Montreal Jazz Fest — Wishing I was there

I’ve had some incredible experiences hearing great performances and soaking up the other jazz happenings at the Montreal International Jazz Festival. Not to mention getting a chance to enjoy the cosmopolitan culture of one of North America’s most beautiful and most historic cities.

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Last summer’s festival was again jam-packed with great music, some of which I wrote about for JazzTimes, and in several posts on this blog.

Sadly, I can’t make it for the 38th edition of the fest, which runs June 28-July 8.

But if I WERE headed to Montreal at the end of this month, I’d do my best to catch the following jazz, blues and pop/rock artists (some of whom are playing in bands with others on the list):

Ambrose Akinmusire, Arturo Sandoval, The Bad Plus, Ben Street, Bill Frisell, Brian Blade, Buddy Guy, Carla Bley, Charles Bradley, Charles Lloyd, Charlie Musselwhite, Curtis Lundy, Danilo Perez, Dave Douglas, Diana Krall, Donny McCaslin, E.J. Strickland, Eric Harland, Essiet Essiet, George Cables, Gerald Clayton, Ingrid Jensen, Jack DeJohnette, Jacob Collier, Jane Bunnett, Jeremy Pelt, Jesse Cook, John Hollenbeck, John Medeski, John Pizzarelli, John Scofield, Joshua Redman, Joss Stone, King Crimson, Kurt Rosenwinkel, Larry Grenadier, Michael Blake, Nicholas Payton, Reuben Rogers, Robert Glasper, Robin Eubanks, Scott Colley, Stanley Clarke, UZEB, and Wallace Roney.

Headed to Montreal? Let me know your thoughts on what you hear.

As for me — better luck next year.

 

 

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Jose James Has the Blues (And That’s Good) — CD review

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Jose James, “Yesterday I Had the Blues” (Blue Note)

Jose James may or may not have been afflicted with the blues at some point in his life. A decidedly deep-blue soulfulness nevertheless shades the nine songs heard on the Minneapolis-born singer’s tribute to Billie Holiday, who would have turned 100 this Tuesday. The set features music written or popularized by Holiday, whose influence as a jazz singer and performer still looms large.

Each of these tunes is played at a luxuriously slow tempo, by three musicians who understand the underappreciated art of grooving in  way-laidback mode: Jason Moran on piano and Rhodes, bassist John Patitucci, and drummer Eric Harland.

An appealing aural spaciousness and resonance are at the heart of the sound of this Don Was-produced recording, starting with opener “Good Morning Heartache,” as the trio begins with a heartbeat rhythm and relaxes into opening chords before James glides in, singing notes on the lower end of his range. Mid-song, Moran offers an understated solo. The singing and playing, here and elsewhere, feel marvelously lived-in.

Unhurried, too, is the defining feel of “Body and Soul,” which opens with unaccompanied piano and voice, and then Patitucci, his bass woody and grinding, and Harland go it alone at the start of “Fine and Mellow,” which opens up for a bending, stretching solo romp by Patitucci. “I Thought About You,” entirely absent of bass and drums, is pure intimacy, regret, and nostalgia, bolstered by Moran’s series of crystalline piano flurries and swinging solo.

The disc closes with two Holiday favorites, a version of “God Bless the Child” bolstered by a heavy backbeat and warmed by Moran’s Rhodes piano, and a haunting, spiritual-like take on “Strange Fruit,” complete with handclaps and James’ own stacks of humming vocals.

“Yesterday” won’t soon be forgotten.

Happy 80 Candles to the Village Vanguard!

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Has it really been 30 years since I interviewed Max Gordon at the Village Vanguard for The Villager newspaper, for a story on the 50th anniversary celebration of the venerable Seventh Avenue South nightspot? Hard to believe. That summer, during my brief stint as a grad student in cinema studies at NYU’s Tisch School of the Arts, hardly seems so long ago. In addition to Gordon, I spoke with some of the many jazz greats who played the anniversary show, including trombonist Al Grey.

