LOOKING AHEAD INSIDE -------- TIMEjlies Special Events on the Vancouver Music Scene Trevor Watts' MOIRE MUSIC DRUM ORCHESTRA October/November 1990 The Third Annual Celebration of Contempc1rary Jazz and Improvised Music November 7 - 11, 1990 .KAREN YOUNG &. MICHEL · DONATO MARCUS ROBERT-S Quartet MARILYN CRISPELL Trio PETER BROTZMANN Trio JADE ORCHESTRA DAVID MOSS & Direct Sound TIMEjlies , Complete Program (page 4 - 7) JAZZ_ BLUES SOCIETY "The new electric guitar sound of the decade - oozing, cloudy, enveloping ., . Frisell's music is accessible and avant-garde, a lyrical victory of man over machine, of personality over mechanics, of message over mathematics." -Minneapolis Star Tribune BILL FRISELL & WAYNE HORVITZ With GARBO'S HAT VECC • NOV. 8 • 8 PM • $15 Bill Frisell' s work over the years with such demanding and diverse musical personalities as Paul Motian, John Zorn, Marc Johnson, Bass Desires, Marianne Faithfull, Jan Garbarek, Vernon Reid, Julius Hemphill, Paul Bley, Wayne Horvitz and numerous others has established him as one of the most sought-after guitarists in contemporary music. The breadth of such performing and recording situations reflects both Frisell's musical versatility as well as his singular guitar conception. Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colo- rado. His interest in guitar began with his exposure to pop music on the radio. Soon, the Chicago Blues became a passion through the work of Otis Rush, B.B. King and Buddy Guy. In high school he played in bands which covered pop and soul classics , James Brown songs and other dance material. "When I was 16, 17, I was listening to a lot of surfing music, a lot of English rock. Then I saw Wes Montgomery and somehow that kind of turned me around and fitted it all together. Jim Hall made a big impression on me and I took some lessons with him, I suppose I play the kind of harmonic things Jim Hall would play but with a sound that comes from Jimi Hendrix," Frisell told Wire Magazine. Besides Hendrix, Hall and Montgomery, Bill lists Paul Motian, Thelonious Monk, Charles Ives, Sonny Rollins, John Zorn and World Music among his musical influences. In addition to dozens of albums as a sideman, featured player or co-leader, Bill has recorded five albums as a leader including his latest "Is That You" (Elektra Musician) which features his longtime musical collaborator Wayne Horvitz. 35-year old Wayne Horvitz has been active as a performer and composer since 1976, writing for his own ensemble as well as for theatre, dance and film. A former student of pianist Art Lande, he ' s been an integral figure in New York 's downtown new music scene, As a keyboard player, he's performed regularly in Manhatten both as the leader of his own band, The President, and in collaboration with artists such as John Zorn, Butch Morris, Billy Bang, Fred Frith and others. See Frisell & Horvitz Page 5 Coastal Jazz & Blues Society• 435 West Hastings Street • Vancouver, B.C. • V6B 1L4 • (604) 682-0706 OCTOBE·R CONCERTS TREVOR WATTS' MOIRE MUSIC DRUM ORCHESTRA GLASS SLIPPER (185 E. 11th Ave. at Main) OCT. 11 & 12 • $10 9 pm (Doors 8 pm) The multi-faceted saxophonist Trevor Watts' contribution to the development of contemporary jazz in Britain has been immeasurable . From his early involvement with the Spontaneous Music Ensemble in the I 960s, he has continued to break new ground in the '80s with his highly acclaimed I 0-piece Moire Music. Moire Music was formed in 1982, the same year as the Drum Orchestra. It featured four soprano saxophones, two violins as well as African Mbira (Wooden Xylophone), piano and percussion. In 1984 he received a commision from the Bracknell Festival to write a piece of music. For this he added three voices and extra African percussion, resulting in a major work of one and a half hours duration called "Mr. Sunshine" which was broadcast and performed at many major festivals throughout Europe. This fourteen piece group was a precursor to similar groups such as Loose Tubes and had a major influence on European music. The ten piece group was selected for a Contemporary Music Network tour in 1985, a major annual event organized by the Arts Council of Great Britain, and Moire Music achieved much acclaim. In 1988 a new nine piece group