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Citizen Malina Reports from the Montreal Jazz Festival: Part 3

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July 3rd, 2009 - IMN Update:

_IMN has invited the Artistic Director of the Flynn Theater and the Discover Jazz Festival, *Arnie Malina*, to guest-blog for us on the action happening in Montreal this week. Weâve always admired his insights and hope you will as well._ Realizing that Iâm doing these blogs fast and furious, not taking the time to check spellings, facts, exactitude: itâs all impressions and sometimes, a day later, blurred memory. It makes you want to hear the music again so you can more precisely report on what happened musically, have time to invent the language, become more knowledgeable about the music. On the positive side, it gives you respect for music critics, who at their best really teach you about the music, how to talk about the music. Needless to say, that *Stevie Wonder* earned $500,000 for his Montreal gig is a ârumorâ based on press gossip, not fact. But when you think about it, another estimation, that 500,000 or so who took in the concert meant that the festival paid the great artist just $1 for every head there; or, if âonlyâ a mere 100,000 attended, $5 a head. A bargain for the purchase of an icon. So last night I heard the famed elder statesman of Japanese jazz, the saxophonist/flutist *Sadao Watanabe* and his sextet, young upbeat players. It was good time music, not particularly challenging, with a Senegalese guest percussionist exciting the crowd, and a hip keyboard player supporting the great saxophonist well. Sadao has got to be in his late 70âs (fact check someone), but he still has a full, forceful tone and intelligence. A friend of mine was excited to see him, remembering him from concerts in the 60âs. It wasnât a highlight for me. Got to one of the festivalâs new young finds, the trumpeter *Dominick Fabinacci* and his band. He opened up for one of the concerts last year, moved the popular pulse, and was invited back this year. *Andre Menard*, the Festivalâs director, has enough faith in him that he co-produced the young trumpeterâs album. He is being groomed for commercial success. He has what it takes: good looking, humorous and dashing, a serious musician and a heartfelt musicianship and tone on the trumpet.. I got there a half hour late (running from the Watanabe concert), in time to hear him play one of those gorgeous Jacques Brel melodies, slowing it down, but not milking it either, sort of letting the haunting nature of the melody speak for itself. His encore continued this impulse, on âSmileâ the Charlie Chaplin ballad . Heâs definitely a crowd pleaser. This concert was at the festivalâs new intimate club, LâAstal, where *Bad Plus* was a few nights ago; this time I sat in the balcony. Only time will tell if Fabinacci is the real thingâ¦â¦â¦ So itâs raining outside; in addition to the headliners at the dozen or so indoor theatres, the Festival is known for its outdoor stages, anothere dozen or so sites spread out over an 8 block area. Almost every kind of popular and world music will be represented on these stages over the two weeks of the festival, with hundreds of thousands of people enjoying free music. I get to the last ten minutes of the British soul singer, *Alice Russell*, whoâs rockinâ for about 600 spectators, partying and rockinâ out in the rain, the sound system working overtime, helping a whole new generation become as hard of hearing as the one I came from. The action in the crowd is often far more interesting than whatâs on stage. On the way, I also passed the Scene Rio Tinto Alcan (the aluminum company is the sponsor), which is the most prominent of these outdoor stages, occupying the central vanatage point of the Place des Arts , the plaza. *Colin Hunter* is performing. Heâs called Crooner and Chairman of the Board, and sings music of the 50âs. Heâs also owner of Sunwing Airlines, so he can bankroll his great dream to perform the music of the crooners. Like I said, the festival cuts a wide swathâ¦.heâs singing a Frank Sinatra song and nearly a thousand people are listening in light rain. Iâm movin on. Itâs heading toward midnightâ¦ "Citizen Malina Reports from the Montreal Jazz Festival: Part 1":http://imnworld.com/news/detail/247/citizen-malina-reports-from-the-montreal-jazz-festival-part-1 "Citizen Malina Reports from the Montreal Jazz Festival: Part 2":http://imnworld.com/news/detail/249/citizen-malina-reports-from-the-montreal-jazz-festival-part-2

