Montreal Jazz Fest: Scintillating if Sweaty — Herbie, Kamasi, Medeski, more.

montreal fest poster 2018

By now, you’ve probably heard about the heat wave that landed in Quebec, just in time for the 39th annual Montreal International Jazz Festival, which in some years has attracted an attendance estimated at two million. It was a scorcher of historic proportions, with temps rising into the high 90s during the day and not dropping below the mid-80s on some evenings.

The cool vibes of the fest, which ran for 10 days in mid-summer and featured performances by 3,000 musicians from 300 countries at 500 indoor and outdoor shows, nevertheless made a soothing balm for that extended bout of steam heat.

For  my fifth visit (if I’m counting correctly), I enjoyed what felt like a year’s worth of great shows in a short period — four days’ and nights’ worth of memorable concerts, from Friday, June 29  through Monday, July 2.

Montreal Fest overview

Montreal’s jazz fest, unlike some others, which, say, focus on smooth jazz or have turned into predictable affairs dominated by nostalgic hitmaking acts, successfully programs several varieties of jazz, and also incorporates other genres — notably blues, world music, Americana, and new and classic pop, rock, and hip-hop.

Most importantly, for jazz fans, the fest continues to bring in high-caliber artists playing acoustic/straightahead jazz, fusion, Latin jazz, avant/outside, and other varieties variously influenced by funk, soul, and rock.

The fest’s multiple series of “Invitation” shows, held in the cool, comfortable Gesu, an intimate theater beneath an historic stone church, are always a treat. I have fond memories of Cuban piano monster Gonzalo Rubalcaba‘s series at the fest, way back in 2002 (During Rubalcaba’s stint, I interviewed him for downbeat).

This year was no exception: John Medeski, the gifted pianist, organist and keyboardist in the long-running trio Medeski Martin and Wood, over three nights offered close-up views of his eclectic musical passions.

Medeski’s most accessible performance was with Mad Skillet, a group generally inspired by New Orleans rhythms and textures. The quartet included guitarist Will Bernard; NOLA tuba wizard and Dirty Dozen Brass Band co-founder Kirk Joseph, who spiced his tuba ministrations with special effects; and drummer Julian Addison. NOLA funk was the operating groove, and a color-shifting take on Sun Ra’s “Golden Lady” was one of several gems the band played on June 30.

Mad Skillet sounded more confident and more open to taking chances with their arrangements and their repertoire than when I heard them in January 2017 at the GroundUp Music Festival in Miami, with Terence Higgins on drums (I reviewed the fest for JazzTimes).

Medeski and Marc

For a June 29 trio set with guitarist Marc Ribot and drummer J.T. Lewis (above), Medeski held forth on B3 organ, and gave lots of space to Ribot’s bluesy, bent six-string excursions. The three mostly dug into into jazz-funk for the likes of Horace Silver’s “Strollin’ ” and an imaginative version of Steppenwolf’s “Sookie Sookie.”

Night 3 (July 1) was all about nearly nonstop electroacoustic improvisations, with Medeski joined by a pair of drummers — MMW bandmate Chris Wood, and Mark Guiliana — and the three collectively generating multicolor sounds and funk, rock, hip-hop, and EDM rhythms via a large arsenal of keyboards and percussion instruments. (The Medeski series was followed by two others — by Guiliana, overlapping with his show with Medeski, and Dr. Lonnie Smith).

There was much more to hear and see, of course, as hundreds of thousands of concertgoers flooded onto the streets around the Place des Arts performing arts complex. My review of the fest’s first few days for JazzTimes, which the mag combined with Sharonne Cohen‘s overview of the second half, is available here.

A quick look at some of the other jazz-oriented shows I caught in Montreal:

Herbie

  • Herbie Hancock, above, at the beautifully appointed Salle Wilfrid-Pelletier theater, led a quartet with guitarist Lionel Loueke, bassist James Genus, and drummer Trevor Lawrence Jr. They offered 100 minutes of high-energy fusion and funk. Pulling out his keytar at one point, the jazz legend aired out some new tunes, along with the likes of “Come Running to Me,” “Cantaloupe Island,” “Actual Proof,” “Watermelon Man,” and the closing “Chameleon.” Six-string bass guitar virtuoso Thundercat applied his falsetto vocals and speedy solos to a blast of soulful next-gen fusion. Kamasi
  • Kamasi Washington, above, the widely celebrated L.A. tenor saxophonist and unofficial leader of a newfangled, school of soul-rooted, R&B-influenced jazz, was garbed in a yellow-and-purple robe for his ecstatically received, SRO set at the huge Mtelus nightclub. Joined by his father, Rickey Washington, on soprano sax, trombonist Ryan Porter, bassist Miles Mosley, singer Patrice Quinn, keyboardist Brandon Coleman, and drummers Robert Miller and Tony Austin, he turned in soaring, spiritually minded anthems, deep funk grooves, and occasional detours into hard bop, partly imbued with a cosmic black-power vibe. Those musical and visual references to John Coltrane, Sonny Rollins, and Sun Ra? Yes, they were organic, but also intentional. The set, drawn from this year’s “Heaven and Earth” album, last year’s “Harmony of Difference” EP and 2015’s breakthrough “The Epic” album: “Street Fighter Mas,” “The Rhythm Changes,” Giant Feelings,” drums feature “Bobby and Tony’s Day Off,” “Space Travelers Lullaby,” and “Fists of Fury.”
  • Cory Henry, the former Snarky Puppy keyboardist, cranked up his synthesizer and amped up the jazz-funk at the MTelus on “Love Will Find a Way,” a raucous cover of “Proud Mary,” and “Send Me a Sign,” among other crowd favorites.
  • Jose James, opening for Henry, offered smartly arranged, perfectly calibrated versions of Bill Withers‘ old-school R&B classics: “Ain’t No Sunshine,” “Grandma’s Hands,” “Who is He (and What is He to You),” “Use Me,” and “Lean on Me,” the last one complete with a call-and-response section with the crowd and a statement of faith: “This is my religion .. diversity and unity,” he said. Backed by a group including the top-shelf rhythm section of bassist Ben Williams and drummer Nate Smith, James also brought out “Kissing My Love,” “Just the Two of Us,” and “A Lovely Day.” Most or all of those tunes will be heard on James’ forthcoming Withers tribute album, “Lean on Me.”

(My review of Americana hero Ry Cooder‘s set will be published in a forthcoming issue of Relix magazine.)

Oleg Kireyev & Keith Javors, “The Meeting” (CD review)

Oleg CD the Meeting

Oleg Kireyev & Keith Javors featuring Tom Harrell, Ben Williams, E.J. Strickland

“The Meeting” (Inarhyme Records)

Tenor saxophonist Oleg Kireyev and trumpeter/flugelhornist Tom Harrell make an inspired front line on this second collaboration between Russian-born Kireyev and Philadelphia-based pianist Keith Javors.

Kireyev’s opening “April,” with its playful, breezy head and back-and-forth between the band and drummer E.J. Strickland — Kireyev injects a passing nod to “St. Thomas” — and Javors’ blues-streaked, starting-stopping “Inwardly” are among the four bracing original tunes here.Javors’ subtly shifting title track thrives on a loping groove, while Kireyev’s hard-swinging “Fresh Blues” fulfills the promise of its title.

Those four are balanced with the soulful melancholy of bossa standard “Estate,” an initially pensive and rumbling “Caravan” spiked with wordless rhythmic vocals, a slinky, backbeat-injected “Body and Soul,” and two fairly redundant alternate takes.

The rhythm section — Strickland and bassist Ben Williams — digs in, handily driving this solid set of mainstream jazz, highlighted by Harrell’s gorgeous, conversational, always brilliant soloing, and that of the co-leaders.

 

Happy JazzApril — Celebrate Jazz Appreciation Month

herbie hancock

Jazz is alive and, well, in surprisingly good shape for its age, particularly given the ravages of time, the advent of more widely embraced musical forms, popular misconceptions about jazz, and some weird biases against the music (see: last year’s jazz-mocking “satire” pieces).

Not to mention the simultaneous rise of “free” music online and the loss of profits — or disappearance altogether — of many formerly robust label homes for jazz artists.

Jazz Appreciation Month, or JazzApril as it’s called by the Jazz Journalists Association (I’m a member), is a great reminder of the legacy, influence and continuing vitality of jazz, in all its diverse forms, at home in the United States and abroad.

