Just a quick update before I go see my fellow RBMA participants DJ Shiva, Tufan Demir (Sensible Sucker) and Kat Heath spin tonight. The Academy's been off to a ripping start, despite the construction and setup still ongoing around us. I jammed on some Stevie Wonder tunes last night with Om'Mas from Sa-Ra on bass; he's part of the Studio Team. All the computer gear is Apple, which is good in one sense because I get to muck around with the Logic plug-ins, Sculpture and EXS24 and the like; and on the other, it's an additional hurdle for me, being a PC boy and not the most music-tech savvy of the bunch.
Premier last night was crazy. He lived up to his lecture and his pronouncements about keeping it real despite the advent of Serato and various virtual turntable software developments. His cutting and scratching was top-notch. The opening DJs (I didn't catch their names) stepped up their game accordingly, and played a lot of great tracks. They dropped Dead Prez's "Hip-Hop" really early in the night, I thought, and they cut to the next song before the second verse.There were a few hip-hop show rituals that didn't sit well with me (i.e. overzealous hype men), but I chalk it up to it being a tradition I'm not totally immersed in.
I don't know when I stopped being able to deal with crowds, but I left around 1:30, before DJ Scratch from EPMD and DJ Dummy did a three-man merry-go-round with Premier. Damn.
PS: Props to RBMA for syndicating this. I'm honoured to be a surrogate member of the Content Team.
Monday, September 24, 2007
Sunday, September 23, 2007
Hogtown Syncopation
(blogging from my room at the Gladstone Hotel)
I arrived in Toronto on Friday afternoon, and have spent the weekend before the Red Bull Music Academy kicks off (re-)discovering the city. It's been nearly a year since my last visit, and three-and-a-half had passed before that. I suppose it's technically "home," but it doesn't feel like it. I left when I was sixteen, and therefore always underage, so I never went out on Queen West or in Kensington Market when I lived here. My downtown experience was more around the Royal Conservatory, University of Toronto, the Bloor/Avenue area, with the occasional foray into Steve's. This is a side of Toronto I haven't really experienced in-depth before, and I have to say my feelings on the city are starting to change. I still despise the suburban sprawl of the GTA, but Queen West, College St. and the Market aren't so bad. There's still something about Montreal that serves as an inspiration and muse for me, but I can't really put my finger on it at the moment.
I'm quite excited for the Academy to begin this afternoon; the weekend has been spent meeting and hanging out with my colleagues from all over the world, enjoying the selections of Jake One at Supermarket on Friday night and the organic soul blowout last night courtesy of Georgia Anne Muldrow, Dudley Perkins, and DJs Jason Palma and Sean Sax. I've listened to Palma's show on CIUT for years, and it was a treat to finally see him spin.
I'll attempt to do a fairly thorough live-blog here for the next two weeks, but surf on over to the RBMA website for constant updates on the whole thing. Tonight: the first workshop/meeting and DJ Premier's party at Revival.
I arrived in Toronto on Friday afternoon, and have spent the weekend before the Red Bull Music Academy kicks off (re-)discovering the city. It's been nearly a year since my last visit, and three-and-a-half had passed before that. I suppose it's technically "home," but it doesn't feel like it. I left when I was sixteen, and therefore always underage, so I never went out on Queen West or in Kensington Market when I lived here. My downtown experience was more around the Royal Conservatory, University of Toronto, the Bloor/Avenue area, with the occasional foray into Steve's. This is a side of Toronto I haven't really experienced in-depth before, and I have to say my feelings on the city are starting to change. I still despise the suburban sprawl of the GTA, but Queen West, College St. and the Market aren't so bad. There's still something about Montreal that serves as an inspiration and muse for me, but I can't really put my finger on it at the moment.
I'm quite excited for the Academy to begin this afternoon; the weekend has been spent meeting and hanging out with my colleagues from all over the world, enjoying the selections of Jake One at Supermarket on Friday night and the organic soul blowout last night courtesy of Georgia Anne Muldrow, Dudley Perkins, and DJs Jason Palma and Sean Sax. I've listened to Palma's show on CIUT for years, and it was a treat to finally see him spin.
I'll attempt to do a fairly thorough live-blog here for the next two weeks, but surf on over to the RBMA website for constant updates on the whole thing. Tonight: the first workshop/meeting and DJ Premier's party at Revival.
Friday, September 14, 2007
Repertory reputation
Dave Douglas, as usual, has posted a thought-provoking blog on the role of repertoire in the pedagogy and history of improvised music. I agree with him that freedom, in musicmaking, is the freedom to pursue a given musical direction at any given time. And while I also hasten to give one methodology be-all and end-all status, I think the idea of "learning tunes" can be broadened. It boils down to figuring out why music works the way it does. One fellow jazz camper many years ago once said that if a certain harmonic progression doesn't appear in the Great American Songbook or the respected jazz canon that follows (Wayne, Herbie, Mingus, Wheeler, etc. etc. etc.) then it doesn't work, and the reason it doesn't work is because it's not there. It's an immature and circular argument, but it leads to analyzing the craft of composition: why/how do certain harmonic combinations work, and why/how do others lead to dead ends?
I don't think it's necessary to be a walking fakebook, either, though having thousands of tunes at recall is useful for some gigs, I'm sure. I do think it's necessary to have spent time with the material - be it the jazz canon, or classical repertoire, or pop music - and check out its elements. That can be done through careful listening or score-reading. What is the Motown sound? Why does Berg sound different than Schoenberg and Webern? I find I often learn more from picking out certain elements from records and pieces than I do from intensive instrumental practice. And whether or not certain musicians know tunes, they've put in the time learning the nuts and bolts of the musical vocabulary. It's very difficult to have a long and creative artistic career without really knowing, even on an intuitive level, what you're doing.
Pat Donaher provides an intriguing tangent, reminiscent of something Greg Osby said at Banff - the idea that music should be a communicative practice, and that there's something alienating in the machismo of inserting the Countdown matrix or chromatic 2-5s everywhere. Osby used the example of Duke Ellington - if he sat down and played one of his ballads, he could attract women. But "Lush Life" and "Sophisticated Lady" are not simple tunes. Sexist framing aside, this hinges on the balance of accessibility manifest in some musical form, and fulfilling, satisfying artistic practice. On a local level, there's a vast audience for someone like Patrick Watson or a band like Karkwa, and the fact that the songs can be in 7 or 15 doesn't put the audience off. Because the songs aren't about being in 7 or 15.
Pat and Kris Tiner thus lead to the identity of an improvising musician. Some practitioners shun the term "jazz" because they find it limiting. I'm not going to argue with Duke or Mingus. Myself, I embrace the term "jazz" and proudly call myself a "jazz musician." Even though I play other genres and do approach them on their terms, I still view everything through the lens of my jazz training. The way I hear harmony is coming from a jazz background, and is different than if I had spent more time playing in rock bands. The way I feel a groove comes out of my jazz rhythmic practice and training. I don't intuitively structure music the way a house producer like Osunlade does; I still like to hear song form, or at least two distinct sections of verse and chorus.
