LOOKING AHEAD
Special Events on the Vancouver Music Scene

Inside:
Oliver lake
Quartet
Vinny Golia/
Rob Frayne
Quintet
Richard Underhill/
Tom Walsh Duo
Vinny Golia
Orchestra
Joanne
Brackeen ·
Trio
Max Roach
Double Quartet

The Second Annual Celebration of
Contemporary Jazz & Improvised Music

New Orchestra
Workshop

TIMFflies

Free Student
Workshops

November 7-14 • 1989

Youssou N'Dour
James Blood
Ulmer/
Jamaaladeen
Tacuma
Band

JAZl_
BLUES
SOCIETY

Produced B_y: Coastal Jazz and Blues Society
New Orchestra Workshop Society
to the 2nd Annual "Time Flies" series - a
W elcome
celebration of jazz and improvised music, November 7 14. Once again the Coastal Jazz and Blues Society and the
New Orchestra Workshop take great pride in presenting a
collaborative series of eight concerts and four workshops
featuring the most adventurous local, national and international artists. Our philosophy has always been to develop
and expand established concepts and break new musical
ground. "Time Flies" accomplishes this goal by presenting
creative musicians from our own community and from around
the world to interact with each other and local audiences in a
shared environment.
From Los Angeles, artist/composer Vinny Golia will
bring Wayne Peet (pianist/conductor) and Ken Filiano (bass)
to "Time Flies". With an orchestra comprised of Vancouver's
finest musicians, several of Golia's most ambitious compositions will be realized in a sympathetic concert setting.

November/December • 1989
The Max Roach
Double Quartet (USA) is a
dream band. Roach, one of
the most consummate artists
in jazz and a brilliant
drummer, and his group of
musicians have achieved a
successful merger of jazz and
classical instrumentation.
It will be a rare treat for
"Time Flies"to present
such a ground breaking unit.
Make no mistake - this
band swings. Absolutely
delightful!
"Time Flies" will also
feature form New York City,
the long-awaited appearance
of composer/saxophonist
Oliver Lake, leading his own
band and the return of pianist
Joanne Brackeen with a firstclass rhythm section. Our
growing national comtemporary jazz community will
also be well represented by
Rob Frayne, Richard
Underhill and Tom Walsh
from Toronto and Lisle Ellis
from Montreal.
In addition to five theatre
concerts and three nightclub
performances, "Time Flies"
continues its commitment to
music students (tomorrow's
players) by presenting free
workshops conducted by
participating artists for
students interested in the
creative process.
"Time Flies" promises to
be exciting and enriching. In
a world that grows increasingly homogenous it has
become important to recognize and encourage musical
and cultural diversity. That's
what "Time Flies" is all about.
Enjoy!

Coastal Jazz and Blues Society • 435 West Hastings St.• Vancouver, B.C. • V6B 1L4 • (604) 682-0706

Time Flies
Oliver Lake
Quartet
Plus Lunar Adventures
Wed. November 8
V.E.C.C. • 8 PM• $15
"Lake has a way of writing
melodies that are both lyrical
and slightly astringent, and he
scatters them like signposts
throughout his improvisations. His extremely vocal
saxophone sound and the
speechlike character of his
lines e.cho in the mind long
after he has stopped playing."
- Robert Palmer, New York
Times

Saxophonist Oliver Lake
is one of the most fiercely
creative artists on the music
scene today. A musical man
for all seasons, he is at home
in every facet of jazz. A
distinguished alto saxophonist
and composer, he holds
membership in the World
Saxophone Quartet; leads the
offbeat reggae/funk/jazz
amalgam Jump Up; performs
his compositions for string
and jazz ensembles with
Lukas Foss and the Brooklyn
Philharmonic; and for the last
two years has created
masterful small-group
modem jazz.
Lake took up the .
saxophone when he was 18
years old at the urging of
classmate Lester Bowie.

November/December• 2

Bowie offered encouragement
and soon had Lake working
with a local R & B band that
would back such soul singers
as Solomon Burke and Rufus
Thomas at the "Gano Club"
(which is documented in a
track of the same name on
Lake's new recording
"Otherside" on
Grammavision Records) ..
Another song on side one,
"Whitestone", is a tribute to
the local church where his
mother was involved in the
church choir.
Over the years, Lake has
worked with such musicians
as James "Blood" Ulmer,
Anthony Braxton, Leroy
Jenkins and Michelle
Rosewoman. From the
outset, he has been a pioneer
in the contemporary jazz
movement. He and several
associates formed the Black
Artist Group (BAG) in 1968
along lines similar to the
Association for the
Advancement of Creative
Musicians (AACM) in
Chicago. In 1976, with
Hamiel Bluiett, David Murray
and Julius Hemphill he
formed the World Saxophone
Quartet, a group which has
performed world-wide and
won considerable critical
acclaim. In 1981, he formed
Jump Up. In 1983, Oliver
received a commission from
the Brooklyn Philharmonic
for two compositions which
were featured in the Brooklyn
Academy of Music's MEET
THE MODERNS series.
1986 saw the founding of a
group called BlueStar, a
quartet devoted to Lake's
more experimental musical