Citizen Malina Reports from the Montreal Jazz Festival: Part 2

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July 2nd, 2009 - IMN Update:

_IMN has invited the Artistic Director of the Flynn Theater and the Discover Jazz Festival, *Arnie Malina*, to guest-blog for us on the action happening in Montreal this week. Weâve always admired his insights and hope you will as well._ I forgot to mention that after *The Bad Plus* at LâAstral (out at about 1a.m.)...I walked to where I was staying East of Place des Arts, about two miles away. Most of the Stevie Wonder crowd had dissipated an hour ago, and now it was time for the clean-up. At 1a.m. hundreds of city employees were sweeping up the garbage (plastic, paper, beer, etc) which had accumulated in the last few hours, cleaning it all up in preparation for the next dayâs activities. Seeing these worker bees was impressive, a surreal site, watching them sweep as fast as the fastest musician. Staging such a huge event as the Stevie Wonder concert must cost a small fortune. I hear that Stevie himself cost $500,000. Add to that the huge amount of sound, video equipment for who knows how many stations up and down the âcanyon," and the festive way that Montreal decorates its buildings, itâs quite impressive. A documentary is warranted on how such a huge undertaking comes off almost effortlessly. Many police and security everywhere, but seemingly not much trouble from the public. How to manage a crowd of 500,000... Last nightâs musicgoing started at 7p.m. at Club Soda to hear vocalist *Luciana Souza* in duet with guitarist *Romero Lubambo*, in a program called _Brazilian Duos_ It was another home run. This intimate club on St Laurent often features singers. Over the years Iâve seen people like *Nora Jones* (before she became famous) and *Roberta Gamberini* hereâ¦.Last year I remember being surprised and delighted to hear veteran singer/pianist *Freddy Cole* for the first time. What a masterful entertainer he is. Luciana and Romero are incredible artists who bounce off each other exquisitely. Each has a commanding virtuosity, able to do anything with voice, with guitar. Together, they are even better. I was thinking hearing Luciana scat in Poruguese in the bossa nova numbers how this kind of scat seems even more natural than American jazz scat singing, that it somehow works even better, with the language, the rhythms, the conversational attitude that much bossa nova embraces. She did a Hermeto Pascoal number that blew through the roof, it was so astonishing. But at the same time, her artistry is effortless and sheâs always in control. One song after another gave countless pleasuresâ¦.. Last night, I saw *The Monterey Quartet* at Theatre Maisonneuve led by veteran bassist, composer, legendary jazz figure *Dave Holland* featuring three of the top younger musicians performing today, *Gonzalo Rubalcaba* (piano), *Chris Potter* (sax) and *Eric Harland*, (drums). I was only going to stay for the first hour (this is classic festival going), because I also had a ticket for a 10:30pm show at another theatre a few blocks away at Gesuâ¦â¦..but the music made by these four guys got better and better as the evening progressed and it was impossible to leave. Each of the players composed a few numbers on the program, as is Dave Hollandâs practice in leading his various ensembles. The last number by Chris Potter was the most volatile of the set. At a certain point in the number, Gonzaloâs piano was comping astringently to Harlandâs drumming, which became more and more propulsive in response to Gonzalo, who was alternately leading, following, creating a rhythm and succumbing to Harlandâs increasing ferocity. And then as if that wasnât enough, Chris Potter starts a double-timing saxophone solo that drives the crowd crazy. The concert ends in triumph. But then, the encore, a composition by Holland, _Veil of Tears,_ has the band meshing in a quieter, and impressive fashion, talking to each other with subtle sensitivity, creating beautiful textures that hadnât been heard the rest of the concert. So I finally get to Gesu, another distinctive and favorite venue at the Festival, one where lesser known and often adventurous work gets to unfold. It seats only about 300 and itâs a jewelbox of an intimate theatre. Anything goes here. So I got to the last twenty minutes of a set by pianist/composer *Baptiste Trotignon* with *Mark Turner* on sax, *Jeremy Pelt,* *Greg Hutchinson* and *Matt Penman* in support. Iâm toward the end of an extended suite, very composerly and easy-going with some flashes of beauty. Friends who were there from the beginning liked it more than I was able to bring to it in this late entry. So, life is short and art is long and letâs hope Iâll have more time to do this music more justice on another occasion. Well, getting ready to meet friends at a restaurant in Montrealâs Chinatownâ¦..so have to run. Today, a bunch of us biked some of Montrealâs canal routesâ¦..itâs a great way to get exercise when youâre attending a jazz festival. This 12 mile route on Lachine canal ended at an arboretum and sculpture gardenâ¦Montreal has an extensive system of bike paths that bring you to many beautiful parks, islands, waterfalls, etc. Will let you know what I get to see tonight and tomorrowâ¦ "Citizen Malina Reports from the Montreal Jazz Festival: Part 1":http://imnworld.com/news/detail/247/citizen-malina-reports-from-the-montreal-jazz-festival-part-1

