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JazzBulletin   -   Thursday August 16 2018 to Friday August 31 2018

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For jazz musicians and professionals

The Stanley Clarke Band at the Festi Jazz International de Rimouski, Sunday Sept. 2nd.

3 - Stanley Clarke 150x150.jpgThe Festi Jazz International de Rimouski is pleased to welcome one of the most exciting band actually on the planet: The Stanley Clarke Band, performing on Sunday September 2nd at the Salle Desjardins-Telus. Four-time Grammy Award winner, Stanley Clarke has attained «living legend» status during his over 45-year career as a bass virtuoso, being recognized and rewarded in every imaginable way: gold and platinum records, Emmy nominations, virtually every readers and critics poll in existence,  and more.  He is the first bassist in history who doubles on acoustic and electric bass with equal ferocity and the first jazz-fusion bassist ever to headline tours, selling out shows worldwide. For its first time in Rimouski and only show in Canada in 2018, he will by accompanied by Shariq «Rik» Tucker on the drums, Cameron Graves on the keyboard and the young prodigy Beka Gochiashvili on the piano.

To see a video of the group in fusion version of Goodbye Pork Pie Hat at the Festival Jazz en Comminges, it's here

The Festi Jazz International de Rimouski takes place from August 29th to September 2nd. Jazz fans can contact Spect'Art Rimouski ticket office (418-724-0800 or for tickets or for the Passport which give access to all of the festival's shows. Sold only $ 160, it’s an economy up to $ 100 for those who don’t want to miss anything!

More information at

Jazz vocalist David Linx is at the Festi Jazz de Rimouski Aug. 31st and talks to us about Quebec, his inspiration for this concert, his father, his influences, his singing, jazz and languages, his duo with bassist Michel Hatzigeorgiou, and more...

David Linx Michel Hatzigeorgiou 150x150.jpgCT - David Linx, what a treat to connect with you before this concert with Michel Hatzigeorgiou at the Festi Jazz International de Rimouski Friday Aug. 31st, so,  welcome back in Quebec, as you'd been here with Diederik Wissels in August 2015, but that time it was on the other side of the St-Lawrence River, at the Domaine Forget.

I read that you'd written new pieces with bassist Michel Hatzigeorgiou for this concert, that's a nice gift for the Festi Jazz! I'm guessing that Quebec and its wide open spaces have inspired you...otherwise what inspires you these days?

DL - I've been in Quebec a few times, at the Montreal Jazz Fest in 2005, at the Domaine Forget and I'll be back in February for 3 concerts with the
Brussels Jazz Orchestra. The Quebec landscape is impressive and I feel inhabited by another kind of inspiration that usual, much larger and quieter than what I'm used to, I'm a city animal used to a more nervous and excited energy. I grew up and lived  in between Bruxelles, Paris and New York and usually most tours are in larger cities.

Today, as always, I draw my inspiration by listening to what I don't already know, like young musicians because their new talent is incredible, like each new generation is. But you're really and artist when you're a witness of your time, in other words, being able to speak with beauty and energy, with all the means that we have, of what's going on today. Writing is done in many layers. A text can be read like a ballad but underlying it you realise that Trump's uglyness, for example, is also there. You have to talk about yourself without reserve before talking about the other person. That's how a song becomes universal. You have to be a vessel.

CT - With the childhood that you had and your upbringing could you have been anything else but a musician?

DL - Yes and no. Our father always left us free to choose and I know that secretly he would've like that one of us had gone to University. But what he liked to see above all is the will to do something. Music is a domain in which nobody's expecting you. You've got to create your space and that's were willingness replaces a certain arrogance. Quite young I received so much support and that gave me good fondation. It's when it lasts that carreer makes sense.

CT - And younger, who were the jazz artists that turned you on to jazz?

DL - Very very young it was, and it still is, Miles Davis. When I was 4 I wanted to be what I heard at home : Miles Davis. At that age I actually thought that he was a singer. So when I'm asked who's my favorite singer, I often say Miles Davis. Also because he lost his voice so young, his trumpet became his voice. When he's playing, you can hear murmurs, screams and whispers. I had the chance to meet him when I lived with writer James Baldwin in New York and Saint-Paul-de-Vence. He was one of the most complete artists that I knew, like James Baldwin, or Pablo Picasso.

CT - Your interpretations are very creative and uncommon, I hear instruments in your voice, which ones are they?

DL - I don't imitate instruments but they have a major influence on me. I've worked a lot with recordins from Miles Davis, Sonny Rollins, Bill Evans, Michael Brecker, Chick Corea, Sonny Stitt, John Coltrane and so many others, mostly to work my sound. But what defines me as a singer, in my case, and completely free, are the words, that's what gives me my role, even if I can improvise in any context. A singer that doesn't master his text is doing an imitation and I'm not into that. But that's me.

CT - One of our great Quebec singers, Ginette Reno, once said that jazz singing happens in english, you seem to agree with that...

DL - I love Ginette Reno, she's a legend and a great lady but I'm afraid I don't quite agree. I've recorded in over 15 languages and I'm convinced that I'm the one swinging, not the idiom. Jazz, over and above genres, is a constant interaction in between melody, harmony, rhythm and tempo. Without that jazz doesn't happen. The most complete singer for me is Betty Carter. For me very few of today's vocalists that define themselves as jazz singers, are. They use the nostalgic color of a certain brand of jazz but it remains peripheral by using it's charm as a major bond. Nothing wrong with that but it prevents a certain interaction. When I'm singing Round Midnight in english or in french, it's exactly the same for me, if it's not, I'm the problem, not the language, if, of course the text is well done in both languages. Singing jazz is a lot more than nostalgia.