Vinny_ Golia/
Rob Frayne
Quintet
Plus Richard Underhill/
Tom Walsh Duo
Thurs. November 9
V.E.C.C. • 8 PM• $15

ventures. And in 1987,
Oliver was invited by the
American Council of Learned
Societies and the Soviet
Union of Composers to
participate in the US-USSR
Composers Symposium,
where he performed and
supervised the performance of
Chamber Music in the USSR.
Whatever the context,
Oliver Lake makes music of
emotional and physical
intensity. It's highly-charged
expressionistic music that
rumbles, ruminates and
reverberates with vitality and
vision. Like such "new jazz"
musicians as Lester Bowie,
David Murray and Henry
Threadgill, Lake utilizes
blues, swing, funk, reggae,
rock and dixieland to create
forward-looking music that's
firmly rooted in the jazz
tradition.
This performance marks
the Vancouver debut of the
Oliver Lake Quartet. The
stellar group includes
Anthony Peterson (guitar),
Santi DeBriano (bass) and
Eli Fountain (drums).
Should be quite an evening.

"Golia's music seethes with
creative fire, and has chops to
bum ... consistently reaches a
high level of sensitive
ensemble communication."
- Musician magazine
Vinny Golia, an
internationally noted multiinstrumentalist, composer and
bandleader fuses the rich
heritage of jazz,
contemporary classical and
world music into his own
unique compositions.
With a background in
visual arts, Golia's lifelong
interest in music came to a
head in 1971 when the then
painter took the money he 'd
earned from painting the
cover for Chick Corea's
"Song of Singing" album and ·
bought a soprano saxophone.
Shortly thereafter Golia put
down his brushes and began
devoting himself full time to
music. Over the years, he has
become one of America's
foremost improvisational
musicians; he plays 15
different woodwinds, going
"from tenor to soprano to
baritone to bass saxophone,
from alto flute to piccolo to
bass flute, all with the
nimbleness of an Olympic
decathalon entrant"
(downbeat).
In 1977 the reeds player
formed his own record
company, Nine Winds, and
has released numerous
albums on that label including
"Solo" which received an

Looking Ahead

award of merit from the
National Association of
Independent Record Distributors and Manufacturers.
Besides leading his own
groups, which range from
duos to the 15-piece Large
Ensemble, Golia has
performed with such musical
greats as John Carter, Bobby
Bradford, Anthony Braxton,
Horace Tapscott, George
Lewis and the Indian violin
virtuoso L. Subramanium.
He has also written original
music for modem dance and
theatrical productions.
Saxophonist Rob Frayne
has distinguished himself
within a highly competitive
jazz scene in Toronto,. He
has had gigs with Tim Brady,
G:! Evans, Kenny Wheeler
and The Shuffle Demons, as
well as several recordings.
His repertoire ranges from
jazz standards to distinctive
original material. As a soloist
he can "sound like Stan Getz
and Archie Shepp in
successive breaths and make
it seem logical." (Mark
Miller, Globe and Mail)
The Vinny Golia/Rob
Frayne Quintet brings
together a highly creative unit
featuring Wayne Peet
(piano), Ken Filiano (bass)
and Claude Ranger (drums).
Compositions by Golia and
Frayne.

Acknowledgements
We gratefully acknow ledge the
financial support of:
• Government of British Columbia/
Ministry of Municipal Affairs,
Recreation and Culture
• City of Vancouver/Social Planning
Department
• Leon and Thea Koerner
Foundation
We are grateful for the additional
support of the Vancouver
Community College Music
Department.

