N LOOKING AHEAD 0) ~ ca E ' i: C. Coastal Jazz & Blues Society's Newsletter ca PREVIEW!! . . du Maurier Ltd. FESTIVAL June 19 - 28, 1992 ttle STAPLE SINGERS plus John Hammond An incredibly soulful double bill to open this year's Jazz Festival! "The Staple Singers remain an eternal delight. It is truly hard to imagine anyone resisting the Staples' rich harmonies and uplifting spirit. A melting pot of soul, pop and gospel, an inf1,1sion of pure joy." - Boston Globe The unique, haunting sound of this family group made them a sensation with gospel audiences when they began recording in the mid-1950s. Their fame spread to folk, rock and jazz audiences in the I 960s and their sound influenced and inspired many of the biggest stars of that era, from Aretha Franklin to the Rolling Stones. In the early '70s they became a leading force on the pop and soul music charts earning #1 hits and gold records for such songs as Respect Yourself and I' II Take You There. In the mid-' 80s an affiliation with The Talking Heads brought their music to a whole new audience. Although their subject matter has diversified their power still lies in their gospel harmonies and revival-stage attitude. Mavis Staples' voice remains one of the more marvelous instruments around (she blew everyone off the stage during Bob Dylan's recent performance on David Letterman's Anniversary Show). And Roebuck (Pops) Staples with his ultra-smooth OPENING NIGHT QUEEN ELIZABETH THEATRE JUNE19 •8PM $28.50, $25.50, $22.50 voice and bluesy Delta-style guitar picking continues to be a charming and energetic performer. Today The Staple Singers remain not only a legend but a vital creative force and a thrilling musical experience. John Hammond is the most outstanding solo blues artist on the scene today. He is known for his intense vocals and guitar work-a one man show carry ing on a blues tradi tion rooted deep in Ameri ca 's music history. Over the course of his career, John Hammond has won a Grammy Award, released over 20 recordings, appeared on anthologies with other blues legends, and recorded the soundtracks to Little Big Man and John Sayles' Matewan . The man is a musical dynamo! Tickets on sale March 27 at Ticketmaster, Black Swan & Highlife Records and the Jazz Hotline 682-0706 Charge by phone 280-4444 Coastal Jazz & Blues Society• 435 West Hastings Street• Vancouver, B.C. • V6B 1L4 • (604) 682-0706 Fax: (604) 682-0704 GLASS SLIPPER 185 East 11th at Main April 3 • 9 PM • $7 jazz in vancouver I In the freelance music world where busy individual schedules and small venues often preclude the possibility oflarger groups playing together, musicians form "rehearsal groups" just for the sake of their music and for the joy of playing together. This is the case with The Stratochiefs (don't confuse this group with the vintage car of the same narrie), a new group on Vancouver's jazz horizon. The Stratochiefs have emerged as one of the strongest sounding modem mainstream groups on the Canadian scene. Leader of the pack is trumpeter/composer Kevin Elaschuk. Originally from Edmonton, Kevin has been around Vancouver fo r a few years now and has played with such notable Canadian jazz musicians as Judi Singh, P.J. Perry, Bill Emes, Andy Cree, and Roy Styffe. He appears regularly with vocalist Jennifer Scott on Sunday nights at Joe Fortes restaurant, and is also co-leader (with drummer Mike Gillespie) of the EdmontonNancouver based Quintet Northwest. Chris Sigerson, a pianist in much demand, has worked with Ernestine Anderson, P.J. Perry, k.d. lang and Campbell Ryga. Chris is also a contributing composer to the Stratochiefs' repertoire. Bassist Miles Hill, a Juno Award winner for his work with Paul Janz, has ·worked and recorded with Don Thompson, Dee Daniels, Kate HammettVaughan, Oliver Jories and Jon Ballantyne. Rounding out the sound of this all-star group is Blaine Wikjord on drums. A meynber of the acclaimed Hugh Fraser Quintet, Blaine has worked with Eddie "Lockjaw" Davis, Freddie Hubbard and others. Describing music with words somehow never really works. There are a lot of different influences coming to bear on The Stratochiefs music. Like the car the band is named after, they broke the mold when they made this group ... the azz