Tiner mentions the crossover word, and I think the best "crossover" projects arise out of a true respect for all the stylistic elements involved. With Indigone Trio + Strings, for example, I dove into the Debussy, Ravel, Bartok and Beethoven string quartets, as well as some of Arvo Part's music, the Mark Feldman/Sylvie Courvoisier duo recording of Masada Book Two, and the string arrangements of Paul Buckmaster on the early Elton John recordings. I wasn't trying to write strictly classical music; I wasn't trying to get the strings to swing, either. the goal was to write music that embraced the strengths of our trio and the strings, individually and as separate ensembles, and then pushed our collective comfort levels. It's not so much an act of crossing over as it is trying to locate the common ground.
I don't think it's necessary to be a walking fakebook, either, though having thousands of tunes at recall is useful for some gigs, I'm sure. I do think it's necessary to have spent time with the material - be it the jazz canon, or classical repertoire, or pop music - and check out its elements. That can be done through careful listening or score-reading. What is the Motown sound? Why does Berg sound different than Schoenberg and Webern? I find I often learn more from picking out certain elements from records and pieces than I do from intensive instrumental practice. And whether or not certain musicians know tunes, they've put in the time learning the nuts and bolts of the musical vocabulary. It's very difficult to have a long and creative artistic career without really knowing, even on an intuitive level, what you're doing.
Pat Donaher provides an intriguing tangent, reminiscent of something Greg Osby said at Banff - the idea that music should be a communicative practice, and that there's something alienating in the machismo of inserting the Countdown matrix or chromatic 2-5s everywhere. Osby used the example of Duke Ellington - if he sat down and played one of his ballads, he could attract women. But "Lush Life" and "Sophisticated Lady" are not simple tunes. Sexist framing aside, this hinges on the balance of accessibility manifest in some musical form, and fulfilling, satisfying artistic practice. On a local level, there's a vast audience for someone like Patrick Watson or a band like Karkwa, and the fact that the songs can be in 7 or 15 doesn't put the audience off. Because the songs aren't about being in 7 or 15.
Pat and Kris Tiner thus lead to the identity of an improvising musician. Some practitioners shun the term "jazz" because they find it limiting. I'm not going to argue with Duke or Mingus. Myself, I embrace the term "jazz" and proudly call myself a "jazz musician." Even though I play other genres and do approach them on their terms, I still view everything through the lens of my jazz training. The way I hear harmony is coming from a jazz background, and is different than if I had spent more time playing in rock bands. The way I feel a groove comes out of my jazz rhythmic practice and training. I don't intuitively structure music the way a house producer like Osunlade does; I still like to hear song form, or at least two distinct sections of verse and chorus.
Tiner mentions the crossover word, and I think the best "crossover" projects arise out of a true respect for all the stylistic elements involved. With Indigone Trio + Strings, for example, I dove into the Debussy, Ravel, Bartok and Beethoven string quartets, as well as some of Arvo Part's music, the Mark Feldman/Sylvie Courvoisier duo recording of Masada Book Two, and the string arrangements of Paul Buckmaster on the early Elton John recordings. I wasn't trying to write strictly classical music; I wasn't trying to get the strings to swing, either. the goal was to write music that embraced the strengths of our trio and the strings, individually and as separate ensembles, and then pushed our collective comfort levels. It's not so much an act of crossing over as it is trying to locate the common ground.
Remembering Zawinul
I'm late on the Zawinul memorial train, but as a keyboard player it's hard to avoid his influence. I've never been a huge Weather Report fanboy, but I remember when I bought 8:30. I was blown away by the orchestral scope of sound four musicians created live, and attracted by the balance of strong melody, lyricism, and almost pop-like triadic harmony with intricate rhythmic interaction. Zawinul's choice of synth patches always struck me as more vocal (even leaving his penchant for the Vocoder aside) than Chick or Herbie which, as great as they are, reflected a sort of guitar envy. I still can't fathom playing a keyboard backwards; Zawinul's WR rig famously contained an ARP 2600 with a reversed voltage control to allow him to play the keyboard backwards.
Given the majority of his reputation was made in his electric settings, it's a pleasant surprise to listen to his early work with Cannonball, before the Rhodes and Wurlitzer made an appearance on his frontier. His accompaniment work on the Nancy Wilson/Cannonball Adderley record is sublime.
As usual, Darcy's got the compendium of tributes. My heart sinks for Zawinul's family, and for Wayne Shorter.
Given the majority of his reputation was made in his electric settings, it's a pleasant surprise to listen to his early work with Cannonball, before the Rhodes and Wurlitzer made an appearance on his frontier. His accompaniment work on the Nancy Wilson/Cannonball Adderley record is sublime.
As usual, Darcy's got the compendium of tributes. My heart sinks for Zawinul's family, and for Wayne Shorter.
Wednesday, September 05, 2007
Indigone Trio Setlist - Diese Onze 09/05/2007
(Sorry for the belated update... the setlist was fairly fly-by-the-seat-of-our-pants; this is a rough idea of what we played)
Set I:
First Impressions (David Ryshpan)
Solar (Miles Davis)
Pleasure is all Mine (Bjork)
Round and Round (Alex Mallett)
Enumeration (David Ryshpan)
Dupla Traição (Djavan)
Erghen Diado (Peter Lyondev)
Set II:
Bella (David Ryshpan)
Visions (Stevie Wonder)
Law Years (Ornette Coleman)
Love Is the Reason (Alex Mallett)
As of Now (David Ryshpan)
Ramblin' (Ornette Coleman)
Encore: The Boxer (Paul Simon)
Set I:
First Impressions (David Ryshpan)
Solar (Miles Davis)
Pleasure is all Mine (Bjork)
Round and Round (Alex Mallett)
Enumeration (David Ryshpan)
Dupla Traição (Djavan)
Erghen Diado (Peter Lyondev)
Set II:
Bella (David Ryshpan)
Visions (Stevie Wonder)
Law Years (Ornette Coleman)
Love Is the Reason (Alex Mallett)
As of Now (David Ryshpan)
Ramblin' (Ornette Coleman)
Encore: The Boxer (Paul Simon)
Checklist
Apologies for the slow blogging around here, but life's been getting pretty hectic. There's been many things to prepare for, including Indigone Trio's hit at Diese Onze (4115-A St. Denis) tonight. We'll be playing two sets of our usual mix of originals by myself and bassist Alex Mallett, and selected covers. Phil Melanson plays drums. The setlist will go up here after the gig for all the long-distance readers. We haven't played together in a long time, and it felt quite refreshing to get back to playing trio after a year of writing for big band.