was formed with two saxes, accordion, keyboards, piano, voice and percussion, and toured the USA and Canada. The group also received enthusiastic receptions during its tour of New Zealand, Australia and India in March. The band will embark on a new tour of the US, Canada, Mexico and Venezuela in October and November. j 2 October/November him back so soon. The members of the Drum Orchestra are Trevor Watts .,a.roJJlwne .Colin Gibson hass g11i!Clr. Liam Genockey drums, Nana Tsiboe, Afi'ica11 drums, \'()ice, marimha, Jojo Afi'ican drums, percussion, l'()ice, mhim, kalimha , Nana Appiah Afi'ican drums, \'oice , percussion. Patato Afi·ican drums, l'Oice, percussion. KAREN YOUNG & MICHEL DONATO Trevor Watts Originally Watts had the Drum Orchestra as a purely improvisatory vehicle and Moire Music to explore compositional music. The new Moire Music Drum Orchestra has pulled together the best elements of both groups. The music defies categorization and can fit into any environment. Watts looks for disparate musicians and loves to mix African, classical, folk, jazz and rock musicians . He feels that "anyone can play with anyone else if the desire to do so is there, and in fact makes the music more interesting". Watts himself has worked with Archie Shepp, Don Cherry, Steve Lacy, Dave Holland and Keith Tippett, among others. The word moire in its simplest form means the laying of one pattern over another to make a third that shimmers and moves like watered silk. This is an apt description of the MMDO's music as it is often layered in patterns of rhythm and melody. The group welcomes the chance to combine with musicians of other cultures as the mixing of those musical cultures is the very core of Watts' vision. A way to peace and understanding! Trevor Watts' last Vancouver appearance was at the 1988 Jazz Festival where he drew rave reviews. We're fortunate to have OCT.14 ARTS CLUB THEATRE Granville Island 8 PM• $12 "The musical marriage of double-bassist Michel Donato and mezzo soprano Karen Young is a study in counterpoint and colour; in foundation and melody. Whether they're tackling Bartok or bebop, Bach or blues or swing a la Stravinsky, their material is transformed into music-making of the highest order." - Le Devoir, Montreal Karen Young's background in folk and classical music inspired her to explore jazz singing in the late l 970's with a vocal bebop group called Bug Alley. With two recordings and an appearance at the Monterey Jazz Festival under their belts, Down~eat magazine twice recognized them in the Critics polls for best vocal group. After the group's demise in 1981, Young continued expanding her musical horizonswith the Karen Young Latin Band; as a vocalist/percussionist with the Haitian-Latin ensemble Buzz; on the musical stage; as a vocalist in the medieval vocal ensemble Studio de Musique Ancicnne de Montreal and as an active participant in Quebec's new music scene. As well, she teaches at the University of Montreal. Michel Donato's teen years found him playing in the house band of the Jazz Hot Club in Montreal which gave him an opportunity to play with many of the world's jazz greats - Miles Davis, Zoot Sims, Bill Evans, Sonny Stitt, Art Blakey and the Jazz Messengers, Carmen McRae and many more. In the mid-70s he toured the world with Oscar Peterson and was featured on Peterson's "Live in Tokyo" recording from that period. Returning to Montreal after extended tours with the Moe Koffman Orchestra and Louis Bellson's band, Donato became a professor of music at both McGill University and the University of Montreal. A busy studio session musician, he has released an album of his own material and writes much of the duo's material with Young. His work with the duo encouraged him to sing and play piano on the "Contredanse" album. "Contredanse" is the duo's second album and its release coincided with their appearance at the Gala opening of the 1988 Montreal International Jazz Festival. "Contredanse" is defin.ed as a folk dance in which couples face each other in two lines. This recording weaves the rhythms and colours of such diverse material as Latin salsa, new jazz and Haitian creole into an exotic musical tapestry that is their trademark . "Contredanse" recently won a Felix award as Jazz album of