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ALL THE QUÉBEC JAZZ NEWS SINCE 2003

JazzBulletin   -   Thursday March 23 2017 to Sunday April 30 2017

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For jazz musicians and professionals

Blues songstress Barbara Diab and The Smoked Meat Band this Friday, March 24th at the HoJazz Montreal.

barbaradiab_150X150.jpgBlues singer Barbara Diab has such a joy in expressing herself, her energy radiates to all those who are in her presence. With her immense vocal range, she brings a unique honesty to each song, without guile, and from the heart. Her musical background encompasses gospel, american roots, blues, and naturally Motown, since she grew up near the border of Detroit. Barbara’s début album, To Blues With Love, was produced by JD Slim and released in the summer of 2015 with special guests such as veteran bassist, Stephen Barry and world-class drummer, Tony Coleman [B.B. King, Bobby Blue Band, Otis Clay]. Their playground of original compositions have a natural romping playfulness turning each and every audience into a family…all begging for more. Come see  Barbara Diab and the Smoked Meat Band play on the stage of the HoJazz Montreal this Friday, March 24th at 9 :30pm.

Can't make it Friday? The HoJazz Montreal hosts Saturday March 25th at 9:30pm great singer-songwriter Bo Reissett.

Every Thursday of April, the HoJazz Laval will be introducing to you a different band. To begin this serie of shows we’re proud to present Bob Ricci and friends Thursdays March 30th, April 7th and 14th @7pm. Busy on Thursday? Go to houseofjazz.ca Laval for the complete listings!

For the HoJazz Montreal, reserve your seats at 514-842-8656
houseofjazz.ca Montreal

House of Jazz Montréal - 2060 Aylmer
 
For the HoJazz Laval, reserve your seats at 450-232-5582
houseofjazz.ca Laval
House of Jazz Laval - 1639 boul de l’Avenir, Laval

Check out dozen of videos of these artists at the House of Jazz Montreal and Laval at  youtube.com/maisondujazz


Stacey Kent, Michel Cusson, Gabriella, Susie Arioli, Jack Broadbent, Martha Wainwright and more at the 22nd Festival Jazz et Blues de Saguenay, from Tuesday April 4th to Saturday, April 8th.

image 1 -23 mars.jpgThe Festival Jazz et Blues de Saguenay (FJ&B) has been presenting since 1996 high profile concerts and is now considered the largest regional festival with the highest number of artists of that caliber on five days. For a number of years now, our constant growth has made it possible for us to invite international artists such as Joe Lovano, Ravi Coltrane, Johnny Clegg, John Pizzarelli, Madeleine Peyroux, Charlie Musselwhite, James Cotton, John Hammond Jr., Holly Cole and Oliver Jones. With the result that, year after year, we’ve welcomed more than 26,000 happy spectators scattered among our 13 venues with, as a background, the unique Saguenay Fjord.

In 2017, for our 22nd  edition, the FJ&B will once again feature several renowned artists of both national and international caliber : Stacey Kent, Michel Cusson, Gabriella, Susie Arioli, Jack Broadbent and Martha Wainwright (photo) are just a few of our high profile attractions. It is, therefore with great enthusiasm that the organising commitee expect thousands of musical buffs from Tuesday April 4th to Saturday April 8th for an exiting 22nd edition.

For more info, check out www.jazzetblues.com

For the Facebook page, it's here


Occiriental Jazz with the Trio Populaire, Friday, March 31st at the Vendredis Jazz of l'Espace Cercle Carré.

trio populaire 150x150 assis.jpgSince its creation in 2010, the Trio Populaire, who won the 2013 Diversity Price, presents a music that is a mix of the East and the West and that combines the different influences of each of its members. Joey Mallat is a guitarist, improviser and composer who skillfully handles the jazz, flamenco and South American harmonies, Pierre Emmanuel Poizat is a classical clarinettist, a curious and turned-on multi-instrumentalist, while Tacfarinas Kichou who was born in  Rome of Algerian parents, is a self-taught musician with a passion for percussions, and brings the colors of popular Algerian music.

Drawing from the many sources of world music, the Trio Populaire offers a unique repertoire of original compositions inspired by Mediterranean music, jazz, gypsy and South American traditions. Their second album Occiriental was released in 2015 that followed the self-titled mini-album released in 2011.

