Musical refreshment

I was going to wax philosophical in today's blog posting...take on some subject or another such as whether and how musicians need to communicate with their audience...or the effect of the digitization of music and the written word on jazz recordings and magazines...or whether Facebook is a good tool for, well, anything...

But, I had a late rehearsal last night so I've decided not to take on a weighty topic for today lest I'm unable to clearly articulate my articulations. (For example - did that last sentence make any sense?) Instead I thought I would reflect briefly on the music that has moved me recently. As I sat at my desk this morning, groggy eyed and foggy brained, I wanted to find some music that would not necessarily inspire but stimulate my senses. I started online with what I think is a brilliant performance by Imogen Heap, live and solo, of her tune Just for Now. Though I'm not familiar will much of her body of work, I'm floored by what she's able to do with just her voice, some clapping, and some looping. After Imogen I opened up iTunes and, scrolling down the list of music, decided on Maria Schneider's Allegresse (which is on in the background as I type). Just beautiful writing, and outstanding playing. A great way to clear the cobwebs.

I've had a few other musically meaningful moments recently. Last weekend, my wife and I watched Throw Down Your Heart, a documentary which follows Bela Fleck to Africa as he traces the history of the banjo. Although we didn't actually learn a lot about where the banjo started, how it evolved, etc. (that's clearly not the ultimate point of the film), the film features some outstanding performances by professional and amateur musicians, and is a great reminder that music goes far beyond the concert hall - in some parts of the world, it's part of everyday life.

On Sunday night, I headed down to The Rex Hotel to catch the Marilyn Lerner Trio (with Matt Brubeck on cello and Nick Fraser on drums - also known as the Ugly Beauties). I had not yet heard Marilyn play...and the evening was a treat. The group sounded great. Interesting music, fantastic solos, really enjoyable interaction between the musicians - a lot of fun. It was a welcome way to wrap up the weekend. (Plus, I had a fabulous conversation with the 84-year-old and Rex regular Olive, who walked from her house at King and Tecumseh to get to the show...) The trio plays again this Sunday - go check them out (7 pm, pay-what-you-can).

Then, on Tuesday - and thanks to NPR - I checked out a few tracks from Brad Mehldau's new album, Highway Rider. I found them to be completely refreshing: creative, interesting writing and great performances. It hit the spot.

This weekend promises to be great for my ears too: tonight I go to see Bobby McFerrin (a birthday present for my Dad...), tomorrow afternoon I play with the Chris Hunt Tentet at the Rex, and tomorrow night I'm helping to produce the Kurt Rosenwinkel Standards Trio concert at Glenn Gould Studio. It will be a busy, but musically inspiring, 36 hours!

So - maybe next blog post I'll take on controversial topics and use lots of big words. But for today, I'm just happy to talk about music...

Josh

Thank you Paul!

On Wednesday night I attended the University of Toronto jazz program's tribute to Paul Read, who, after 17 years as director of the program, is stepping down at the end of this year. Simply called "Thank you, Paul!", it was a great night - the 10 and 11 O'Clock Jazz Orchestras performed Paul's arrangements and compositions, and the graduate ensemble added one tune (also a Paul Read original) to the mix. There were solos by special guest faculty members (Chase Sanborn, Jim Lewis, Alex Dean and Terry Promane) and some touching words. Kudos to everyone who performed and organized the event.

I first met Paul twenty or so years ago as a camper in National Music Camp's jazz division. I knew him then as the director of the camp, and also the conductor of the camp's faculty big band. That band was always amazing - great players and great tunes. It can't be a coincidence that, after seeing that band perform for five years as a camper, I would one day be inspired to start my own band...

Over the five years as a camper, I got to know Paul and his fantastic wife - vocalist Trish Colter - and when I made the decision to pursue jazz at university, I was excited about working with Paul in a new way. I remember my audition: it was towards the end of what I can only imagine had been a long day of auditions. Paul and Phil Nimmons were on the panel. And they were, I think, a bit slap-happy at that point. The audition was a blast. They made me feel welcome and relaxed. I don't remember how I actually played; but I do remember having a great time. In the end, they saw something they liked and I entered the program.

