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This is the final stop of this tour. We arrived in Novara after a 7am lobby call from Treviso. I can't complain about the lack of sleep as everything went so smoothly schedule wise over the last three weeks. In order to survive tours such as these, you have to learn to catch a nap whenever and wherever you can. Just have a look at Ken Vandermark's recent Facebook postings to see how brutal things can get!
After a much needed nap we headed out to the City Archives for a series of solo performances featuring the members of Hyper +, Samuel Blaser and myself. This was followed by a reception to open a short conference for Italian jazz presenters. Local wines and unbelievably delicious Gorgonzola was served for all present. We met with the director of the archive, many jazz presenters and critics, and the NovaraJazz artistic director, Corrado Beldi.
Now, Corrado was basically the person that instigated and made possible this whole tour in the first place. He contacted me via email after he had met in Germany with our very own Rainbow Robert of CoastalJazz. He has been the director of NovaraJazz for over 10 years. But, not unlike Ken Pickering, artistic director of the Vancouver Int'l Jazz Festival, Corrado is an arts lover, supporter of the local scene and a tireless promoter of creative music in this region of Italy. He has presented a who's who of the international music scene, including Evan Parker, Anat Fort, Barry Guy, Rob Mazurek, Fire Orchestra, in addition to Italy's finest creative musicians.
His passion for great music is complemented by being a collector of paintings and sculptures, following in the footsteps of his father, an industrialist and inventor of innovative processes in construction materials. Corrado's day job is to oversee the human resources of his company, which helps him balance his life long interest interest in the arts. His family's collection includes works by Moholy-Nagy, Jean-Paul Riopelle, Paul Klee, and Georges DuBuffet, among many others. Corrado was kind enough to invite me to his family home after our afternoon concert at Beldi Park (named after his father!) in Oleggio to take me on a tour of the villa grounds and to see this most impressive art collection.
The afternoon concert took the music to an entirely other level from our concert in Badoere the day before. The crowd, that seem to appeared out of nowhere, was treated to some pretty incendiary playing by all. It was a beautiful crowning moment to a memorable tour.
As I'm writing these lines, Hyper + and Sammy are on their way to Venice, where they will perform another concert sans moi. I said my farewell to Corrado, but not without exchanging a few good words on future collaborations (a possible clarinet duo with Giancarlo Trovesi and performances with Gordon Grdina's Haram are in the works!). I am enjoying a last supper of fine risotto and a glass of Montepulciano, will go enjoy the cool air and sights of Novara at night before wrapping things up by heading out to Malpensa Airport in the morning with a long flight home.
Life is good...
PS: a big thank you to all the individuals who made this tour possible, and who also made my visit so memorable; Corrado Beldi, Novara Jazz Festival volunteers, Alessandro Fedrigo, Nicola Fazzini, Luca Colussi, Giorgia Masiero and the SILE Jazz Festival team, Samuel Blaser, Alexander Hawkins, John Edwards, Oliver Weindling and The Vortex Jazz Club, Théo and Valentin Ceccaldi, Sylvain Darrifoucq, Benoît Delbecq, Dorothée Zumstein, Michelle Agnes Magalhaes, Joëlle Léandre, Lisen Rylander Love, Fabian and Josef Kallerdahl, Jon Fålt, Joe Williamson, Raymond Strid, Mattias Risberg, Isak hedtjärn, Alfred Lorinius, Nils Berg, and Per-Åke Holmlander.
Upon arriving in Treviso, I was taken by the rural beauty of the place. Canals, small lakes, and wheat fields are interspersed by small villas and old, crumbling barns. My first day there I went for a run and made friends with a horse and a couple of donkeys!
The second day, I met up with my great and hilarious friend Samuel Blaser for our first rehearsal with Hyper + Trio. Wonderful musicians. Very sweet and generous, and good composers of chamber jazz. That first encounter bode well for the concerts to come.
In the evening there was the opening reception for the SILE Jazz Festival at our hotel in Quinto di Treviso, jjust outside of the town of Treviso. There we met a few musicians and dignitaries, including guitarist Claus Boesser-Ferrari, saxophonist Nicola Fazzini, and artistic director Alessandro Fedrigo.
We had great food and the amazing locally made Pro Secco, and were entertained by the Helga Plankesteiner Trio.