Gordon, the short, somewhat gruff, cigar-smoking, Lithuanian-born owner of the Vanguard, opened his place in 1935, and in its early years it became a home to poets, singing/acting revues, Caribbean artists (Harry Belafonte), folk and blues singers (Lead Belly, Woody Guthrie), and comedians (Lenny Bruce, Woody Allen).

Its most lasting legacy, though, is that rooted in its late-’50s rebirth as the city’s finest listening room for performances by great jazzers, of the bebop variety and beyond, many of whom are immortalized in the gorgeous photos still hanging in the basement club. John Coltrane and Miles Davis played there. So did Thelonious Monk, Charles Mingus, Sonny Rollins, Bill Evans, Charles Mingus, Gerry Mulligan, Carmen McRae, The Modern Jazz Quartet, and the Thad Jones-Mel Lewis Orchestra (which became the Vanguard Jazz Orchestra, which still plays there Monday nights).

Christian McBride quintet

The Vanguard is practically a temple to the high art of jazz, and I’m happy to have seen bassist Christian McBride’s Inside Straight quintet (above; see my review of his December show), guitarist Kurt Rosenwinkel, trumpeter Nicholas Payton, and the late guitarist Tal Farlow at the Vanguard over the years.

Sunday, the Vanguard turned 80. Tuesday, it kicks off a week of concerts presented by pianist Jason Moran. Pianists Moran, Fred Hersch, and Kenny Barron, and saxophonist Charles Lloyd‘s quartet (with Moran, bassist Reuben Rogers and drummer Eric Harland) are among the artists slated to play March 10-15.

While other NYC jazz institutions have come (Dizzy’s Club Coca-Cola, Smoke) and gone (Bradley’s, the Village Gate), and others have routinely upgraded and renovated and even changed music policies, the Vanguard has kept folks coming in part because it has stayed the same — a generally low-dough admission charge, a focus on music listening (loud talkers get shushed), and a decision to not introduce food to the mix.

“One thing that’s great is that, through all the years, they’ve had the wisdom not to mess with it,” as Hersch told The New York Observer. “I like the Vanguard for its purity.”

Lorraine Gordon, Gordon’s wife, took over the club in 1989, when he died; at 92, she and her daughter, Deborah, run the place, with the Vanguard’s longtime manager, Jed Eisenman.

For more information on the Vanguard’s 80th anniversary celebration, click here.

Jazz Times: Best of 2008 – Charles Lloyd, Bennie Maupin, More

Rabo de Nube, a 2007 live recording by Charles Lloyd’s quartet, tops the list of 2008 critics’ picks in Jazz Times. lloydFor the CD, documenting the veteran saxophonist’s 7oth-birthday concert in Basel, Switzerland, he was joined by pianist Jason Moran, bassist Reuben Rogers and drummer Eric Harland.

The Top 10 highest vote-getters in the poll include three – by Pat Metheny, Cassandra Wilson and Anat Cohen – that made it onto my own list, published online at Jazzhouse (Jazz Journalists Association) and in print at Las Vegas City Life.

The remainder of the Jazz Times top 10:

  • Bennie Maupin, Quartet, Early Reflections
  • Joe Lovano, Symphonica
  • Pat Metheny, Day Trip
  • Dave Holland Sextet, Pass It On
  • Bill Frisell, History, Mystery
  • Carla Bley Big Band, Appearing Nightly
  • Cassandra Wilson, Loverly
  • Various Artists, Miles From India
  • Anat Cohen, Notes From the Village

For the complete list of the top 50, click here

More:

The year-end round-up: “The year started off with a big surprise in the music industry: Herbie Hancock’s River: The Joni Letters (Verve) broke out of the jazz category and won Album of the Year at the 50th Annual Grammy Awards.” The rest

Complete critics’ picks

Jazz Times Readers’ Poll results