Jazz: Frank Lozano and Off the Record
December 1, 2011
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Frank
Lozano: More than just a sideman
by
Marc Chénard
Jazz is particularly fond of heroes.
Often larger than life, they are both objects of praise and scrutiny,
on stage and on record. Yet, for each one of those, there are legions
of workmanlike players who deserve a place in the sun. In Montreal,
for instance, saxophonist Frank Lozano qualifies as a true musician’s
musician. Since his arrival from Toronto some 20 years ago, this multi-instrumentalist
(who plays both tenor and soprano as well as bass clarinet and flute)
is one of the city’s most dependable jazz journeymen. Appreciated
by his colleagues, he fits like a glove in a variety of situations,
ranging from standard jazz practices to more exploratory forms of music
making. With his name gracing five records issued over the last couple
of months, one of these casting him in the more infrequent role of band
leader, 2011 seems to be a banner year. Taking time from his busy schedule,
he sat down with this writer one morning to share some valuable insights,
offering an insider’s perspective on each of these productions.
» Frank Lozano Montreal Quartet
– Destin (Effendi FND 113)
In 2007, I put out my first record as leader (Colour Fields)
with musicians from Ottawa and Toronto; that explains for the most part
why I called this one ‘Montreal Quartet’. Being a sideman for me
means interpreting someone else’s vision as faithfully as possible.
When it comes to being a leader, I see it as a shift in function. But
my sideman experience serves me well here, because I can put myself
very easily in my bandmates’ shoes. When presenting your own music,
there is added responsibility for sure; it’s much more personal, closer
to you. I have to say I’m very happy about this record because we
did it the right way: we played a year and a half before making it.
» Autour de Bill Evans (FND 112)
This group was my idea. I act as its musical director but don’t
consider myself the leader. If someone is, it’s Bill Evans. Three,
four years ago, Pierre Tanguay (drummer of this group) asked me put
a trio together with bassist Michel Donato to perform in Rimouski for
its off jazz festival. We played standards, and it went so well I felt
we could do more. I wanted to take it a step further. Michel loves Bill
Evans, he even played once with him (and Philly Joe Jones) back in 1977,
so that was the impetus. François Bourassa came into the picture later,
but he was part of my band by then. I was surprised that he and Michel
had never played together, and it seemed like a perfect fit. It clicked
from the get go. It’s worth mentioning the record is called ‘Autour
de Bill Evans’ (i.e. ‘Around…’), so it’s not a tribute band
covering just his tunes but others associated with him. That opens up
the repertoire.
» Auguste Quartet
– Homos Pugnax (FND 115)
I’ve been part of (bassist and label boss) Alain Bédard’s band
for years now, but not on a continual basis, of course. (It dates back
to the mid-1990s, pre-Effendi days.) This album differs from the previous
ones in that we were tackling material not previously road tested, or
very little at least. When I record, I try to memorize pieces, especially
standards; it’s one less barrier to deal with. Here we were dealing
with charts, some actually quite difficult, like “Casse-pattes”
(second track), a crazy tune full of odd meters, with the one (downbeat)
often not marked. But we got through them in two or three takes for
each. When you do more, it’s over. It’s like a romantic session:
if the phone rings more than twice, then ‘forget it, let’s try some
other time’!
» Josh Rager
– Kananasakis (FND 116)
I was on his previous sextet date for the label (Time and Time
Again), but I am guest player on only one track, Billy Strayhorn’s
“U.M.M.G.” (short for “Upper Manhattan Medical Group”). The
piece was sort of in my head, but I’d never really learnt it, so I
had to. Then Josh said he wanted to play it in 7/4 time rather than
the usual 4/4 (which means playing with the note durations to make it
fit in alternating 4- and 3-beat measures). First we discussed it on
the phone, he sang it to me and then tried it out once during a session
with musicians different from those on the record. For the record, we
did three takes, two were kept and Josh made the final pick.
