Springing an event in Toronto's Distillery District any day in May perpetually attracts monsoon like winds, torrential downpours, gloomy overcast skies and temperatures more akin to November's drift into winter's despair. Only the brave or uninformed dare stage multiple days of jazz programming.
Fortunately, the masterminds behind Art of Jazz--a nonprofit organization dedicated to year-round development of jazz artists and audiences in Canada selected a few premier indoor facilities in mounting the five-day festival. Lord, pray for the bands that braved the outdoors huddling together seeking warmth on various patios. In truth, the big action was inside.
Billed as '5 Days - 50 Jazz Greats, a Lifetime of Memories - Art of Jazz left quiet an impression. From the artful brochure, leaflets and down to the clean sight lines everything seemed neatly packaged for success.
Guiding the endeavor four names surface as key players - jazz advocates Bonnie Lester and pianist Howard Rees and musicians Larry Kramer and Jane Bunnett. In the mission statement a five year strategic plan is in the works dedicated to the development of a national jazz education program with emphasis on celebrating the accomplishments of past masters in concert, classroom, exhibits, workshops, mentorship and training.
Opening ceremonies in the Fermenting Room of the Distillery brought out a cross section of Toronto's elite politicos, arts organizers, a few jazz musicians and faces rarely seen at a jazz function.
Diva supreme Ranee Lee hosted the gala launch short on speeches - a most welcome feat and large on presentation. Two life-time highlight films paying tribute to legendary jazz musicians, Barry Harris and Don Thompson were the centerpiece.
Drawn from Thompson's home collection of performance clips with him behind the vibraphone in soft black and white - beardless and clean shaven from 1964 - with Stan Getz as few years later, John Handy, and Rob McConnell's Boss Brass - some with bass in hand others with hands darting across the ivories at maximum speed - encapsulated the brilliant legacy Thompson has written for himself absence self-promotion and grandstanding.
Visiting jazz journalist Willard Jenkins commented -" It was an eye-opener hearing a player of Thompson's earned reputation for the first time as well as Phil Dwyer. They have been names talked about above the border but off the radar only miles south.'
As a facility the Youth Centre for the Performing Arts proved to be exceptional - from seating - sound to lighting. Let me back up here, lighting at times was suspect with heads lit from above dimming faces drove this photographer batty during the Thompson tribute.
The tribute itself proved to be a joyous affair. Thompson is well known for his deprecating humour. Throughout the extended evening he delivered lines without moving the lips in straight face sort of like Einstein doing Billy Crystal. Thompson is a very funny man up close and serious to the core.
This night was his to shape with Jim Hall, John Handy, Dave Holland, Terry Clarke and Phil Dwyer on hand. There were solo segments with Hall and Holland - duos with Hall and Thompson - quartets - quintets - just about every configuration during the ninety- minute show. As with most of the other legends of jazz showpieces standards were in play. Much of the song selection can be found any moment of the evening on bandstands from here to Guam. 'My Funny Valentine, Skylark, Groovin' High' etc. In fact, much of the occasion seemed loosely suited to a club gig where tunes are decided seconds before downbeat.
Thompson was in peak form throughout the unusually subdued performance. It was the addition of Phil Dwyer late in the action that upped the temperature with a stirring remake of the Rollins - Hall classic 'Without A Song" that rekindled the home fire.
The most frequent question asked during the bravo evening - which came first? Piano, vibes, bass, drums or the egg! For those still asking - Thompson began on piano. When asked about the difficulty making the transition from piano to bass Thompson responded - 'How difficult can it be when you only have to play four notes to the bar.'
The Rashied Ali - Sonny Fortune match was a duo of the titans. In this corner weighing in at 155 pounds carrying the alto saxophone and enough wind in the lungs to propel a cruise ship from Miami to Tierra Del Fuego - Sonny Fortune. In fact, Fortune didn't need the services of a cut man during the first and only eighty-nine minute round with Coltrane 's 'Impressions.'
At 71, Ali is still a muscular player keeping the brisk tempo steady throughout while shifting beat emphasis in accordance to the explosive improvisational outbursts from Fortune. It was forty-five minutes in when it became obvious all that was to be said - had been said in the first twenty minutes and any thing to the contrary would likely be paraphrased down the line.
As a feat of agility and strength - this rivaled a cricket match between England and South Africa at Durban in 1939 - 43 hours and 16 minutes - in jazz times - 89 minutes. As a cutting edge explosive - innovative performance - it depends on who you ask.
Sheila Jordan and bassist Cameron Brown was another affair altogether. Possessed with neither the range or unique vocal characteristics of a Ella Fitzgerald, Carmen McRae or Dinah Washington - Jordan has her legions of fans. With an embracing stage manner that comforts and controls every aspect of the presentation from mood to delivery Jordan is a crafty singer. Every detail has been carefully surveyed and presented with the utmost charm and professionalism. It's all about the words - the meaning and essence of a sentence. The shape of the note attached to a syllable or vowel - the right amount of weight and rhythm. Jordan comes across as an open book - a life lived in periods of upheaval, personal conflict and grand stretches of light. At 77, it seems the sun will never set.
The duo performance between Eddie Henderson and Kenny Barron was more a formality than an adventurous exploration of possibilities. From the first luxurious tones of 'Green Dolphin Street' to Monk's 'Well You Neednt' both played music that can only be defined as absolute perfection. Solo lines were skillful even when harmonies moved from the expected into foreign terrain Henderson and Barron sensed the drama had been well resolved on prior meetings.
At moments Henderson conjured 'ghost like' passages borrowed from Miles. The notes may not fall in the same sequence but the intent was there.
Barron bullies the piano. When tempo quickens so does the pace of chord substitution and long complex ten- finger agitation. Barron pushed his imposing frame downward forcing the concert Steinway answer whatever was demanded.
Ravi Coltrane enjoyed the plums of publicity being the marquee prospect in the Toronto Star. Baseball has its Griffeys and Bonds - fathers and sons who have made an indelible mark on the game. Jazz has it's Redmans - Joshua and Dewey. Nothing could be more imposing than walking in step with the immortalized John Coltrane. Judging from son - Ravi's performance - he's in a zone of his own choosing. No 'sheets of sound' or modal tendencies. In fact, Coltrane proved to be from this vantage point a player of more interest, broader ideas and greater flexibility than most of the previous performers. The thing that genuinely set him apart was his own considered originals. From the intricately crafted melodies to the splendid harmonies Coltrane gave both him and pianist Luis Perdomo something to work for.
There were many events in between those witnessed by this being from workshops to parties that all drew praise. This should bold well for a second coming.
To view images captured at the event, visit Bill King's photo album at the AAJ Visual Art Center
Kudos to all!
For more information contact All About Jazz.