The Trio Populaire is renowned for its live performances with a complicity only equalled by their virtuosity. Their music goes from being unifying, nostalgic,  enthralling, contemplative and frenzied, and promises an unforgettable musical experience outside the boundaries of genre or country. With Occiriental the Trio Populaire offers us a musical trip without borders!

Joey Mallat
, guitar
Pierre Emmanuel Poizat
, clarinet and more
Tacfarinas Kichou
, percussions

To see the video of Valsajoe / Maré baixa / Héron vole, it's here
For the Bandcamp page, it's here

triopopulaire.com

Les Vendredis Jazz at l'Espace Cercle Carré - Jazz Occiriental with the Trio Populaire Friday, March 31st 8pm - 36, rue Queen - tickets 25$ students 15$ - reservations : 514-397-0430 cartonsuper@bell.net,  The Series goes on every last Friday of the month from April to June 2017 with Joel Miller Sienna Dahlen - Dream Cassette April 28th, Huu Bac Quintet May 26th and  Thiago Ferté Quartet June 30th.


French pianist Pierre de Bethmann with quebecois saxophonist Yannick Rieu @ Jazz en Rafale, Saturday March 25th at l'Astral.

12 - 25 mars De Berthmann Rieu 4tet.jpgPierre de Bethmann is at first pianist for super trio Prysm, who in between 1994 and 2001 recorded 4 albums for the Blue Note label and toured intensely in France and several times in the USA, after which le launched the Ilium project from 2001, recorded 7 albums in formulas ranging from 4tet to a medium set of 12 musicians. In 2015, he launched his own label Alea, dedicated initially to the production of his own projects. He has been teaching at the Department of Jazz and Improvised Music of the National Conservatory of Music and Dance of Paris (CNSMDP) since 2008. Pierre de Bethmann is the recipient of the awards: Grand Jazz Prize of the Charles Cros Academy 2016,  Victoires du Jazz 2008 (album of the year), Django Reinhardt Prize 2004 (French musician of the year), Django d’Or 1998 (Prysm, band of the year), First prize of the Contest of La Défense 1994.

Pierre de Bethmann has had many collaborations with the likes of  Moutin Reunion, Géraldine Laurent, Olivier Ker Ourio, Stéphane Huchard, Jean-Christophe Béney…and occasionally with many major international such as Eddie Henderson, Dave Liebman, Aldo Romano, Philip Catherine, Riccardo del Fra, Stéphane Belmondo, Stéfano di Battista, Flavio Boltro, Julien Lourau, the singers Meredith d’Ambrosio, Norma Winstone Sara Lazarus, and Marcia Maria, and the  Québécois singer Térez Montcalm.

Yannick Rieu no longer needs a presentation - a saxophonist with a singular career thanks to his tours in China, his multiple projects and collaborations, as he once again suggests a unprecedented encounter with one of the great composers and jazz pianists of the french jazz scene, Pierre de Bethmann.

With the help and support of Rémi-Jean LeBlanc at the bass and Jim Doxas on the drums.

For the promo video for this concert, that's here
For more info on this concert, that's here

pierredebethmann.fr

yannickrieu.com


@ Jazz en Rafale

Saturday, March 25th 9:30pm  @ L'Astral
305 Sainte-Catherine W.
514-871-1881

This weekend it's Jazz en Rafale at L'Astral with...

Thursday March 23rd - 8pm Afro-Cuban Revival Project with pianist Rafael Zaldivar 9:30pm François Bourassa Quartet
Friday March 24th - 8pm Alain Bédard and Auguste Quartet 9:30pm Félix Stüssi et Les Malcommodes
Saturday March 25th - 8pm Reis Demuth Wiltgen Trio 9:30pm Pierre De Bethmann Yannick Rieu Rémi-Jean LeBlanc Jim Doxas


Double-bassist Dave Holland - in concert tonight March 23 at the UdeM - on teaching, inter-generational playing, his fav band formats, keeping the flame alive, playing with Miles, drummers, his label Dare2 Records, the future of recorded music, somebody he'd like to play with, and what's coming up.