» Thom Gossage Other Voices
– In Other Words (Songlines 1591-2)
Thom’s music is always challenging, but he’s so on the money:
he’s the kind of guy who is listening to every little thing everybody
is doing. Over the last five years, he’s taken his vision of the music,
or the sound in which he wants to express himself, and has changed it
to make it fit us to a certain extent. But it’s not a matter of writing
this or that for me because that’s what I like to do, but it’s more
‘I hear this in Frank, so I will pull it out of him’. We rehearsed
a lot, four or five times before going to the studio, and did it all
in a single day, though we were all wasted by the end of it. The nice
thing, though, is that in spite of its difficulty, you come out of it
somewhat transformed. And that’s why I hired Thom to be part of my
own band. This record is really about limitations and oppositions. There
are sections that might appear completely open when we’re really working
on a very specific idea of group architecture, with independent voices.
Once you get inside the bubble, the limitations are very interesting.
It’s paradoxical in a way, yet those limitations give added depth.
Read complete interview transcript
at: http://jazzblog.scena.org
Off the Record
Montreal mainstreaming
by
Annie Landreville
Alexandre Côté: Transitions
Effendi FND 114 (www.effendirecords.com)
Much in demand as a sideman, saxophonist Alexandre Côté has finally
issued a first recording under his own name. This veteran of some 40
record sessions also teaches at the St-Laurent Cegep. In 2012 he was
heard on Rémi Bolduc’s disc Hommage
à Charlie Parker, this year’s winner of a Félix award for jazz.
Last summer Côté earned the TD Jazz Award at Montreal’s international
Jazz Festival, which lead him to record the present album. He is ably
assisted here by Jonathan Cayer (piano), Dave Mossing (trumpet), Kevin
Warren (drums) and Dave Watts (bass), with tenor saxophonist David Bellemare
guesting on two tracks. Its title, Transitions, indicates a shift
to a leader’s role from a musician who has earned his sideman stripes
over the years. It is as much a record geared towards the future as
the past, and of the pieces two pay tribute to influential figures on
his development, namely, “Blues pour Ornette,” and “Wayne’s
Spirit” (the latter with a sterling alto solo), with a nod to the
birthplace of jazz in “New Orleans Groove.” He is heard on alto
throughout, his main axe. His broad musical knowledge allows him to
strike a perfect balance between modern jazz, which is now classic in
its own right, and his own leanings towards more contemporary styles.
Let’s hope he doesn’t wait too long to follow up on this fine first
effort!
Steve Amirault: One existence
Self-produced by the artist (www.steveamirault.com)
Steve Amirault is one of the top jazz pianomen in Montreal. At once
versatile and precise, he knows how to impress listeners when performing.
For some time now, this Acadian-born pianist has been writing songs,
but he has decided to take the plunge and record them himself. All but
one track are penned by him, the exception being the music to
“Live to Love”, written by his guitarist brother Greg. This is very
much a do-it-yourself endeavour, and the album was subsidized through
pre-sales. On it he is ably backed by bassist Rémi-Jean Leblanc and
drummer Samuel Joly. All but two tracks have English lyrics; the exceptions
are sung in French (albeit a little awkwardly), one in tribute to his
grandmother, the other to Acadian history. There’s a pop tinge to
the music but it’s still firmly rooted in jazz. Steve Amirault has
an interesting voice, deep toned, with a solid grasp of melody, somewhere
between that of a crooner and a singer of musicals. The melodies are
fine indeed but not devoid of clichés. “Heroes”, which lasts over
nine minutes, is the only cut where the trio stretches out, and the
group’s presence is better felt here as is the case when on stage,
where Amirault the singer is far more convincing.
Translation: Elisabeth Gillies
Taurey Butler: Taurey Butler
Justin Time JUST 242 (www.justin-time.com)
Taurey Butler is without question a flamboyant pianist. His playing
is at once energetic, voluble, at times excessive, as if he wants to
cram all existing notes onto one disc. A very melodic player and a hard
swinger to boot, he’s definitely influenced by Oscar Peterson, to
the point of fully assuming his role model’s stylings. On this debut,
he alternates between old evergreens like “Moonlight in Vermont”
and “The Lady is a Tramp”,
and originals very much in keeping with the standard jazz idiom. Taurey
Butler likes solid melodies and plays his own tunes with lots of expression,
for instance “Grandpa Ted’s Tune”
and “The Preacher,” the latter very well rendered and with an authentic
gospel feel to it. His trio mates, drummer Walli Muhammad and bassist
Éric Lagacé, are discreet in their supporting roles, and take only
brief yet faultlessly played solos.