It's back-to-school time, which at McGill means the return of Open Air Pub (OAP), two weeks of frosh delaying their transition to university life and upperclassmen reliving their frosh years. There's also music provided by DJs and live bands. Kids Eat Crayons will unleash our madness on an unsuspecting Lower Field Thursday September 6, at 6 pm.
At the end of the month, I'll be headed back to my old stomping grounds of Toronto for two weeks to participate in the Red Bull Music Academy. It's a workshop generally geared towards producers and DJs, I guess, though past lecturers have included arranger/composer David Matthews, drummer Bernard "Pretty" Purdie and the production team of the Mizell Brothers. I don't really have much specific information about this edition, aside from the fact that there will be producers, musicians, DJs and MCs from far-flung nations, and that it'll be a hell of a party. Check the RBMA site for a whole host of goodies including archived lectures from years past and streaming radio shows. I especially enjoyed this master class from producer/keyboardist Mark de Clive-Lowe. It's not everyday a broken-beat legend name-checks Mark Levine's Jazz Piano Book, and then gets into an improvised hip-hop frenzy with Jneiro Jarel.
There's other, bigger stuff under way for the winter. But that shall be revealed later.
It's back-to-school time, which at McGill means the return of Open Air Pub (OAP), two weeks of frosh delaying their transition to university life and upperclassmen reliving their frosh years. There's also music provided by DJs and live bands. Kids Eat Crayons will unleash our madness on an unsuspecting Lower Field Thursday September 6, at 6 pm.
At the end of the month, I'll be headed back to my old stomping grounds of Toronto for two weeks to participate in the Red Bull Music Academy. It's a workshop generally geared towards producers and DJs, I guess, though past lecturers have included arranger/composer David Matthews, drummer Bernard "Pretty" Purdie and the production team of the Mizell Brothers. I don't really have much specific information about this edition, aside from the fact that there will be producers, musicians, DJs and MCs from far-flung nations, and that it'll be a hell of a party. Check the RBMA site for a whole host of goodies including archived lectures from years past and streaming radio shows. I especially enjoyed this master class from producer/keyboardist Mark de Clive-Lowe. It's not everyday a broken-beat legend name-checks Mark Levine's Jazz Piano Book, and then gets into an improvised hip-hop frenzy with Jneiro Jarel.
There's other, bigger stuff under way for the winter. But that shall be revealed later.
Wednesday, August 29, 2007
Innumerable losses
It's the second anniversary of Hurricane Katrina, and while the news networks play for ratings with commemorative specials and pay lip service to the victims and survivors, very little is actually being done (except providing shelter with toxic chemicals). I hope there's a large turnout at the Essence-organized Day of Presence. My heart goes out to all those who have been and still are affected by this disaster. I never got to visit NOLA pre-Katrina, and as the mecca for most of my musical interests, it pains me that it may never be rebuilt culturally. Structurally it may well be impossible to build a city on that ground again, but to me it's the cultural environment that defines New Orleans, and the fact that artists are scattered with no means to get back or places to return is a travesty.
My friend, the great organist Vanessa Rodrigues has passed on word that Canada's Dr. Music, Doug Riley, has passed. For anybody who loved straightahead jazz in Canada, Doug was one of the leading figures in the national scene. His tremendous musicality and great spirit was evident at every gig he played. I never officially "met" him, though I saw him play both piano and organ a few times, and I was always incredibly humbled. Playing B-3 with Alex Dean's "Tenor Madness" band (5 tenors, Doug, bass and drums), he could have easily indulged in Hammond tricks and upped the showboating ante, but each solo was well-crafted and wonderful. His contribution to the Canadian jazz landscape will be missed.
More from the Toronto Star and blogger Mark Federman.
Tonight I'm hosting Jazz Euphorium on CKUT, and the plan is now to feature music from NOLA, music from Doug, and an interview I did with Kurt Rosenwinkel during Jazz Fest (which I had been previously planning to air tonight). The Rosenwinkel interview may have to wait.
My friend, the great organist Vanessa Rodrigues has passed on word that Canada's Dr. Music, Doug Riley, has passed. For anybody who loved straightahead jazz in Canada, Doug was one of the leading figures in the national scene. His tremendous musicality and great spirit was evident at every gig he played. I never officially "met" him, though I saw him play both piano and organ a few times, and I was always incredibly humbled. Playing B-3 with Alex Dean's "Tenor Madness" band (5 tenors, Doug, bass and drums), he could have easily indulged in Hammond tricks and upped the showboating ante, but each solo was well-crafted and wonderful. His contribution to the Canadian jazz landscape will be missed.
More from the Toronto Star and blogger Mark Federman.
Tonight I'm hosting Jazz Euphorium on CKUT, and the plan is now to feature music from NOLA, music from Doug, and an interview I did with Kurt Rosenwinkel during Jazz Fest (which I had been previously planning to air tonight). The Rosenwinkel interview may have to wait.
Thursday, August 16, 2007
RIP Max Roach
Steve Smith broke the news, at least in my blog reader. One of the last living connections to the bebop era, the last surviving member of the Massey Hall Quintet, has passed. He, Kenny Clarke and Roy Haynes laid the groundwork for all drummers after them, much like Bud Powell is the root of most pianistic developments.
I don't have much Max in my personal collection, but I've heard what must be a small sampling of the classic records countless times, and his sound is quite clear in my head. The Clifford Brown records offer definitive, textbook versions of tunes that have been studied by countless musicians. Money Jungle is an underrated piano trio recording of the highest calibre. The legacy and discography are too numerous to detail here - WKCR will have a marathon starting at noon EST. His willingness to embrace the developments of new music and of African music, his exploratory nature, is something we should all cherish and adopt.
I can't say I'm stunned - his health had been in question for some years, going back at least to his last appearance at Massey Hall commemorating the historic concert.
I don't have much Max in my personal collection, but I've heard what must be a small sampling of the classic records countless times, and his sound is quite clear in my head. The Clifford Brown records offer definitive, textbook versions of tunes that have been studied by countless musicians. Money Jungle is an underrated piano trio recording of the highest calibre. The legacy and discography are too numerous to detail here - WKCR will have a marathon starting at noon EST. His willingness to embrace the developments of new music and of African music, his exploratory nature, is something we should all cherish and adopt.
I can't say I'm stunned - his health had been in question for some years, going back at least to his last appearance at Massey Hall commemorating the historic concert.
Monday, August 13, 2007
Under Pressure 2007 photoblog
The 12th edition of Montreal's Under Pressure block party/festival was as colourfully vibrant as ever, and better organized, with caution tape designating a clear area for the b-boy battles. For whatever reason, the crowd didn't seem to be as hyped as last year. It was also fascinating to see the changes in DJ technology, from WeFunk's Professor Groove and godfather DJ Kool Herc rocking 45s, to CDJs and now the world of laptop DJing with time-coded vinyl systems like Scratch, which DJ Mana used for his set.
More photos here, with more to be added to the set in a short while.