Looking Ahead

Time Flies
Richard
Underhill/
Tom Walsh
Duo
This curious pairing
brings together trombonist
Tom Walsh of the Thin Men
and saxophonist Richard
Underhill of The Shuffle
Demons in an exciting new
project. The work of these
two group leaders has cut
across the heart of the
contemporary jazz scene in
Canada connecting such
diverse elements as The
Shuffle Demons, N.O.M.A.,
the Sax Pistols and the Thin
Men.
While the musicians'
styles are clearly rooted in the
deep tradition of jazz, both
bend the established shape of
the music into a modem
context. In short, this is a duo
where the blues can stomp
through screaming into the
splintered sounds of the
eighties.
The Walsh/Underhill
Duo was first featured at the
premiere Rendezvous Festival
at Clinton 's in Toronto, 1988.
In the course of playing
together further as a duo at
the Montreal "Dialog"
Festival in the spring of 88,
Walsh and Underhill
discovered that they shared a
common language and
approach to the inherent
freedom that makes jazz what
it is. They as well share
playing experience in many
different Toronto projects and
groups including the Paul
Cram Orchestra.
Presented By :

Vinny Golia Orchestra

Vinny Golia
Large
Ensemble

Fri. November 10
V.E.C.C. • 8 PM• $15

"His large ensemble soars and
roars, as subtle as chamber
music and hard-driving as the
hardest bop ... and the
susurrating textures of his
arrangements are miles ahead
of those of the moonlighting
studio musicians who
dominate local clubs ...
Definitely not typical thirdrate, fourth-generation Basieclone material. Golia uses his
jumbo palette well."
- Los Angeles Weekly
This evening promises to
be exciting and memorable as
internationally recognized
composer/improvisor Golia
heads an all-star Canadian
orchestra performing many of
Vinny's highly acclaimed
compositions. Although
Golia leads a Large Ensemble
back home in Los Angeles ,
this will be his first orchestral
effort featuring a Who's Who
of Canadian jazz musicians.

(All Vancouver musicians
except where indicated)
trumpets
Daniel Lapp
Kevin Elaschuck
Bill Clark
trombones
Ralph Eppel
Joe Bjornson
Jason Lievert
Tom Walsh (Toronto)
tuba
Brad Muirhead
winds
Vinny Golia (LosAngeles)
Richard Underhill (Toronto)
Rob Frayne (Ottawa)
Coat Cook
Roy Styffe
piano/synth
Wayne Peet (Los Angeles)
vibes/marimba
Paul Plimley
bass
Ken Filiano (Los Angeles)
Clyde Reed
drums
Claude Ranger

Vinny's Large Ensemble philosophy:
"I feel the name 'Large
Ensemble' is more
descriptive than the term
'Big Band' because most
big band music I've
heard lacks a certain
flexibility - the true
essense of jazz - usually
found in smaller jazz
ensembles. I wanted to
maintain this flexibility,
but I also wanted the
instrumental colors and
precision of a chamber
group; for me the Large
Ensemble is the answer.
It plays strict, sharply
notated music, has
richness of color to spare
~ and swings its collective
I O 2 . 7 butt off."

CO·OP

November/December • 3

N

ew Orchestra Workshop is
a non-profit society with a
mandate to provide a focus for
the creative and improvised
music of West Coast artists.
Originally formed in 1977,
NOW has been actively fulfilling
a need in the West Coast scene
for the performance of
improvised music. Since 1986
Now has produced four creative
music festivals, the most recent
of which was l988's HEAR IT
NOW.
Our co-productions with the
Coastal Jazz and Blues Society
have included workshops at the
1988 duMaurier International
Jazz Festival and concerts and
workshops at the 1988 Time
Flies Contemporary Music
Festival.
NOW is pleased to once again
be co-producing Time Flies,
bringing you the best of today's
creative music by international
and local artists.

.:Thw

Rob Frayne

~rchestra
rkshop
at Time
Flies
Unity
Chief Feature
Chief Feature is a marriage
of traditional and avant garde
elements; passionate, intense,
sensitive interaction . .
Bruce Freedman (tenor
sax), leader and composer , has
performed in Europe, the USA
and across Canada. Over the
years he has played with groups
ranging from the latin-jazz of Rio
Bumba to the powerful
intensities of the Vancouver Art
Trio. Bill Clark (trumpet) has

Musicians: Graham Ord
(saxophones/ flute) , Daniel Lapp
(trumpet/ violin), Paul Blaney
(bass), Roger Baird (drums).
"More important than the
individual abilities of the four
Unity players is their evolution
of a group sensibility that allows
them to work together as one,
even as they probe the
demanding frontiers of
spontaneous composition ...
We've seen them do sets entirely
within the jazz tradition, and we
have also seen them perform a
sort of acoustic psychedelia,