Translation: Ariadne Lih
Improv and beyond
by
Marc Chénard
Mecha Fixes Clock: Teoria dell’elastica
di Girolamo Papariello
Ambiances magnétiques CD 202 (www.coactuelle.com)
Percussionist Michel-F. Côté is one musician who invests himself in
projects of every shape and size, be they theatre and dance, free acoustic
and electronic improvisation, or carefully conceived orchestral works.
This last area of interest defines the newest recording of his ensemble
Mecha Fixes Clock. This outfit of 11 players includes seven strings,
three winds and as many musicians on electronics, including the leader.
Each of the seven tracks of this rather brief side evokes a kind of
ethereal soundscape. On his kit, Côté beats out an essentially binary
pulse indicative of his musical background in alternative rock. Given
this the listener should not expect any free jazz outbreaks, nor swirling
collective improvisations, but a very tight group discipline more characteristic
of contemporary chamber music. At 42 minutes, this disc might seem short
at first glance, but its length is in fact adequate, as the music operates
within more restricted dynamic confines.
Translation: Ariadne Lih
maïkotron unit: Ex-Voto
Rant 140 (www.jazzfromrant.com)
The maïkotron Unit, winners of the François-Marcaurelle prize at this
year’s Off Festival de jazz, is one of the most durable yet least
well-known improvisational ensembles in Quebec. Founded in the 1980s,
the trio issued its seventh release last spring and first CD, all previous
ones issued in LP format. The maïkotron is a somewhat unwieldy sounding
brass instrument invented by the group’s reedman Michel Côté: comprised
of a series of valves and a saxophone mouthpiece, it produces low buzzing
tones in the bass clarinet or contrabass clarinet range (both of which
Côté plays). Both he and his brother Pierre (on cello and bass) are
stalwarts of the Quebec City jazz scene; drummer Michel Lambert, also
a native of the province’s capital, spent many years in Toronto before
settling in Montreal. The main source of inspiration here are 12 ex-voto
style paintings created by the drummer, illustrated inside the sleeve.
All told, there are 20 pieces contained in this 58-minute side, some
atmospheric in nature, others more rhythmic, particularly those featuring
the soprano sax. Oddly enough, the maïkotron, played by the two Michels,
is not heard very prominently. Because there are so many short pieces
(only one exceeds 5 minutes), the musicians seem more content to establish
moods than trying to develop them. Having listened to the recording
prior to attending their recent live performance, I had hoped that this
team would stretch out more, which they did, but it still fell short
in getting the music to lift.
Translation: dayna lamothe
Dutch strings
by
Mark Chodan
Hybrid 10tet : On the Move
BBBCD14 (www.michielbraam.com)
The Hybrid 10tet is an ensemble led by Dutch pianist Michiel Braam.
The ‘hybrid’ aspect comes from the pairing of musicians from different
musical domains: jazz-based improvisation (horns), rock (rhythm section)
and European concert hall music (strings) plus, on piano, Braam himself,
who penned all pieces (9 in total). The line between written and instant
composition is not clearly delineated: it is always nice to hear music
in the jazz/improv domain where the listener can ponder the written/instant
composition question, safely conclude “who cares?” and just focus
on enjoying the results. Braam is a tremendously talented pianist, as
anyone who has seen him live can attest (some may have heard him in
Montreal last October with his trio). This recording is evidence that
his compositional skills are as interesting and quirky as his playing.
As eccentric as some moments on this disc may seem, the music fortunately
steers clear of any over-indulgence in the corny humour that the Dutch
Bimhuis musicians are known for. At times, the three different components
of the ensemble work together surprisingly well, despite obvious dynamic
differences between the instruments (strings versus rock-ish rhythm
section). What’s more, the leader propels his musicians, who in turn
follow him to fertile sonic grounds. His compositions also have drive,
and there’s everything from tango to mid-70s Miles Davis-inspired
grooves, but always filtered through Braam’s personal and unpredictable
signature sound. Overall, On the Move is a jarringly diverse
yet cohesive set of compositions that mark a fantastic musical ride
on which Braam set out to take us.