More photos here, with more to be added to the set in a short while.
Friday, August 10, 2007
Pouts' Over (and the Day's not through)
On a whim today, I picked up the Keith Jarrett 1968 record Somewhere Before, one of the early trio sessions with Charlie Haden and Paul Motian. Jeff Johnston had recommended this to me while I was studying with him (along with Life Between the Exit Signs) but both had been relatively hard for me to track down. This album is the one with the relatively incongruous cover of Dylan's "My Back Pages," a repertoire choice that fits in with the folky Jarrett that was to follow in the next decade, but the idea that Jarrett ever got anything out of Dylan baffles me somehow. For someone that disdains the Montreal Jazz Festival for all the extraneous noise and belligerently insists on perfection, the rough-hewn nasal delivery of Dylan seems at odds. Ah well.
I suppose this is a good entrée for me to comment on the recent Umbria hoopla that has circled the interweb. I had a similar discussion with guitarist Greg Amirault during the festival, when our beloved Mr. Jarrett unleashed a similar tirade (equally unfounded and unprovoked) in Place des Arts. Greg went to the show, and even with my press pass I bowed out of requesting the ticket. I saw the trio at their last appearance a couple of years ago, when Jarrett was the recipient of the Miles Davis prize. It was sublime, save for a buzz in the PA which occasioned an abrupt start to intermission, and served as the butt of a recurring joke through the second set. But given the standard behaviour of a festival audience and Jarrett's reviled temper, I have very little interest in going to see him live again. I'm not willing to shell out that kind of ticket price ($80-$100, depending on the seat) and risk an uninspired set, a walk-off, or an extemporaneous rant. Especially not when Jarrett records almost exclusively live these days (save The Melody At Night With You). I would much rather remain in the comfort of my own home, put on Whisper Not and bliss out, not worrying whether some schmuck is going to turn off his cell phone or not, cough, sneeze, or whip out his digital camera.
Some argue that we should separate the artist from the individual. And I have no problem doing that in some cases - Elton John's past addictions and recent tantrums don't detract from my enjoyment of his early records. Miles' carefully cultivated "fuck you" attitude and history of usurping credit and publishing from his collaborators doesn't diminish the masterpiece status of his work. However, Sir Reg keeps his temper in check onstage, and doesn't unleash on the audience. Jarrett's forums aren't punk rock, with mutual abuse between performer and concert-goer; he has long abhorred the give-and-take of performer and audience. He doesn't thrive on the audience's adrenaline or reaction for his creative consciousness, and it's really the audience member's privilege to watch Keith work. External reaction doesn't filter into his equation. So I think it's kind of disingenuous for him to dismiss the role of the crowd, and then go postal when one person in the crowd is doing something that could potentially, maybe, be distracting.
Again, it's not like I'm about to go torch all the Keith that I own - once I warmed to him, he has been a key influence on my playing and is quite rewarding to listen to. I just have no desire to be in the room when he detonates - I know that the magical moments will be captured by ECM.
I suppose this is a good entrée for me to comment on the recent Umbria hoopla that has circled the interweb. I had a similar discussion with guitarist Greg Amirault during the festival, when our beloved Mr. Jarrett unleashed a similar tirade (equally unfounded and unprovoked) in Place des Arts. Greg went to the show, and even with my press pass I bowed out of requesting the ticket. I saw the trio at their last appearance a couple of years ago, when Jarrett was the recipient of the Miles Davis prize. It was sublime, save for a buzz in the PA which occasioned an abrupt start to intermission, and served as the butt of a recurring joke through the second set. But given the standard behaviour of a festival audience and Jarrett's reviled temper, I have very little interest in going to see him live again. I'm not willing to shell out that kind of ticket price ($80-$100, depending on the seat) and risk an uninspired set, a walk-off, or an extemporaneous rant. Especially not when Jarrett records almost exclusively live these days (save The Melody At Night With You). I would much rather remain in the comfort of my own home, put on Whisper Not and bliss out, not worrying whether some schmuck is going to turn off his cell phone or not, cough, sneeze, or whip out his digital camera.
Some argue that we should separate the artist from the individual. And I have no problem doing that in some cases - Elton John's past addictions and recent tantrums don't detract from my enjoyment of his early records. Miles' carefully cultivated "fuck you" attitude and history of usurping credit and publishing from his collaborators doesn't diminish the masterpiece status of his work. However, Sir Reg keeps his temper in check onstage, and doesn't unleash on the audience. Jarrett's forums aren't punk rock, with mutual abuse between performer and concert-goer; he has long abhorred the give-and-take of performer and audience. He doesn't thrive on the audience's adrenaline or reaction for his creative consciousness, and it's really the audience member's privilege to watch Keith work. External reaction doesn't filter into his equation. So I think it's kind of disingenuous for him to dismiss the role of the crowd, and then go postal when one person in the crowd is doing something that could potentially, maybe, be distracting.
Again, it's not like I'm about to go torch all the Keith that I own - once I warmed to him, he has been a key influence on my playing and is quite rewarding to listen to. I just have no desire to be in the room when he detonates - I know that the magical moments will be captured by ECM.
Thursday, August 09, 2007
We be blogrollin'
Some really belated additions to the blogroll:
Taylor Ho Bynum's SpiderMonkey Stories
Jeff Chang's Zentronix
Aurgasm (mp3 blog without your usual indie leapfrogging)
Oliver Wang's Soul Sides
Under Pressure's 12th edition is this Sunday in the alleys behind Foufounes Electriques. Expect the usual mind-bending graffiti, killing b-boys and b-girls, and killer tracks galore from the likes of The Goods (Andy Williams & Scott C), WeFunk (Professor Groove & DJ Static), Mossman, DJ Mana, and the one and only Kool Herc. 11 am-10 pm, free. Afterwards the party moves inside with Narcicyst, Accrophone and other hip-hop talent from across the country.
Taylor Ho Bynum's SpiderMonkey Stories
Jeff Chang's Zentronix
Aurgasm (mp3 blog without your usual indie leapfrogging)
Oliver Wang's Soul Sides
Under Pressure's 12th edition is this Sunday in the alleys behind Foufounes Electriques. Expect the usual mind-bending graffiti, killing b-boys and b-girls, and killer tracks galore from the likes of The Goods (Andy Williams & Scott C), WeFunk (Professor Groove & DJ Static), Mossman, DJ Mana, and the one and only Kool Herc. 11 am-10 pm, free. Afterwards the party moves inside with Narcicyst, Accrophone and other hip-hop talent from across the country.
Saturday, August 04, 2007
Funky Revolutions playlist
August 4, 2007. Due to some miscommunication, the mighty Moonstarr dropped in to spin a set as well. Good hang, good times, and a couple of tech glitches in the beginning.
Rahsaan Roland Kirk - "Volunteered Slavery"
Antibalas - "Battle of the Species"
Gil Scott-Heron & Brian Jackson - "Third World Revolution"
Positive Black Soul - "Boul Ma Mine"
Moonstarr takes over...