daveholland_150150 pour entrevue 2.jpgDave Holland is in concert tonight with the Big Band de l’Université de Montréal, (Thursday March 23 @7:30pm), he spoke with us from his Saugerties, NY home...
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CT - As a teacher yourself, who was the teacher (or teachers) that influenced you the most and how has that influenced the way you, in turn, teach and share your
knowledge and music?
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DH - I've had a lot of teachers in my life and they haven't always been in a formal situation, in fact most of them weren't. Some of them are the ones that I  listened to a great deal when I was just starting, and that I actually still to. Players that I admire, and that I aspired to play in the same way the did. My two main influences were Ray Brown, a great bass player, and Leroy Vinnegar. And then I also spent a lot of time listening to Charles Mingus, Scott LaFaro, Ron Carter, these are all people we learn from, I think this is part of the jazz tradition. You spent a lot of time listening and absorbing the players that you admire. My formal teacher was a classical bass player, James Merritt, the principal bassist in the London Philharmonic Orchestra. You learn from people that you play with, and that's still the case. It's a communal thing and that's why I'm involved with teaching, it's all about sharing information with each other.
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CT - So in turn, what is it that you want to share with the students at the Université de Montréal?
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DH - I'm looking forward to have them show me some things that they're doing and that they're working on, finding out what they're thinking about because  the cross-generational thing is very important in the music, the different generations communicate and get inspiration from each other.
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CT - Which leads right into my next question, about the importance of playing with musicians of different generations, do older more establised musicians learn from younger ones and vice-versa?
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DH - That's in the history of the music, that's the way the music's been learned, by getting up on the bandstand with somebody and playing with them and learning from that experience. A young player has a chance to play with a player of more experience and you learn something from that, you learn about how they shape the music, how they shape the solos, the placing of the music, so many things that you learn over time. But then on the other side there's the freshness and the energy of the young players and what they're working on and what they're being influenced by, which of course is the music of this time and that's always interesting for me to see what they're doing with that, with those influences, with what's going on.
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CT - You've played in many formats, duos, trios, big bands and everything in betweeen and I'm sure you've enjoyed all of those experiences, but is there one that stands out for you and why?
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DH - I can't say there's a favorite because each situation presents you with a new setting, if you're in a duo it's a very intimate setting and very fast moving in terms of the ideas going back and forth just between two musicians, in a big band you have to have a lot more organisational things arranged for the band. In a larger band, you've got the larger community of players and different styles and different voices that are their personalities, and that's a great experience too, part of an extended family of musicians. I enjoy many kinds of situations and I find each one presents a new creative opportunity.
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CT - I read on daveholland.com  that "you need to be interested in what you're doing to be stimulated by it in a challenging situation which is going to continue to  allow you to grow as a player and composer” Is that effortless and how have you kept that alive for 50 years?
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DH - Well, first of all underlying it is the love of music that I've had since I was very young. And then there's the curiosity of learning new things, and being curious about how music's put together by different people, I've been engaged with music all of my life and it's part of what I do. It's not easy, it requires work, regular practice and just sitting down and doing it, the combination of that and the love of it is what keep things moving for me.
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CT - Of all the musicians that you've played with (Miles Davis, Betty Carter, Chick Corea, Gary Burton, Jack DeJohnette, John McLaughlin, Steve Coleman, Chris Potter, Eric Harland etc) is there one that had a singular impact on your way of playing and understanding music?
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DH - I don't know (laughs)...I think that entire list you mentionned...obviously working with Miles Davis when I was very young made a huge impression on me, being around him and watch the way he put the music together, the way he conducted himself, just his whole music presence. That set a certain standard, an idea of how things could be done, putting bands and music together. I think everybody that worked with Miles was touched by that, by his relentless moving forward of the  music and by not being satisfied by just staying one place and keeping things moving. And how he did that was to surround himself with fresh ideas and fresh players like we said earlier, the cross-generational thing, being open to new ideas and embracing new ways of doing things. It was 1968, I was 21 and it was very exciting.
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CT - As a bassist what do you look for or are interested in a drummer?
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DH - For me, as with any musician, one of the most important things is how good a listener a musician is, how much they can give themselves up to the music and the group and immerse themselves in that, and go beyond what their own personal musical statement is, and look at the big picture of the whole band supporting and working as an ensemble, and that requires a high degree of listening. In a drummer of course the feel, but every drummer produces their own way of playing, I can't say there's any one way of playing that I particularly like, I like somebody who has a good touch on the drums, that can control dynamics, the drums have so much influence on the music, rhythmically and dynamically, so a sensivity to those elements is very important.
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CT - What motivated you to launch Dare2 Records in 2004? Was it for artistic reasons? Did you want to have more control on what you were producing?
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DH - I wanted to have more control over how my music was produced and recorded, release schedules, and things like that, all the things to do with record production.It also came at a time and a moment in my life where it became possible for me to do it, it's something that I'd thought and dreamed about for a long time, to have an outlet of my own for the music that I wanted to record, and to keep ownership of the music as well, and that the master recordings would belong to me and my family rather than belonging to another company. So it was just a long-term dream that finally could be reality, and I've never regretted it, it's a great opportunity. And of course with the changing face of the record industry, there's a lot of new ways to connect with the audience, and to make the music available.
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CT - With Dare2 Records, how do you feel about the direction recorded music is going today?
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DH - Well the label has only been putting out my own music and things I collaborate on, so I'm not taking on a huge catalog and am able to concentrate on things that we do put out, and it works for me. I can continue to make records like I want. Of course the record business is changing a lot, there's a lot of controversy over streaming services and so on. My feeling is that we need to keep buying the music in order to support the artists to continue to record because it costs money to produce a record. I encourage people to go out a buy a physical or digital copy from on the legitimate distribution services because that way we can continue with what we're doing. At the moment, in jazz, a lot of people still want to buy the physical copy, they want a CD in their hands, and they like the vinyl now as well. I think the jazz listening audience is a little different. A lot of the fans realize tha's how we can keep things going. Also the recordings are a promotional thing as well, it's documenting the music and that's a large part of what recording is about.
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CT - If you could play with anybody, whatever the genre, dead or alive, that you haven't played with, who would that be?
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DH - I've always loved sonny Rollins, he'd be high on my list...
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CT - What are your upcoming musical projects?
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DH - I've been playing quite a bit with guitarist Kevin Eubanks, so we're doing some things in the next few months together. For example with Chris Potter and  Eric Harland, we'll be playing a week out on the West Coast in April, at the end of April I'm doing a week in NY at Birland with Kevin as well as Nicholas Payton and Jeff Tain Watts for an album he's launching we recorded last year. And then there's Aziza in Boston with Lionel Loueke, Eric Harland and Chris Potter. I've just  come back from India playing with percussionist Zakir Hussein, he's and amazing musician and I've had quite a few "wow" moments with him...
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Interview : Claude Thibault
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Double-bassist and composer Dave Holland is in concert tonight with the Big Band de l’Université de Montréal, Thursday, March 23, 7:30 p.m. @ Salle Claude-Champagne - 220, avenue Vincent-d’Indy (Édouard-Montpetit métro) and wasgiving three masterclasses March 21st, 22nd and 23rd, for more info on the masterclasses, it's here.


