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ALL THE QUÉBEC JAZZ NEWS SINCE 2003

JazzBulletin   -   Thursday June 21 2018 to Sunday July 8 2018

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Local jazz icons Rémi-Jean LeBlanc, Simon Denizart, René Lussier, Vincent Rehel and more, at the Festival International de Jazz de Montréal from June 29th to July 7th.

FIJM18_web_150x150_RemiJean.jpgA festive line-up of local jazz acts awaits you at the 39th edition of the Festival International de Jazz de Montréal!

On Thurday June 28, bass player extraordinaire Rémi-Jean LeBlanc invites jazz lovers to join him for an incredible evening. He will be leading a quartet including  NY guitarist Nir Felder, pianist Rafael Zaldivar and drummer Samuel Joly to perform the music of his latest album, Déductions! (read our interview with Rémi-Jean here).

The following evening, Friday June 29th pianist Simon Denizart and percussionist Elli Miller Maboungou will enthrall audiences with their own brand of soft and subtle melodic jazz, marked by occasional flights of neoclassical fancy. The piano virtuoso and percussionist will be performing the pieces from his latest album, Darkside. Here's a video of the duo.

On Saturday July 1st, the festival is pleased to welcome the famed guitarist and composer René Lussier, who has created many film scores and albums of original music, each with its own distinctive style. The seasoned melodist will be presenting his all-new project on this groove-tastic evening with the help of avec la complicité de Julie Houle, Robbie Kuster, Luzio Altobelli and Marton Maderspach. Don’t miss it!
 
Lastly, on Sunday July 2, renowned pianist Vincent Rehel will be performing the music off his latest album, Le capitaine ivre. He will be joined on stage by bassist Jean-François Lemieux, drummer Max Sansalone, singer Sonia Johnson and trumpet player Jacques Kuba Séguin. We’re in for an intoxicating time!

For the complete programming of the TD Jazz d'ici La Presse+ series, it's here

For tickets and information, visit montrealjazzfest.com


Alto saxophonist David Binney's Alhambra Quartet, a reference to his LA neighboorhood, with pianist Luca Mendoza, bassist Logan Kane and drummer Nate Wood are at the Gesù in the Jazz dans la nuit series, Thursday July 5th at the 39th Montreal Jazz Fest.

David Binney interview.jpgI spoke with David Binney from his LA home about his move back from NY, how the LA and NY music scenes are different, how he got the Alhambra Quartet together, what they'll be playing Thursday July 5th, what he likes the most about music, what he likes the least about music, his recognition as a composer, some of his fav upcoming sax players, what he heard when he was young that got him into jazz, what other instrument(s) he'd like to play, the sax that he plays, what he listens to driving and a recent WOW musical moment he's had.
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CT - So David how did you get the Alhambra Quartet together?

David - I've got a long history of playing with drummer Nate Wood, for many years in NY, as well as in LA before he moved to NY. I wanted to do something with Nate in Montreal. I just moved back from NY to LA and since I've been back in LA I've been playing with all these young guys, and there's a whole new scene happening here. NY has gone down a lot in the last couple of years as far as the jazz scene and the art scene, it's gotten too expensive so many are leaving and a lot of people are coming here. A lot of young musicians are now staying in LA coming out of schools like the Monk Institute and the USC, and they're all great. So I've met a lot of them and played with them. Like bassist Logan Kane that just turned 21 and who's just amazing. Luca Mendoza, who's a real great pianist who just turned 19, and the son of famous musician Vince Mendoza - if you talk to Vince he'll say that Luca has his own thing going - he's really amazing. So I wanted to put together a couple of the young guys from here that I've been playing with, it's the sound that I was hearing and it works. It's gonna be a great concert. It was originally booked as a trio and I added Luca later so it would be nice to get the word out that it's a quartet and that Luca's on the gig. And I wanted to bring a LA-based band to Montreal.

CT - So the music you'll be playing and the vibe we can expect on Thursday July 5th at the Gesù?