the year. Their new album, "en Vol III", is due out in September on the Justin Time label. Karen Young & Michel Donato Looking Ahead MARCUS ROBERTS QUARTET SATURNO SUPPER CLUB 1320 Richards St. OCTOBER 21 8 PM• $15 Marcus Roberts gospelsinging mother allowed her son to bang on the church piano at age 1987), was asked to join the band in June 1985. The young pianist has exhibited remarkable musical growth ever since, beginning with "J Mood", his first album with Wynton, continuing through a pair of solo albums. His immediate game plan includes the release of a long-form video (some of which was filmed at New Orleans' historic Saenger Theatre, as a tie in with his latest release "Deep in the Shed") an unaccompanied solo album featuring the music of OCTOBER CONCERTS formal or academic. These six Roberts originals brim with spontaneity and looseness, energy and insight. Produced by Delfeayo Marsalis (who produced "The Truth is Spoken Here") "Deep in the Shed" consists largely of the Marsalis band: tenor saxophonist Todd Williams, alto saxophonist Wessell Anderson, trombonist Wycliffe Gordon, bassist Reginald Veal and drummer Herlin Riley. The pianist holds Wynton Marsalis in the highest regard calling him the "premier leader of our generation". Marcus Roberts' first appearance in Vancouver should be a real treat. Plan to be there! Marcus Roberts piano, William Barnhart trumpet Christopher Thomas bass Maurice Carnes drums. ~':.'!:: ~:..~.. ~1181-Y~L,; ''""""OCTOBER &NOVEMBER MERLE PERKINS OCT &thePERCULATORS 2·6 LUCKY PETERSON OCT & KENNY NEAL 9 ·13 AMOS GARRETT 15·20 DEMONS OCT24·27 with Lowell Fulson 25·26 LUTHER'Guitar Jr.' JOHNSON OCT30·NOV3 BELAIR$ NOV6·10 CHUBBY NOV CARRIERE 12·14 CURTIS NOV SALGADO 15-17 EDDYSHAW NOV19·2t JIMBYRNES NOV22·24 PONTIAX NOV27·DEC1 - ·'. .·.·•: m 0 TICKET INFORMATION for October and TIMEflies concerts see page 8 . eight. Soon after that young Marcus began taking lessons. He studied classical piano and was turned on to jazz at age twelve after hearing Duke Ellington on the radio. While touring abroad in the summer of 1981 with a group of high-school musicians, Roberts encountered the 19-year old Wynton Marsalis at the Montreux Jazz Festival. A year later he met the young trumpeter at a National Association of Jazz educators conference in Chicgao. The two subsequently began an extended telephone relationship that reached its logical conclusion when Roberts, whose entire jazz-concert experience had been limited to a handful of shows with high-school and college bands and piano competitions ( Jacksonville 's Great American in 1982 and the Thelonious Monk competition in Looking Ahead Marcus Roberts Ellington, Monk and Morton, and his own solo and group dates. The critical success of Marcus Roberts' 1988 debut recording for RCA Novus, "The Truth is Spoken Here", was no surprise to fans of this talented young player. After another year of extensive touring and recording with Marsalis 's band and committed practice and studying of the masters, Roberts has emerged with " Deep in the Shed" a stunning followup recording. A collection of six new Roberts compositions, each an exploration of the blues, the album also contains compositions ranging from the Middle Eastern flavored to the Monk inspired to a straight ahead groove. " Deep In The Shed" is an exotic triumph. Despite Roberts' devotion to the masters , his music is not stiff. ,:___ .' -~:;'j Vancouver's Blues Centre . ,.·~=~~--. JACK-1.AVIN'S SATUIUWH""' ~ -~3-~,': •••••••••••••••••••••• ••••••••••• :EDAM experimental dance and music ••• • presents Forced Issues : • • a studio series pushing the : • boundaries of dance and music • • • • •• November 23 and 24 •• 8 pm $6 at the door • : • • information 876-9559 EDAM studio : 303 east 8 avenue • ••••••••••••••••••••••••••••••••• The KRONOS QUARTET In Concert "The first and sassiest post-modern string quartet makes an art form of eclecticism ." - New York Times TUESDAY, NOVEMBER 6, 1990 8 PM Centennial Theatre (2300 Lonsdale, North Vancouver) Tickets Available at all Ticketmaster Outlets · and Black Swan and Highlife Records . Charge By Phone 280-4444 October/Novem.ber 3 TIMEjlies MARILYN CRISPELL TRIO (with Tom Walsh & N.O.M.A.) builds transparent structures; she hears a wider range