TO Jazz Review: Dave Holland Quintet, July 3, Nathan Phillips Square

Posted on July 5, 2009 by Brian in Concerts, Toronto Jazz Festival | 1 Comment

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It’s pretty amazing how many jazz musicians who played with one Miles Davis-led group or another are still kicking around. Chick Corea’s still touring, Jimmy Cobb’s touring with his “So What” band right now (unfortunately not making a stop in Toronto, but hitting seemingly all the other jazz fests this summer), Herbie Hancock is going to be at Massey Hall in August, John McLaughlin is still around, Branford Marsalis and Sonny Rollins (both at this year’s Toronto Jazz Festival) both appeared with Davis a few times, it goes on and on.

Then there’s Dave Holland, who was the bassist in Davis’s band for several years during the late 60’s, when Davis was well into the jazz fusion stage of his career. Holland featured prominently on one of Davis’s most popular albums, Bitches Brew, and also one of my favourites, In a Silent Way.

I actually didn’t know any of this before Mark and I sat down to see Holland play ahead of Branford Marsalis’s set last Friday, but I thought it was kind of cool. Holland, who’s been a sideman in a lot of different bands since then, leads his own quintet now, featuring Chris Potter on sax, Robin Eubanks on trombone, Steve Nelson on vibraphone, and Nate Smith on drums.

You can definitely hear the influence of Davis’s avant-garde/jazz fusion stuff on Holland’s music. It’s a bit abstract at times, with very lengthy solos from Potter and Eubanks that deliberately shy away from much in the way of melody or rhythm. It’s the kind of music where you can appreciate just how good all the players are, and all five musicians are very, very good players, but if you like your jazz a little more melodic, it can seem a bit convoluted and be a bit hard to get into.

That’s pretty much how it felt to me, anyway. Whether it was because we were there mostly to see Branford Marsalis (who Mark will be reviewing shortly) or if it’s just because I’ve always preferred Kind of Blue era Miles Davis to Bitches Brew, Holland’s set just didn’t quite resonate. I knew it was all technically quite well done, and Potter in particular is quite a soloist and improviser (Mark reviewed Potter’s quartet, which also featured Smith on drums, here). But I couldn’t get into most of it the way I did Dave Brubeck a couple night’s earlier, or Marsalis, whose set I very much enjoyed. I honestly caught myself looking at my watch more than once during one of Potter and Eubank’s extended solos; some of them just seemed way too long.

I did, however, get into Nate Smith’s drumming. That guy can really play. An extra point for the set because of him.

TO Jazz Review: Dave Brubeck Quartet, July 1, Nathan Phillips Square

Posted on July 3, 2009 by Brian in Concerts, Toronto Jazz Festival | 2 Comments

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Once in a great while you may be watching a show of some sort, and at any given moment, maybe even after the show is over, it’ll hit you: you’re witness on this night to something that’s truly special.

On Canada Day in Nathan Phillips Square, there were many moments when I sat in slack-jawed amazement watching Dave Brubeck and his quartet – saxaphonist/flautist Bobby Militello, bassist Michael Moore, and drummer Randy Jones – and even more such moments when they were joined on stage by Brubeck’s son Matthew on cello. But my real “holy sh*t” moment came when I went home and looked up just how old Dave Brubeck is now. And I was struck by this question:

How can a man who’s pushing 90 years of age be that incredibly good, lead a quartet/quintet that incredibly tight, play for nearly two solid hours in the not inconsiderable humidity, and end with two of his most recognizable tunes that were recorded 50 years ago that still, incredibly, sound just as fresh and cool as they ever did?

Brubeck’s list of accolades is ridiculously long. Living Legend Award from the Library of Congress. Presidential Medal of the Arts. The Down Beat Jazz Hall of Fame. Named Jazz Master by the National Endowment for the Arts. Induction to the California Hall of Fame. It goes on and on. Besides jazz suites, he’s written cantatas, ballet scores, a jazz opera, TV soundtracks and for orchestras and choirs. He’s one of the most influential jazz pianists ever for his improvisations and experiments with different time signatures.

And despite having done all this and being 88 years old, he’s still touring. And his show is, in a word, sensational.

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TO Jazz Review: Chucho Valdés, Enwave Theatre, July 1

Posted on July 2, 2009 by Mark in Concerts, Toronto Jazz Festival | Leave a comment

Chucho Valdés

Toronto – Five-time grammy award winner Chucho Valdés played the Enwave Theatre last night. This was one of my most anticipated shows of the jazz festival and it did not disappoint. Chucho is a Cuban-born pianist that has flawlessly fused elements of latin jazz, afro-cuban music, and even touches of Classical into a sound all his own. The result was a stand-up set that will remain a signature show of the jazz festival for me this year.