WITH SPECIAL GUESTS: fmestival st Annual ~. '-A.f~ APRIL 16, 1992 8:00 p.m. AND HOST: Miles Ramsay 2 April/ May at CENTENNIAL THEATRE 2300 LONSDALE NORTH VANCOUVER TICKETS: $12.50 AT DOOR OR PHONE: 984-4951 Stratochiefs Ubiquitous as a sideman on the Vancouver creative music scene, bassist Clyde Reed has lately emerged as leader of his own group. The quartet acts chiefly as a repertory for the compositions of people associated with New Orchestra Workshop (hence the group's subtitle: RE:NOW for Repertory Ensemble of N.O.W.). These composers include Bruce Freedman, Vinny Golia, Coat Cooke, and others. The members of the group are among Vancouver' s (and Canada's) outstanding improvisers. Reed has chosen the personnel for the way they interact as well as their individual talents. Daniel Kane, whose muscular, explosive tenor and baritone saxophone is the terror of the scene, displays another side of his musical personality in this group. With drummer Claude Ranger and guitarist Ron Samworth, Daniel's lyricism comes to the fore and he plays in a hard swinging inside/outside style reminiscent of the great George Adams. Ron Samworth is a mainstay of the Vancouver jazz scene and he plays in groups as diverse as Lunar Adventures, Creatures of Habit and the FortWorth Travelogue. This wide range of styles has become seamlessly integrated in his playing; he swings hard, plays bop and mainstream, and is an interactive improviser and strong textural player as well. GLASS SLIPPER 185 East 11th Ave. April 11 & 12 • 9 PM $12 "_The best playing at the Crawley Festival was done by trios. The Clusone Trio-American altoist Michael Moor~ with two Dutchmen, Ernst Reijseger and Han Bei:1mnk:--played an ~xtraordinary wide ranging set in w_h1ch M1c~ael Moore s alto held a continously startling d1al~gue with t_he exJ?losivE: eruptions of the rhythm section. The w,t and mvent,on were breathtaking as they unfurl~d a resume going from European marketplace folksiness to Paul Motian-like abstraction." Wire Magazine, London _The Clus?ne T1io typifies the very best of Eurpean contemporary music. Compn ,ed of three of the most innovative players on that scene today, the Clusone Trio approaches their improvised music with an uninhibited p ssi n. The results described beautifully in the quote above. it're Michael Moore, alto saxophone, was born in California in 1954. He studied saxophone at the New England Conservatory and played in groups led by George Russell and Jaki Byard. In 1977 he came to Europe as accompanist for an American mime company and has lived in Amsterdam ever since. He leads two groups, Available Jelly and The Persons , and plays in the Instant Composers Pool, the Curtis Clark Clyde I ll I I -, Quartet A E:N OVV GLASS SLIPPER 185 East 11th at Main Apri I 4 • 9 PM • $7 Quintet, the Guus Janssen Septet, the Maarten Altena Quartet and Sean Bergin 's M.O.B. Percussionist Han Bennink is one of the greatest European jazz drummers and has played with Ben Webster, Don Byas, Johnny Griffin, Sonny Rollins, Dexter Gordon and Eric Dolphy. Since the early I 960s he has been a key figure in the development of European improvised music working with Evan Parker and Derek Bailey in Great Britain, Alex Von Schhppenbach and Peter Brotzmann in Germany. Along with Misha Mengelberg and Willem Breuker, Bennink continues to ensure the strength of the Dutch improvised music scene. Ernst Reijseger, cellist, began playing at the age of 8. He started playing professionally in the 1970s, performing throughout Europe with Burton Greene, Sean Bergin and various theatre and dance companies. Since the early '80s he has worked solo and in duos as well as with groups like the Amsterdam String Trio, ICP Quintet (George Lewis, Steve Lacy, Han Bennink and Misha Mengelberg) and Cruise Button. He has 14 records to his credit, the latest being Forestpath Rabhithole: The ICP Orchestra plays Ellington and Menge/berg. The Clusone Trio plays a mixture of free improvisations and original_ music-:-all with commitment, passion and almost telepathic interaction. This will be their first appeamace in Vancouver. Be there. Claude Ranger is recognized nationwide as a jazz phenomenon . Fiercely dedicated to creative music, Ranger is capable