CDJAZZ by Christophe Rodriguez

Éric St-Jean - Résilience

What a nice surprise that reminds us that spring is just around the corner. Unknown to me, although he's been on the jazz scene for a while, pianist Éric St-Jean is an artisan with a certain talent. After five years of hard work, he launches Résilience. As this is a first for me, unless my memory fails me, this release contains a few tasty morcels to be savoured slowly. On six tracks that total over 40 minutes, he expresses his pianistic playing as well as the art of the trio.  Supported by two powerful and creative sidemen, namely drummer Martin Auguste and bassist Simon Pagé, the group is tight.

In between Bill Evans and Keith Jarrett in his best period, namely Now He Sings, Now He Sobs (Blue Note), Éric St-Jean also presents a very personal discourse on six of his compositions. We understand very well that throughout Résilience, he tells the story of his life as well as the life of a musician. With Atterrissage that opens a pandora's box, we're faced by a solid piece, supported by a strong right hand playing that draw superb melodic lines, interacting with the musicians, and it must be said, Simon Pagé's great bass lines. No comments on Bienvenue dans le spleen as we can very well imagine the ups and downs of a life that's not that easy, while The Wheel, with the help of the Fender Rhodes brings a touch that reminds us of the fusion period of the 70s. So you'll easily understand this release is a little gem, just like the pianist.