It was so great to hang out with Samuel, and to look forward to play with him over the next two days. He is one of the most exciting trombonist to come out of the European scene. His control of the horn is unmatched, and his improvs are always fascinating, jumping from hard swinging lines to impressionistic shaping, with a real wide range that goes from super low to altissimo with ease of execution. I have to add that Samuel's sense of humour and endless repertoire of jokes makes him the ideal travel companion. Last summer we played a few gigs on Vancouver Island together with fantastic drummer Gerry Hemingway and pianist Benoît Dlebecq. Samuel is about the only guy I know who could manage to make these two laugh to the point of crying. After the reception I showed Samuel the new score that I picked up from Joëlle Léandre in Paris a few days before. The new work is written especially for our duo, Reed&Slide. We look forward to working on this together for concerts and recording in 2017.
Day 16 began with a trip to Treviso, which is often called the "little Venice" because of the canals crossing and surrounding the town. There we enjoyed a tasty lunch of local specialties accompanied with bubbly red wine, another unique feature of the region.
The local architecture varies widely from medieval structures to post-war modernist building. At the end of the war, the city suffered an allied bombing, which destroyed much of the historical town centre, including the now reconstructed Palazzo dei Trecento.
In the evening we set out for Badoere to perform a concert in the famous Piazza Indipendenza, the first market to be allowed outside of Venice. The concert was very well attended, with a cool first set of solo guitar by Claus. The setting was quite magical, with minimal lighting, highlighted by a beautiful crescent moon.
With only one rehearsal under our belt, the group performed remarkably well, considering the unfamiliar repertoire and the feeling out period necessary to gel as a band. Alessandro, Nicola, and drummer Luca Colussi are evidently very attuned to each other, making it relatively easy for Samuel and I to fit in. We played a full set of music, eventually rapping things up because the dew was threatening to cause our sheet music to melt to the music stands. My clarinet was soaked through and through by the time we were done!
Paris Gare du Nord
London - The Vortex
After a final early breakfast in Bondy, prepared by now 50 year old pianist Benoît Delbecq, I headed over to Gare du Nord to meet with the ever ebullient Joëlle Léandre. I am blessed to consider Joëlle as a colleague and a close friend. She is one of the most passionate musician I know. A true pioneer and ground breaker in the music world.
When Joëlle had to undergo surgery on her hand to fix tendon and cartilage issues due to years of hard playing and travelling with a double bass, I came up with the idea of commissioning her to write a piece for me. It would provide her with a bit of income while convalescing, and keep her mind occupied on something more creative than doing physio! This meeting was arranged so she could hand over the manuscript. The piece was commissioned with help from Jeremy Berkman, and to be performed with him in Canada and with Samuel Blaser in Europe. Joëlle walked me through the different section of the piece while enjoying espressos at a café across from the station. The piece looks amazing! I can't wait to learn it and present its world premiere in the near future.
After riding the comfortable Eurostar to St-Pancras, I met up with Alexander Hawkins, who made my quick visit to London a most pleasant one. We walked to Café Oto for a cup of tea (when in Britain...), then treated ourself with an early dinner of fish&chips at a restaurant nearby. Good start!
We proceeded back to The Vortex, where we had coffee on the Plaza with Oliver Weindling, the founder of the British label Babel Records. Oli regaled us with many great stories, including the fact that I appeared on his label in 1997 on one single track from an album by The Recyclers (Benoît Delbecq, Steve Arguelles, and Noël Akchoté), my first recording with Benoît ever! We were set up at Vancouver Community College Auditorium in June of 1995 for a session only to be cut short by the genatorial stall, who insisted on vacuuming the stage after we had done only one bit of recording with me on contrabass clarinet! That is the one piece that is on the CD...
The gig that night consisted of a double bill. For the first half I was joined by Alexander on piano, and John Edwards on bass. The second set was an astonishing display of ensemble virtuosity by the monster trio In Love With, composed of brothers Théo and Valentin Ceccaldi (on violin and cello respectively), and Sylvain Darrifoucq on drums, toy percussions, and ebows. Keep an eye out for them, as they will most certainly blow your mind!