Bill Cosby - "Get Out My Life, Woman"
Lowell Fulson - "Tramp"
The Meters - "Ease Back"
Eddie Bo - "Hook and Sling"
Bill Doggett - "Honky Tonk Popcorn"
Vanessa Kendrick - "90% of Me is You"
Marlena Shaw - "California Soul"
The Pride set
Lila Downs - "La Cumbia del Mole"
Nina Simone - "Don't Let Me Be Misunderstood"
Meshell Ndegeocello - "Love Song #1"
Scott Free - "Another Day of the Cruelty"
Femi Kuti - "Beng Beng Beng"
Linton Kwesi Johnson - "Di Eagle and Di Bear"
K'Naan - "Soobax"
Stainless Steele/DJ Image - "Salt Water"
Blackalicious - "Paragraph President"
Vijay Iyer/Mike Ladd - "Cleaning Up the Mess"
Bernard Purdie - "Hapnin"
Les McCann/Eddie Harris - "Compared to What"
Roy Ayers - "Funk in the Hole"
Charlie Parker f/ Miles Davis - "Moose the Mooche (Quantic remix)"
The Ravens - "(Give Me A) Simple Prayer"
Domenico +2 - "Telepata"
Rahsaan Roland Kirk - "Volunteered Slavery"
Antibalas - "Battle of the Species"
Gil Scott-Heron & Brian Jackson - "Third World Revolution"
Positive Black Soul - "Boul Ma Mine"
Moonstarr takes over...
Bill Cosby - "Get Out My Life, Woman"
Lowell Fulson - "Tramp"
The Meters - "Ease Back"
Eddie Bo - "Hook and Sling"
Bill Doggett - "Honky Tonk Popcorn"
Vanessa Kendrick - "90% of Me is You"
Marlena Shaw - "California Soul"
The Pride set
Lila Downs - "La Cumbia del Mole"
Nina Simone - "Don't Let Me Be Misunderstood"
Meshell Ndegeocello - "Love Song #1"
Scott Free - "Another Day of the Cruelty"
Femi Kuti - "Beng Beng Beng"
Linton Kwesi Johnson - "Di Eagle and Di Bear"
K'Naan - "Soobax"
Stainless Steele/DJ Image - "Salt Water"
Blackalicious - "Paragraph President"
Vijay Iyer/Mike Ladd - "Cleaning Up the Mess"
Bernard Purdie - "Hapnin"
Les McCann/Eddie Harris - "Compared to What"
Roy Ayers - "Funk in the Hole"
Charlie Parker f/ Miles Davis - "Moose the Mooche (Quantic remix)"
The Ravens - "(Give Me A) Simple Prayer"
Domenico +2 - "Telepata"
Friday, August 03, 2007
Chaque petit cerveau a son propre château
Firstly, my condolences to anyone affected by the collapse of the Minneapolis Bridge. A similar incident occurred in Laval, just north of Montreal, a few months ago and has resulted in an investigation and repair of many overpasses and bridges across the province. One structure that has been earmarked is an entrance to the Ville-Marie expressway, the main highway to downtown Montreal. Very frightening, indeed.
I just came from seeing Ariane Moffatt at FrancoFolies, and she never ceases to impress me. The last time I saw her was about three years ago, while she was still touring Aquanaute, a record of textural, albeit comparatively one-dimensional, trip-hop. Live, the music started to expand, with various English-language covers. The newer disc, La coeur dans la tête, and the live show, sheds the trip-hop for house, glitch, and chirpy faux-reggae on the single "Montréal." The latter has become ubiquitous; I remember the first time I was in a pharmacy and heard that song come on the radio. Tonight, the tune dissolved into a feature for drummer Jean-Phi Goncalves. I was struck by the balance Ariane and her bands have achieved between improvisation, tight pop songcraft, and inventive electronic textures and production. No surprise, given that both Goncalves and keyboardist Alex McMahon are in electro-whiz trio Plaster, and Ariane has collaborated with bands like Motus 3F and Karkwa. The electronic touches enhance the songs, as opposed to defining them - the tunes themselves are often strong enough to exist even in a bare piano/voice setting. Moffatt & co. are not beholden to definitive versions of songs, either, as evidenced in a radical electro-dancehall-funk revisioning of "Fracture du crâne." Apparently, the tour for this record is winding down, and I look forward to what she offers us next.
Various announcements:
- I'll be filling in for Funky Revolutions on Saturday, August 4, 2 pm ET on CKUT. Per regular host Khalid M'Seffar's request, there will be a portion of programming surrounding Montreal Pride (Divers/Cité).
- Spectrum officially closes its doors Sunday, August 5th, with a free bash featuring Michel Rivard and DJ Ghislain Poirier. It'll be a strange evening for sure, with dancing feet and a few wet eyes. I'm still in shock that it will no longer be the nexus of Jazz Fest, or anything else, for that matter.
- ElectroJazz Spaceship touches down again at L'Absynthe Monday, August 6. Expect originals, a couple of covers, and open funky improvisations.
Ben Henriques - saxophones/effects; Olivier René de Cotret - guitar/effects; David Ryshpan - keyboards; Nicolas Bédard - electric bass; Kevin Warren - drums/percussion.
I just came from seeing Ariane Moffatt at FrancoFolies, and she never ceases to impress me. The last time I saw her was about three years ago, while she was still touring Aquanaute, a record of textural, albeit comparatively one-dimensional, trip-hop. Live, the music started to expand, with various English-language covers. The newer disc, La coeur dans la tête, and the live show, sheds the trip-hop for house, glitch, and chirpy faux-reggae on the single "Montréal." The latter has become ubiquitous; I remember the first time I was in a pharmacy and heard that song come on the radio. Tonight, the tune dissolved into a feature for drummer Jean-Phi Goncalves. I was struck by the balance Ariane and her bands have achieved between improvisation, tight pop songcraft, and inventive electronic textures and production. No surprise, given that both Goncalves and keyboardist Alex McMahon are in electro-whiz trio Plaster, and Ariane has collaborated with bands like Motus 3F and Karkwa. The electronic touches enhance the songs, as opposed to defining them - the tunes themselves are often strong enough to exist even in a bare piano/voice setting. Moffatt & co. are not beholden to definitive versions of songs, either, as evidenced in a radical electro-dancehall-funk revisioning of "Fracture du crâne." Apparently, the tour for this record is winding down, and I look forward to what she offers us next.
Various announcements:
- I'll be filling in for Funky Revolutions on Saturday, August 4, 2 pm ET on CKUT. Per regular host Khalid M'Seffar's request, there will be a portion of programming surrounding Montreal Pride (Divers/Cité).