of transforming a group's sound and elevating the music to the point of transcendence. A fiery improviser and collaborator, Ranger is a one-man rhythm section. Playing an endless variety of sounds and textures, he never sacrifices the tempo or groove for even a split second. Clyde Reed's fearless explorations have made him the bassist of choice for many of the West Coast' s contemporary ensembles. Most of the compositions in RE:NOW 's repertoire come from groups that Reed has played in, allowing him to bring a strong element of the composers' original intentions to the performance. He is pleased to be providing a forum for these compositions that will introduce them to a wider audience. Reed suffers from "the classic bass player syndrome", i.e. playing in a lot of different groups with no one ensemble satisfying all his musical needs. RE:NOW provides him with an opportunity to play a variety of styles. Come out and hear what 's happening N.O.W.! LOOKING AHEAD LOOKING AHEAD April/ May 3 gerry ffenzing~ay & ear1ffo1-Vard WESTERN FRONT 303 East 8th Avenue APRIL 30 • 9 PM• $10 The duo of virtuoso saxophonist and live electronics master Earl Howard and the acclaimed percussionist Gerry Hemingway has existed for over ten years. Each of these musicians share a commitment to an ongoing process of extending and refining the vocabulary of their instruments. Their large, varied and unique sonic library is then utilized as building blocks for formal compositions and as a mutually understood language to drnw upon for thoughtful improvisational dialoiue. Hemingway and Howard also approach live electronic music with the same detail and rigour as their acoustic music, having spent many years developing and refi ning new possibilities for digital and analog synthesis. Last year they toured in both Holland and Germany and recorded for the West Deutscher Rundfunk in Koln. The program that they are currently performing has just been released as a CD on Switzerland 's Hat Art label. Gerry Hemingway is certainly no stranger to Vancouver's creative music audience. Over the past several years he has performed here in various configurations with Ray Anderson, Marilyn Crispell, Reggie Workman, Michael Vlatkovich, Paul Plimley, Tom Walsh, Georg Grawe and others. A dynamic and inventive player, Hemingway has been composing and performing solo and ensemble music since 1974. His extraordinary range of articulation and seemingly endless vocabulary have made him much in demand on the American and European New HERMETO l_ > VANCOUVER EAST CULTURAL CENTRE 1895 Venables MAY 10 • 8 PM • $20 "The World's most impressive musician." - Miles Davis Music scenes. As a member of groups led by pianists Marilyn Crispell and Anthony Davis, reeds master and composer Anthony Braxton and bassist Reggie Workman, and as a collaborator in many other ensembles, Gerry Hemingway is an indispensable contributor to the development of contemporary improvised music. Earl Howard's method of creating orchestrated sounds with electronics and adding live, improvisational performance results in unique, densely layered compositions that have been performed to enthusiastic audiences at the Whitney Museum , The Kitchen, Roulette, and Carnegie Recital Hall. Howard ' s personal vision translates itself to the ensemble situation so effectively that even the sense of spontaneity is · retained, though the music is clearly composed. His works have been performed and recorded by a number of musicians including Anthony Davis' recording of Particle W., for piano and tape, and Gerry Hemingway's recording of D.R. for Solo Percussion. Earl Howard is also a virtuoso saxophonist and has developed an extended repertoire for the instrument. He has received composer fellowships from the National Endowment For The Arts and the New York Foundation For The Arts. A fifty-something albino with a Santa Claus beard and a snowwhite mane of hair, Hermeto Pascoal looks and sounds like nothing you have ever heard before. Innovative, uncompromising and unpredictable, he's a visionary so distinctly original that audiences are dumbfounded and dazzled by him and his music. One look at his accomplishments and it's easy to understand that reaction. After all, this is an