DOBBIN’S DEN

By Len Dobbin

Posted Thursday, June 19, 1997

Contents

• Montreal Jazz Festivals
• Last Week in Montreal
• This Week in Montreal
• News and Upcoming Events
• Local CD News
• New Releases
• DOBBIN’S DEN (on Radio)

MONTREAL JAZZ FESTIVALS - CONTINUED (1963)

In the summer of 1963 we were informed of the details of the third Montreal jazz festival, scheduled to run August 12 through 15 at a new locale, Loews Theatre (954 St. Catherine Street West). Concerts were at 6:15 and 9:15 and tickets were priced at $1.00, $2.00 and $3.00.

Just prior to the opening concert, Art Blakey told me that he spoke to the people in charge of the sound. He was told that they weren't telling him how to play drums, so he shouldn't be telling them about sound. The actual concert proved that Blakey was much better at his chosen profession than they were at theirs. The event came close to being a complete washout due to the terrible quality of the sound. Trombonist Curtis Fuller's feature, In The Wee Small Hours of the Morning, was completely distorted and even worse happened to pianist Cedar Walton. His microphone was either off, distorting or so loud that his comping was louder than Wayne Shorter's tenor. At times, all three problems occurred on the same number.

The other members of this edition of the Jazz Messengers were trumpeter Freddie Hubbard and bassist Reggie Workman. The concert (and festival) opened with an uptempo Child of The Night by Shorter with good, if somewhat overlong solos from the horns and a short, chorded one from Walton that was barely audible. A beauty of a ballad, Contemplation, again by Shorter, followed. The tempo on this one changed with the leader's entrance and there was some tasty backing from Walton. Hubbard, who soloed well on everything, was outstanding on his own, while "Thermo" Workman had a very good solo, one with a distinctive folk flavour, on Moanin’. The sound situation was somewhat better during the second half of the concert, and Shorter did well on his feature, I Didn't Know What Time It Was. Walton shone on Ugetsu, and Blakey played a very strong solo (his only one) on the African-sounding original which closed the concert.

The early show of August 13 was late in getting started. The René Thomas trio (Fred McHugh and Pierre Béluse) chose Bird's Au Privave as an opener. The performance was not too inspired. On the first of two Tadd Dameron compositions, John's Delight, Thomas sounded a little better, but McHugh's bass solo was the highpoint. Our Delight proved to be the best of the night, with drummer Béluse playing particularly well on the head, but it was still below par Thomas. The beautiful Django piece, Nuages, on which Thomas was almost at the top of his form, was cut short as the trio had used up the time allotted to them. It's too bad as the trio was just getting warmed up when the concert ended. It should be noted that although this was Thomas' regular trio when he resided here, they had not played together in nearly two years.

With the sound system in better shape than on opening night, a Wayne Shorter arrangement of Moon River got the Messengers’ second appearance off to a great start. Hubbard was featured, again with excellent results. Fuller's best solo was on Three Blind Mice, which he also arranged. An audible Walton was showcased on That Old Feeling. The original that closed the concert had some superb Shorter. Blakey, who took no solos, had at this point one of the best of the Messenger bands he'd ever led and this was an excellent concert.

The late concert opened with the local Lee Gagnon band. The personnel was Gagnon, alto; Bob Roby and Richard Ferland, tenors; Alvin Pall, baritone; Al Penfold and Gilles Laflamme, trumpets; Claude Blouin, trombone; Vic Vogel, trombone and piano; Michel Donato, bass; and Buddy Hampton, drums. It was the same band as the 1962 festival, with the exception of the last two named. (Donato was 12 days short of his 21st birthday). They opened with an untitled original by Vogel, who again was carrying the bulk of the writing duties. On it Penfold had a long and well- constructed solo, and Roby roared through what was the best single solo of the concert. Night Life by Benny Golson was well played and had a good solo from Donato. Slide Hampton's Got The Spirit had another good Roby solo and showed off the strong lead playing of Laflamme. The closer, Li’l Darlin’, opened as a ballad with Penfold soloing. The theme of this Neal Hefti piece didn't appear till the number's close. The highpoint of the concert came just prior to this- a rousing version of Mingus' Gunslinging Bird, which had solos from Penfold, Vogel and Roby and an exciting piece of collective improvisation at the end. The band swung more than the previous year, but some of the rough excitement had worn off. Commendations to everyone involved with the band were forthcoming, as it was kept together despite little likelihood of work.

The second half of this concert was in the form of a fourteen-tune set by Carmen McRae, who was in good voice. Skyliner, 'Round Midnight (with then new lyrics by Jon Hendricks), Sunday, Polka Dots and Moonbeams and All of Me were all very enjoyable. Excellent accompaniment was supplied by pianist Norman Simmons, bassist Victor Sproles and drummer Stu Martin.