- Spectrum officially closes its doors Sunday, August 5th, with a free bash featuring Michel Rivard and DJ Ghislain Poirier. It'll be a strange evening for sure, with dancing feet and a few wet eyes. I'm still in shock that it will no longer be the nexus of Jazz Fest, or anything else, for that matter.
- ElectroJazz Spaceship touches down again at L'Absynthe Monday, August 6. Expect originals, a couple of covers, and open funky improvisations.
Ben Henriques - saxophones/effects; Olivier René de Cotret - guitar/effects; David Ryshpan - keyboards; Nicolas Bédard - electric bass; Kevin Warren - drums/percussion.
Wednesday, July 18, 2007
Step into the realm
I was browsing around the Columbus Circle Borders last night when an announcement came over the PA that there was an event. Singer Chrisette Michele would be performing songs from (and signing) her new CD, and Dr. Michael Eric Dyson would be speaking. I didn't know Michele, but I've leafed through some of Dyson's books and heard him on various talk shows, and he's a very strong orator with an eloquent analysis of current hip-hop culture.
Michele exceeded my very low expectations. Despite various mix issues between her vocals and the tracks she sang to, it was obvious she was actually singing, and singing well. A very charismatic performer, she engaged the audience and retains an air of humility despite her limelight associations with Jay-Z, Nas, Beyoncé, et al. She brought to mind early Erykah Badu, with that hint of gravel that most automatically associate with Lady Day. Her melismas never overwhelm the song, and I feel that her shortcomings - mic technique, most prominently, and lyrical prowess - will be eclipsed as she matures. (And she hinted at her lyrical ability with a verse she spit, a cappella, during the Q&A.)
Dyson's turn quickly became a symposium of the elite black intellectuals, as Tavis Smiley, Roland Martin, Cornel West, Marcia Dyson, and Susan J. Taylor each took the microphone and gave persuasive, provocative speeches on the state of the Black community in various forms. There was an additional speaker, a professor from some established university, whose name, position and institution escape me. It felt very much like being in the church ceremonies I've always dreamed of witnessing, with audience/congregation hollering in response to each turn at the pulpit. Unsurprisingly, Dyson is an ordained Baptist minister. I didn't always follow the threads of each speaker; West, though compelling, was the most obtuse to me, but then again I'm completely unfamiliar with his work. One of the overarching themes of the evening, and the gist of my question, was the relationship between artist and community. Speakers emphasized the duties of love, leadership and service (Smiley especially so), and I believe that artists must be entrenched in their communities (be they artistic, cultural, financial or otherwise) not only to make distinctive art but to affect change.
My question, which spurred Dyson on a great monologue but didn't conclude in the answer I'd sought, was: Given the cleavages within it, what is the state of the hip-hop community? And what is the artists' responsibility to it? It amazes me that gangly kids from Switzerland know more and respect more of the tradition and history of hip-hop than many kids in the actual community. And the communal nature of hip-hop seems to be dwindling - Chappelle's Block Party and the annual Under Pressure convention in Montreal are anomalous; and aside from shouting out one's crew on every single track (which Dyson seemed to think is an acceptable substitute for real community...), a large majority of hip-hop is focussed on strict individualism and self-gratification. But hip-hop at its best, in my mind, is indebted to a community, or at least a collective.
A couple of causes were brought up by the speakers and by audience members, which deserve broader attention:
- Essence magazine is a driving force behind a New Orleans Day of Presence on August 29, 2007. Excerpts from an e-mail from Ms. Taylor follow:
Michele exceeded my very low expectations. Despite various mix issues between her vocals and the tracks she sang to, it was obvious she was actually singing, and singing well. A very charismatic performer, she engaged the audience and retains an air of humility despite her limelight associations with Jay-Z, Nas, Beyoncé, et al. She brought to mind early Erykah Badu, with that hint of gravel that most automatically associate with Lady Day. Her melismas never overwhelm the song, and I feel that her shortcomings - mic technique, most prominently, and lyrical prowess - will be eclipsed as she matures. (And she hinted at her lyrical ability with a verse she spit, a cappella, during the Q&A.)
Dyson's turn quickly became a symposium of the elite black intellectuals, as Tavis Smiley, Roland Martin, Cornel West, Marcia Dyson, and Susan J. Taylor each took the microphone and gave persuasive, provocative speeches on the state of the Black community in various forms. There was an additional speaker, a professor from some established university, whose name, position and institution escape me. It felt very much like being in the church ceremonies I've always dreamed of witnessing, with audience/congregation hollering in response to each turn at the pulpit. Unsurprisingly, Dyson is an ordained Baptist minister. I didn't always follow the threads of each speaker; West, though compelling, was the most obtuse to me, but then again I'm completely unfamiliar with his work. One of the overarching themes of the evening, and the gist of my question, was the relationship between artist and community. Speakers emphasized the duties of love, leadership and service (Smiley especially so), and I believe that artists must be entrenched in their communities (be they artistic, cultural, financial or otherwise) not only to make distinctive art but to affect change.
My question, which spurred Dyson on a great monologue but didn't conclude in the answer I'd sought, was: Given the cleavages within it, what is the state of the hip-hop community? And what is the artists' responsibility to it? It amazes me that gangly kids from Switzerland know more and respect more of the tradition and history of hip-hop than many kids in the actual community. And the communal nature of hip-hop seems to be dwindling - Chappelle's Block Party and the annual Under Pressure convention in Montreal are anomalous; and aside from shouting out one's crew on every single track (which Dyson seemed to think is an acceptable substitute for real community...), a large majority of hip-hop is focussed on strict individualism and self-gratification. But hip-hop at its best, in my mind, is indebted to a community, or at least a collective.
A couple of causes were brought up by the speakers and by audience members, which deserve broader attention:
- Essence magazine is a driving force behind a New Orleans Day of Presence on August 29, 2007. Excerpts from an e-mail from Ms. Taylor follow:
[A]s the second anniversary of Hurricane Katrina approaches, the situation in New Orleans remains dire. Some 250,000 people are yet displaced throughout the nation, unable to return because they have no homes, no jobs nor the financial means to rebuild. Two years later, 70 schools in Orleans Parish are still closed. There are no mental health services and no hospitals to serve the uninsured poor. The $1.175 billion in federally appropriated funds for the Katrina rebuild and relief effort are being held up by FEMA.- Old news in the hip-hop community, new news to a dabbler like me: The birthplace of hip-hop, 1520 Sedgwick in the Bronx, is the latest victim of gentrification in the Big Apple. More at NYT. Someone announced there would be a demonstration to protect it as a cultural landmark. Hip-hop is more NYC's cultural export of the last 30 years than new music and avant-jazz (even if the latter is closer to my heart), and 1520 Sedgwick is as much worth protecting as Tonic. We must prioritize the rejuvenation and protection of culture.
Enough is enough! It's time for our community to stand up and take action. There must be a national outcry, a day of outrage, a day of protest, prayer and possibility that the media cannot ignore; a day on which we demand that our national decision makers redirect our tax dollars away from war and war profiteering to create a regional Marshall Plan that restores New Orleans and the Gulf Coast.