of melody. and. as she has stated, ''I'm not really interested in playing free jazz per se. l 'm interested in playing against different rhythms that don ' t have to lock into a VECC • NOV. 9 groove ... " 8 PM• $15 Comparisons with Cecil Taylor aside, Crispell is perhaps "If you haven't caught on by best known for her work with now, Crispell Anthony Braxton, is one of the whom she met in greatest l 979 at the modern . Creative Music pianists Studio in alive. " Woodstock, N.Y. Option Crispell has Maga:in e also worked with She is Roscoe Mitchell , one of the Leo Smith and most others . She is exciti ng currentl y a member pianists in of Reggie the wo rld. Workman 's quartet Crispell is and he is a member leading of her trio. She has piano music also collaborated into the with Anthony Davis 1990s. Marilyn Crispell on his opera " X ", with African Bold statements, indeed, but percussionist Olatunji and with hearing is believing! poet Ed Saunders on his opera Marilyn Crispell is a "Star Peace". graduate of the New England Crispell has performed in Conservatory where she studied Vancouver as a solo artist. This classical piano. She discovered time around, she ' ll be jazz through the music of John accompanied by the great bassist Coltrane and Cecil Taylor, the Reggie Workman, who ' s worked latter to whom she is most with Coltrane, Art Blakey, etc. frequently compared. Reggie's been a long-time Her admiration of Tay !or has collaborator with Crispell and is led a few critics to label her a prominently featured on her derivative follower; but if she was critically acclaimed "Gaia" (Leo once of the Taylor school, the 1987). Drummer Gerry power and bea_uty of her own Hemingway has been composing music (as it's evolved through LPs and performing solo and ensemble like "A Concert in Berlin" , music since 1974. Over the years "Rhythms Hung in Undrawn he ' s worked with Braxton, Oliver Sky", "And Your Ivory Voice Lake, Anthony Davis, Ray Sings" and "Gaia") shows she is Anderson, George Lewis, etc. now very much a distinct musical Hemingway's quintet performance personality in her own right. at this year's du Maurier Ltd. Crispell herself praises Internatioanl Jazz Festival Taylor as an inspirational Vancouver was a tour de force. influence. But while she uses Workman, Hemingway and many of the same musical devices: Crispell have a special musical the chord clusters, the thundering chemistry. Come and hear it for cross rhythms and the blistering yourself. attack one would identify with Taylor, Marilyn really has a different concept altogether. She 4 October/November TOM WALSH & N.O.M.A. "The range of each human being is the archeo-biological key of our harmony" - Torn Walsh Trombonist Torn Walsh has been busy making a name for himself on the national jazz scene. As leader of the Toronto based Thin Men, Walsh appeared at the 1988 Vancouver festival, toured Canada in 1989 with the adventurous Walsh/Underhill duo and appeared with the Gerry Hemingway Quintet at Vancouver' s 1990 festival. His boisterous, swaggering trombone style echoes a wide spectrum of jazz influences, from New Orleans swing to the harmolodics of Ornette Coleman. Ornette ' s theory of harmolodics is at the heart of Walsh' s concept for N.O.M.A. (Northern Organic Musical Associations). Formed in l 987, N. O.M.A. epitomizes Walsh' s belief that true jazz needn 't be played by trained jazz musicians. The musical backgrounds of the members are as eclectic as the music they play. N.O.M.A. has become a major force in Canadian New Music, playing a repertoire that includes Walsh's clever compositions and musical collages, plus some drastic overhauls of jazz standards, all played in an uncompromising style devoid of imitation. The harmolodic approach, which usually features several or all of the members playing simultaneously with no-one soloing, still allows the talents of the various players to shine through . Torn Walsh and N.O.M.A. will be making their first Vancouver appearance as a part of their Canadian tour (which will include an appearance at Victoriaville's Festival Musique Actuelle); featuring some of Canada's outstanding contemporary players: guitarists John Gzowski and Nilan Perera, drummers Peter Valsamis and Gerry "Great Bob" Scott, bassist