artist who a) often has pigs and chickens wandering the stage as farmyard counterpoint during concerts that last up to 5 hours. b) uses everything in his music from sewing machines and toy trains to pans filled with rocks c) not only has complete command of "normal" instruments like tenor saxophone, piano, flute, accordion, synthesizer and bass clarinet but also is a virtuoso on such "instruments" as tea kettle and half-filled beer bottle. d) has composed highly regarded works recorded by everyone from the Berlin Symphony Orchestra to the late great Gil Evans. e) rehearses his band eight to ten hours daily playing a changing repertoire of 50 of his compositions (he has more than 1,000 compositions to his credit). Brazilian singer-songwriter Ivan Lins recently said, "Hermeto is a genius. He is 'a monster musician. I don ' t think there 's any instrument he can't play well and with great creati vity. " Music is everything to Hermeto Pascoal. As an albino, he couldn 't follow his father into the fields to work in the sun, and instead would sit beneath a tree playing a bamboo flute. His first serious instrument was the hurdy-gurdy, and with it he accompanied small groups playing popular songs of the Brazilian northeast. By the mid-60s he had moved to Rio de Janeiro where he began to play piano. There, he formed the seminal group Quarteto Novo with Brazilian percussionist Airto Moreira and guitarist Heraldo do Monte. In 1969 Hemeto moved to the US where he wrote, performed and recorded with Miles Davis and Flora Purim and Airto. Shortly thereafter he recorded his first album, the critically acclaimed Hermeto, now a Carson Graham's 16th Annual A SPECIAL OFFER FROM Vocal· B. c.·· ·Jazz Festival CODA MAGAZINE CELEBRATING 34 YEARS AS THE LEADING JOURNAL OF JAll. & IMPROVISED MUSIC A HALF PRICE SUBSCRIPTION April 10 & 11, 1992 Centennial Theatre, North Vancouver ONLY $13.00 FOR SIX ISSUES Barbara-jo's (ONE YEAR SUBSCRIPTION • REGULAR PRICE $26.00) Elegant Home Cooking SEND A CHEQUE OR MONEY ORDER TO Lunch on Friday Dinner Tues.-Sat. 5 PM to Closing 2549 Cambie Street 874-4663 For Reservations CODA PUBLICATIONS • c/o BILL SMITH THE SHIRE • HORNBY ISLAND • BRITISH COLUMBIA • V0R lZ0 OFFER AVAILABLE TO CANADIAN RESIDENTS ONLY 4 April/ May collector's item. His reputation as an innovative composer prompted both Gil Evans and the Berlin Philharmonic to record his material. Returning to Brazil in 1973, he formed his fiery group which records to this day. In 1978 Hermeto performed with Chick Corea, Joe Farrell and John McLaughlin at the First International Jazz Festival in Sao Paulo where he was considered the event's starring attraction. The following year, Hermeto and Group played to packed houses in Montreux and Live Under the Sky in Tokyo. Like pioneering American artists Sun Ra and Cecil Taylor, Pascoal is the master of his own musical universe, a richly diverse aural cosmos where all styles converge to form an exotic whole. His compositions draw from numerous international sources but are unmistakably his own. Hermeto's jazz festival appearance here last year was nothing short of enthralling. Expect the same! LOOKING AHEAD LOOKING AHEAD with SOUND\VAVE Vancouver Community College and FULL VOICE Seattle, Washington Tickets & Info call Carson Graham Secondary School at 987-9341 April/ May 5 New Vision Enjoy the classics of our time! ~ome to an all Canadian \;::, concert for the premiere of Home, a CBC •i;Ji•t-tl commission by David MR;Jill 8 pm Vancouver Chamber Choir Ryerson Church Tix $14/9 280-4444 Info 738-6822 •@;Ji•t+\11 N;;OII• MacIntyre for horn player Martin Hackleman; John Celona's Round: 0 Sancta Simplicitas by Tomas Dusatko; and Rudolf Komorous' Vermilion Dust, featuring baritone soloist Mark Pedrotti, performed by the CBC Vancouver Orchestra and the Vancouver Chamber Choir and conducted by Owen Underhill and Jon Washburn. A co-production of the CBC Vancouver Orchestra, the Vancouver Chamber Choir, Vancouver New Music and the BC Regional Office of the Canadian Music Centre. David MacIntyre Signals from Heaven East meets West meets East 8 pm Pentland Vancouver Playhouse Takemitsu ~ ultures converge in the music of · \ii:1 Japanese composer Toru Takemitsu, the West Coast's