For his Facebook page, that's here

Christophe Rodriguez is also jazz, classical and book columnist/blogger at the Journal de Montréal


TVJAZZ  July 3 2016
Stacey Kent - One Note Samba - FIJM, July 3rd 2016


Montreal trumpeter Martine Labbé launches Protea, Tuesday April 4th at O Patro Vys.

martinelabbe visage 150x150.jpgMartine Labbé's musical voyage started in Eight Grade when she picked up a trumpet to play in the school band. Right away she started listening to Duke Ellington and Miles Davis, she had found her passion. She loves big band music, whether it be Count Basie, Vic Vogel, trumpeter and bandleader Don Ellis as well as Maria Schneider, they've all had an impact on her.

A young trumpeter that's quite active in world and pop, Martine Labbé has shared the stage with one of her idols Vic Vogel, as well as having played with the Beth McKenna Orchestra, the Big BandYTorchestre, Élage Diouf and Wesli, among others.

Martine Labbé won a Couleur Jazz Grant from Concordia University in 2016, which helps get her project off the ground, a helping hand that made Protea grow.

The musician and composer likes textures, various moods and all the colors of music from here and elsewhere. World music inhabits here. So why is this first project jazz? The trumpet player says that jazz is her first love. So she wants to express herself throught jazz. A fan of the quarter tone, all the pieces of Protea are her  compositions. Beautiful melodies with a bit of big band trown in, and a reflection of her voyages and emotions.

I like the idea of the album's title, Protea, the name of beautiful and exotic flower, rich in color that nicely reflect the vibes of the trumpeter and her compositions. This album launch will be a joyous and festive party. All of the bandmembers (who are all very talented young musicians on the emerging jazz scene) will be on stage to present the complete album. Go and support new talent, they're great.

Trumpeter Martine Labbé launches Protea.

To see the event on FB, it's here
To see the video, it's here

Martine Labbé, trumpet and compositions
André Désilets, saxophone
Modibo Keita, trombone
Melissa Pipe, bassoon and saxophone
Marie-Fatima Rudolf, piano
Mike De Masi, bass
Michel Berthiaume, drums

Tuesday, April 4th @ 6:30pm
O Patro Vys
356 Mont-Royal E    
514-845-3855
--------------------
Coco - coconette@gmail.com
Facebook / twitter
Coco Jazz, Tuesday night 7pm @ 100,1 CKVL FM


We're right in the middle of the 17th Jazz en Rafale going on March 18th to the 25th at L'Astral presenting a number of great concerts from our local jazz artists as well as some amazing international guests. I spoke about Jazz en Rafale and Effendi Records with it's President Alain Bédard.