Latin jazz, and Cuban jazz in particular, is all about the rythmic underpinnings. It’s why the genre is so infectious. By keeping the music grounded in such a laid-back groove, it allows for some really fun and inventive improvisation. When you pair these rythmic sensibilities with a beautiful sounding room like the Enwave Theatre, the result is engrossing. The Enwave Theatre knows how to do acoustics, and bands that are heavy on percussion are well-suited to play there.

One highlight was when they started playing these African drums called Shakera by inserting the neck of the drum directly into the condenser mic’s at the front of the stage. I couldn’t help but sense how timeless this was. It reminded of what our African forefathers would have sounded like hundreds, if not thousands of years ago when they made weird effects with drums and condenser mics.

How do I describe Chucho’s sound? He’s definitely a virtuoso, but he’s grounded in completely unpretentious style. His playing is an eclectic fusion, but it works so beautifully that calling it a fusion detracts from its distinct voice. Over the course of the night, he displayed fast piano chops, pensive ballads, and a few nods towards Classical. This was fantastic live music.

One highlight was when the bassist and percussionist started playing these African drums called Shakera. They made these really cool sound effects by inserting the neck of the drum directly into the condenser mic’s at the front of the stage. Not only did it sound wild,  but I couldn’t help but sense how timeless this was. It reminded of what our African forefathers would have sounded like hundreds, if not and thousands of years ago when they made weird effects with drums and condenser mics.

I would not hesitate to go out of my way to see Chucho Valdés play again.

TO Jazz Review: Chris Potter’s Underground, The Pilot, June 30

Posted on July 1, 2009 by Mark in Everything, Toronto Jazz Festival | 7 Comments

Chris Potter & Nate Smith at The Pilot

Toronto – Chris Potter’s Underground played The Pilot last night. He was accompanied by drummer Nate Smith, pianist Craig Taborn, and guitarist Adam Rogers. Chris Potter is new blood in the jazz world and updates things by creating a funk fusion that, while incorporating straight-up rock beats, is still firmly grounded in the traditions of jazz.

[The Pilot has] all the pre-requisites for being a great jazz club: it’s small & packed, it’s intimate, the room is awkardly weird and long, and it sounds great.

Before I go into more detail about the show, I’d like to take a moment to describe The Pilot. Located on Cumberland street in the heart of Yorkville, this was surprisingly my very first show at The Pilot. Not surprisingly, the place follows an aviation theme. It’s got all the pre-requisites for being a great jazz club: it’s small & packed, it’s intimate, the room is awkardly weird and long, and it sounds great. I think the biggest drawback of the Pilot is that it’s smack dab in Yorkville. I ordered a rusty nail, a blend of scotch and Drambuie and was charged $17 for the honour.

Honestly folks, it’s not going to break my bank to buy a $17 + tip drink, but the very thought of it made me cringe. I’ve been living in this city for over a decade and by now consider myself a Torontonian. That being said, there’s never been another moment in recent memory where the sad display of big-city conspicuous consumption has made me want to pack up my things. Aside: Conspicuous Consumption is a book written by social scientist Thorstein Veblen over 100 years ago that neatly explains why we humans will gladly pay for a $17 drink because we happen to be in Yorkville.

A lot of modern jazz really loves the rock beat. [They’ll incorporate traditional beats and roam free] but there is something to be said about when the drummer finally gets back to belting out a straight-ahead rock beat. It makes for one helluva groove.

Anyway, let’s get to Chris Potter’s Underground. This band has been playing in its current format for about 5 years now, which is like 10 years in the jazz world. The first time I saw them was at the now defunct Top of the Senator club in 2004. When I asked them about that show, they recalled that it was one of the first shows they played in Toronto as a band. They’ve been spending their time since then honing their skills and their craft.

Keeping the time was Nate Smith, who readily lets loose with the rock beats and can drip funk. Interestingly enough, a lot of modern jazz really loves the rock beat. They fuse it with more traditional jazz beats and then roam free. But there is something to be said when the drummer finally gets back to belting out a straight-ahead rock beat; especially when a master soloist like Chris Potter is riding the wave. It makes for one helluva groove.

Chris Potter is a virtuoso of a sax player, but he just doesn’t play fast because he can, as is evident during the more atmospheric songs that this band will concoct. The quartet is about to start a European tour for the summer. When I asked Chris if there were any particular European clubs that he was looking forward to playing, he replied that it’s really more about the people than the place. If the crowd is into it, it makes his job that much easier. Like all musicians, Chris and his band feed off the energy of the crowd. Thankfully for everyone, the crowd was digging it last night. We’re happy to help out any way we can.

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