Linus Yaw and keyboardist James Gray, plus New York City guitarist Bern Nix, a former member of Ornette Coleman's Prime Time. PETER BROTZMANN / ULRICH GUMPERT TRIO (with Kane/Taylor Explosion) VECC • NOV. 10 8PM•$15 Peter Brotzmann, best known for his explosive and apocalyptic saxophone style, is unquestionably one of the most influential jazz improvisers in the world today. Peter started playing Dixieland jazz in high school but was more interested in art than music . He played in a semi-pro Peter Brotzmann Swing band while attending art . college and, over the years, music became more important to him . As more gigs became available and his wife returned to work after their children grew up she encouraged him to pursue his musical career. In addition to pioneering free improvisation itself during the mid-60s, Brotzmann was instrumental in the formation of Free Music Production, the largest (and now resurrected) European free jazz label of the '70s. In addition, he organized "alternative" jazz festivals throughout West Germany for the presentation of European and American improvisors. Brotzmann has performed, toured and recorded with such musicians as Andrew Cyrille, Milford Graves, Louis Moholo, Albert Mangelsdorff, Johnny Dyani, Willem Breuker, Carla Bley, Evan Parker, Han Bennink, Looking Ahead -- I Fred Frith and John Zorn to name but a few. He has recorded over 40 LPs including "Machine Gun", a tour de force of European free improvisation. Peter has toured widely throughout the world with numerous improvising groups as well as with Last Exit (Bill Laswell, Sonny Sharrock, Ronald Shannon Jackson), with whom he has recorded four LPs. He can be heard on his two most recent LPs on the FMP label: a trio record with Barre Philips and Gunther Sommer and a quartet record with Manfred Schoof, Willi Kellers and Jay Oliver. Briitzmann's last Vancouver appearance was a scorching duet performance with drummer Han Benn ink. This time around he'll be joined by bassist Ulrich Gumpert and drummer Hamid Drake. guiding light to many of thi s country's young musicians both as a collaborator and as a performer with musicians like Don Thompson , Dave Liebman and Sonny Greenwich. His roster of bassists and saxophonists through the '70s and ' 80s has yielded some of the most stellar names in our national jazz community. Ranger came to Vancouver in 1987, worn out by Toronto, intending to sellle down and give up music. He rested for a year, and as his body healed so did his musical spirit. He began to play again, and started a series of workshops as a way of meeting players and interacting with the KANE/TAYLOR EXPLOSION During the 1990 du Maurier Ltd. International Jazz Festival Vancouver, the Kane/ Taylor Explosion's intense presence was a big surprise to the contingent of international jazz artists and press that attended their four night engagement at the Glass Slipper. Their raw, Coltrane and Blood Ulmer influenced hardblowing free-bop may be shocking to the uninitiated. Daniel Kane is a ferocious tenor and baritone player, Stan Taylor one of Vancouver's most dynamic jazz drummers. Wear your hard hats! Also featuring Tony Wilson guitar, and Brent Gubbles bass. JADE ORCHESTRA ( VECC • Nov. 11 8 PM• $15 Presenting the premiere theatre performance of the Jade Orchestra, a nineteen-piece group under the direction of Clyde Reed and Claude Ranger. The Jade Orchestra was conceived by the legendary Canadian jazz drummer Claude Ranger, who for years has been a Looking Ahead Claude Ranger jazz community. As more and more players flocked to his workshop, Ranger felt encouraged and began composing again, conceiving of a large ensemble to play his music. The result is the Jade Orchestra, the first time in his long career that Ranger has taken on such an ambitious project. With the help of bassist Clyde Reed (who is no stranger to Vancouver audiences, he's one of the busiest contemporary jazz players in the city), he has assembled nineteen of Vancouver's finest jazz musicians and improvisers. Ranger' s compositions are influenced by some of this century's foremost composers, among them Duke Ellington and Billy Strayhorn, Stravinsky, Shostakovich, Debussy and Ravel. He encourages the soloists to use his structures and fly free of