The first set was sheer joy for me. To play with musicians as generous and experienced as John and Alexander is a real treat, as the music making is so powerful yet created with a certain ease. John has performed with a who's who of the creative music world, notably with Evan Parker and Peter Brotzman. He's a take-no-prisoner type of player, digging right into the thick of things while keeping a keenly telepathic ear on the proceedings. He is a combination of everything I love about bass players; solid grounding tone, impeccable time, and a huge sonic palette at his disposal. Alexander can be best described as "the most impressive pianist of his generation". If you have not heard him play with Louis Moholo, you are missing out! Same can be said for his Convergeance Quartet, with cornetist Taylor Ho Bynum, Bassist Dominic Lash, and drummer Harris Eisenstadt. I've had the pleasure of performing with Alexander in a trio with Harris at the Vancouver jazz festival over the last two years, both time to an enthusiastic crowd. The music was so electric that we are planning a trio session in Vancouver in July for a future CD for the Songlines label.
Throughout the day, Alex impressed me with his relaxed demeanour, driving through traffic while keeping up with a stimulating conversation, without ever loosing focus. I want to thank him here for making my visit so pleasant and glitch-free!
And now off to Italy! Stay tuned...
the last few days have been filled with long walks around the city, meditating on my connection to the place. In 1988/89 I had an FCAR grant from the Quebec Government to do organological research, mainly focusing on the development of the clarinet from its beginnings to the 1920s.
after several days of cold, cloudy weather, the sun came out to celebrate Benoît Delbecq's 50th anniversary! A beautiful day, spent rehearsing with this wonderful musician, in his living room, in preparation for an intimate concert for family and friends on rue du Lion. The evening concert was so much fun. We put together a list of our accumulated repertoire of original music for the duo, which adds up to over 60 compositions! Amazing!
I arrived in Paris only to find out that a Nation wide strike is affecting train services. As a result, I found myself taking the RER B to Paris, which was full packed with travellers and commuters. It took over two hours to arrive at Gare du Nord to connect with a metro to head over to IRCAM to meet with my old friend and one of France's most important pianist of his generation, the wonderful Benoît Delbecq. I met Benoît in 1995 at guitarist Tony Wilson's birthday party in his backyard at his old digs on Gladstone Street in Vancouver. We ended up taking for hours about our musical concepts, aspirations, and projects. Although we would not realize it at the time, this meeting has turned into a deep and fruitful life long musical friendship. If there is such a thing as a music soulmate, Benoît is it for me. We have collaborated on so many projects over the years, recorded 6 or 7 CDs together, and have toured Europe, Canada and the USA together on several occasions. It is always a joy to reconnect with such an inspiring human being!
Benoît is currently working on a new piano and electronics processing set up using an array of software including Improtek, Mobius, and Lemur, to generate the most complex clouds of sonorities and polyrhythmic multi layered music. He is benefitting from a collaboration with three other musicians and sound artists in preparation of a performance to open the Centre Pompidou exhibition on the Beat Generation on June 22nd, as part of IRCAM's Festival Manifeste.
On my second day here, I set out to have a crêpe breakfast and a visit to Centre Pompidou to see the amazing Paul Klee exhibit. I got to see many of his early drawings, as well of some important work created around the Second World War. Klee's work was partly influenced and inspired by music, so it was a propos for me to purchase a copy of his Theory of modern Art, which includes his imaginative sketches on form and structure, an inspiration in turn for many creative musicians (including Benoît, who's compositions are often inspired the work of visual artists and writers).
While hanging out with Benoît in studio 5 at IRCAM, he introduced me to Michelle Agnes, a remarkable compositor who originates from São Paulo, Brazil. She's currently working on chamber music compositions, as well as designing piano performances using magnets. We arranged a meeting on to discuss her processes, as I am very interested about the compositional process and instrumental preparations.
A fine couple of days in great company in Paris!
After an uneventful train ride from Gothenburg to Uppsala (via Stockholm), I met up with Mattias Risberg at a pub next to the Omnikvariatet. Here we enjoyed a glass of local Rhubarb beer, along with a real Irish style dinner. Unfortunately, we heard the sad news that Raymond Strid's mother had passed away a few days earlier, which meant he wouldn't be available to play with us. I was quite saddened by that, as I've always enjoyed working with this amazing musician. Raymond Strid is considered a legend on the Swedish scene. Not satisfied with the state of international dissemination of Nordic jazz in the late 80's, largely dominated by the ECM label, which created a strong stylistic profile, lead by Norwegian saxophonist Jan Garbarek, Raymond joined forces with pianist Sten Sendell and saxophonist Mats Gustaffson to form the Gush trio, which would go on to tour internationally and collaborate with some of the finest improvisers on the scene, notably with British musicians Barry Guy, Evan Parker and Paul Lovens. I first played with Raymond at the Vancouver jazz festival in the early nineties in a trio with French bassist Joëlle Léandre. We recorded two albums with this trio (C'est Ça - Red Toucan, and Last Seen Headed - Ayler Records). Last time I played with Ray and Joëlle was at the New Perspective Festival in Vasterås, Sweden, so I was so looking forward to see him. Until next time, Ray Battle!