Ig Henneman Sextet : Cut a Caper
Wig 19 (www.stichtingwig.com)
Violist Ig Henneman is somewhat of an unsung hero on the Dutch jazz/improv
scene. Cut a Caper is her latest release after a recent 5 CD
and 1 DVD box set Collected, documenting her recorded output
since 1985 and celebrating her 65th birthday. At the core of this international
ensemble are the members of her Queen Mab trio (with Canadians Lori
Freedman, clarinets, and Marilyn Lerner, piano), with Dutch stalwarts
bassist Wilbert de Joode, reedman Ab Baars, and German trumpeter Axel
Dörner in tow. The drummerless format plants this session clearly in
chamber jazz territory, with equal parts of jazz and contemporary music.
This is not music that draws the listener in, but rather demands some
effort in penetrating its icy shell. This may be due, at least to some
degree, to the arrangements where instruments play in a similar range
for long periods of time, giving it a lightness that one would not expect
from a sextet, but at the same time making it sound rather austere,
at times downright humourless (very unlike the Dutch, known for their
whimsical nature). Other sections move at an extremely slow pace, again
requiring both intense concentration and considerable patience. However,
such misgivings can be set aside based on the strength of the musicianship
involved. Repeated and concentrated listenings actually reveal fragile
compositions of great complexity, and the musicians navigate these with
all of the skill for which they are known.
Danish combos
by
Marc Chénard
Once known as a haven for expatriate
American boppers in the golden days of the 1960s, the Danish capital
Copenhagen has long since turned the page, thanks to a younger generation
of native talents trained at the city’s Rhythmic Conservatory. Here
are but two examples of contemporary jazz emerging from this still very
dynamic music capital.
Jacob Anderskov Accident : Full
Circle
Ilk 178CD (www.ilkmusic.com)
Caught last summer at its jazz festival, the ensemble of Copenhagen’s
pianist composer Jacob Anderskov (Accident) was one of this writer’s
personal highlights. Five months previous to the show of his seven-piece
band, it recorded the following album at another of the city’s venues,
minus one saxophone player. What’s more the leader is heard here on
an electric keyboard (the Wurlitzer) rather than standard acoustic grand.
Fueled by the clatterings of American drummer Tom Rainey, the group
interprets somewhat slow unfolding orchestral passages that create considerable
tension, especially when the soloists break loose, most notably the
no-holds-barred outpourings of alto saxophonist Laura Toxværd, closely
followed by the leader’s keyboard excursions. In fact, these two players
largely dominate this session, though the drummer is given a generous
solo spot in the closing number “Pyschotonalities”. Five cuts ranging
from eight to eleven minutes grace this medium-length side, seconds
shy of the 50-minute mark. But given the overall intensity of this session,
the net impact is greater on the listener, ultimately less wearing than
a longer duration would have been. Indeed, there’s much more to contemporary
jazz than warmed over post-bop formulas, and here’s some proof positive.
Definitely jazz for the new century.
Markus Pesonen : Hum
Unit Records UTR 4297 (www.unitrecords.com)
From the septet of the previous disc, we move on to a “Hendectet,”
an eleven-piece group headed by a young Finnish guitarist, Markus Pesonen.
His debut release, issued last summer on the Swiss label Unit Records,
is, to say the least, an ambitious first move, with a program of six
originals and two covers, the latter being Mingus’s dedicatory evergreen
to Lester Young (“Goodbye Porkpie Hat”) and an unlikely closer,
the Beatles’ “A Day in the Life”, complete with its dreamy lyrics
and delirious sonic outburst, reminiscent of the original. Like many
emerging artists, Pesonen wants to show us all he can do as a composer-arranger,
maybe a little too much: from the rock-ish band energy of the opener
“CO2”, the music goes from the ethereal to a quasi-free-jazz power
play in “Hullun Paperit”, then on to some full-throttle jazz swinging
in “Sugar Rush” and so on, lest we forget the Mingus-derived collective
improvisation of his tune, or his take on the Fab Four’s psychedelic
pop hit. Apart from the listing of personnel, there are no band pictures
or liner notes in this disc (giving us a bit of background wouldn’t
have hurt, but then again there are artist Websites to cover that now.)
Also worth noting in this production is the ecologically friendly cardboard
sleeve, including a pretty ingenious inset to slot in the disc.
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