Nat Geo Music Catches Up With Senegalese Superstar Youssou N'Dour And Filmaker Chai Vasarhelyi

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July 2nd, 2009 - IMN Update:

Senegalese singer Youssou N'Dour may be Africa's greatest living pop star. A multi-platinum selling Grammy-winner, N'dour is just as well-known these days for his philanthropic work alongside the likes of Bono and Bill Gates. And while he may not be a household name here in the States yet, a recently-released documentary film may change that very soon. Directed by American filmmaker Elizabeth Chai Vasarhelyi, I Bring What I Love tells the story of N'Dour's remarkable 2004 concept album, Egypt. A departure from his usual Afropop sound, Egypt was conceived as celebration of the peaceful, tolerant and creative side of Islam. A devout Muslim himself, N'Dour wanted to counter the negative, post-9/11 images of his religion, and he enlisted the help of Egyptian composer Fathy Salama and his orchestra to realize his vision. The resulting album was hailed as a triumph in Europe and the U.S. - but stirred up a surprising controversy at home, where local religious leaders didn't look kindly on N'Dour's unprecedented mixture of popular music and religious praise songs. Five years in the making, Vasarhelyi's film deftly relates the story of Egypt and the toll it took on N'Dour and his family - while exploring the same themes of tolerance, respect and dialogue between the West and the Islamic world that were originally raised by the album. It's a winning, clear-eyed account of how music, religion and celebrity intersect in contemporary Africa - and a pretty good Youssou N'Dour biopic in the bargain. Nat Geo Music caught up with both the singer and the filmaker while they were in New York for I Bring What I Love's theatrical release. Read the entire Tom Prior interview "here":http://worldmusic.nationalgeographic.com/view/page.basic/article/content.article/interview_youssou/en

Citizen Malina Reports from the Montreal Jazz Festival: Part 1

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July 1st, 2009 - IMN Update:

