Tag Archives: Robert Glasper

FESTIVAL TAKES TO THE SKIES

Hiromi

Hiromi is among artists who will fly Qatar Airways to Melbourne. (All About Jazz image)

Ausjazz blog previews the Melbourne International Jazz Festival 2012, which was launched on March 13:

The hubbub on level 24 of The Langham in Melbourne gave way to attentive silence yesterday evening as Murphy’s Law treated the assembled multitude to about four minutes of Big Creatures & Little Creatures: The Modular Suite.

The music was a welcome relief from the necessary formalities of the official launch of this year’s Melbourne International Jazz Festival, which will run from June 1 to June 10.

If the fragment of this commissioned work by Tamara Murphy was any indication, its full performance at Bennetts Lane as part of the festival’s Club Sessions will be compelling.

And if the question on everybody’s lips as program details emerged was how the festival’s focus under artistic director Michael Tortoni would differ from its direction under Sophie Brous, the real story of the night was about a key sponsorship.

As Melbourne’s music glitterati watched a promotional video about the delights of the Middle East state of Qatar, it was dawning on us all what a coup it was to bag Qatar Airways as a festival sponsor. The benefit is obvious — it will be much cheaper to fly in international artists, thus countering to some extent the isolation of Australia from the jazz hotspots of the United States and Europe.

So who are the big names and what is the flavour of this festival? Tortoni described the focus as “jazz royalty alongside the voice of a rising generation” and said MIJF 2012 was “all about what jazz is when the talking stops and the music starts”. Well, every festival has to have its catchphrases, but to take up his theme with another well-worn phrase, the proof of the pudding is in the eating.

An initial glance at the program shows it is not overly adventurous, and represents less of a challenge — or an enticement — to audience groups on the fringes of more straight ahead jazz. The very popular multi-stage day of music madness and mayhem at Melbourne Town Hall will not take place this year, due to an absence of sponsorship and most likely of Sophie Brous. That’s a pity, because that gave the recent festivals a welcome edge that it must now fall to the Melbourne Jazz Fringe Festival to fill.

The main international artists include pianist McCoy Tyner revisiting the 1963 John Coltrane and Johnny Hartman album, this time with vocalist Jose James and saxophonist Chris Potter.

Potter will also perform some of his own material with Sydney’s Jazzgroove Mothership Orchestra as well as some commissioned Australian material. This should be exciting.

James will also feature in the Robert Glasper Experiment, “an Australian premiere event that smashes stylistic boundaries to reshape the future directions of jazz” by “taking hip-hop, R&B, soul and post-modern jazz to never-before-seen places”.

For lovers of Billie Holiday and Sarah Vaughan, US vocalist Dee Dee Bridgewater will visit Melbourne for the first time, and also from the ‘States’, Patti Austin will perform a tribute to Ella Fitzgerald with one matinee and one evening performance.

The familiar vocal extravaganza at the Palais this year is entitled “The Way You Look Tonight” featuring Katie Noonan, Vince Jones and Kristin Berardi in an opening night gala.

Likely to attract a much younger audience will be keyboardist-composer Hiromi (Japan/USA) who blends jazz with progressive rock and classical styles. Her first concert will open with US bassist Robert Hurst joining locals Jamie Oehlers and Dave Beck.

Hiromi’s second gig will be a double bill with the Israeli Eli Degibri Quartet, featuring 16-year-old prodigy Gadi Lehavi on piano.

A film-themed package will feature five-time Grammy Award winner and cinematic composer Terence Blanchard on trumpet (in a quartet with Brice Winston on tenor, Fabian Almazan on piano and Kendrick Scott on drums), Australia’s Joe Chindamo performing his arrangements of Coen Brothers film music and an ACMI Jazz on Film program.

The Salon at MRC will host three concerts with Monash University under the Jazz Futures banner featuring the Terence Blanchard Quintet, The Fringe (with George Garzone on sax) and Tarbaby (with Oliver Lake on alto sax).