Jazz Appreciation Month was created in 2012 by the Smithsonian’s National Museum of American History to “herald and celebrate the extraordinary heritage and history of jazz. (And) …to stimulate the current jazz scene and encourage people of all ages to participate in jazz – to study the music, attend concerts, listen to jazz on radio and recordings, read books about jazz, and support institutional jazz programs.”

This year, JAM culminates April 30 with International Jazz Day, to be officially celebrated in Paris with a concert featuring a long list of world-class jazzers, including pianist Herbie Hancock, singers Dee Dee Bridgewater, Dianne Reeves, and Al Jarreau; saxophonist Wayne Shorter; bassists James Genus, Marcus Miller, and Ben Williams; guitarist Lee Ritenour; drummer Terri Lyne Carrington; percussionist Mino Cinelu; and harmonica player Gregoire Maret.

The concert will be streamed live at JazzDay.com.

(The JJA in 2012 created JazzApril as a vehicle for promoting both JAM and IJD).

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How best to celebrate jazz in April, or year round? The JJA has some recommendations here.

I have some similar suggestions:

1)BUY jazz recordings, directly from the artist, if possible, or through many of the online forums for ordering downloads or physical copies (CDs, vinyl) of jazz artists’ work. Many, many independent jazz artists also sell their work through CD Baby.

2)Maybe just as important, or more essential … Attend performances by jazz artists, whether nationally known folks traveling through your town, or locally based performers. Support shows by jazz artists at every venue they play, including traditional theaters and nightclubs, restaurants, art galleries, college campuses and everywhere else. Let venue owners know that you like jazz and will gladly return to their venues to see jazz shows. While you’re at the jazz-supporting venues, spend money on food and drinks. Make venue owners WANT to book jazz artists.

3)Support your local jazz festival with your attendance, your donations, your spending while at the festival, and your patronage of the fest’s sponsors. Unhappy about the quotient of actual jazz to other music at any given “jazz” festival? Share your concerns, or start your own fest.

4)Support your local jazz radio station with your listening, your calls, your emails, and your donations. In the Tampa Bay area, WUSF, 89.7 FM is the place to visit for great jazz).

5)Encourage your city, county, and state to devote some of its funding of arts events to jazz performances and events.

6)Support jazz education in the public schools and in colleges. Attend student performances, and make donations to those programs.

7)Subscribe to jazz magazines — like JazzTimes, DownBeat, and Jazziz — and other publications that regularly cover jazz.

8)Visit those publications’ web sites, and other sites and blogs that focus on jazz, like All About Jazz, E Jazz News, NPR’s a blog supreme, Doug Ramsey’s Rifftides, Marc Myers’ JazzWax, and Howard Mandel’s Jazz Beyond Jazz.

9)Buy jazz-related books. Among recent critics’ favorites: Terry Teachout‘s “Duke: A Life of Duke Ellington,” Stanley Crouch’s “Kansas City Lightning: The Rise and Times of Charlie Parker,” Gary Burton & Neil Tesser’s “Learning to Listen: The Jazz Journey of Gary Burton.”

10)Appreciate a jazz critic. Why not?

Forget Elvis, MONK is everywhere: Eric Reed; Organ Monk; Melodious Thunk; Thelonious Monk International Jazz Competition; Laurent De Wilde’s “Monk”

Planet Jazz: Notes From All Over

Thelonious Sphere Monk, who would have turned 95 on Oct. 10, isn’t quite everywhere, exactly.

But the man, his playing and his compositions continue to loom large as an influence on and living presence in the work of jazz musicians all over the world.

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Monk is celebrated on at least two recent discs, both of which offer fresh approaches to familiar gems.

“The Baddest Monk” (Savant Records) has pianist Eric Reed joined by saxophonist Seamus Blake, trumpeter Etienne Charles, bassist Matt Clohesy and (on ” ‘Round Midnight”) guest singer Jose James for seven Monk tunes and two originals in that vein — the solo-piano title track, and the New Orleans-grooving “Monk Beurre Rouge.” Light funk rhythms drive opener “Rhythm-A-Ning”; creative use of space, harmony figures and bolero/tango flavors characterize “Monk’s Mood,” one of two trio pieces, along with “Green Chimneys,” done without horns; and “Bright Mississippi” is refried in 7/4.