The quintet of veteran Montreal reedman Nick Ayoub opened the early concert of the l4th. Al Penfold was on trumpet with Art Roberts on piano, Don Habib on bass and Paul Lafortune on drums. Ayoub's One For Five opened with his inspired, flowing tenor solo and a good, shorter one from Penfold. An excellent Blues for McHugh by Roberts followed, with good solos from both horns, as well as from Roberts and Habib. Bib and I, a waltz co-authored by Habib and bassist/pianist Buddy Fasano, came off very well. It was followed by Ayoub's Report From Cairo. Ya Habibi, a Habib composition, was not without its humour. It featured a superb solo from its composer. Ayoub's best chart was Part of Two Parts (later known as Montreal West/Montreal East). It had two good solos from each of the horns and excellent piano from Roberts. Whiskers, another Ayoub composition, was the encore from the quintet. (The group stayed together and, with Michel Donato and Cisco Normand on bass and drums, they recorded most of the pieces heard at this concert for a record called The Montreal Scene (RCA). That album contained my very first set of liner notes, which Pepper Adams told me he voted for in the Grammy Awards- quite an honour).

The best of the big bands then took the stage, but without its leader for the first five pieces. Take The 'A' Train was the not unexpected opener. Harry Carney, who had joined the band in 1927, acted as its spokesman in Ellington's absence and a powerful and primitive then-new piece, Afro Bossa, followed, featuring good trumpet from Ray Nance. Trumpeter "Cat" Anderson was then heard on The Eighth Veil, in a beautiful middle register solo that probably came as quite a surprise to those who think of him only as a high note specialist. The delicate clarinet of Jimmy Hamilton was featured on Silk Lace. Ellington (aka "Piano Red" and "The Piano Player" to members of the band) arrived for a spirited Rockin’ In Rhythm, which had a Lawrence Brown trombone solo with a plunger mute and "Cootie" Williams' first solo of the night. A memorable medley of Black and Tan Fantasy, Creole Love Call and The Mooche followed, with Brown, Nance and Russell Procope on the first, Brown on the second and Nance on the latter. New Tootie For Cootie, which was close to Fiesta in Blue, featured some excellent work from Williams, who had rejoined the band only recently. Johnny Hodges blew well on I Got It Bad and Mercer Ellington's Things Ain't What They Used To Be. Jam With Sam and Satin Doll (not my favourite piece of Ellingtonia) closed the concert.

The late show was about a half hour late in starting, due to the extended length of the earlier one. It was somewhat shorter than hoped for, with a similar program to the show we had heard earlier. Ray Nance's violin came out for Guitar Amore from the movie Paris Blues. Jam With Sam this time around opened unexpectedly with a beautiful Hodges solo, and trombonist Buster Cooper also had a good one on this. There was a medley of a dozen or so of Ellington's more popular numbers which included some fine solos- Cootie on Solitude, Lawrence Brown on Do Nothin' Till You Hear From Me, and humour, in the form of a pair of vocals from Nance on Just Squeeze Me and It Don't Mean A Thing. To no surprise, Harry Carney did Sophisticated Lady (complete with circular breathing), poor Paul Gonsalves did yet another turn on Diminuendo and Crescendo in Blue and Hodges was featured on the same two pieces as earlier. The closer, Jones, had Duke explaining how to be très hip in your finger snapping and head bobbing.

The world of Ellingtonia contains such wealth that it was too bad we couldn't have heard things like Hodges doing Day Dream or poor Gonsalves on Chelsea Bridge as a change of pace. But that aside, these were two memorable concerts by the what was then the best band around and the festival's highpoint.

The 6:15 concert on August l5th opened with René Thomas' second appearance, this time with Al Doctor, an American alto player who used to woodshed in Montreal (and New Haven according to Steve Swallow), added to the trio heard earlier in the week. Blue 'n' Boogie, Remember and Polka Dots and Moonbeams were played. The latter was closest to what Thomas could do and was doing over at the Tête de l'Art, where he was also playing during his stay. Both he and Doctor played long and somewhat aimless solos and the group was generally disorganized. Bassist McHugh was again excellent and the only thing really worth remembering of this event.

Trombonist J.J. Johnson (who had played the festival the year before as a member of the Miles Davis Sextet) arrived on stage with his new quartet and opened with an uptempo Almost Like Being In Love, with a good solo from the leader and some nice interplay between bassist Arthur Harper and drummer Frank Gant. The group, with Bobby Timmons on piano, played well and was tightly knit. Some of the most enjoyable moments came on a Spanish-tinged piece written by Miles, Monk's Misterioso and Jackie-ing, both with good solos from Timmons, and Johnson on his own Lament (now a jazz standard). Timmons was at his very best of the uptempo closer. I had heard more inspired Johnson, but nonetheless, this was a good concert if not a great one.