The Fringe and Tarbaby will also perform at a new venue for this festival, the Comedy Theatre. These outings should keep us awake.
From Europe will come bassist Renaud Garcia-Fons, appearing in the Arcoluz Trio at the MRC after a real highlight opener of pianist Luke Howard with Janos Bruneel (Belgium) on bass.

Samuel Yirga Quartet from Ethiopia will feature the piano prodigy at the Comedy Theatre, opened by locals The Black Jesus Experience.
For lovers of the Hammond B3 (and I’m one), Dr Lonnie Smith (USA) will perform at Bennetts Lane.

In the Club Sessions, Motif from Norway will feature along with Robert Hurst and the Luca Ciaria Quartet from Italy.
Allan Browne Sextet will celebrate the launch of Conjuror — a collection of his jazz poetry — in two sets which should be a festival standout. Sandy Evans will join Lloyd Swanton and Toby Hall for a special closing night celebration presented with the Melbourne Jazz Cooperative.

The Melbourne International Jazz Festival opens on June 1.

ROGER MITCHELL

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Jazz steps lively into future

INTERVIEW

Robert Glasper
Doesn’t hold back: Robert Glasper

Roger Mitchell speaks to producer of the documentary Icons Among Us: Jazz in the Present Tense, which will be screened on May 2, at 4pm at ACMI, Fed Square, Melbourne.

WOULD Charlie Parker turn in his grave? Probably not. The language is a bit strong, but Bird would surely have heard worse in his day.

Pianist Robert Glasper is talking about jazz and he doesn’t hold back: “Charlie Parker wouldn’t want some motherf—– playing the same sh– he was playing. He’d say, ‘Why are you playing this sh–? I already played that.’ ”

In Icons Among Us: Jazz in the Present Tense, a 93-minute documentary which has its Australian premiere next Sunday as part of the Melbourne International Jazz Festival, Glasper succinctly puts the case for musicians to move on from the past.

As avant-garde jazz pianist Matthew Shipp puts it more gently in the film, “You can’t seek the living among the dead.”

Producer John W. Comerford and co-directors Michael Rivoira, Lars Larson and Peter J. Vogt recorded 130 hours of interviews with more than 75 jazz musicians and 30 hours of super 16mm filmed performance over seven years for Icons Among Us in venues across the US and Europe.

The result is a riveting feature film and a longer, four-part series that is being rolled out worldwide.

When Icons premiered last year at New York’s Lincoln Center, home of the Wynton Marsalis’s “Young Lions” group of neo-traditionalist post-boppers — who see future jazz sounding a lot like its past — it was criticised for not taking a stance.

Comerford disagrees: “Our strategy was to listen as deeply as possible to each of the musicians interviewed. And in making the film we have learned that the essential element to furthering jazz development is to create dialogue, and in that friction is where the energy and the life of it resides.

“The film speaks very clearly, particularly through (trumpeter/composer) Terence Blanchard, who has the last word. He says that we’ve moved on and changed and we’re never, ever going back.

“Pete Vogt is in China right now with the film and apparently the Chinese are apparently bonkers over jazz. What happens with Chinese artists and jazz, given thousands of years of traditional Chinese music, I can’t wait to hear what comes out of that country in the next five years. It may even influence artists from New Orleans.”

The producer also takes issue with jazz writer Paul de Barros, who argues on camera that the problem of jazz today is that it does not connect with modern culture in the way that Parker or John Coltrane did with black freedom or jazz in the 1950s did with immigration and the civil rights movement in America.

De Barros says, “We do not understand the connection between (guitarist) Bill Frisell and the society.”

Comerford says one of the film’s counterpoints is that while De Barros is talking, Frisell is improvising on Bob Dylan’s Masters of War.

“I was in the room when we filmed that cut and that was during a time of intense conflict in Iraq. Frisell was commenting and expressing emotion artistically. The feeling in the room was just extraordinary. People were just locked in.”

Icons Among Us screens as part of the Australian Centre for the Moving Image “Future Traditions: Jazz on Film” program.

Details available from Melbourne International Jazz Festival
or Australian Centre for the Moving Image

An abridged version of this article was published in the Sunday Herald Sun Play liftout on Sunday, April 25.