_IMN has invited the Artistic Director of the Flynn Theater and the Discover Jazz Festival, *Arnie Malina*, to guest-blog for us on the action happening in Montreal this week. Weâve always admired his insights and hope you will as well._ Well I attended the official opening night of the 30th Anniversary Montreal International Jazz Festival, Monday June 30â¦..but to go back a few days, I also got to see a special pre-event of the Festival, the *Gary Burton Quartet* revisited with *Pat Metheny* and *Steve Swallow* of the original group with drummer *Antonio Sanchez* joining them ---âsublimeâ is the best word I can think of; such rich musicianship, each player contributing their virtuosity and intelligence to fine compositionsâ¦thereâs nothing like listening to state of the art vibraphone and guitar in duet. Burton talked about his first musical experience early in his career when he first realized the combination had such great potential. It was also an opportunity to see the new headquarters of the Festival, across from what used to be the Spectrum and also an opportunity to walk through St. Catherine Street and Place des Artes, where most of the theaters are situated, with a wide open plaza, stairs, fountains and an avenue of fast food and beer tents. That night this âcanyonâ had just a few stragglers leaving after this one concert was over, but in just a few days, with the festival in full gear, with hundreds of events up and down the avenue, with food stands with lines snaking every which way, it would be filled with a crowd variously estimated to reach between 100,000 to 500,000 people. Montreal has become expert at creating these kinds of mega-events. On opening night, the crowd was electrified and filled to capacity in anticipation of the major free event of the festival, and also the winner of the Montreal Jazz Festival Spirit Award for 2009, the amazing *Stevie Wonder*. I had just come from seeing the *Maria Schneider Orchestra* at Theatre Maissoneuve (2500 seats), (of which Iâll talk about below) with *Julian Lage* group opening, when I hit the crowd. Just trying to figure out how to navigate, or even get from one location to another in the midst of such a crowd and with construction still going on in the area, was mind-boggling. Miraculously they provide what I call âant trailsâ where some how you can variously walk or push yourself outside the pulse of the crowd. I was on my way to see *The Bad Plus* at the new headquarters club, Lâastral (a cabaret situation that seats between 300 and 500 or so.) It took me about 45 minutes to walk from the Theatre Maissoneuve to Lâastral, barely three or four blocks. The good news was that I got to experience Stevie Wonder, sort of. The way it works of course is that 500,000 people are watching over 50 video screens up and down the urban canyon with sound equipment blaring; the artist himself wasnât even on the same plane as the crowd. He was one block north on Maisonneuve, at another outdoor stage. I got there when Stevie, in great voice, starting singing, slowly, âCherie Amourâ, one of his big hits, which merged into a host of other hits weâve grown up with, like âSuperstition,â âSigned Sealed, Delivered,â some of the sweet love songs, so many others. Wonderâs set lasted over two hours. I was wowed that I at least caught some of it, in such a celebratory crowd, in spite of the conditions. I was told he began the set singing some of Michael Jacksonâs songs, that must have stirred the crowd. There were really tough thunder storms and downpours occurring a good part of the day, and most of the crowd sported various kinds of rain gear, but for the most part, the really bad weather didnât occur during the Wonder concert. Back to *Maria Schneider Orchestra* who made her Festival debutâ¦.among many compositions, the orchestra performed Mariaâs Grammy winning best jazz composition extended work from her latest album, âSky Blueâ called âCirulean Skies.â I have had the good luck of hearing this composition three times previously and Iâm always moved by its various glories. Schnenider doesnât conduct so much as shape the music that comes from her incredible musicians. She tells the crowd that Cirulean Skies comes from her love of birding; she wrote it each morning after birding at dawn in NYCâs Central Park and itâs about bird migrations. Schneider begins the composition with the orchestra âtuning upâ, with bird calls part of the mix of instruments (she performs on one of the many bird whistles the musicians use in addition to their instruments). She creates a forest panoply in sound; eventually sax soloist Donny McCaslin through his incredible improvisation creates an extended updraft of sound, thousands of birds are soaring, beginning their astounding flight of migration. After this solo, Schneider evokes again some of the hymnal melodic material she has created that makes Cirulean Skies so memorable, and a piano and accordion duet evoke the mysteries and beauty of nature in quiet, mystic melody that grabs your heart Itâs so beautiful. So by the time I got to *The Bad Plus* at LâAstral, they were performing the last few songs of the concert and some loudly demanded encores. Joined by vocalist *Wendy Lewis*, who is part of their latest album, âFor All I Care,â they are pleasing the young crowd with stellar versions of rock songs, including David Bowieâs Life on Mars, Heartâs Barracuda, U2âs New Yearâs Day and as one of a number of sensational encores Neil Youngâs Heart of Gold. Theyâre at their best when their interpretations are minimalist, conveying the haunting refrains of these great songs. But they also have a lot of fun reminding you of *Ferrante and Teicher* with thunderous arpeggios on the piano and pounding lyrical melodic repeats. Their version of "Heart of Gold" was beautiful. It was simple, as it should be given the Neil Young lyrics. Bassist Reid Anderson does a great job singing the lyric and at one special a capella moment is joined by Lewis to slow down Youngâs threnody, causing a hush in the audience. The young guy sitting next to me at the bar screamed out his approval, âYou guys rock!' Thatâs it for today; Iâll let you know what I see tonight and tomorrow morning...