David - Most of the music that we'll do is newer music than the last record. There maybe one from the last record and a couple of pieces from Luca. One of them he wrote to a speech by Cornel West, a Columbia professor and another that's a odd-time/shifting crazy piece that's really great. The rest will be mostly my music, we might do one of Logan's tune. And maybe some stuff from older albums. A lot of improvising and written stuff, solo features, a lot of variety.

CT - What's your favorite part about playing music? is it the creativity? the connection with the musicians?

David - Yes all of that of course. For some unknown reason it attracts me and feels like the right thing to do. It's like an addiction, I like to write music and to produce music and play, it also feels like the right thing to do in my life, presenting music to people and making people feel good, it feels positive, bringing something to society. Also what's really nice is all the people that I've met thru music are my favorite people, there's good people and they're open, accepting and creative.  Also the ability to travel like coming to Montreal, a city that without music I would probably not have know and because of music, I know it real well.

CT - What do you like the least about playing music?

David - The thing I like the least about it is probably the same as in life in general : the celebrity of it. The adulation that some people give saying this is the best music and musicians and this person's the best and in reality you know that it's not the case at all. I try to just ignore it. And it has a impact on the business aspect of what we do because it does take away from some gigs and bookings. Its also one of the reasons I moved from NY back to LA. There's a lot of infighting on the NY scene because it's so expensive there's not so many opportunities and that breeds a lot of bad things and I don't feel that out here. We've got this incredible band that audiences would love and you get turned down and you see who they take instead, it's stunning sometimes. In NY at a certain point I even stopped booking my band doing more sideman work, producing other musicians and putting my music on Bandcamp.

CT - Being a composer...is that something that doesn't get recogniszed as much?

David - Definitely. If you look at the influence that my South band has had on other bands, you can actually hear music on some very specific songs and I know where that's from. A lot of people in the universities, especially at a certain time, came up listening to my music and it become quite popular on colleges. So yes, I don't get recognised much for that, and that's amazing to me and to a lot of other people as well. Ask Chris Potter, Craig Taborn and Brian Blade and they'll tell you the same thing. Maybe once I die it'll happen in my eulogy. Politics and records labels get into that equation as well. Like with Blackstar, Donny McCaslin's Band with David Bowie, it would'nt have happened without me and the press ignored that. Donny didn't want to do electric music and I had to talk him into it, I put the band  together, I said get these guys, I wrote a lot of the compositions and when it came to Blackstar I hardly got any notoriety from it.

CT - Who are you fav upcoming saxophonists?

David - Some young players from out here like Shai Golan, originally from Israel, he went to Manhattan School of Music, I played with him quite a bit like at NY's 55 Bar, he studied with Donny McCaslin and Donny was saying I don't know what to say to this guy, I want to ask HIM some questions...so look out for him. Henry Solomon who's also out here doing some very interesting things. Another great alto player is Josiah Boornazian, and all these guys are in LA.

CT - What did you listen to as a kid that led you to become a musician?

David - I was 12 and I remember the exact day. My parents were jazz fans and had a jazz record collection. I was intro Hendrix and Sly and The Family Stone and stuff like that. They were in the other room watching TV and I was listening to Coltrane's My Favorite Things and John Klemmer who was a LA saxophone player, a kind of a free jazz player. In the 80s he made and album called Touch. Anyway I remember telling my parents I wanted to play saxophone and they said OK, we'll see what we can do. Within two weeks I had a saxophone and a saxophone teacher in grade school where they used to let me go 15 minutes before the end of school so I could go and study saxophone in the next room with a teacher. At 14 I already knew I was going to move to NY and play music and never came back until last year. My mother was intensily proud, playing my records, and everything that came out in the press she'd frame. She was a big big supporter.

CT - What other instrument would you like to tackle?

David - I'd probably say the piano because I could play more than one note at the time and use it for writing, more likely is the electric bass because I have one in my studio and play it already. Maybe the drums, I've got a set but no symbals yet.

CT - What are you listening to these days driving around?