them, to play tonally or atonally as the music inspires them. From terrifyingly powerful chords to TIMEjlies sublimely delicate melodies, this York's most experimental mixture of ' inside ' and 'outside' musicians, his range encompasses music gives the orchestra a sound styles that even the most unique in Canada. mainstream audiences can Claude Ranger is thrilled al appreciate. the opportunity to perform with For instance, Wayne's recent this ensemble, and says that much release "Bring Your Camera" on of the credit goes to Ken Pickering Elektra Musician follows the lead and Bob Kerr of CJBS for their of'This New Generation", his financial and spiritual first solo LP on the same label. encouragement. Living in Powerful electronic rhythms and Vancouver suits Ranger, he says shifting timbres underline living "this side of the mountains" thoughtful solo excursions by has healed him , and he is looking Horvitz, guitarist Elliot Sharp, forward to even bigger reed player Doug Wieselman, and projects. The Jade the rest of Horvitz's group, The Orchestra cou ld grow, President. Their sound falls says C laude. "It could somewhere between the possib ly be 50 pieces next interlocking melodic and time". harmonic structures of Indonesian The Jade Orchestra gamelan music and the blues boasts a line-up of grooves of New Orleans rhythm Vancouver musicians that masters Allen Toussaint and the ranges from new young Meters. Some have compared the players to seasoned group to Weather Report but the veterans of the contempomusic has little in common with rary music scene. They are so-called fusion and jazz-rock. It Claude Ranger drums, simply defies classification. It's Clyde Reed bass, Ron exciting, it's unusual and yet it Samworth guitar, Coat remains accessible. In short, it's . Cooke, Bruce Freedman · jazz, '80s and '90 style. and Terry Dean tenor These days Bill Frisell and saxes, Saul Berson and Graham Wayne Horvitz call Seattle home. Ord alto saxes, Franc;ois Houle Their musical careers have clarinet and soprano sax, Daniel reached a level of success which Kane baritone sax, Suzanne no longer requires them to be Marie Duplessis flute, John based in New York City. Korsrud, Aron Doyle, Derry TIMEflies welcomes two Byrne and Jeff Mahoney creative musicians who'll be trumpets, Brad Muirhead, setting the musical standards for Dennis Esson and Jason Liebert the '90s. trombones, and Ian MacIntosh tuba . GARBO'S HAT BILL FRISELL & WAYNE HORVITZ (Continued from Page 1) Horvitz's exploratory work on piano and synth underlies his musical sense of adventure. Instead of churning out high-speed riffs, Wayne goes about his work methodically, blending elements of rock, jazz and the street rhythms of New York in dark, immediate, sometimes hypnotic packages. Though Horvitz plays extensively with some of New "Hammett-Vaughan is a wonderfully breezy singer ... an important Canadian jazz voice." Mark Miller, Globe and Mail "Between standards like Lush Life, the trio would embark on sound experiments that involved a lot of call-and-answer between sax and human voice." - Marke Andrews, Vancouver Sun Voice and bass duos are more common in jazz than they used to be. Sheila Jordan and Harvie Swartz, Karen Young and Michel Donato are among the most notable. Adding a saxophone into October/November 5 1990 • TIME.flies • Schedule Wed. Nov. 7 Thurs. Nov. 8 VANCOUVER EAST CULTURAL CENTRE 8PM BILL FRISELL MARILYN CRISPELL & WAYNE with HORVITZ GLASS SLIPPER (185 East 11th at Main) 11PM WORKSHOPS COAT atVCC King Edward COOKE Campus 3-SPM GARBO'S HAT (cont'd from page 5) the mixture is not quite as expected. Garbo's Hat, a Vancouver trio, thrives on the challenges of this unique instrumental mixture. Performing a repertoire that ranges from original compositions through free improvisations to jazz standards, the three members bring a wide range of influences and experience to their music. Garbo ' s Hat was featured this year in the Connections jazz series and performed to critical acclaim at the du Maurier Ltd. International Jazz Festival Vancouver. Kate HammettVaughan is gaining a national reputation as one of Canada 's premier jazz vocalists, both as an improviser and singer of standards. Whether he's playing free jazz, R&B or standards bassist Paul