Alain Bedard penche 150x150.jpgCT - Alain, you wear many hats, you're bassist and founder of Auguste, but also founder of the Quebec jazz label Effendi Records as well as the Jazz en Rafale festival presenting it's 17th edition March 18 to March 25 at L'Astral, in a sector (jazz) that suffers from lack of ressources, where do you find the motivation and energy needed?
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AB - After twenty years thinking about ways to improve jazz in Québec, I've acquired a certain endurance, a certain resistance to challenge, to what it involves to build and maintain a company like Effendi or the Jazz en Rafale festival. My main motivation comes mainly from my passion for jazz. Jazz has been in my life since I was an adolescent. There's been ups and downs but I've always found the energy to get things going and keep them alive. Also my friendship with many musicians and composers from Quebec and elsewhere has greatly encouraged me. Today I'd like to have this same motivation and energy as I did but I have to admit, as time goes by, I'm not getting younger and it's sometimes hard of my health...
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CT - 18 years ago you launched the Effendi jazz label that has a current catalog of 144 albums of mostly Quebec jazz artists, what was your motivation back then?
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AB -  The creation of the Effendi jazz label came from the fact that very few  jazz musicians, mostly unknown at the time, had the opportunity to record on the Quebec labels of the time. I was working at the concert venue of the St-Sulpice Bar on St-Denis where many musicians played. Almost every band that went by was looking for a label to present their projects, but that didn't happen. So because I was working side by side with many of them and also because I had been approached many times for that purpose, I decided to dive in. I'd studied sound design in the early 90s and studio work, as well as album recording, interested me a lot. I'd also acquired some production and marketing experience working on the CD UQAM collection on different aspects (recording, album covers, pressing, etc,) so I decided to embark on this adventure. I researched on the subject and after a year and a half of research and work, April 1st 1999, Carole Therrien and I launched in duo, Effendi with SRI as a distributor.
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CT - Today the state of recorded music has evolved quite a bit, physical album sales are way down, large retailers are closing, DEP, a large distributor, closed just a few days ago, the current streaming models give very little to the artists, what's the future for recorded music?
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AB - It started in 2008 with the financial crisis and the first hints of the digital era. The worst is that the physical product, the CD like it was, doesn't make money anymore for anybody - artists, producer, record label,etc...if you want to buy a record today, just go to Amazon - you can find all the formats, CDs, vinyl, DVDs, etc...And even that, since about two years has declined, less and less people do that because music is free everywhere.  Everything is heading towards streaming - 20$/month on Spotify and/or Apple Music wow! that's incredible. And the quality of the products is getting better and better. Nowadays you can listen to free music on different streaming platforms or you can rent the music you want. That's where the growth is now. Hardly anybody buys music anymore. Who profits? the platforms. It's a real scandal because it gives fractions of pennies to the artists and producers. It's completely unfair. There are still a few countries where the physical product sales are growing - like Japan and South Korea for example. It's encouraging to do stuff there. But generaly speaking thoughout the world, Internet has taken over and the governments are unable to keep up with the size of the phenomena. I think that all the products that can record or play music should be taxed for the music and that should be distributed to an association for a fair redistribution.
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CT - Do you think producing concerts is the best growth tool for jazz? is it the only way out?
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AB - In Québec there are limits to the market. You can auto-produce if you have money, but it's risky. It takes grants and bursuries or it's really hard to make it work. You have to find ways to give concerts all over Canada but also outside Canada in clubs or jazz festivals. The first times you do that, it's like a promo, but if it works it can be repeated and grow. It's not easy for us here in Québec, we don't have many artists with international potential that could tour the world. I'm currently working on a project to facilitate concerts outside Canada for many groups not necessarily with Effendi.  A lot of concert venues are afraid to program jazz - because of the profitability (even if they are subsidized), but also, it's the culture. Concert producers think that by playing a brand of easy-listening jazz or by presenting popular jazz tributes, for example, that it could help jazz in the future. Forget it about original music which producers are afraid of...So what can you do as a musician ? exporting your music or find a job teaching...
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CT - Let's talk about Jazz en Rafale which is presenting, nonetheless, a 17th edition, why a festival in a city with some many concerts, many other festivals and jazz venues?
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AB - We launched Jazz en Rafale the same year as L’OFF Jazz. At the time there were very few opportunities to play in Montréal and outside Montréal. Effendi was releasing more and more records and was already winning prizes and recognition in it's second year. We were also starting to export more and more. I'd always kept track of the different jazz scenes in the US, in France, as well as Italy, Portugal, Scandinavia, in England and Japan. I knew that a good recording with good pieces was a necessity to promote original music made by our Quebec artists, but I also knew that concerts was a priority, which I'd done before. For me, jazz has always been about concerts in the first place. That's where things happen, where the energy of jazz really comes forth and where the public gets involved. And it's still one of the best ways to sell records. We wanted to create a festival with the goal of creating opportunities of exchange in between Quebec artists and international artists. We wanted to open the Quebec jazz market with new talent and also artists that had the heart to present new and original music.
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CT - What's your favorite Jazz en Rafale concert in 2017? (apart from Auguste of course!)
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AB - Each project that I present has something special - this year again the ONJM with Frank Rousseau and Aaron Parks that turned l’Astral upside down last Saturday or Rafael Zaldivar's project that wants us to present his vision of cuban music, or François Bourassa with a new project since nearly 6 years, or again the new Félix Stüssi project, I think his best project yet with many surprises and some singular musical meetings. And then there's the trio of the Luxembourg pianist Michel Reis which is on a fast track, and then the project/meeting of french super-pianist and composer Pierre de Bethmann - unknown here, but with a huge carreer in Europe - who'll be playing with our star sax player Yannick Rieu that never ceases to amaze us with his eloquence and musical openness. They're all my favorite at the 2017 Jazz en Rafale!
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CT - How do you balance your work on Effendi and Jazz en Rafale with your work as a musician?
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AB - It's hard to balance it all. I'm trying to keep Effendi alive and that's a challenge with the problems of the music industry, slow CD sales, less and less subsidies and government help (when sales are down, subsidies go down as well) for either Effendi or Jazz en Rafale. With a label like Effendi for example everything is quickly changing - the market is very fragile with Internet and we can't find ways to stay alive. In parallel Jazz en Rafale has always been volunteer work -  I've always chased government help and private sponsors to make it work. Jazz is still marginal here in Québec. When we compare ourselves to certain organisms in classical music with business people, professionals and people with means as board members, we're lagging quite a bit in jazz. We have some private donations from patrons or fortunate jazz lovers to support our production projects. But all these activities bring water to the mill and create a chain with many links that unify and feed us. On the other hand my work as musician and composer is done in short periods of time, well prepared ahead of time, when I have time. It's hard to say if both my fonctions feed each other because they are so inter-connected, if I may say. One does not go without the other. Sometime my work as a musician and artistic director can nourish the hope of growth of the world of music - oddly enough each new project need a fresh start. Each time we seem to start all over again. 
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CT - Of all the stages and concerts that you played in, tells us of a few "wow" moments...
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AB - My most memorable concert was certainly the one with Dadje in Dakar (Sénégal) with l’Orchestre National du Sénégal in front of a crowd of 40,000, back in 1987. That was WOW!, grandiose and completely out of nowhere.  Other memorable concerts were certainly Jazzlab and the Auguste Quartet with Donny McCaslin and Ted Nash at  Jazz at the Lincoln Center in 2008, 2010 and recently in 2016. It's a very special venue and the acoustics are amazing, the ambiance is something with the beautiful light that disappears with the end of day. Very inspiring - the attention and listening of the crowd is incredible.  Also a Auguste concert at the Casa del Jazz in Rome in 2010, part of a super-tour where each concert was a happening and one in particular with trumpeter Stéphane Belmondo a the Sunside jazz club in Paris. For that tour, we had been welcomed in overall superb conditions.
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CT - If you could play with anybody, dead or alive, who would that be?
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AB - Well there's a list, the first that comes to mind are Bill Evans, John Coltrane, Wayne Shorter, Tony Williams, Hermeto Pascoal, Enrico Pieranunzi, Dino Saluzzi, Eric Dophy, Chico Hamilton, and many others like l’Orchestre de contrebasses de France.
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Interview  : Claude Thibault
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Auguste will be in concert this Friday March 24th @8pm
Jazz en Rafale is at L'Astral March 18, 23, 24 and 25. ( 305 Sainte-Catherine W. / 514-871-1881)
Effendi Records has been around since 1999 with 144 albums produced.

