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.)

Grammy Noms (2): Blind Boys of Alabama and other picks worth recommending

Blind Boys of Alabama

Blind Boys of Alabama

It’s almost too easy to beat up on the Grammy Awards.

And they deserve the slaps, too, given the cluelessness, historically, suggested by some of the picks: Milli Vanilli? Jethro Tull in the “metal” category? Christopher Cross? The Jonas Brothers?

It’s worth mentioning, too, that if there are going to be categories for best tropical Latin album, best regional Mexican album, best tejano album, best banda album, best Hawaiian album, best Native American album, best surround sound album, and other obscure areas, then FOR PETE’s SAKE it might be time to have categories for  New Orleans/Louisiana artists, jambands, and altcountry artists, and give Americana its own category (separate from folk).

On the other hand, the Grammys sometimes do provide much-needed attention to deserving artists.

Herewith, a few of the Grammy nominations for releases by worthy musicians and bands that you might not have heard about:

  • Best bluegrass album – Cherryholmes, Cherryholmes III: Don’t Believe; Del McCoury Band, Live at the 2008 New Orleans Jazz & Heritage Festival
  • Best new age album (?) – Jack DeJohnette, Peace Time
  • Best traditional gospel album – The Blind Boys of Alabama, Down in New Orleans – check out my review
  • Best traditional blues album – Buddy Guy, Skin Deep; B.B. King, One Kind Favor; Elvin Bishop, The Blues Rolls On
  • Best contemporary blues album – Marcia Ball, Peace, Love & Barbecue; Solomon Burke, Like a Fire; Dr. John and the Lower 911, City That Care Forgot (good playing and funky grooves, but not one of his finest); Taj Mahal, Maestro; Irma Thomas, Simply Grand.
  • Best contemporary folk/Americana album – Ry Cooder, I, Flathead; Rodney Crowell, Sex & Gasoline; Emmylou Harris, All I Intended To Be; Robert Plant & Alison Krauss, Raising Sand
  • Best zydeco or cajun music album – releases by Michael Doucet, Pine Leaf Boys, BeauSoleil, and Steve Riley & the Mamou Playboys
  • Best reggae album – Burning Spear, Jah is Real; Lee Scratch Perry, Repentance; Sly & Robbie, Amazing
  • Best traditional world music album – Ladysmith Black Mambazo, Ilembe: Honoring Shaka Zulu
  • Best contemporary world music album – releases by Gilberto Gil; Youssou N’Dour; and Mickey Hart, Zakir Hussain, Sikiru Adepoju & Giovanni Hidalgo