Blaney is a versatile player with a strong individual approach to his music. Graham Ord, soprano and tenor saxophonist, adds his lyrica l improvisations and helps give this group their very original so und. Fri. Nov. 9 with Garbo's Hat Tom Walsh & N.O.M.A. Roger Baird's SIRIUS ENSEMBLE PAUL BLANEY QUARTET REGGIE WORKMAN MARILYN CRISPELL DAVID MOSS "Direct Sound" featuring Carlos Santos and Anna Homier WESTERN FRONT (303 East 8th) Nov. 11 8 PM• $8 "Moss' incredible specialty is improvised and extravagant vocalizing that can evoke anything from a newscast in Lithuanian to a soprano wrestling a hyena." - New York Times David Moss, who has a fouroctave vocal range belongs to an avant-garde vocal tradition that includes Joan La Barbara, Cathy Berberian and Meredith Monk. Reviewers have likened hi s range to "demented radio announcers", "swooning ingenues" and "metalchomping aliens". David began his career in the early 1970s as a post be-bop percussionist and jazz drummer. He broke away from jazz when he began using his voice to acid other Sat. Nov. 10 Sun. Nov. 11 PETER BROTZMANN JADE ORCHESTRA with Kane/Taylor Explosion TOM WALSH & N.O.M.A. layers of sound and he eventually put together a vocal quintet called ''Direct Sound". He wanted to prove that "the pure voice can be more powerful than all the technologically oriented performances we're seeing these days." CARLOS SANTOS Born in Spain, composer, pianist, vocalist Santos is known for the intense energy and unique structures of his solo vocal work. He has released a solo LP called "Voice Tracks". In I 986-87 he received a DAAD Fellowship and lived in Berlin. He is continually performing as a soloist in Europe and recently premiered an evening-length "operetta" for voice and actors at Kunst Akademie, Berlin. ANNA HOMLER Homier is a singer and visual performance artist from Los Angeles. She wo rk s with the mysteries of language and narrative, creating spec ial so ngs that tell non-linear stories through evocative and ever-c hanging melodies. DIRECT SOUND-vocals like you 've never heard before! BILL CLARK SEXTET Roger Baird's SIRIUS ENSEMBLE Glass Slipper Nov. 8 • 11 PM • $5 Percussionist Roger Baird has been a force on the Vancouver creative music scene since his arrival here in 1986. A collaborator in many local ensembles Baird founded the Sirius Ensemble in 1989. Sirus Ensemble explores the far reaches of improvisational space. Baird's original compositions are the catalyst for this direction . Influences from Indian, Asian, South American, and jazz music coalesce in a potpourri of so und. Roger Baird drums , Clyde Reed hass, Tony Wilson guitar, Ralph Eppel tromhone, Fran~ois Houle clarinet and Daniel Kane saxophones. JUXTAPOSE presents (i(i J [UJ ~ ~ 99 in concert Station Street Arts Centre - November 4 Reservations 688-3312 6 October/November Looking Ahead Jazz atCafe TIMEjlies BERGMAN 4 PAUL BLANEY QUINTET Glass Slipper • Nov .9 11 PM• $5 Vancouver's Finest Jazz Groups Art Exhibits by Local Artists Great Food • Reasonably Priced Fully Licensed• Cappuccino Bar Open Tuesday - Saturday • 6 PM - 1 AM 52 Powell Street, Vancouver B.C. V6A I E7 (at Powell & Carrall in Gastown) C604) 688-9668 Fax (604) 68 1-0596 • . . Albion Books and Records , 523 Richards St. • Vancouver • 662-3113 open every afternoon Versatile bassist Paul Blaney is well known to Vancouver audiences as a member of Garbo's Hat (with Kate Hammett-Vaughan and Graham Ord), Unity, Free F'All and the Stephen Fearing Band. A strong rhythmic player who thrives on challenge and change, Paul is at home in jazz, R & B, folk and new music settings. This project finds him collaborating with his long-time friend pianist Kim Darwin. Compositions by Blaney and Darwin will be featured with an equal balance of free improvisation, an area in which Blaney excels. The quintet (piano, bass and drums plus two saxes) plays high energy music that moves inside and out. BILL CLARK SEXTET Glass Slipper• Nov. 11 • 11 PM • $5 The Bill Clark Sextet features some of Vancover's finest jazz soloists in the classic acoustic jazz tradition. Their music incorporates all of the movements in modern jazz, with emphasis on the interplay between the soloists and the highly intuitive rhythm section. Winners of the 1988 Pacific