David - Chuckles. That's a great question because I was telling that to somebody and they went "really ?". The radio stations out here are great, much better than the East Coast, a lot more college stations and they seem freer to play what they want. I'm into electronic music and rock so I mostly listen to that at this point as opposed to jazz. But what I've been listening to for the last month or so everytime I get in my car is new country music and there's a lot of stuff that I really like, and for various reasons, the songwriting, the production, the lyrics, I like the fact that they still use real musicians - like in Nashville. There's just something kind of innocent about it, there's a lot of music in this day and age that is pretty dark and serious. And some of this new country music is not that, it's about relationships and having fun on Friday nights and things like that. And it's good music to drive to. That's the current phase I'm in.

CT - Sax talk...how many saxes do you own and which one is you favorite?

David - I have a C melody saxophone and I'll use it around LA, a soprano, but 99,99% of the time, like I'll have in Montreal, I play my Selmer Mark VI alto.

CT - Tells us about a wow moment you're recently had playing ?

David - There's been a few gigs recently at NY's 55 Bar, because that gig has stayed true to what real improvisation is. There's been some moments, like one of the gigs with Nate Wood on drums, Matt Mitchell on piano, Matt Brewer on bass, it was just off the charts, and it was WOW. Incredible. Special moments. I should video them.

Check out this great video of David Binney in Los Angeles named Future Philosophy :

https://www.youtube.com/watch?v=z0ah6qHEWLs&feature=youtu.be


David Binney's Alhambra (LA)
David Binney on the alto sax
Luca Mendoza at the piano
Logan Kane on bass
Nate Wood on the drums

Thursday July 5th 10:30pm et the Gesù
Jazz dans la nuit
Festival International de Jazz de Montréal
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Interview : Claude Thibault


Virtuoso guitarist Stéphane Wrembel talks to us about gypsy jazz, Django, Woody Allen, film music, The Django Experiment 1 and 2, his musicians, a WOW moment of his career, the Django a Gogo Festival, in concert at the FestiVoix in Trois-Rivières Friday July 6th and at the Festival International de Jazz de Montréal Saturday July 7th.

wrembelentrevue.jpgCT - Stéphane what attracted you to gypsy jazz and Django's music?

SW - I wanted to discover more about jazz and that's why I got into Django, I know he's not what you could call a typical jazz guitarist, even thought he sometimes plays a lot of jazz chords, but it's something else, and that's why I got into him. So I bought one of his records, listened to him a whole lot more, and it was a revelation.

CT - What did you learn in the gypsy jazz camps that went behond the music and the notes?

SW - It's hard to explain. They have a traditional way of teaching and learning, they have no school and learn directly from each other, from master to pupil. But  mostly they have another way of doing things, things that you experience that you can't really explain with words. It's like seeing a film on Paris and the day you're there walking on the streets it's something else, there's that little something that you can't explain in words, another culture, way of living and vibe. So that's the way I learned, from master to pupil. They've kept Django's technique and vocabulary but in a different state of mind, if you listen to Django it doesn't really sound like gypsy jazz, there's something else with Django. Django is a bit like a hub, you can get something out of Django and go somewhere else, in different directions. The first approach was nonetheless with the manouche, and Django was a manouche.

CT - We have to talk a bit about Woody Allen and Midnight in Paris/Vicky Cristine Barcelona, did that experience make you want to write more film music?

SW - You're born to make film music or not. For me it's something that I've always has ease and fun doing so yes I'd like to make more film music. That problem with films is that they require big budgets, ressources and there's a lot of people involved. What's hard is not writing the music itself but rather getting into the circle of film music composers. Yes I'd like to do more film music, if I could, that's all I'd do.

CT - And what you'll be playing for these concerts, your latest albums and maybe a few gypsy jazz standards?

SW - Each concert is different, it depends of our mood, the room and  the public. Usually we only play my pieces but we've got this new project, The Django Experiment 1 and 2, two albums we released in March at Carnegie Hall for the Django à Gogo Festival in which we revisit a lot of Django but with our sound. We recorded a sound that was close to a concert sound, live in studio with our amps like if we were in concert. We try to keep that sound as well as the NY sound. So that's a bit about what Django Experiment is. So in fact this tour is to help promote these two albums, as well Live In India and more. We'll play a bit of everything, some Django some non-Django. And of course the Woody Allen themes. We're influenced by music from everywhere, from India, from Africa, etc...