On the positive side, Jon Fëlt was able to come from Stockholm on short notice to join us for an evening of spirited music. Mattias and him obviously have a great mutual respect and love of improvisation, making it easy for me to fit in. The venue was full of really great, knowledgeable listeners, including a few local musicians and students, who expressed their enthusiasm immediately after we finished.
After the gig Mattias and I enjoyed a beer by the canal, and reminisced on what had been a fantastic week of music. I will miss you, Sweden. Thanks to All the musicians who shared in playing, and all of those who came to hear us play and meet me. I can't wait to come back.
next stop: Paris!
I started off my day in Gothenburg with breakfast over at Lisen Rylander Love's place, followed by a visit from Isak Hedtjärn, a fine young clarinetist who just completed formal music studies at the university here. During his time in Gothenburg, Isak has proven to be a catalyst of numerous events and happenings for the local scene, as well as continuing performing in his hometown of Stockholm. Isak started playing the clarinet at age 16, after a number of years playing drums. He is the first clarinetist I have ever met who has already develop a firm grasp of technical possibilities on the instrument, and to put this language into practice, with a strong focus on improvisation. Having studied Swedish folk music has allowed him to grasp an instinctive understanding of shapes and structures, as well as a uncanny kinetic awareness of interaction in ensemble settings. Here's a short video we made of or encounter.
We followed our meeting with a tram ride to his favourite café in town, where we enjoyed the beautiful weather over a pizza lunch. We parted ways soon after, and did a bit of sightseeing by renting a bike, making sure to get lost in the small maze of Haga, the old part of town.
After a short rest I headed to the venue, a bookstore called Spättans Antikvariat to perform a solo, a duo with Isak, and a quartet with bassist Alfred Lorinius (who had just arrived from Greece!), and keyboardist Fabian Kallerdahl, the brother of Josef Kallerdahl, with whom I played with at Las Palmas. The music was beautiful, with Lisen impressing with her expressive, full tenor sax tone.
After a bike ride around town and a great early dinner at Vapiano (they make your meal in front of you! Risotto pollo e limone, with Caesar salad and vino grigio) I headed over to Viva Las Palmas, a basement converted into rehearsal studio/Hoob record label warehouse/performance space. Run by the ever jovial Nils Berg and his partner and fantastic bassist Josef Kallerdahl, the place filled up with an interesting blend of musicians, visual artists and dancers, giving the evening a feeling of bohemian happening. Nils pulled out his bass clarinet, which blended beautifully with Mattias Risberg on a funky little electric organ made in Sweden, the Bergman klavitron! The music making was superb, and exquisitely supported by Nils' latest brewing brilliance, the Farfar Har (roughly translates as "Grandpa has a Moustache") Beer, brewed in memory of his grandfather.
Nils was another Swede who benefitted from the cultural exchange program between Canada and Sweden. I had invited to perform in August of 2015 at The Apartment Music Series, along with Taylor Ho Bynum and yours truly. It was a pleasure to get reacquainted with such a positively charming individual!
The following day I bid my farewells to Denise Bethke, who made me feel so welcome in her nice apartment in Stockholm, and headed out to Gothenburg on the comfortable high speed train to meet up with Lisen Rylander Love, a wonderful saxophone player and vocalist, who also came to Vancouver for residency this last March.
Still buzzing from last night's gig, I set to wander around town again, but the weather is not collaborating. I end up hopping on one of the many harbour cruises that are popular with tourists here. It turned out to be a quite relaxing and enjoyable experience, as the view of the old city from the water was quite stunning. The boat followed a path that went through a small canal, offering an audio historical account of the monarchy (going into great details about the relatively recent marriage of Princess Victoria and Prince Daniel, who was her personal trainer. Story goes that she fell and love and managed to get her father, the authoritarian King Carl XVI Gustav, 64, who was dead set against their relationship, to agree for her to marry). The the right of the canal is the famous Djugården, former hunting grounds of the royal family, transformed into a nature park, home of many museums, amusement park, and the Skansen outdoor museum (where you can see live moose!).