" ....an outstanding instrumentalist and improvisor."
-Gil Evans
Rob Frayne is one of
Canada's finest young
saxophonists. A grad student in
music theory at the University of
Ottawa, Rob will perform three
times at this year's Time Flies.
When he's not busy studying
or working on his duo recording
project with drummer Chris
McCann, Rob is a prolific
composer. He's fini shing a
commissioned piece for the
Toronto Symphony Orchestra
for performance in December
1989.
Thurs. No. 9 • 9 PM
with Vinny Golia Quintet
Fri .. Nov.10 • 9 PM
With Orchestra
Fri. Nov. 10 • 3-5 PM
Workshops with Kate
Hammett-Vaughan• VCC

Lunar
Adventures

Lisle Ellis

Musicians: Coat Cooke
(saxophones), Ron Samworth
(guitar) , Clyde Reed (bass),
Gregg Simpson (drums).
The music of Lunar Adventures reflects a variety of sources
and influences, from Jazz and
Harmolodic Funk to Celtic and
other World Music. Their
improvisations are rooted in both
free jazz and the blues.
Formed in 1985, Lunar
Adventures has played four
Vancouver Jazz Festivals and
opened for Omette Coleman 's
Prime Time and the Michael
Brecker Band in 1988. They
have recorded twice for the CBC
and in 1987 were nominated as
Jazz Performer of the Year by the
West Coast Music Awards.
Lunar Adventures toured Canada
this year (sponsored by the
Canada Council Touring Office)
and will soon release a compact
disc on the Nine Winds label.

Interview: Larry Svirchev
After his Freedom Force
Ensemble played in July, I asked
Lisle Ellis where the name came
from: "Music is a sound, a force .
It keeps travelling past the ear.
Things vibrate, everything
moves. I called the band the
'Freedom Force' . It's almost a
political statement."
The music of Lisle Ellis
draws together different cultures:
"The western mind loves to
divide and conquer. We separate
rhythm from melody and melody
from harmony to get down to the
proton. I'm not so much
interested in separation as in
unification, seeing the whole
picture."
downbeat magazine said
"Lisle Ellis can get near
miraculous sounds from his
bow." Listen to his music. It
may change yout way of hearing
the world.

Wed. Nov. 8 • 8 PM
V.E.C.C.

Lunar Adventures • Photo: Brian Lynch
played with VEJI , Jazzoids,
Powder Blues and in 1988 won
the western finals of the Alcan
Jazz Competition with his own
sextet. Clyde Reed on bass has
appeared with numerous groups
including the Vancouver Art
Trio, the Paul Plimley Trio, and
Lunar Adventures . Legendary
percussionist Claude Ranger
has collaborated with Sonny
Rollins, Dave Liebman, and
Dewey Redman in addition to
leading his own uncompromising
ensembles.

wholly improvised performances
utilizing various ethnic styles to
create a sound that seemed to hint
at the development of a uniquely
'N orth-Westem' improvisational
style So we have no idea what
tht group will bring to its
concert ... part of Uunity's appeal.
They're a fresh, provocative,
entertaining outfit."
- Alex Varty, Western Front
Magazine .

Fri. Nov. 10 • 11 PM
Glass Slipper

Sun. Nov.12 • 9 PM
Glass Slipper

at the
Gallery
grunt gallery
209 E. 6th Avenue
The fall series at the grunt
opened with Video Bar-B-Que
(sponsored by The Canada
Council, Music in Alternate
Spaces Division). They're a
Vancouver sextet who recently
gained acclaim as winners of the
1988 CITR Shindig.
Video Bar-B-Que is better
than ever; very strong writing
and soloists. Stand-outs were
Tony Wilson on guitar, trumpeter
Aron Doyle and Rob Armis on
tenor.
Also sponsored by Canada
Council was Garbo's Hat on
October 11th. A new jazz trio
on the scene comprised of
vocalist Kate Hammett-Vaughan,
Paul Blaney on acoustic bass and
saxophonist Graham Ord, they
play a mixture of standards,
originals and free improvs. The
instrumentation is unique, their
performances are highly
communicative, their music
lyrical and intense.
Offering contemporary visual
art and music in a casual
atmosphere, the grunt gallery is
one of the best places in town to
hear what's happening now.
Jazz at the Gallery is coproduced by grunt gallery and
NOW

grunt gallery
November 1
• Fort Worth Travelogue
November 8 • (closed)