Under Paul's direction, U of T's jazz program took me - a young musician with a pretty basic knowledge of jazz - and instilled in me a passion for the music. I learned a ton. I played under Paul in the 10 O'Clock Jazz Orchestra and learned how to run a big band (and how, when the conductor stops the band, and with a blank look on his face says "Perfect!", he means it really wasn't perfect...). I learned from Paul about the importance of always being professional, about learning the history and context of the music I play, and about having a sense of humour about it all. (One day, in the elevator, he told me he had figured out the answer to playing high on trumpet: "It's easy: less air, more pressure!")

As I finished my last year of the undergraduate program, I needed some direction. I wasn't sure what I should make my next step, and Paul's door was always open. He took the time to chat with me about different possibilities, and was honest with me about what he thought might or might not work for me. I valued those conversations; it was great to hear his perspective get some honest feedback. So when I got out of school, with Paul's advice ringing in my ears, I made a variety of decisions which, well, have ultimately led me to where I am today.

So thanks, Paul, for everything: for creating a summer camp environment in which a passion for jazz could grow; for taking a chance on a somewhat inexperienced trumpeter; for giving me great tutelage and advice; and for being open to my questions and queries now just as much as you were then. Good luck on this next chapter. I look forward to hearing the results (via the Paul Read Orchestra) and to working with you for many years to come.

Josh

Congratulations to our JUNO nominees!

The 2010 JUNO Awards nominations were announced recently and we're pleased to see a number of names familiar to the local jazz scene on the list! Toronto Downtown Jazz offers congratulations to all of the nominees and especially the Toronto-based jazz musicians:

Emilie-Claire Barlow (Vocal Jazz Album of the Year)

Michael Kaeshammer (Vocal Jazz Album of the Year)

Hilario Duran (Contemporary Jazz Album of the Year)

Kirk MacDonald Quartet (Contemporary Jazz Album of the Year)

Al Henderson Septet (Traditional Jazz Album of the Year)

Darren Sigesmund (Traditional Jazz Album of the Year)

Terry Clarke (Traditional Jazz Album of the Year)

Carlos del Junco (Blues Album of the Year)

Treasa Levasseur (Blues Album of the Year)

Domenic Mancuso (World Music Album of the Year)

Jaffa Road (World Music Album of the Year)

We'll be watching with anticipation on April 18th for the results...and you should be watching out for a number of these musicians at the upcoming TD Toronto Jazz Festival! We're gearing up for an April 13th lineup announcement, and there's lots of great music coming your way...

Stay tuned!

Josh

You had me at hello...

I was chatting last week with trumpeter Jeremy Pelt at The Rex Hotel about how he lined up his two-night stint. His answer was simple: "I called Tom." I've had similar conversations with a number of musicians. For example: when my big band, The Toronto Jazz Orchestra, performed in 2005 with vocalist Kurt Elling - who at that time had already garnered something like four Grammy nominations and international acclaim - I asked him why he hadn't been to Toronto in so many years. His answer: "No one asked me."

Getting back to my conversation with Jeremy, he mentioned how he's sometimes surprised by the gigs he gets in smaller towns - much less metropolitan than Toronto. The reason those gigs happen, he suggested, was that the jazz fans of those smaller towns agitated - they vocalized their desire to see him in their town.

As Artistic Director of Toronto Downtown Jazz, I feel it's my responsibility to be aware of who is making waves on the Canadian and international jazz scenes, and get them playing in Toronto. But it's impossible to keep track of everyone. Plus, who's to say that what I want to book is what you want to hear? So - here's my appeal for today: if there is a particular jazz musician that you'd like to see in this city (or see more of), let me know. Go to our Blogger page and leave your suggestions as a comment, or send me an email. We won't use all of your suggestions, but I'm always open to checking out a new artist. And, if we hear about a certain artist from enough of you, we'll do our best to make it happen.

We want to help create a vibrant year-round jazz scene in Toronto and your input is vital in making that happen.

Josh