I headed out to Enskede, sort of a suburb of the city, to perform with Mattias (on Arp synth and a crazy sounding clavichord) and extraordinary tuba player Per Åke Holmlander, at Scen Sångbolaget. I played a solo set, followed by a keyboard and tuba duo, a solo by Mattias, and a trio set. Great audience, who listened to the music while treated to nice free snacks and drinks on candle-light tables.
I met Per Åke for the first time in Vancouver during the infamous Ice Hockey Canada vs Sweden event in 2009. Let's digress to underline the significance of that event; to quote Ken Pickering, the artistic director of the Vancouver International Jazz Festival; "Canada and Sweden share a mutual longstanding passion for improvised music and hockey. Not surprisingly, each country has produced some of the most gifted artists/athletes in both respective pursuits. Yet it’s unusual to witness the intriguing link between sport and musical expression, particularly in the way both athletes and musicians use improvisation when they perform. This provocative international collaboration heightens perspective on the fascinating connection between the two."
For Ice Hockey: Canada vs. Sweden, Coastal Jazz had commissioned me and composer/saxophonist/improviser Mats Gustafsson (Sweden) to compose pieces based on the systems and culture of ice hockey for fourteen musicians (6 per team plus two referees). The compositions were realized in a workshop setting for 5 days in February culminating in a full-scale performance (exhibition game) at The Ironworks. The world premiere performance (championship game) took place at the TD Canada Trust Vancouver International Jazz Festival in June 2009.
The teams were composed of:
François Houle clarinet (right wing, captain)
Torsten Müller bass (defense)
Jesse Zubot violin/electronics (centre)
John Korsrud trumpet (left wing)
Tony Wilson guitar (defense)
Dylan van der Schyff drums (goalie)
SWEDEN – TRE KRONOR
Mats Gustafsson sax/electronics (left wing, captain)
Per-Åke Holmlander tuba (defense)
Magnus Broo trumpet (right wing)
Christian Munthe guitars (centre)
Kjell Nordeson vibes (defense)
Raymond Strid drums (goalie)
Jakob Riis laptop/electronics (Denmark)
Wayne Horvitz keyboards/electronics (USA)
In his festival blog, Pickering called this project "...one of the most fun events we’ve ever been involved with." Thanks to his vision, and all the hard work Rainbow Robert put in fundraising and talking up the event, it set a huge precedent in building bridges between the Canadian and Swedish music scenes, this present tour owing greatly to this legacy.
In his introduction last night, Per Åke drew a chuckle from the audience as he described the circumstances of our first meeting, without failing to state that Team Sweden won on a table hockey overtime shootout. Mats Gustafsson had brought a vintage hockey table, prepared with piezo microphones by Jacob Riis to process the sounds live, including the infamous victory goal by Mats, which rivals only with Peter Forsberg's Lillehammer Winter Olympics gold medal goal against none other than Team Canada, which is immortalized on a postal stamp in his country.
Finally adjusting to the time zone, I hit a cool café for a breakfast wrap, and to write a bit about the fabulous evening of music we had at the Glenn Miller Café last night.
After connecting with Mattias Risberg for coffee by the Kungliga Operan, we headed over to the Glenn Miller to meet up with Jon Fält and Joe Williamson for a quick load up and sound check, followed by an early dinner of moules frites and light beer, served by the owner of the joint, the affable Ulf Sterner.
The joint was packed for the first two of three sets, with the hard core crowd sticking around for the last one. Not that a bunch of them left for not liking the music; due to restrictive liquor laws imposed by the government, the café could not anymore afford to pay for a license, forcing it to sell drinks with less than 2.5% alcohol. Don't ask... As a result, music fans have taken the habit of going to the café to hear a set of two of live music while enjoying a meal, and then leave to go to the pub for "real" beer! It doesn't help that you can taste the only genuine Pillsner Urquel beer available on tap in the country at the Bar Central, just a short distance away (we managed to catch the last call there after the gig!!!).
About the gig; Mattias brought his Zoom recorder and a pair of DPA microphone to document the evening. It was truly a pleasure to get reacquainted with Joe, and to get to play with Jon. He's a fantastic drummer, amazing listener, highly dynamic and gifted with a really deep groove. The band locked in on some conceptual improv before launching into what felt like a post-modal fast rhythmic affair. A great time was had by all!