The last concert of the 1963 festival began at about 9:30 with the trio of pianist Pierre Leduc with bassist Carl Palmus and drummer Pierre Béluse. Only Speak Low came close to what Leduc was playing at that time- the rest was outright boring.

That trio was then joined by saxophone giant Coleman Hawkins. "Bean" swung right into some Disorder at the Border followed by equally memorable solos on All The Things You Are and Yesterdays. J.J. Johnson was then called on stage to join the fray for the closing Perdido. The performance promised much in the opening solos but ended in particularly bad taste when the curtain closed during Leduc's solo, preceded by the stage lights being turned on. One wondered why the band couldn't have been signalled that time was up- they could have easily slipped back into the head to take the piece out. Hawkins deserved an apology! These three and half tunes were, next to the Ellington band performances, the best thing that happened at the festival that year.

The Martial Solal trio made its Canadian debut in what was the festival closer. This very original European pianist used Teddy Kotick on bass and Paul Motian on drums (the same rhythm team as on Bill Evans' debut recording). The group had been together since Solal's arrival in the U.S. (they had earlier played the Newport Jazz Festival) and from the opening, Jordu, it became apparent that this was indeed a trio and not just piano with rhythm. Solal showed awesome technique which he used intelligently. Nuages and Round Midnight were beautiful ballad performances, and there were three Solal originals heard, including his long Suite pour une Frise. It was a memorable performance of a composition with varied tempos and moods, which they had recorded on the Newport session done earlier for RCA. Kotick’s most interesting moments came on Solar and Special Club. Motian was Motian- beautiful! This was a very good concert by a pianist who managed to live up to his reputation. (Renowned jazz critic Martin Williams called him "one of the best jazz musicians in the world" in the Saturday Review).

This was to be the last of the series. Sam Gesser presented a series of jazz concerts at Place des Arts in 1968, which was followed by Doudou Boicel's Festijazz presentations ten years later.

LAST WEEK IN MONTREAL

Alfred Wade was in town visiting from New York. Alfred was the president of the New Jazz Society's Montreal chapter back in 1950. He later held the same position with the Montreal-based Emanon Jazz Society. He was the leader, in 1958, of the Stablemates. This was the band that Nelson Symonds made his local debut with. Chet Christopher, Dougie Richardson, Bob Rudd and Charlie Duncan were with the band at one time or another. In New York, Wade spent some time working as a recording engineer at MiraSound in the early 60s. Paul Bley's Barrage (ESP} and . . .with Gary Peacock (ECM) were among his engineering credits. An Emanon Jazz Society reunion of sorts was held at Biddles, where another member, Billy Georgette, leads a trio on Monday nights with yet another member, Billy Barwick on drums.

The Montreal version of the Steve Amirault trio, with Ron Séguin and Michel Lambert, was on hand at Upstairs to launch Amirault's new CD, Reflecting Images (Nu-Jazz), featuring his New York trio of Sean Conly and Tony Moreno.

For the first time in two years, pianist Jeff Johnston was reunited with his old Newfoundland buddies, bassist Jim Vivian and drummer Mike Billard, also at Upstairs. Both trios made it well worth the trek to the club.

THIS WEEK IN MONTREAL

THE event of the week takes place Friday and Saturday at Upstairs where Nelson Symonds, a major guitar player, will heard for the first time in public since his bypass surgery of August 24th last. Don't miss this one and do yourself and Nelson a favour: Leave your cigarettes at home! The same two nights pianist Wray Downes, another major player, is at Café Boomers in Pointe Claire with his trio, and drummer Lorne Ellen’s trio hits at Eddie G's in Hudson.

NEWS AND UPCOMING EVENTS

Pianist Jeff Johnston has the pole position at this year's jazz festival. His group opens the event with a noon concert inside Complexe Desjardins on Tuesday, June 26. For the event he's put together a quintet consisting of reedman Frank Lozano, guitarist Benoît Charest, bassist Guy Boisvert and drummer Kevin Coady.

It's just been confirmed that, wisely, Steve Amirault has been chosen to host the festival's late night jam sessions at the Hotel Meridien. He'll be joined nightly from June 26 through the end of the fest by Conly and Moreno. The exception will be June 27 when the Blue Note label will take over the jam session for one night only. Vocal sensation, Kurt Elling, not booked at the festival, is a possible for this event.

Once again the HMV Megastore (1010 St. Catherine West) will be presenting in-store concerts during the festival. Michel Donato, Charlie Haden, Oliver Jones, Diana Krall and Ranee Lee will be among those heard.

There will also be an exposition of jazz photographs by Diane Dulude shown from June 23 through July 31 in the Centre de Créativité des Salles du Gesù (1200 Bleury).