This is our call to action:
1. We demand our national leaders redirect tax dollars away from the war to create a regional Marshall Plan that restores New Orleans and the Gulf Coast.
2. We demand funding for the rebuilding of the levees, for the safety of the people of New Orleans.
3. We want to return to New Orleans and need expeditious housing and job assistance to come back home.
4. We demand adequate health care. No displaced child or adult should go sick, untreated or without medication because his or her state-based medical insurance is not valid in the state where they've been temporarily relocated.
5. We need government funding for mental health counseling and support services for those dealing with the aftermath of their loss.
This is what we're asking you to do:
1. Stand with us on Wednesday, August 29th, in New Orleans as we take to the streets for a massive demonstration and march, 10 AM - 4 PM, on Convention Center Blvd, directly across from the Morial Convention Center's Hall D.
2. Call your congressional and state representatives and the White House to demand the immediate restoration and betterment of New Orleans, Gulf Port, Biloxi and the entire Gulf Coast region. The toll-free number for the congressional switchboard is: (888) 226-0627. You can also email your Congressmen and women and senators by logging onto www.house.gov and www.senate.gov, respectively.
Saturday, July 14, 2007
Yoron Herman/François Bourassa (07/01/2007)
I walked into Spectrum as Israeli-French pianist Yoron Herman, framed in an often angelic lighting scheme, was in the middle of an exploration of Monk’s “Bemsha Swing.” He played with a strong, insistent left hand pattern and marvelous invention in the right. His hand position was almost Jarrett-esque, not to mention his posture and intermittent vocalizations. He continued with a rendition of Bill Frisell’s “Throughout,” a piece that is far too dear to my heart for me to comment further. Suffice it to say that if I were to play it solo piano, I’d want it to be done the way Herman did it. He started his version of “You Don’t Know What Love Is” inside the piano, strumming and plucking the strings with great precision, knocking the lid and playing the soundboard much like a conga drum. After an unknown ballad, he played Sting’s “Fragile” with a sing-song quality over highly powerful bass, which evolved into a vibrant montuno towards the end. He closed his set with the Israeli national anthem, “Hatikvah,” over an incredibly powerful D minor drone. It was transcendent and delivered with massive amounts of emotion. Herman had said earlier in the night it was his first visit to Quebec and, ill at ease on the mic, he’d much rather play. His sentiment and pride of performance came through in those moments.
It is always fascinating to hear an instrumentalist whose playing is inextricably tied to his writing to play other people’s music. This describes both local pianist François Bourassa and alto saxophonist David Binney who joined forces for a tour de force set. Bourassa started with his usual quartet of saxophonist André Leroux, bassist Guy Boisvert and drummer Greg Ritchie. They started with a Monk-ish original of Bourassa. It was my first time hearing the huge tenor tone of Leroux, a gruff post-Trane tenor who was also impressive on flute and soprano throughout the night. The first guest Bourassa welcomed, before Binney, was an African percussionist who contributed well on djembe and talking drum. The constant dialogue between all the members of the band brought to mind Wayne Shorter’s current quartet, though Bourassa’s band was more beholden to his compositional forms. Bourassa’s tunes were immensely energetic, getting a rise out of the Spectrum crowd unlike any reaction I’ve heard for a local artist at Jazz Fest. Boisvert switched to 5-string electric for the funky “Fa Do Do.”
It’s easy to hear what unites Bourassa and Binney – a penchant for driving, odd metered, ostinato driven pieces. But what’s more fascinating are the differences – Bourassa’s penchant for swinging melodies with large intervallic ranges and leaps and a sense of off-kilter phrasing; Binney’s space and airiness inherent to his chord voicings and melodies. There’s a sense of atmosphere around Binney’s music; a sense of space even in his densest moments. Binney really dug into Bourassa’s music, and the bass-heavy ostinati served as launching pads for highly creative solos.
(An abridged version of this review appears at Panpot. Tickets provided by FIJM.)
Antibalas/Femi Kuti (06/30/2007)
Antibalas’ set was drawn mostly from their album Security, though they did end with a Fela Kuti cover that I couldn’t place. They’ve grown musically over the years, pushing the boundaries of what Afrobeat can contain – there were moments in the solo spots that so captivated my attention that I had to momentarily stop dancing. Victor Axelrod’s keyboards channelled Congotronics-esque lo-fi experimentation as much as classic Afrobeat organ. They grooved at lower dynamic levels, which is quite the accomplishment. The horn mics didn’t cut over the drums and bass enough, and I found myself wanting Antibalas to have a more uniform stage presence – Amayo’s a very strong frontman, but the rest of the musicians (especially the horns) had such disparate stage behaviour.
Femi Kuti’s band, Positive Force, came out blazing, with a five-man horn section and ample rhythm section, clad in blue, red and white gowns, complemented by three dancers/backup vocalists. The band has obviously checked out Earth Wind & Fire and James Brown, not solely through Afrobeat’s assimilation of those rhythms but also through their choreography and horn riffs. I thought I heard some elements of new American gospel, like Kirk Franklin, in the mix as well, though that music is also a derivative of EW&F big band funk. Kuti has grown greatly as a musician, playing saxophone with far more confidence than on record. He’s also a charismatic showman and bandleader, cueing the band at all times. The band attacked the rhythms and syncopations with drive, authenticity and fervour. I left after the band’s outstanding cover of “Water No Get Enemy,” as the relentless groove and stifling temperature of Metropolis became too much to handle.
(An abridged version of this review appears at Panpot. Tickets provided by FIJM.)
Medeski Scofield Martin & Wood (06/28/2007)
A far better example of integrating a guitarist into a pre-existing trio is the addition of John Scofield into Medeski Martin & Wood. The quartet’s relationship has vastly grown over the years. 1998’s A Go Go saw MMW functioning as the Booker T. & MGs to Scofield’s dominant frontman to becoming a group of four equal partners with a symbiotic relationship as documented on 2006’s Out Louder. To my ears, Scofield has rarely sounded more inspired; his usual bag of licks and tricks of string raking and muted strumming were noticeably absent – he was truly engaged and imaginative. The phrasing between Sco & Medeski tight on the unison passages were exceedingly tight.
The trio of MMW themselves have matured a great deal since I last saw them – Chris Wood’s stage presence has become more active and brighter, replete with impromptu James Brown footwork. Billy Martin is still the groove machine he always was, with an ear for the right percussive touch at the right moment. Instead of constantly subverting the groove as in years past, the balance was far better – tunes were separated by interludes of brilliant open improv and colour. It was a treat to hear Scofield in this freer setting, rarely documented in the past.