CT - Those influences, how do you integrate them into your music?

SW - I always go back to the archetypes. Europe developped harmony and its extensive grammar, India rhythm and its extensive grammar. I see five things in music, a trilogy and a duo, so the trilogy of harmony, rhythm and sound and then the duo of the state of mind of composition and the state of mind of improvisation. And I think melody helps all of that. And then it's also a matter of how you do things when you're improvising and composing. Its about finding the melodic curve that connects those five elements and that's behond genres. Rhythms was developped in India, as well as Africa. In Europe we've been working on melody for the last 1000 years to acccomplish something extraordinary.

CT - Tell us about the musicians in the band...

SW - On guitar there's Thor Jensen who's from the american rock sound realm, you know the slide, the Strat, the Telecaster, amps with tubes, a very very complete guitarist, one of the best rock guitarists I've evev heard. We've got a solid harmonic and rhythmic base and structure but on the inside it's open. He knows Django very very well and know jazz quite well, he's got a broad palet of sounds and great timing. On basse we have Ari Folman-Cohen, he started playing classical violin when he was quite young, and then he played bass, played a lot of funk, soul, R&B, things like that, and then moved on to jazz, he has a very powerful sound, with a strong attack, marks time very well, he's a tower of power (laughs), a nuclear power plant, with amazing solos. On drums, it's Nick Anderson, one of the best drummers of the world, quite in demand in NYC. He's got a huge musical culture, he's played punk, reggae, jazz, classical, contemporary, etc... He plays everything really well, a great sense of timing and a great sound. When he's playing the brushes, when we're playing swing, I've never heard anybody play like that.  

CT - Tells about a WOW moment in your carreer, having played with so many great musicians...

SW - The Carnegie Hall March 3rd Django a Gogo concert with Stochelo Rosenberg, Al Di Meola, Larry Keel, was something really special. Playing Carnegie Hall is really a great moment, but this mix of players, it's something that had never been done you know. We played Al Di Meola's Mediterranean Sundance, that's like every young guitarist's dream. I've been listening to that piece since I was 15. And Stochelo is one of my masters, playing Django with Al Di Meola he'd never done that, and we played Nuages with us, and then Indifférence, stuff like that, it was really amazing.

CT - I like how in 2003 when you arrived in NY you approached many french NY restaurants and played quite a bit.

SW - Restaurant gigs help maintain a certain technical level, work new pieces and be incognito.  When I arrived in NY in 2003 I had to make a living right away, so I played in restaurants and had students. I found all the french restaurants that had live music and on Yahoo offered guitar classes. After one week I had 3-4 gigs a week a 7 students. A year later I had 9 gigs a week and 20 students, so I was quite busy. It was a physically intense period, playing every night, so about 450 times a year.

CT - Ever played with Woody Allen at the Carlyle?

SW - No but I met him on the set of Magic in the Moonlight à Nice, I played a scene that was cut, so I discovered Woody from the inside. He's a real calm and very nice person.

CT - At the Festival Django a Gogo that you founded do you work as much as you have fun?

SW - With music I sometimes have trouble making the difference in between work and play. The last one was very stressful, it had to be done but it was a lot of stress but when I walked on the stage of Carnegie Hall March 3rd with Stochelo and Al all of that disappeared. I worked on everything, really everything, the scheduling of the concerts and the masterclasses, the students, etc...I was my last as a producer the Festival will be produced by another company but of course I'll remain as Artistic Director and I'm actually working on the next one.

CT - What would you like to tell our readers about these Quebec concerts and what they can expect...