November 15
• Lisle Ellis Freedom Force

November 22
• Archipelago

NOW Concerts
in Review

From the Glass Slipper

Fti. September 22:
Led by vocalist Kate
Hammett-Vaughan and guitarist
Ron Samworth, Turnaround
played a night of original music
and some great standards.
Highlights were a beautiful
reading of Mingus' "Goodbye,
Pork Pie Hat" and Samworth's
compositions "How Much
Time ... ?" and the Sonny
Greenwich inspired "On the
Spot". All were vehicles for
Patric Caird ' s lyrical and
passionate tenor playing.
Sat. September 23:
A solo concert by Paul
Plimley is always sure to be a
musical delight, and although the
audience was small the music
was in no way disappointing.
The pianist's concept is clear and
vivid and becomes more personal
with each performance. Plimley
played an evening of his music

replete with his characteristic
rhythmic excursions, bursts of
humor and gorgeous crystalline
improvisation. The October '89
issue of downbeat said that Paul
Plimley is "more than ready for
mush greater recognition".
They're right.
Fri. September 29:
Lunar Adventures played
some new takes on group
standards, like the jagged,
angular opener "Just Ask" and
their closing tune "Strange Air"
which segued into "Celtic
Calypso". New material
included Gregg Simpson's
"Aztlan" and Coat Cooke's
"Paramilitary Shuffle". Second
set highlights were a lyrical
improvised ballad and a hard
swinging, rowdy version of
Simpson's "The Fever".
Sat. September 30:
Chief Feature played two sets
that showcased their
development and maturity as a
group. Clyde Reed on bass was
the perfect foil for the always
brilliant drumming of Claude
Ranger. Bill Clark played a
soulful unaccompanied trumpet

TIMEjlies Club:
The Glass Slipper
$5 Cover • Doors 1O PM
Music 11 PM

Good news! Vancouver has a
new warm and intimate space
for jazz. The Glass Slipper is
comfortable, informal and
inexpensive and is quickly
becoming a focal point for
Vancouver's jazz audience.

Fri. Nov. 10 • Unity
Sat. Nov. 11 • Chief Feature

• Brad Muirhead Collective

December 6

Sun. Nov. 12 • Lisle Ellis
Freedom Force Trio

• Kate Hammett-Vaughan

(Door 8 PM • Music 9 PM)

December 13
December 20
• Brian Harding Trio

Looking Ahead

------

Chief Feature • Jazzphoto: Larry Svirchev

intro to Omette's "Lonely
Woman". His bright bluesy
approach contrasts beautifully
with Freedman's passionate
introspection. Freedman's solo
on "In Lieu of Hugh" was one of
his best of the night.
Fri. October 6:
Unity opened their set with the
"theme improv" from which the
band takes it's name. A request
for the standard bossa "Desafinado" turned into "A Night in
Tunisia" and then into a
swinging version of "Well You
Needn't" featuring Graham Ord
and Daniel Lapp . Paul Blaney
on bass is an explorer, always
pushing the boundaries of his
role, and drummer Roger Baird
shone on "Two Blue".
Sat. October 7:
Two compositions by Coat
Cooke made up the first set.
"Paradigm Shift" (premiered at
1988's Time Flies) featured Ron
Samworth soloing through the
piece in various instrumental
settings. "Main Tenant", a Latin
tinged piece, had a strong bass
line over which Bruce Freedman
soloed . The second set was a 60
minute rendition of Baird's
"From Sirius With Love", a
seven movement piece, heavy on
improv and defined by unison
melodic interjections.

November 29

• Joseph Danza World Music

Sat. Nov. 11 • 11 PM
Glass Slipper

November/December• 4

Jazz

Looking Ahead

185 E. 11th Avenue
-downstairs from the
Cinderella Ballroom

November/December• 5

Time Flies
Joanne
Brackeen
Trio
Sat. November 11
V.E.C.C. • 8 PM• $15
"Brackeen does not
pussyfoot when she gets to
the keyboard. She dominates
it." -John S. Wilson, New
York Times
Think of Thelonius
Monk, Bill Evans, Erroll
Gamer, Cecil Taylor and
Keith Jarrett. Each pianist
has made highly original
contributions to the jazz piano
lexicon.
Now think of Joanne
Brackeen. Bassist and
frequent collaborator Cecil
McBee has obviously done
so: "In my opinion, Joanne
Brackeen is one of the most
brilliant musicians that
America has produced." And
Jan Pareles of the New York
Times says: "Her powerful
two-fisted playing has
absorbed all the major
modem jazz piano styles,
notably those of McCoy
Tyner, Chick Corea, Bill
Evans, Herbie Hancock, Bud
Powell, Randy Weston and
even a little bit of Cecil
Taylor; her improvisations
whiz around the keyboard,
undaunted by harmonic
complexity or high speeds."
A self-taught musician,
Brackeen started playing copying solos from records at age eleven. By the time
she was in high school (in
L.A.) she was performing
regularly in clubs and by
1958 she was working with
Dexter Gordon, Harold Land,
Charles Lloyd and Bobby
Hutcherson. She had also
fallen under the spell of
Omette Coleman (who lived
in L.A. at that time). The