Last time I saw Sco, with the Uberjam band, he was in the teething stage of incorporating additional pedals and effects in his rig. He has since learned the tricks of his pedals and how to use them effectively. Most tunes in the set were pulled from Out Louder. Late in the set, though, Scofield started the signature strumming pattern of “Chank,” from A Go Go. This was a far dirtier and funkier version, with everybody digging in for a more aggressive rhythmic feel. Sco kicked in an envelope filter, further colouring his sound, and Medeski’sHammond Hammond
(An abridged version of this review appears at Panpot. Tickets provided by FIJM.)
The trio of MMW themselves have matured a great deal since I last saw them – Chris Wood’s stage presence has become more active and brighter, replete with impromptu James Brown footwork. Billy Martin is still the groove machine he always was, with an ear for the right percussive touch at the right moment. Instead of constantly subverting the groove as in years past, the balance was far better – tunes were separated by interludes of brilliant open improv and colour. It was a treat to hear Scofield in this freer setting, rarely documented in the past.
Last time I saw Sco, with the Uberjam band, he was in the teething stage of incorporating additional pedals and effects in his rig. He has since learned the tricks of his pedals and how to use them effectively. Most tunes in the set were pulled from Out Louder. Late in the set, though, Scofield started the signature strumming pattern of “Chank,” from A Go Go. This was a far dirtier and funkier version, with everybody digging in for a more aggressive rhythmic feel. Sco kicked in an envelope filter, further colouring his sound, and Medeski’s
(An abridged version of this review appears at Panpot. Tickets provided by FIJM.)
Mike Stern & The Bad Plus, 06/28/2007
I made my way inside for the first concert of the Invitation series: guitarist Mike Stern temporarily joining the ranks of the Yellowjackets and The Bad Plus. I was skeptical about this concert, as collisions between disparate bands look intriguing on paper and result in disaster. TBP opened with “Mint,” from Prog, a demented, swinging line courtesy of pianist Ethan Iverson. Having never seen TBP live, I was struck by the facility of each player. David King gets a bad rap for being a loud drummer, and while he can unleash the holy power of John Bonham, he’s also got great touch and an ear for the whole kit – rims, shells and all. Iverson has incredible technical prowess and independence of hands, with boundless harmonic knowledge and imagination. Bassist Reid Anderson is the glue of the band, and an unabashed melodicist. It became clear during the set why Ornette Coleman has shown his appreciation for the band, and how TBP is a fairly direct descendant of the “harmolodic” lineage, from Ornette through the Keith Jarrett American Quartet of the ‘70s.
Mike Stern came out and immediately the set became awkward for me. He has no pick attack in his tone; it’s all note, which wouldn’t be so bad if his sound wasn’t drowning in chorus and delay, inviting comparisons to Andy Summers. Starting with his tune “Play,” Stern unleashed a solo full of pentatonics, string bending and a few closing choruses with trebly distortion, an archetype for many of his solos to come. He trampled over the solos of each member of TBP, though it was fascinating to hear the band play on more standard forms – Iverson’s version of “crazy experimental freedom” “funnelled” into the context of a minor blues, for example. King has a tremendous swing feel, putting him in the line of that generation of drummers around the NYC club, Smalls, during the mid-to-late ’90s (Ari Hoenig, Jeff Ballard, etc.) Jazz Fest has a history of doing a disservice to pianists, and this night was no exception. The piano sounded boxy in the house, almost as if it were a bad digital keyboard. Ethan's body language seemed especially disconcerting, often standing up while playing, or sitting on the bench, laying out during the first choruses of Stern's solos. It boiled down to the fact that Stern’s vocabulary is entirely different from TBP – made especially evident when he tackled one of their tunes – and a consensus wasn’t reached.
(An abridged version of this review appears at Panpot. Tickets provided by FIJM.)Friday, July 13, 2007
Royalties killed the radio star
It's a brilliant time artistically to be a musician, but not only are venues closing, the organizations that are supposed to protect our interests (copyright organizations and musicians unions) are aiming to kill off one of the only avenues available for the dissemination of creative music: Internet streaming radio. SaveNetRadio has lost their stay.
"This is a setback, but it is certainly not the end of the road. More than 70 million Americans listen to internet radio and tens of thousands of artists depend on webcasters to promote their music; webcasters aren't going to simply give up the music they love without a fight," [a spokesperson] said.I hope he's right.
Thursday, July 05, 2007
Shattered dreams and shuttered doors
Well, it seems no city is safe. In addition to the pending closure of Spectrum to make way for a Best Buy, it seems that Main Hall (Mile End Cultural Centre) could be slated for the chopping block as well, due to permit issues and noise complaints.
The only show I've seen at Main Hall was Jason Sharp's Mobius CD release with People for Audio. I hope that won't be my last visit to the club. It's described as a loft-style room, similar to La Sala Rossa but a bit smaller, and one of the better mid-size venues in the city. The booker and soundman is Matt Lederman, of Moondata Productions fame - to have a room with a soundman who knows what they're doing is a rarity, and to have a booker who's also a musician and intensely supportive of the local scene is a treasure we must preserve at all costs.
Montrealers, ex-Montrealers, and anybody who cares about the protection of culture in North America, sign the petition to save the Mile End Cultural Centre here.
We have been informed by the City of Montreal that our existing “Salle De Reunion” permit for the Main Hall does not allow for the usage of “Spectacles” and or ticketed concerts events. As of immediately, we have been told to cease all events for such usages. We must adhere to the city’s request otherwise we will face a review, and possibly a cancellation of our liquor permit by the Regie des Alcool cours et Jeux.Noise complaints on St Laurent are fallacious, to me; if you have a place on St Laurent, you should know what that entails. Peace and quiet are to be found on many other streets in the city; The Main isn't one of them. I had some musician friends who lived across the street from the Fringe Festival, on St. Laurent & Rachel, and were victims of frequent noise complaints when they weren't louder than the Fringe Pop stage, or the hundreds of Portuguese soccer supporters honking incessantly during Euro Cup 2004.
To be an affordable arts venue for Mile End and Montreal artists of all disciplines, our Centre relies on beverage sales revenues from music events. With the cancellation of events over the summer Mile End Cultural Centre’s survival is in jeopardy. ...
Unfortunately, the recent opposition to our request for the Salle de Spectacle permit by principally one local resident is causing our existence as a cultural centre to be called into question. We believe, as the issues regarding noise leakage have come only in last month, we should be allowed some weeks to correct the problem.
The only show I've seen at Main Hall was Jason Sharp's Mobius CD release with People for Audio. I hope that won't be my last visit to the club. It's described as a loft-style room, similar to La Sala Rossa but a bit smaller, and one of the better mid-size venues in the city. The booker and soundman is Matt Lederman, of Moondata Productions fame - to have a room with a soundman who knows what they're doing is a rarity, and to have a booker who's also a musician and intensely supportive of the local scene is a treasure we must preserve at all costs.
Montrealers, ex-Montrealers, and anybody who cares about the protection of culture in North America, sign the petition to save the Mile End Cultural Centre here.
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