Region finals of the national Alcan Jazz Competition, the group went on to highly successful performances at the Ottawa, Montreal and Vancouver jazz festivals. They've established themselves as a strong force on the Canadian jazz scene . Bill Clark trumpet, Graham Ord sax, Miles Black piano, Dennis Esson trombone, Stan Taylor drums, Ken Lister bass. • BRINGING YOU THE BEST IN JAZZ AND BLUES • " ... combines the vitality of live jazz with a menu that personifies the word eclectic" - En Route CAFE DJANGO Hugh Fraser Jim Byrnes Fraser MacPherson Jennifer Scott Bob Murphy BabaYaga String Quartet Bill Runge Pat Coleman Chris Sigerson "Cafe Django is a big, beatiful room with delicious food, a great view, plus good music with host Chris Nelson" - Renee Doruyter, The Province " ... very well appointed surroundings it should be noted, overlooking English Bay" Mark Miller, Globe and Mail Don't Miss Our BLUE MONDAYS with Mike Kalanj and Friends COMING SOON! Blaine Wikjord ON ENGLISH BAY Rudy Petschauer 1184 DEN/\1AN ST. (AT DAVIE) RESERVATIONS 689-1184 Ample Parking at Denman Place Ma!I (1 Block North) Looking Ahead October/November 7 We gratefully acknowledge the financial support of: * The Government of British Columbia Ministry of Municipal Affairs, Recreation and Culture * City of Vancouver Office of Cultural Affairs * The Leon and Thea Koerner Foundation Trevor Watts' Moire Music Drum Orchestra Glass Slipper • Oct. 11 &12 • $10 $8 Students and Jazz Friends Presented By: CiTR Karen Young & Michel Donato Arts Club Theatre • Oct. 14 • $12 $10 Students and Jazz Friends 101.9 fM . Vancouver Community College King Edward Campus 1155 East Broadway 2 - 4 PM ■ ■ ■ ■ ■ Music Students Free • Others $1 O Once again, TIMEjlies offers a unique opportunity for music students at all levels to develop their craft with some of the most creative artists in jazz today. Students will gain valuable knowledge of the art of jazz improvisation in an open, interactive environment. Bring your axe, workshops are open to players of all instruments. For information and registration, please call 682-0706. TIMEfoies and save B G $$$$$ wednesday • november 7 REGGIE WORKMAN bass thursday • november 8 MARILYN CRISPELL piano ■ ■ ■ ■ TIMEjlies All VECC Concerts $15 $13 Students and Jazz Friends ■ ■ BIG TIME PASS - All 9 Shows $65 ■ ■ (Glass Slipper, Western Front & ■ ■ VECC) ■ All 4 VECC Shows $45 ■ ■ Any 3 VECC shows $ 33 ■ Any 2 VECC shows $ 25 ■ Glass Slipper Tix• $5 at the Door. Available at all Ticketmaster outlets, Eaton's and lnfocentres at all major malls, Black Swan and Highlife Records and the CJBS office. ■ * GLASS SLIPPER admission only• $3 with ticket stub from any VECC TIME.flies show. : ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■■■■■■■■■■■■■■■■■■■■■■ PASS ORDERS through JAZZ HOTLINE only. CHARGE IT! VISA or Mastercard. COAT COOKE saxophone The Big Draw Marcus Roberts Quartet Saturno • Oct. 21 • $15 $13 Students and Jazz Friends Pick a Pass for Jazz Workshops Black Swan Records --- --- .... -♦~ I ■■■■■■■■■■■■■■■■■■■■■■ ■ ■ ■ ■ ■ ■ TIME.flies friday • november 9 .... I ~ 682-0706 Jazz Friend and Student Tickets available only through Jazz Hotline and at CJBS office. ■-------------------- ■I I :,,, JAZZ ,,: r' T I X ': L--------------------~ ~ I I ORDER TIX DIRECT! Call the Jazz Hotline • 682-0706 r-----------------------------, ! I JAZZ FRIEND I become a Jazz Friend, send·your donation by personal cheque or money I To order payable to Coastal Jazz and Blues Society, 435 West Hastings Street, Become a I 2nd Floor, Vancouver, B.C. V6B 1L4. JAZZ FRIEND I by December 1, 1990 Name - - - - - - - - - - - - - - - - 1 and get a chance to I Donation Enclosed: win a $200 gift certificate from BLACK SWAN RECORDS. Remember, the draw date is December 1, 1990. : • $50 Contributor ( I Black Swan Entry) • $100 Sponsor (2 Entries) • $1000 Lifetime (10 Entries) Address - -- - -- - - - - - -- I I Phone I I For supporting the music, Jazz Friends receive a tax receipt, our bi-monthly newsletter I "Looking Ahead", special discounts on concert and festival tickets and a chance to win a L $200 gift certificate from Black Swan Records. Draw date: Dec. l,1990 ----------------------------- JAZZ HOTLINE• 682-0706 8 October/November Looking Ahead -1 .J