beresford. Germany: Georg Graewe. Canada: Paul Plimley. Italy: Gianluigi Trovesi, Pino Minafra and so many more.  We left after three very active days completely stunned, and happy.  We knew we'd come back. I have yet to miss a festival since and only irascible work schedules keep Laura from joining me every year. That trip in 1995 was one of the most important in our lives.  It is no overstatement to say that in many ways our lives have never been the same since.  The festival opened up a dialogue between our selves and so many artists from all over the world and had profound repercussions on many of our subsequent experiences and pursuits. All of the above is to acknowledge our deep and abiding respect for the quality efforts of the staff and volunteers of the Coastal Jazz and Blues Society.  The festival has not only offered entertainment and enlightenment but has been instrumental in fostering deep friendships with many beautiful people. So now we find ourselves, in 2010, getting ready to dive into the 25th edition of The TD Vancouver International Jazz Festival.  And how is this quarter century old institution holding up?  Exceedingly well I would say.  I'm pleased to report that there's still a bracing willingness to push established boundaries and discover and present the "new".  Like most other successful big-time festivals there are many big-name artists.  These may be jazz, blues, world, even pop-oriented acts and many are very popular and draw large crowds.  Nothing wrong with that.  It can be convincingly argued that this level of "entertainment" is crucial to the visibility and ultimate success of a festival which wants to be truly embraced by the city at large. And for many, if not most, festivals that's the beginning and the end of it. The beauty and genius of Coastal's approach, however, barely begins there.  They have put a great deal of effort in adding an educational component through classes taught by some of the greatest musicians in the world, fist-fulls of dynamic free workshops and a solid commitment to furthering the opportunities available for their local musicians. The dividends have been remarkable: Educated audiences. A local talent base of confident accomplished musicians. A year round relationship with important voices from all over the planet. Beyond that they have always given significant and deserved attention to those artistic souls who so often fly under the public's radar. Call these folks "artists" as in "art for art's sake", "pioneers", "avant-garde", "left of center" anything but "mainstream" as the term is generally understood. In the old days this was territory walked by Thelonious Monk, Charlie Parker, Cecil Taylor, Ornette Coleman, etc.  All now well established in the jazz canon.  It's a natural tendency for folks to gravitate toward that which they know.  In other words, music with which they are already familiar and comfortable. Again, there’s nothing really wrong with this.  However, any organization which wishes to really further the arts must look beyond that which is merely the most popular or palatable at any given moment in history and work toward nurturing deserving talents who may be working diligently and with very little support somewhere outside the limelight as well. My point here is that the Coastal Jazz and Blues Society does this.  And their annual festival is a rare one; especially in North America. I honestly don't know of another that really embraces such a range of music and remains so dynamic and effective.  So, this year like all others you, the audience member, will be able to take part in all sorts of great musical events. If your tastes do run to the more traditional, mainstream or popular there'll be plenty of good offerings to choose from and I'd encourage everyone to take a taste or two of something a bit new and unfamiliar.  You never know where you'll next find something really new and special without a look beyond your usual turf.  Realizing the importance of this idea the festival has always provided a large number of free opportunities for folks to do just that. If your tastes truly run to the new and as yet unheard then you will also be well served.  Actually you should be in "hog heaven" with all the amazing voices being offered up this year.  The Globe Unity Orchestra, which has been in existence for more than 40 years (!) is making only it's third visit to North America!   That band alone is chock-full of superb talent.  There'll be so many other great (and I mean great) players all festival long.  I won't list them here. There are far too many deserving recognition.  Go get a flyer or check the CJBS website and take a gander at the offerings at the Roundhouse (Innovation series) and Ironworks (eclectic). And do take a look at what's offered up gratis on afternoons (Performance Works, Studio 700, Tom Lee Music). I can honestly say that there has never been a year where I didn't "discover" some new talent/s at this delicious and diverse 10 day musical extravaganza.  Who will it be this year? Brad Winter’s Facebook

June 22, 2010 ... posted by Tegan ceschi-smith, rainbow robert and ken pickering

TD High School Jazz Intensive 2009 (with Nicole Mitchell) Nicole Mitchell Indigo Trio (with Harrison Bankead and Hamid Drake)  Nicole Mitchell

TD HIGH SCHOOL JAZZ INTENSIVE Designed to connect talented high-school-student musicians together with an internationally acclaimed artist for a rigorous nine-day residency, the High School Jazz Intensive (a big band made up of select high school students) offers a rare opportunity for students to explore new techniques, develop new works, and investigate new perspectives under the direction of a jazz master. This year the band—comprising a select group of high school students from the Lower Mainland who successfully auditioned for the program—will be led by artist-in-residence, flutist, composer, educator, and conductor Nicole Mitchell; a Chicagoan and co- president of the legendary artist collective AACM – Association for the Advancement of Creative Musicians (that was so important in the early development of musicians since the 1960’s, such as Roscoe Mitchell, George Lewis, Muhal Richard Abrams, Henry Threadgill, Hamid Drake and many more). Now in its seventh year, the program offers aspiring and talented young musicians a chance to rehearse and perform a broad range of jazz repertoire. In addition, the students will participate in workshops at Tom Lee Music Hall (from 1pm on weekdays) led by some of the world’s best musicians, including masterful Swedish trombonist Nils Landgren, internationally acclaimed Dutch percussionist Han Bennink, and Australia’s innovative Clocked Out Duo. The culmination of the TD High School Jazz Intensive is, of course, their free public performance conducted by Nicole Mitchell on Sunday July 4 at 12:15 pm at the Roundhouse Community Centre during the TD Vancouver International Jazz Festival. Scholarship awards will be presented immediately before the performance. We are happy to welcome jazz master Nicole Mitchell for the fifth consecutive year as resident artist and conductor of the TD High School Jazz Intensive. "I've found the jazz youth of B.C. to be some the most talented students of their generation and I love throwing challenges their way,” says Mitchell. “Our program will cover the broad range of the jazz and creative music continuum, and highlight a budding composer of the ensemble." Hailed by the Chicago Reader as “one of the greatest living flutists in jazz,” Nicole Mitchell is a creative musician, composer, bandleader, and educator. She placed first as Downbeat magazine’s "Rising Star Flutist” 2005-2009, was awarded "Jazz Flutist of the Year 2008" by the Jazz Journalist Association, and “Chicagoan of the Year 2006” by the Chicago Tribune. Her recent projects include: Black Earth Ensemble, Black Earth Strings, Harambee Project and the Indigo Trio. Nicole will also perform with Lisa Cay Miller and Peggy Lee at the Ironworks, June 29th.