SW - It's always been hard to describe our music, it's always been a problem with our advertising, nobody's ever been able to describe our music very well, we don't play a genre. What's important for us is the message that's inside the music, the world of dreams and philosophy as well as NY's voodoo energy, the concerts are explosive and you won't get bored. And because we're always playing together, all year-round, it's like Barcelona's 2010 team (soccer), everybody's a forward, everybody's a defence player, a middlefield player, we play so much together, we know each other so well, it's hard to explain.
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Videos :  For Apocalypse, it's here  / For Blues Mineur, it's here / For Irene's GJ Adventures 251, it's here
The Django Experiment 1 and The Django Experiment 2 on CDBaby. The Django a Gogo Festival
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Trois-Rivières at the FestiVoix - Friday July 6th @ 5:45pm
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Montréal at the Festival International de Jazz de Montréal - Saturday July 7th @ 8pm
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Interview : Claude Thibault
 


Master harmonicist, pianist and composer Howard Levy gives concert and masterclass at Résonance Monday July 2nd.

Howard Levy 150x150.jpgMultiple Grammy-Award winner and founding member of Bela Fleck & The Flecktones, harmonicist Howard Levy, gives an intimate concert and masterclass at the Résonance, Monday July 2nd.

A truly groundbreaking musician, Howard Levy is an acknowledged master of the diatonic harmonica, a superb pianist, innovative composer, recording artist, bandleader, teacher, producer, and Chicago area resident. His musical travels have taken him all over the geographical world and the musical map. Equally at home in jazz, classical music, rock, folk, latin, and world music, he brings a fresh lyrical approach to whatever he plays.

This has made him a favorite with audiences worldwide, and a recording artist sought after by the likes of Kenny Loggins, Dolly Parton, Paquito D’Rivera, Styx, Donald Fagen, and Paul Simon. As a sideman, Howard has appeared on hundreds of CDs and played on many movie soundtracks.

Featuring: Greg Amirault (guitar), Joel Kerr (bass), Martin Auguste (drums)

"…Howard Levy is a revelation; there are times when it is hard to believe he is playing only a harmonica, for he has the expressive range and depth of a saxophonist.” Geoff Dyer, The London Observer

″…may be the most radical single technical innovator in the history of his instrument…” Kim Field, Harmonicas, Harps, and Heavy Breathers.

The event on Facebook, it's here

www.levyland.com

Masterclass - 3:30pm to 5:30pm : $40
Masterclass + concert 8:30pm : $65
Show: $35 (door) - $30 in advance (https://www.eventbrite.ca/e/howard-levy-tickets-46760542040)
+ Live critique during masterclass: $85 (limited space - reservations required)


CDJAZZ by Christophe Rodriguez

Urban Science Brass Band - Live and Raw Vol 1.

Now here's a real nice summertime treat. Most festival-goers, especially those of the Festival International de Jazz de Montréal have probably experienced and danced to the groovin' sounds of the Urban Science Brass Band. Going back to the roots of jazz, as well as to the bandas (marching bands) from Spain and the South of France this happy bunch of a dozen or so musicians and dancers led by saxophonist Vincent Stephen-Ong, plus 2 singers/MCs, supported by some electronic grooves, know their thing and do it like noboby's business.

They've done some magic by giving a new and fresh sound to something from the past, even if the sound from the live January 1st Lion d'Or recording isn't top studio quality, but don't let that keep you from having a good time listening to this music. Summer's just in with parties and BBQs, have a drink, but not too much, and get down and dance!!! It's all good and musically this partyfull band get it on. If you liked Zebda's Tomber La Chemise, The Next Episode should bring back some souvenirs, just like with Feels So Good which has nothing to do with Chuck Mangione's tune. On the same thread, check out the very funky No Problem, as well as the revisited Rapper’s Delight, a real party tune.

This new release is right on and opens the festivals season with a smile!

Hear them everyday at the Festival International de Jazz de Montréal June 28th to July 7th @ 5pm in a parade mode, departure at the corner of Sainte-Catherine & Saint-Urbain.