Barbara Pentland and Tix $15/9 280-4444 Peter Hatch from Ontario, with performers Ian Hampton, Bob Rogers and the Vancouver New Music Ensemble, conducted by Owen Underhill. Takemitsu is a self taught Info 874-6200 with a Japanese sensibility. Internationally composer who composes Western art music acclaimed, Takemitsu is popularly known for his film scores, from the 1964 classic Woman in the ~ Dunes to the recent Kurosawa epic Ran. Pentland is recognized for her uncompromising directness and lucid clarity. Hatch's commission for the Vancouver New Music Ensemble What a Country will premiere at the concert. §lt~~ SEASON SPO NSOR 6 April/ May R0°rryl Leni'er YquarLeL GLASS SLIPPER 185 East 11th at Main May 15 & 16 • 9 PM • $7 Sometimes there is strength in diversity . The Roy/Lerner Group draws energy from the creative tension between its two leaders/ composers; guitarist Larry Roy and pianist Marilyn Lerner. It's the best kind of friction, and it makes the Winnipeg quartet ' s debut CD Quarter To Three (Justin Time) a stimulating musical experience. Recorded in Winnipeg with acclaimed drummer Peter Erskine and the up and coming young Canadian bassist Mike Downes, Quarter To Three marries Lerner 's keen harmonic imagination to Roy ' s driving rhythmic approach. "For me", says Roy, " it's one of the interesting things about play ing together-we don 't play the same way." After three years of working together, Roy is still surprised by the res ults. "It 's not always that predictable what ' s going to happen." But it works. "It ' s an interesting challenge .. . " Their music reflects the leaders' broad understanding of jazz, from the pensive beauty of Bill Evans to the explorations of John Abercrombie and Keith Jarrett. This allows the music to stretch out, to go from a more traditional style of improvisation to a more contemporary style, a little freer, often within the same tune. · The Roy/Lerner Quartet has performed extensively, logging many radio and TV appearances and playing with such jazz luminaries as vibraphonist Bobby Hutcherson and drummer TerriLynne Carrington. Between them, the leaders have played on more than a dozen recordings. New Jersey-born drummer Adrian Peek moved to Winnipeg in the late '80s, bringing with him considerable stage and studio experience. Peek is in demand as a player and a teacher and recently moved into TV documentary production with Prairie Soul, a study of the development of black culture in Winnipeg. Bassist Kelly Friesen is the youngest member of the band but has quickly become a bright new star. Having studied with Don Thompson, he's currently training with another major bassist, Ray Brown. LOOKING AHEAD BETWEEN THE LINES "Beautiful, beautiful ... true jazz out of the post-bop school." - Katie Malloch, CBC Jazz Beat Between The Lines is the culmination of 5 years of work by drummer/composer Bruce Nielsen. Bruce started playing drums at an early age, but it wasn ' t until he reached age 20 that he started thinking seriously about music. It was three more years before he even considered playing jazz. Since then Bruce has been making up for lost time. His explorations have put him in contact with many of Canada's finest jazz musicians. His studies include time spent at the Ban ff Centre for the Arts where he studied under Dave Holland, George Russell, Muha! Richard Abrams, Marvin "Smitty" Smith and Don Thompson. With the 1991 debut of his band Between The Lines, Bruce has taken a bold step to the forefront of the jazz scene. They've done a CBC broadcast recording (live at the Glass Slipper) and GLASS SLIPPER 185 East 11th at Main May 29 • 9 PM • $7 have also been awarded a FACTOR grant which has helped them in the production of their self-titled debut CD (distributed on Unity). Nielsen's own composiitons make up the bulk of the group's repertoire and he cites the work of Bill Evans, John Coltrane, Billy Strayhorn and Wayne Shorter as his main influences. Between The Lines features some of Vancouver' s finest jazz talent. Saxophonist Bill Runge's group Creatures of Habit won the 1990 Akan National Jazz Competition and has released a CD on the Justin Time label. Bassist Ken Lister is a member of the Bill Clark Sextet and has played with