Above is a link to Canadian-raised, Brooklyn-based musician and composer Jonathan Lindhorst’s insightful review of Brooklyn Babylon – the multimedia creation of composer Darcy James Argue and visual artist Danijel Zezelj.
The World Premiere was performed during the BAM Next Wave Festival — November 9 – 12th, 2011
Mark Turner, Larry Grenadier and Jeff Ballard: Fly
Gesù centre de créativité
Montreal
June 28, 2011, 6pm
Fly is a trio that requires your full attention. Otherwise, its sonic pleasures and subtleties may pass right through you without a trace.
The democratic ideal that inspired Fly’s conception is, in part, what makes this demanding music: three distinct musical trains-of-thought forging forward on seemingly divergent paths. This tension does not only apply to the improvisational space within a piece, but also to the body of work chosen to present to the listener.
With each member contributing compositions of his own, the arc and flow of the evening’s performance stands in stark contrast to an evening dedicated to a singular compositional vision. And, like any democracy, its quality depends on who or what has been chosen to represent the whole.
That said, these guys can PLAY! …continue reading…
Just came back from checking out guitarist Christopher Cargnello and pianist David Ryshpan at Bily Kun. They played some challenging music from the multi-instrumentalist composer Hermeto Pascoal.
Inspired by 41 new pieces offered to the public for download, the impromptu duo was a way for Cargnello and Ryshpan to honour a musician they’ve been obsessed with for some time. Pascoal turns 75 tomorrow.
Guy Nadon (Denis Alix)
The audience at the Gesù centre de créativité greeted Guy Nadon with genuine, heartfelt applause as he walked on to the stage.
He made us laugh, roll our eyes, blush and shake our heads, but more importantly he reminded us how to enjoy ourselves and the music he loves. …continue reading…
Nordic Connect's Ingrid Jensen, Maggi Olin and Christine Jensen
Last night, Nordic Connect played a set of originals from their 2007 release, Flurry (ArtistShare)—a collection of compositions inspired by a common heritage.
A reminder of the ability of jazz music to cross borders, Nordic Connect is comprised of sisters Ingrid (trumpet) and Christine Jensen (saxophone)—who are of Danish descent, pianist/composer Maggi Olin and bassist Mattias Welin—both from Sweden and New York-based drummer Jon Wikan—who is of Norwegian heritage (and Ingrid’s husband). Finding time to rehearse is a difficult task, but they came prepared. …continue reading…
Rémi Bolduc Jazz Ensemble
Gesù centre de créativité
Montreal
June 26, 2008, 6pm
Rémi Bolduc
For the first night of the Festival International de Jazz de Montréal (FIJM), Montreal alto saxophonist Rémi Bolduc kicked off the JAZZ D’ICI series at the Gesù – Centre de créativité.
A professional musician since the age of 15, Bolduc is clearly at home on stage. He joked, told funny stories in between tunes and occasionally provided the source of inspiration for his compositions.
With the exception of “Tes douces lèvres” the original compositions on display last night are off of Bolduc’s 4 + 1, …continue reading…
Adam Miller – The Jazz Warriors
Dièse Onze
Montreal
June 16, 2008, 10pm
Adam Miller at Dièse Onze (Stanley Clarke Jr. / JNO49)
Vancouver-born drummer and Jazz Warrior, Adam Miller, played two sets of honest music last night as part of the OFF Festival de Jazz de Montréal’s (OFJM) series at Dièse Onze.
He battled side by side with fellow Warriors Chet Doxas on tenor saxophone, Jonathan Cayer at the recently acquired grand piano, Adrian Vedady à la contrebasse and a welcome addition from Vancouver, Neelamjit Dhillon on tabla.
The Jazz Warriors are the genesis of Miller’s eight month sabbatical in India where he studied tabla, Dholak and an Indian Classical vocal tradition, Dhrupad.
Miller’s time in India was evident on the second tune of the evening. I may have to dig deep into the jazz repertoire to find an instance of the melody being sung by a drummer in unison with the saxophone. Another song had the Warriors chanting momentarily in one of the Indian languages what I can only guess were not the lyrics to “Summertime.”
Highlights included a captivating solo by Cayer on the previously mentioned second composition—a melancholic experience, a sweet back-and-forth duet between Doxas and Dhillon culminating in an impressive saxophone solo, grooves laid down by Vedady and Dhillon, as well as an intriguing arrangement of Thelonious Monk’s “Evidence” as the last tune of the night.
There’s an accessible pop sensibility to Miller’s music that blends well with the predominantly jazz flavoured, groove-based compositions played last night—worth listening to.
Erik Hove at Dièse Onze (Stanley Clarke Jr. / JNO49)
Erik Hove – Soundclash
Dièse Onze
Montreal
June 13, 2008, 10pm
Last night alto saxophonist Erik Hove and his group, Soundclash, anchored the first night of the OFF Festival de Jazz de Montréal (OFJM) at Dièse Onze. With tunes like “Sleep and Dreams,” “Interconnectivity,” “Gift of Gab,” and “Witching Hour,” it was indeed a night of sound clashes and refreshingly challenging music.
Osby-esque, angular, avant-garde, modern, groove-based, humorous, hyper-rhythmic, motivic, hip-hop influenced—these are some of the words that describe Hove’s compositions and playing. The name Soundclash is well chosen; if there is a common thread, it is that Hove is influenced by diverse strands of music. Of course, this can be said of many contemporary musicians, but it is less subtle in the collection of compositions played last night.
Hove is backed by a solid rhythm section in drummer Martin Auguste and ubiquitous bassist Fraser Hollins. It was nice to see the interaction between the two: eye contact, nods, smiles—always a good sign.
Turntablist Paolo Kapunan, a.k.a. P-Love, was responsible for the “urban sounds” touted in the OFJM’s program description. Samples ranged from A Tribe Called Quest to dub to atmospheric sound effects. Personally, I preferred P-Love’s work on darker pieces like “Sleep and Dreams” with its unison lines, twelve-tone vibe and off-kilter groove. Or, when he echoes Hove’s horn melodies on the angular “Hand Basket.” Also, there was a tune towards the end of the second set, reminiscent of John Coltrane’s “Alabama,” where the crackling sound effects of P-Love’s two-octave turntable had the audience holding its breath.
Sounclash is a tight, well-rehearsed group. As a soloist, Hove is intense and imaginative—not as controlled as one of his mentors, Greg Osby, but no less thought-provoking.