Blues artists are in evidence this weekend at L'Ile des Moulins in Terrebonne, Quebec, Autoroute 25 North, Exit 22 East. Van "Piano Man" Walls with the Stephen Barry Blues band is in the Agora on Friday, with Verve recording artist Lucky Peterson heard on Saturday. The Steve Hall Band appears in the Scène Centrale on Friday, and Bob Walsh hits on Saturday. Ray Bonneville has the Terrasse both nights. Tickets are $5.00. Information can be obtained by calling 471-0519

Up Quebec City way, Le Festival International de Domaine Forget in Saint-Irénée, Charlevoix, begins on Saturday and runs through August 24. In the jazz series, trombonist Alain Trudel appears July 15 with John Stetch on piano, Éric Lagacé on bass and Jim Hillman at the drums. On July 18, it's the duo of bassist Michel Donato and pianist James Gelfand, while the following night New Orleans pianist Ellis Marsalis is the feature. Tickets for all three events are $24.00. For more information, call 1-888-DFORGET.

In Harrisburg, Pennsylvania, the l7th annual Central PA Mellon Jazz Festival, produced by the Central Pennsylvania Friends of Jazz, takes place June 20 through the 22. (1-717-540-1010). Those appearing on June 20 include the quintet of 80-year-old violinist Johnny Frigo, which includes Steve LaSpina and Winard Harper, and the Christian McBride Quartet with Tim Warfield, Charles Craig and Carl Allen. On Saturday, a legend, Ira Sullivan, appears with Joe Diorio, Willie Pickens, LaSpina and Harper, followed by a great jazz vocalist, Mark Murphy, with the same rhythm section. Joe Henderson also appears with the Jim McNeely trio of Michael Formanek and Louis Hayes and the latter's trio are a feature at the late-night jam session. Among those inked in for the close on Sunday are the Peter Erskine trio with Alan Pasqua and Formanek, and the Michael Brecker Quartet with Joey Calderazzo, James Genus and "Tain". The Erskine Trio and Joe Diorio are to be featured later at the jam session. Among the many other musicians heard will be Bill Goodwin, Brad Goode and the members of the CPFJ's Youth All Star Big Band.

The Flynn Theatre in Burlington, Vermont have announced next year's schedule. Sonny Rollins appears on September 26, the Roy Haynes Quartet on October 18, and in 1998, there's a Guitar Summit on February 26 featuring Herb Ellis, Rory Block, Michael Hedges and Sharon Isbin. Dee Dee Bridgewater is due on April 11. Information is available by calling (802) 863-5966.

LOCAL CD NEWS

This week vocalist Jean Labelle launches his second CD (Jazz Inspiration), while five CDs were issued by Ambiances Magnétiques - the Fred Frith Guitar Quartet, the Jean Derome Big Band, Pierre Cartier, André Duchesne and a second compilation.

NEW RELEASES

Nu-Jazz, our newest local label, has released two great CDs in the space of eight days. Rumours From The Soul is a second release by the most interesting sextet of Joe Sullivan. The leader, who's also active in the teaching field here, is not only an excellent trumpeter but also a first-rank composer, who won a SOCAN award for You Cannot In Connaught, which appeared on his first CD. Heard on the new CD are nine varied musical compositions by Sullivan, played by a group made up of André Leroux and Jean Fréchette, saxophones; Tilden Webb, piano; George Mitchell, bass; and Dave Robbins, drums. More interesting jazz compositions, ten in all, by Steve Amirault, plus Embraceable You make up the contents of Reflecting Images by his trio with the two marvellous players Amirault hooked up with during one of his New York stays, Sean Conly and Tony Moreno. Cutting edge playing here. Nelly Dahan did the cover photo of Amirault.

Habana (Verve), by Roy Hargrove's Crisol, is an exciting Latin CD by the young trumpeter. He's joined by a variety of musicians, including veteran Cuban pianist, Chucho Valdes. Also heard here are David Sanchez, Frank Lacy, Gary Bartz, Russell Malone, John Benitez and special guests John Hicks and Idris Muhammad. Music includes a pair by Kenny Dorham, Una Mas and Afrodisia, Chucho Valdes’ Mr. Bruce and an exciting extended piece, Mambo for Roy. There are also three tunes by the leader, a pair by Lacy and one by Bartz. Check this group out at the festival on June 30 in the 9 PM Jazz Beat series at the Spectrum.

Vann "Piano Man" Walls’ first-ever CD, In the Evening (Bros), has this R&B veteran joined by Montreal bluesmen Michael Browne and the Stephen Barry Band in a 13-tune programme, including the title tune by Leroy Carr, Herbie Hancock's Watermelon Man and Errol Garner's Misty. It’s a delightful outing by a man who's worked with people as diverse as Al Cowans, Richard Parris and Peter Leitch since settling here.

DOBBIN’S DEN (ON RADIO)

Wednesday, June 25, 1997

CKUT (90.3 FM) 9-11:15 AM

More festival previews, including the Vienna Art Orchestra.