Thursday March 23rd - 8pm Afro-Cuban Revival Project with pianist Rafael Zaldivar 9:30pm François Bourassa Quartet
Friday March 24th - 8pm Alain Bédard and Auguste Quartet 9:30pm Félix Stüssi et Les Malcommodes
Saturday March 25th - 8pm Reis Demuth Wiltgen Trio 9:30pm Pierre De Bethmann Yannick Rieu Rémi-Jean LeBlanc Jim Doxas
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Over two thousand musicians get together to celebrate the 39th edition of the JazzFest des jeunes du Québec on Saturday April 1st in St-Hubert.

DSC_1298.JPGAs part of this annual jazz festival, ninety different bands will be performing on six separate stages at André Laurendeau High School in St.Hubert.  Let the big bands, combos singers and others carry you through a musical happening like no other.  Among the musical ensemble present, some will get the opportunity to perform on the big stage of the Festival International de Jazz de Montréal.

As it has now become a tradition, the JazzFest des jeunes du Québec will end with sound and colors with a Big Band concert featuring a tribute to recently departed bandleader Jean-Pierre Lambert. Over twenty professional musicians will act as judges and coaches in a special workshop including Ron Di Lauro, Jocelyn Couture and Jean-Pierre Zanella.

The "Prix-Hommage JazzFest 2017" will be awarded posthumously to Jean-Pierre Lambert.

April 1, 2017, 8 :30am to 7 :00pm
Adults : $10.00 / Students and seniors : $5.00 / 12 and younger : Free
Information : 450-465-3628
www.jazzfestdesjeunes.qc.ca
7450 boul. Cousineau, St-Hubert


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