November/December• 6

early 60's saw her marriage
to saxophonist Charles
Brackeen and the birth of
their four children.
She has the rare distinction of being the only female
musician to have had a long
stint with Art Blakey and The
Jazz Messengers (69 - 72),
but it was her subsequent
work, with Joe Henderson (72
- 75) and Stan Getz (75 -77),
that garnered international
recognition and enabled her
to perform and record the
music she had been nurturing
all along.
Since launching her solo
career in the lat~ 70's,
Brackeen has performed in
small group settings (duos,
trios) collaborating with topnotch musicians such as Cecil
McBee, Clint Houston, Billy
Hart, AI Foster and others.
Her numerous recordings
have met with critical acclaim
as have her live concert
appearances.
Joanne Brackeen is a
..pianist who plays with great
authority. She makes her
presence felt from the first
few notes of a composition.
Her ideas flow rich and fast;
she takes risks - sometimes
you think she'll lose the
thread - but the result is
always wondrously intricate
and always exciting.
Brackeen's current New York
trio features the magnificent
Clint Houston on bass and
the superb drumming of
Freddie Waits.

Max Roach
Double
Quartet

Featuring the
Uptown String
Quartet
Tues. November 14
V.E.C.C. • 7 & 10 pm• $20
"Max Roach's Double
Quartet is probably the most
remarkable
new ensemble to emerge in
the last decade." -Stanley
Crouch, Village Voice
" ... greatest drummer of all
time."-Leonard Feather, Los
Angeles Times
As one of the most
consummate artists in jazz
and a brilliant drummer, Max
Roach has built a recording
career that spans some 40
years and is recognized as one
of jazz's most challenging
leaders and talented writers.
He first came to
prominence as Charlie
Parker's drummer between
1946 - 48. In 1954, Roach
assembled a classic quintet
with the great trumpeter
Clifford Brown and Harold
Land or Sonny Rollins on
tenor sax. Between 1958 and
1978 Roach toured or
recorded with greats like
Booker Little, Coleman
Hawkins, Abbey Lincoln,
Eric Dolphy, Anthony
Braxton, Clifford Jordan,
Charles Mingus and Duke
Ellington just to name a few.
In 1973, Roach founded
M'Boom, a still-active 10member percussion ensemble.
In 1979, a momentous
meeting took place between
Roach and master pianist
Cecil Taylor at Columbia
University, New York City.
The subsequent recording
"Historic Concerts" was

issued by Italy's Soul Note
label to rave reviews.
The mid - 80's found
Roach writing music for three
Sam Shepard plays (for which
he won an Obie award),
working with rap artists,
break-dancers and turntable
mix-masters and teaching at
the University of Massachusetts at Amherst.
In May, 1986, Roach
premiered his Double Quartet
- his regular quartet, including
Odean Pope(saxophone)
Cecil Bridgewater (trumpet),
Tyrone Brown (bass), plus
The Uptown String Quartet.
The Double Quartet remains
Roach's passion; a group that
has achieved a successful
merger of jazz and classical
instrumentation that he says
would not have been possible
two or three decades ago
when classical string players
were unable to improvise or
to phrase with blues-like
feeling, and jazz composers
still had a long way to go in
tapping the unique sound
properties of strings.
The Uptown String
Quartet is comprised of four
young women: Diane
Monroe (violin) is an awardwinning soloist and has
recorded with trumpet
virtuoso Wynton Marsalis.
Lesa Terry (violin) is
trumpeter Clark Terry's
niece. She is a graduate of
California State University
and the only woman with the

Looking Ahead

hit Broadway musical "Black
and Blue".
Maxine Roach (viola) is
a graduate of Oberlin
Conservatory and daughter of
drummer Max Roach. She
has worked with, among
others, Aretha Franklin, Frank
Sinatra, the Alvin Ailey
Dance Theatre and the
American Symphony
Orchestra.
Eileen M. Folson (cello),
appeared as a soloist with the
world-renowned Philadelphia
Orchestra at the age of 17.
She played with the New
York Philharmonic for two
years and has appeared with
jazz greats David Murray,
John Blake and James
Newton.
Under Max Roach's
leadership, the strings achieve
a swing and authority never
before heard in jazz. The
Double Quartet's two
recordings "Easy Winners"
and Bright Moments" (Soul
Note Records) are bold
initiatives; the music
produced by the two groups
together is innovative, fresh ...
awesome.