New Pacifika Video "Chiquita"

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June 30th, 2009 - IMN Update:

*Chiquita* is the second video from Pacifika's debut album *_Asuncion_* directed by Douglas Thomson.

Esperanza Spalding: Charismatic and Soulful, a Maturing Star of Jazz

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June 30th, 2009 - IMN Update:

Esperanza Spalding carried herself like a worldbeater at Central Park SummerStage on Sunday afternoon, and resistance was largely futile. In her ebullient singing and her agile bass playing, Ms. Spalding radiated a cyclone-force charisma, along with the fresh-faced self-conviction that only precocity can bestow. But the hourlong show was more than a reminder of her talent. It was heartening confirmation of her recent growth: as an artist, a bandleader, a vocalist and a star attraction, if not always in that order. Click "here":http://www.nytimes.com/2009/06/30/arts/music/30summer.html?_r=1&partner=rss&emc=rss to read the full article at The New York Times.

70th Anniversary of Blue Note Records at Montreal Jazz Fest

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June 29th, 2009 - IMN Update:

In recent years, the Montreal International Jazz festival has embraced a wide range of musical styles that are only tangentially related to jazz itself. But this year, in its 30th edition, the festival is looking back to the deep roots of jazz by marking the 70th anniversary of one of the most celebrated and influential record labels in history: Blue Note. Festival organizer AndrÃ© MÃ©nard is honouring the occasion by creating the Bruce Lundvall award, named after the executive who has run Blue Note Records for the last quarter century. To be presented annually to a non-musician who has made a major impact on the music industry, the awardâs first recipient will be Lundvall himself. Read the entire article from the Gazette (Montreal) "here"":http://www.montrealgazette.com/Entertainment/Blue+Note+jazz+blue+blood/1736569/story.html

Masada Quintet featuring Joe Lovano

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June 29th, 2009 - IMN Update:

John Zorn's Masada project has blossomed over the past decade and a half, demonstrating durability in the face of multiple interpretations. The composer's stated intention to create a classic songbook, a consistent body of written work to inspire artists beyond his own performances, has been fruitful. However, most of the variations on these Hassidic-inspired tunes have been made by peers and associates who record for Zorn's own Tzadik imprint. Stolas: Book of Angels, Volume 12 stands poised to break Zorn's Masada through to the traditional mainstream, courtesy of tenor saxophonist Joe Lovano. A highly respected traditionalist, Lovano's inclusion in this Downtown super-group is something of a coup. Interpreting some of Zorn's most accessible and sublime compositions, Lovano is joined by a quartet of Masada veterans, including trumpeter Dave Douglas, pianist Uri Caine, bassist Greg Cohen and drummer Joey Baron. No stranger to these environs, Lovano has performed and recorded with Baron and Douglas before, most notably on Flights of Fantasy, Trio Fascination Volume Two (Blue Note, 2001). Read the entire review in All About Jazz "here":http://www.allaboutjazz.com/php/article.php?id=33270

Pacifika's Me Cai featured on HBO's True Blood

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June 28th, 2009 - IMN Update:

HBO's hit vampire drama _True Blood_ will be featuring Pacifika's *Me Cai* during their June 28th episode entitled _Scratches_ View the music video for Me Cai "here":http://www.youtube.com/watch?v=QlIk9JxvJFc

Caetano Veloso Covers Billie Jean

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June 26th, 2009 - IMN Update:

SFJAZZ Collective on NPR's Jazz Set with Dee Dee Bridgewater

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June 25th, 2009 - IMN Update:

JazzSet with Dee Dee Bridgewater, June 25, 2009 - In 2004, SFJAZZ, the year-round organization based in San Francisco, launched the SFJAZZ Collective. Every season since, the group has focused its serious creativity on a different composer â in 2008, it was Wayne Shorter â and produced new works. As trumpeter Dave Douglas says, "Learning everyone's piece and seeing how they work is an incredible eye-opener." Read the feature and hear a live recording from Chicago Symphony Center "here":http://www.npr.org/templates/story/story.php?storyId=95524830&ft=1&f=1039

Montreal Jazz Festival Celebrates 30th Anniversary

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June 19th, 2009 - IMN Update:

From Encore/Celebrity Access (an industry profile with MJF's Artistic Director Andre Menard) : There may be no measure in todayâs entertainment culture to absolutely gauge the Festival International de Jazz de MontrÃ©al that celebrates its 30th anniversary June 30-July 12. Its size and scopeâas the worldâs largest jazz festival with a budget of $28 million for 2009âplaces it alongside festival giants. Its ability to amalgamate jazz and other popular genres at free and ticketed shows in the heart of a primarily French-speaking North American city, however, defines its uniqueness. MÃ©nard, co-founder/artistic Director of the FIJM, and VP/CEO of LâÃquipe Spectra, was born in TÃ©treaultville, Quebec in a working class family. While attending CollÃ¨ge de Maisonneuve in Montreal, he began to produce shows. Following graduation, he presented shows at Montrealâs ThÃ©Ã¢tre Outremont with Paul Dupont-HÃ©bert; and was a director of several large local events including the annual Saint-Jean-Baptiste Day festivities on Mount Royal... Read the entire interview "here":http://encore.celebrityaccess.com/index.php?encoreId=196&articleId=31318

UK Telegraph Reviews Baaba Maal's Performance at Meltdown Festival

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June 18th, 2009 - IMN Update:

Read the complete Telegraph review of Baaba Maal's sensational performance at Ornette Coleman's _Meltdown Festival_ "here":http://www.telegraph.co.uk/culture/culturecritics/davidcheal/5560605/Baaba-Maal-at-Meltdown-Festival---review.html "There were times during this show when Baaba Maal and his band made music that was as beautiful, as glorious and as joyous as any that I have ever heard. Yes: it was that good â percussion, guitars, keyboards, voices, and, crucially, a tight-knit four-piece brass section were locked into a pulsating, hypnotic groove. For a moment, as his band â a mixture of African and Western musicians â created this rapturous noise, Baaba Maal, in his shiny gold suit, stood with his arms outstretched and grinned, as if to say: "Look! Behold my creation." It was sensational. The show began modestly with Maal, the Senegalese singing star who was appearing at the Festival Hall as part of Ornette Coleman's Meltdown season, seated with an acoustic guitar, singing a typically plangent lament, with minimal accompaniment â percussion, electric slide guitar, his keening voice giving a hint of what was to come... "

Anat Cohen Honored with the ASCAP Jazz Wall Of Fame Prize

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June 17th, 2009 - IMN Update:

ASCAP President & Chairman Paul Williams has announced that ASCAP will add seven music greats to the ASCAP Jazz Wall of Fame on Tuesday, June 16, 2009 and the first-ever ASCAP Jazz Wall of Fame Prize will be presented to clarinetist/saxophonist/composer Anat Cohen for her promise in Jazz composition and musicianship. Click "here":http://www.allaboutjazz.com/php/news.php?id=36170 to read the full article at All About Jazz.com

Esperanza, Cassandra and Anat Take Home Jazz Journalist Awards

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June 17th, 2009 - IMN Update:

The Jazz Journalists Association announced winners of 2009 Jazz Awards at the Jazz Standard in New York City Tuesday. International Music Network artists took home three awards for Clarinetist of the Year (Anat Cohen), Female Singer of the Year (Cassandra Wilson) and Up and Coming Artist of the Year (Esperanza Spalding). Click "here":http://www.jazzhouse.org/ for a complete list of winners.