Intro / Humble / Rappers Delight / No Problem / Get Ur Freak On / Bad and Boujee / The Message / Feels So Good
Alright / Crazy in Love / Pass the Courvoisier / The Next Episode / Apache

Urban Science Brass Band
Vincent Stephen-Ong (alto sax and bandleader)
K.O.F (MC)
Scynikal (MC)
Lex French (trumpet)
Andy King (trumpet)
Isaac Gesse (trumpet)
Christopher Vincent (trombone)
Julie Richard (sousaphone)
T-Cup (drums)
Anthony Pageot (drums)
Krypto (dance)
Abnormal (dance)
featuring : Don Mescal (hôte)

To see a video sample, it's here

For their Facebook page, it's here

For more info : Urban Science Brass Band

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


TVJAZZ  October 5 2017
Rémi-Jean Leblanc Rafael Zaldivar Greg Ritchie avec Ben Wendel - Interpersonal Standpoint - L'OFF Jazz, Oct. 5th 2017


Gorilla Mask's intense improvisation at the Résonance Monday June 25th.

Gorilla Mask 150x150.jpgThe Gorilla Mask trio is led by Berlin saxophonist Peter van Huffel, a fan of Coltrane, Ayler & Zorn. He's joined by bassist Roland Fidezius and drummer Rudi Fischerlehner. An explosive trio that delivers powerful discharges on stage with astronomical precision. A mix of experimental jazz, punk-rock and metal, their music is strident, impulsive and liberating.

They released Iron Lung last year and will come and present a concert rich in improvisation, the first of coast-to-coast Canadian tour. Next Monday they'll be joined in the first part by three other impressive improvisers, Jason Sharp on the saxophone, Nicolas Caloia on bass and Pierre-Luc Simon at the drums.

A night of madness and chaos with virtuosos who like to play somewhere in between genres. Check out this high-energy music, unpredictable and galvanizing concert.

The Facebook event page, it's here

The Gorilla Mask Facebook page, it's here

For more info : gorillamaskmusic.com/

Monday June 25th 10pm
Résonance
5175A Ave. du Parc   
514-360-9629
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Benjamin Goron : benjamingoron@gmail.com
Facebook / twitter


Interview with bassist Rémi-Jean LeBlanc who's releasing Déductions with NY guitarist Nir Felder, pianist Rafael Zaldivar and drummer Samuel Joly at l'Astral in the Jazz d'ici series of the 39th Montreal Jazz Fest, Thursday June 28th 6pm.

RJ Leblanc Deductions 150x150.jpgMaster of his instrument, bass Rémi-Jean LeBlanc is playing in a chill mode even his fingers are flying all over the bass like nobody's business. The bass prodigy is back heading a quartet, including guitarist Nir Felder to play music from his latest album, Déductions.
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CT - Rémi-Jean, how'd you get into jazz?

Rémi-Jean - In Moncton when I was 10-11 I was listening to Nirvana, Green Day, the Smashing Pumpkins. I started playing with trumpeter Roland Bourgeois (that's the father of both drummer Al Bourgeois and sax player André Bourgeois - a true acadian jazz mob!), he wanted to have a band with his sons and was looking for a bassist. So for 4 years every Tuesday we'd pratice and jam in his basement, I'd slap my bass and started improvising. Roland gave us cassettes to listen and to practice with and he's given me cassettes of Steve Swallow, a lot of Paul Chambers and a Canadian band, Metalwood. Roland showed me how to play with forms and structure and improvisation. I remember copying solos from Jean-Pierre Zanella! At 17 I came to study at the Université de Montréal.
 
CT - Bass or doublebass?

Rémi-Jean - It's 50/50. I identify myself maybe a little bit more with the electric bass but I also had my doublebass-only periods. Depends of the projects I'm playing on. On Déductions I play two pieces on the doublebass and five on the electric bass.

CT - Déductions is your third album after Neufs histoires plus ou moins courtes pour sept musiciens in 2013 and Ensemble Rémi-Jean LeBlanc in 2009...tell us about that...

Rémi-Jean - I wasn't really planned out and thought of as a concept album. It's more like a conclusion, in terms of the pieces that I've been tweaking and tweaking and tweaking them for the last 5-6 years until I figured I had a batch of tunes that I liked. At the end of last summer I decided I'd record them and invited Nir Felder who was very enthousiastic, we'd played together at L'OFF Jazz 2017 and at Upstairs in 2016 and we'd kept the contact. I asked him if he wanted to come and play in Montreal and he said yes. So I figured it was a good time to record and the Montreal Jazz Fest proposed a concert to present it.