TlMEjlies
TICKET INFORMATION
Tickets for all Vancouver East
Cultural Centre shows on sale now at
all Ticketmaster locations (Lower
Mainland Eaton's and Info Centres
in major malls), Black Swan
Records, 2936 W. 4th Avenue,
Highlife Records, 1317 Commercial
Drive, Charge By Phone 280-4444
All VECC shows: $ 15
except Max Roach
Double Quartet ($20)
All Glass Slipper shows:
$5 at the door.

SERIES PASSES
Significant savings available!
Series pass $50 provides entry
to all five VECC shows.
38% discount!
Passes may be purchased at Black
Swan Records and Highlife Records.
Only 50 available for sale.

Looking Ahead

Youssou N'Dour---------i
Nov. 23/24 • 10 PM
Commodore
Ballroom• $20
"N'Dour filigrees his
extraordinarily supple, higharcing vocalizing with
melismas and slurs taken
directly from the Islamic
traditions. Extraordinarily
smooth and powerfully
seductive, this charged
singing is about as simple and
awe inspiring as holding a
tiger by the tail. N'Dour can
toss it off with apparent ease
for his hours-long shows. It's
breathtaking ... "
-Pulse Magazine
Youssou N'Dour has
emerged as an essential figure
in pancultural world music.
His breathtaking voice and
innovative, bluesy style have
captivated audiences around
the globe, most recently
during Amnesty
Intemational's wildly
successful "Human Rights
Now!" tour.
Youssou N' Dour
(pronounced You-sue enDure) is by far the most
popular musical star in
Senegal, Africa, his native
land. He was born into a very
musical family - his mother
was a "griot", or an esteemed
traditional singer storyteller.
From his early teens, Youssou
performed in public at various
religious and social
ceremonies, where music
functioned not only as
entertainment, but as a
powerful force of unity and
history. By 1976, Youssou
was performing in Dakar's
hottest nightclubs with the
city's premiere band, the Star
Band. Inspired by traditional
African music as well as
Cuban and American popular
music, Youssou and the Star
Band attained great popularity
quickly. Still, Youssou felt

Youssou returns with JO-piece African band & dancers

he needed to step out on his
own. He invited six members
of the Star Band to join him
and, recruiting six other
musicians, he formed Etoile
de Dakar, which matured into
today's Super Etoile de
Dakar.
Youssou's worldwide
success can be attributed to a
number of factors, not the
least of which is his
incredible voice; a soaring,
celebratory instrument that
touches any audience,
regardless of the fact that
Youssou sings in his native
language W olof. That
Youssou and the Super Etoile
de Dakar have almost
singlehandedly developed
their own distinctive musical
style - the bluesy,
polyrhythmic sound known as
"mbalax" - has also brought
attention their way. One
cannot discount the singer
and his band's riveting live
performance either - shows
that have "an overriding spirit
· of exultation" as Newday
recently wrote.
Youssou's new album
"The Lion" (Virgin) captures
the singer's very special
qualities. Producer George
Acogny says, "this record is
going to break a few barriers
that have always been there,
that is between jazz, pop,
rock, soul, African music- all
these elements are on the

same album." In addition to
working with Acogny,
Youssou also recorded one
song - "Shakin' the Tree" with Peter Gabriel for "The
Lion". Gabriel has been a
longtime friend and supporter
of Youssou 's. Youssou sang
on Gabriel's "So" album (the
song "In Your Eyes"), and
opened Gabriel's concerts
throughout the world during
his "So" tour. Also, Gabriel
and N'Dour were together
throughout last year's
Amnesty International
"Human Rights Now" tour
along with Bruce Springsteen,
Tracey Chapman and Sting.
Like most of Youssou 's
music, "Shakin' the Tree"
marries ethereal melodies
with complex percussion and
an inspiring message - truly
music for both body and soul
with an international
sensibility.
Youssou' s last
Vancouver appearance was
opening night of the 1988 du
Maurier International Jazz-'
Festival. The Senegalese
superstar had 4,000 people
dancing in the aisles. This
time around, the Commodore
Ballroom's ample dance floor
should accommodate
everyone who feels the urge
to sway to the sounds of
N'Dour's magnificent music.