“We had our way with Monk,” Reed writes in the liner notes. “To some degree, this is almost an un-Monk endeavor, but that was his whole point: individualism no matter what the cost.” (Check out Reed live at Smoke Jazz and Supper Club, courtesy of The Pace Report)

Individualism is also the modus operandi of  Greg Lewis‘s “Organ Monk: Uwo in the Black” (Greg Lewis), a sort-of sequel to the B3 specialist’s “Organ Monk,” released in 2010. For the latter CD, Lewis was joined by guitarist Ron Jackson and drummer Cindy Blackman; this time, the organist takes on Monk favorites and originals with the help of Jackson, drummer Nasheet Waits (replacing Blackman) and tenor saxophonist Reginald R. Woods.

The broader sonic canvas is refreshing, and so are several tracks — “Little Rootie Tootie,” with its call-and-response structure; “Skippy,” equipped with a rising-and-falling intro; a hard-grooving “Bright Mississippi”; and a version of “Crepuscule with Nellie” amplifying its inner quirkiness.  A third volume is in order, I say. (One quibble: Howard Mandel’s thoughtful liner notes are in tiny, tiny font, not at all easily readable for over-40 eyes).

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The Monk compilations continue rolling out. So far this year: The six-disc “The Thelonious Monk Quartet: The Complete Columbia Studio Albums Collection” (Columbia/Legacy); “The Very Best of Thelonious Monk” (Concord Jazz/Riverside); “Pride” (jazz2jazz); and “Beyond Patina Jazz Masters: Thelonious Monk” (Beyond Patina

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More Monk doings:

+ Melodious Thunk, with singer Teri Roiger, bassist John Menegon, pianist Francesca Tanksley, drummer Tani Tabbal, and saxophonist Dan Faulk, celebrated Monk’s music with a show held in Woodstock, NY on his birthday; he was born in 1917 in Rocky Mount, N.C.

+ New Orleans drummer Jamison Ross, 24, a native of Jacksonville, FL, won the 25th annual Thelonious Monk International Jazz Competition, Sept. 23 at the Kennedy Center in Washington, D.C. Yusuke Nakamura, of Japan, was the winner of the affiliated Composers Competition. The long-running Jazz Competition (thoughtful coverage by Nate Chinen of the New York Times) has become a springboard to greater success for past winners, including bassist Ben Williams (2009), trumpeter Ambrose Akinmusire (2007), singers Gretchen Parlato (2004) and Teri Thornton (1998), saxophonist Seamus Blake (2002), percussionist Pedro Martinez, and pianists Eric Lewis (1999) and Jacky Terrasson (1993), among others. Recently, on NPR’s “A Blog Supreme,” several winners and finalists weighed in on the advantages and disadvantages of musical competition. The discussion was something of a follow-up to one pianist Ethan Iverson (The Bad Plus) posted on his blog, Do the Math.  Iverson jumped into the fray again with another post several days later, and the blogosphere lit up with some back and forth, including a thoughtful dialogue between Iverson and Lewis.

+ The competition’s sponsor, the Thelonious Monk Institute of Jazz, continues an ambitious program of education and performances via offices in Washington, D.C., Los Angeles, and New Orleans. The Thelonious Monk Institute of Jazz Performance opened at the UCLA campus this past summer, and the first class of graduate students started in the fall.

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And finally …

Recently re-reading Laurent De Wilde‘s brief but substantial bio, Monk (Marlowe & Company), originally published in 1996, I came across a particularly elegant and insightful description of how bass and drums work together to create a foundation for a jazz group, particularly applicable to a composer whose melodies and improvising are so heavily rhythmic.

Here it is:

“The bass sketches out time with a primordial pulsation, and the drums draw it in India ink. The crystalline precision of the ride cymbal. The shrewd and solid comments of the snare and bass drums. Depth, contour, innuendo, doors that open and close as the drumskin is struck. And if the drummer decides to play “Summertime” as a tango, you can always curse him out afterward, but there in concert, you just have to go along with him. It’s the opposite of the lemming phenomenon — when you don’t follow the drummer, that’s when you’re in trouble. The bass and the drums are the instruments which keep us in contact with the ancient beauty of rhythm. The gut string you pluck, and the stretched skin you strike  — what could be more carnal, more animal, than that?” 

Click here for more info on Monk.