Chanson pour CJ / Déductions / Guidoue / Shanghai / Talk Loud Not Soft / You Do You / Music Will Always Be Your Friend
Miniature No.1 / Miniature No.2 / Miniature No.3


CT - So Déductions, Thursday June 28th at l'Astral for the Montreal Jazz Fest with guitarist Nir Felder, pianist  Rafael Zaldivar and drummer Samuel Joly...what kind of vibe can we expect?

Rémi-Jean -  So expect a bit of a rock/jazz groove, that I have, just like Nir and Sam, who plays with Fred Fortin, Marie-Mai etc. But also ambiant. I want to do a show that isn't one song after another song, and another song, so we might do some segues (pieces that follow each other without a pause) and vamps (a musical form that repeats itself). So maybe something like a real long piece or suite. Rock, jazz, ambiant, a lot of improv, interludes, sometimes just the bass, sometimes just the guitar, extravagant, groovy, intense.

CT - What do you get out of going to NY as a musician?

Rémi-Jean - The level of music is really high. It's very inspiring. You go to NY for a week and when you come back you're super energised and completely wired. It's like a wild and untamable beast, there's so much drive there. I go to Small's, the 55 Bar but my fav hangout is the Cornelia St. Café. When there's a good show at the Vanguard I go there too. Last week is saw trumpeter Keyon Harrold at the Blue Note. (He's at this year's Montreal Jazz Fest).

CT - As a bassist what do you look for in a drummer?

Rémi-Jean - It's hard to explain. It very much the concept ot keeping time, where you play the note in the rhythm, some musicians tend to feel the note a bit ahead of the time, some a bit behind and some smack on. The bassist and the drummer must feel the time at the same place. With Sam Joly it works really really well. The drum is grounded but he tends to feel the time a bit ahead with the symbals, he has a real nice feel to his drum playing. Everybody's looking for the dream drummer. A drummer's phrasing can make a huge difference in a band.

CT - Bassists you listen to?

Rémi-Jean -  Meshell Ndegeocello, Sam Wilks with Knower, Tim Lefebvre.

CT - What's up after the Montreal Jazz Fest?

Rémi-Jean - I'm going camping!

CT - What do you listen to driving?

Rémi-Jean - Guillermo Klein, Nate Smith, new talent...

CT - You've played with some many great musicians. Tell us about a wow moment you've had playing?

Rémi-Jean - With Ben Wendel at L'OFF Jazz in 2017 and at Upstairs in 2016, with Rafael Zaldivar and Greg Richtie, there was so much fire! Also back in 2011 with Sam  Joly, Yannick Rieu and Rafael Zaldivar, it was one of Yannick's projects and it was a dream band.

For Interpersonal Standpoint that we shot of Rémi-Jean LeBlanc with Ben Wendel at L'OFF Jazz 2017, it's here

Rémi-Jean LeBlanc Nir Felder Rafael Zaldivar Samuel Joly - Déductions
Thursday June 28th 6pm
The Jazz d'ici series at L'Astral - for more info www.montrealjazzfest.com

Déductions
on iTunes and Spotify
-----------------------------------------------------------
Interview : Claude Thibault


TVJAZZ  October 27 2010
Howard Levy Greg Amirault Quartet at Petit Campus Wednesday Oct 27th 2010


TVJAZZ  July 6 2013
Antonio Sanchez Migration with David Binney John Escreet Matt Brewer at the FIJM, Friday, July 6th, 2013


TVJAZZ  June 27 2014
Mike Stern Bill Evans Band - FIJM, June 27 2014


TVJAZZ  July 1 2017
Mark Guiliana Quartet - Family First music - at the Mtl Jazz Fest July 1st 2017


TVJAZZ  July 2 2017
Andrea Lindsay - Le poinçonneur des Lilas - at the Mtl Jazz Fest July 2nd 2017


TVJAZZ  November 17 2017
Stéphane Wrembel Band - Les Yeux Noirs - Église St-James of Trois-Rivières, Nov 17th. 2017


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