November/December• 7

James Blood
Ulmer/
Jamaaladeen
Tacuma
Band

December 14 • 10 PM
Town Pump • $18
"The most original guitarist
since Jimi Hendrix."
-Robert Palmer, Rolling
Stone
Guitarist James Blood
Ulmer, along with bassist
Jamaaladeen Tacuma and
drummer Calvin Weston, play
original music with grit and guts.
This trio dazzles audiences with
an exciting mixture of funk and
free jazz.
Each of the three alumni
from alto saxophonist Omette
Coleman's electric ensembles
has found critical acclaim. Some
have called Ulmer the most
innovative, daring guitarist composer on the scene today.
Since the late 70's, Tacuma has
been voted at or near the top of
down beat magazine's critics
poll in the electric bass category.
Drummer Calvin Weston
combines the precision of a
studio musician with the
originality of a Ronald Shannon
Jackson (another ex-Coleman
drummer).
In the 1960's and 70's
James Blood Ulmer played with
jazz greats Art Blakely, Rashied
Ali and Arthur Blythe among
others. After moving to New
York City in 1971, Blood began
his legendary collaboration with
Omette Coleman. Since 1977,
Blood has been an established
solo artist and band leader
earning a reputation as a
groundbreaking musician.
Just as Blood refuses to
accept limits in the playing of his

November/December• 8

instrument, no pre-existing
categories define his original sound.
Blood is well-known as one of the
followers of Omette Coleman's
harmolodic theory and is a leader in
experimental, improvisational jazz.
But this categorization of Blood's
music as avant-garde ignores its
accessiblity as well as its appeal to
a large audience. This audience
includes funk and rock fans as
much as devotees of the avantgarde.
While Blood and the musicians he plays with do boast
impressive jazz credentials, they
use this background to progress
beyond the accepted boundaries of
jazz music. The result is an
individual, unique sound which
Blood terms "harmolodic diatonic" funk music.
Blood's explosive synthesis of
musical styles and the virtuosity he
uses to express it caused critic
Stanley Crouch to accurately
predict that "James Blood Ulmer
has not only created the most
original guitar style and system
since Wes Montgomery but is now
getting ready to extend the
possibilities of funk."
Should be quite an evening!

TIME.flies
Free
Student
Workshops
Vancouver
Community
College
King Edward
Campus
Auditorium
1155 East Broadway

3 - 5 PM Daily
Once again this year,
Time Flies offers a unique
opportunity for high school,
college and university music
students to develop their craft
with some of the most creative
artists in jazz today.
Students will be able to
gain valuable knowledge into
the art of jazz improvisation in
an open, interactive
environment. These
workshops are free of charge
to music students. For
information and registration,
call 682-0706.
SCHEDULE
Tuesday, November 7
Vinny Golia (Los Angeles)
Vinny Golia is an
internationally recognized
multi-instrumentalist and
composer from Los Angeles
(seep .2-3)

Wednesay November 8
Oliver Lake (New York)
Oliver Lake is a brilliant
alto saxophonist/composer from
New York City who was cofounder of the World Saxophone
Quartet. One of modem jazz's
leading artist. (see P.3)
Thursday November 9
Paul Plimley (Vancouver)
An exciting pianist and
accomplished composer who is
equally at home with jazz
standards and original works,
Paul has performed in a wide
variety of musical settings. His
workshop will allow students to
play any instrument ( and any
combination of instruments)
while being led through his own
compositions. Within the
structure of the written material
many possibilities for solo and
collective improvisations will be
explored.
Friday November 10
Kate Hammett- Vaughan
(Vancouver)
Kate's workshop will
center around a discussion of the
vocalist's role in improvised
music.
Students will be introduced
to a number of pieces intended
for vocal improvisation and will
be invited to participate. Kate
will be accompanied by
saxophonist/pianist Rob Frayne
and bassist Paul Blaney. The
role of instrumentalists in groups
which feature vocalists will also
be discussed and instrumentalists
of all kinds are invited to attend
and participate.

----- -------------------------,
!JAZZ FRIENDI
Wina$500
CD/LP/
Tape
Shopping
Spree al
Black
Swan
Records
... Draw
date
Dec.1
'89
Become a
Jazz Friend
before Dec.
l , 1989to
be eligible.
Contributors receive
one entry,
Sponsors
two entries,
Life timers,
ten entries.

L---

To become a J·azz Friend, send your donation by personal cheque or
money order payable to Coastal Jazz and Blues Society, 435 West
Hastings Street, 2nd Floor, Vancouver, B.C. V6B 1L4.
Donation Enclosed:
• $50 Contributor
• $100 Sponsor
• $1000 Lifetime

NamC-- - - - -- -- - - -- - - - Addres.,___ __ _ __ _______
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For supporting the music, Jazz Friends receive a tax receipt, special
discounts on tickets and passes for concerts and festival events.

-------------------------~
Looking Ahead