many of Canada's hottest jazz talents including Renee Rosnes and P.J. Perry. Pianist! saxophonist Ross Taggart is making a name for himself as one of Canada's brightest young stars playing with the Hugh Fraser Quintet, the Vancouver Ensemble of Jazz Improvisation (VEJI) and Creatures of Habit. . . Jazz ,n vancouver I GLASS SLIPPER 185 East 11th at Main May 30 • 9 PM • $7 COAT &the Evolution COOKE "Saxophonist Coat Cooke ('s) ... playing sounds like an amalgam of the JB Horns' Maceo Parker, Ornette Coleman (in his tenor days), and John Coltrane in his later years." - Option Magazine. Coat Cooke is a busy man these days fronting and composing for three bands; The Coat Cooke Quartet. The Stellar Saxophone Quartet, and The Evolution . Born in Winnipeg in I 953 , Cooke 's first interests were in rock , folk , and classical music. A bandmate in his first group Ckptziex (pronounced Kai) introduced him to the music of Pharoah Sanders and John Coltrane. prompting a switch from guitar to tenor saxophone. After moving to Vancouver in 1975, he met a group of like minded players with whom he co-founded the New Orchestra Workshop Society. At that time he was also a member of The CORD Orchestra, and Motion with Paul Plimley, Clyde Reed, and Gregg Simpson. He also co-leads Lunar Adventures with whom he has been touring and recording since 1985. At the Time Flies series in 1988 he composed " Paradigm Shift" for the NOW Orchestra, featuring New York pianist Marilyn Crispell. Having focussed on acoustic music for so many years Coat felt the need to express his "electric side". Hence Coat Cooke and The Evolution. Thi s 9-piece band bears the influences of Ornette Coleman, James Brown, and Ronald Shannon Jackson and feature s Cooke' s quirky compositions. Featuring Coat Cooke alto and tenor sa.rnpho11es, Daniel Kane ten or and harito11e saxophones, John Korsrud trumpet , Bob Walker alto and tenor LOOKING AHEAD saxophones, Ron Samworth guitar. Tony Wilson guitar, Kathy Kidd keyhoards, Brent Gubbles hass. Stan Taylor drums. Don't miss this wild and fun band! April/ May 7 Coastal Jazz and Blues Society Board of Directors Deborah Roitberg President • Nou Dadoun Vice-President • Kim Roberts Treasurer • Karl Stahl Secretary • Patrick Julian • Sheila Barrazuol Staff Robert Kerr Executive Director • Ken Pickering Artistic Director • John Orysik Marketing and Promotions Director• Jeffrey Turner Office Manager • Kate Hammett-Vaughan Administrative Secretary Interested in being a Jazz Festival Volunteer? Please fill out the enclosed information form and return it to us by April 27. For more information contact Jeff Turner at 682-0706. We would like to acknowledge the staff and administration of VanCity for their valued service and assistance. z -~ 0 :E 0 GERRY HEMINGWAY & EARL HOWARD Western Front April 30 • 9 PM • $10 $8 Students and Jazz Friends z HERMETO PASCOAL GROUP Vancouver East Cultural Centre May 10 • 8 PM • $20 $ I 8 Students and Jazz Friends 1- ROY / LERNER QUARTET Glass Slipper May 15 & 16 • 9PM • $7 $5 Students and Jazz Friends cc LL - w ~ IN N Phone 687-2213 Open 7 days & 7 nights. CLYDE REED QUARTET Glass Slipper April 4 • 9 PM • $7 $5 Students and Jazz Friends CLUSONE TRIO Glass Slipper April 11 & 12 • 9 PM • $12 $10 Students and Jazz Friends '::ru!Q~ llll\ -u 850 Granville St THE STRATOCHIEFS Glass Slipper April 3 • 9 PM • $7 $5 Students and Jazz Friends ct -, BETWEEN THE LINES Glass Slipper May 29 • 9 PM • $7 $5 Students and Jazz Friends COAT COOKE & THE EVOLUTION Glass Slipper May 30 • 9 PM • $7 $5 Students and Jazz Friends JAZZ FESTIVAL PREVIEW!! THE STAPLE SINGERS w/ John Hammond Queen Elizabeth Theatre June 19 • 8 PM • $28.50, 25.50, & 22.50 (Tickets on sale March 27th) Available at all Ticketmaster outlets, Eaton's and lnfocentres at all major malls, Black Swan and Highlife Records and the CJBS office. Glass Slipper, Jazz Friend and Student Tickets available only through Jazz Hotline. All Prices Include GST. • 682-0706 • Charge by Phone VISA • MasterCard g/,JJJI-U.hlli w~~~~ M~~I[ wrn~f~~~~~ ewrn BLUES BLUES Btms UU/6-lliJA . Y:prn to 1 at"'n 185 E. I Ith Avenue at Main Street c5-w1..d.111f 1:p4111rJ,J JAZZ HOTLINE• 682-0706 8 April/ May Printed on 100% Recycled Paper LOOKING AHEAD