CT - And this collaboration with bassist Michel Hatzigeorgiou, how did that happen?

DL - I've know Michel since I was 16 (I'm 53) and we've played and recorded together in many bands (Aka Moon, on my record with James Baldwin and Steve Coleman, among others, Toots Thielemans, etc). We'd always wanted to do a duo. We're very proud about it because it's the result, in simplicity, of our respective 40 years in music. 

CT - You'll also be giving a masterclass in Rimouski, it's important for you to pass on and share with the next generation?

DL - Passing it on, specially in a world where culture is constantly at risk, is essential. But knowledge and transmission are even stronger if the student's curiosity is alive. My authority will only be justified by the level of curiosity of the student. It takes away hierarchy and makes room for mutual respect.  In today's world where politics are practically always immoral and where music, among others, is used as a media tool to crush the others, we've got to make room for something else than the daily entertainment drivel.

CT - And you, when you were younger, who passed it on to you?

DL - In my youth there weren't any schools so I got the mentors that I felt were important for me, and not necessarily in my domain, singer, althought I studied piano, flute and the drums. In that case it was mostly Kenny Clarke and James Baldwin with whom I lived. There are others like my godfather Nathan Davis. And also Ella Fitzgerald that I met when I was 14. Touching her arm was the confirmation that I needed after singing with her albums for years. What a tremendous person and what a beautiful person. But I'm still learning every day by keeping my eyes open, in particular with my students.

CT - Your fav jazz singer and why?

DL - My favorite vocalists are Ella Fitzgerald, Betty Carter: for me she transformed scat into vocal improvisation without directly imitating the instruments. There's also Jimmy Rushing, Mark Murphy : I was his drummer when he came to Benelux. There's also Shirley Horn, Jeanne Lee and Abbey Lincoln. As well as Jeff Buckley, Nusrat Fateh Ali Khan, Abdelhalim Hafez, Joni Mitchell. I adore my friend Lenine, a brazilian singer. And so many more...

CT - What do you listen to in your car?

DL - I don't have a car. Because I live in Paris and travel too much to have one. But if I did, I'd listen to Mingus, Carla Bley, Earth Wind and Fire, Led Zeppelin, Frank Zappa, Miles and all the ones I've already named, and more. With the volume cranked up and the pedal to the floor.

CT - You've played with so many great artists, tell us about a WOW! musical moment that stands out...

DL - It's hard for me to think about just one special moment. With 40 years of concerts and recordings, there's many. But a stong moment when you're young is being on stage with or in the studio with childhood legends. Or the first time with a Big Band, for me it was the Count Basie Orchestra with Frank Foster that had arranged the pieces, or when I recorded my CD with James Baldwin that recited his poems on music written by Pierre Van Dormael and with twenty musicians such as Steve Coleman, Toots Thielemans, Slide Hampton, Bob Stewart, and Michel Hatzigeorgiou...The first time with a symphonic orchestra. But mostly my project with Diederik Wissels going on thirty years that remains each time a renewed experience. There's so many more...

CT - What more would you like to tell our readers about this Aug. 31st concert? What can we expect?

DL - A warmhearted moment of sharing with all.
Vocalist David Linx and bassist Michel Hatzigeorgiou.

Friday Aug. 31st 7:30pm in the Les Grands Spectacles series of the Festi Jazz International de Rimouski.
Friday Aug. 31st 11am : Masterclass by David Linx for all at the Festi Jazz International de Rimouski.

For the Roxanne video, it's here

For the Letter To My Son video, it's here

For more info,
Interview : Claude Thibault, Editor

3 days at Jazz à Sète 2018 : gets an invit for the 23rd Festival Jazz à Sète.

Jazz a Sete 150x150.jpgLet's just say, as we'd already done a few weeks before the Festival Jazz à Sète started, that the exceptional musicians picked by Louis Martinez have already thrilled the public nightly filling the 1,500 bleacher seats.

Fred Nardin's swing, finesse and elegance ; cuban pianist Gonzalo Rubalcaba, once again beaming with virtuosity and musicality ; Thomas de Pourquery that ufo that left a timeless souvenir for those who heard him for the first time : people were still talking about it for many days in the Sete cafés and venues.

But apart from the programmed headliners playing at the Théâtre de la mer, the Festival Jazz à Sète also had a « Off » festival brewed up by Jade Martinez for the 
« Set de Jazz » Association that has enthralled the music lovers that can get up close and talk with artists, participate in free conferences, see movies, and listen to  the concerts in the different venues of the city.

As any good summertime festival goers would've done, we also took advantage of Sète, of it's beautiful water channels and great food. Those are a few other things that you can add the festival experience.

To see the promo video, it's here

For the complete article on in french, it's here

This feature is a special and collaboration.

Bassist Stanley Clarke talks to us about his music, playing with new talent, bassists that turned him on, bassists to watch out for, and more...

Stanley Clarke 150x150.jpgIn this sit-down interview mixed in with some of his Montreal Jazz Fest performance (July 3rd 2017), bassist Stanley Clarke talks about what they're going to play at the Montreal Jazz Fest, Up!, Return to Forever, his repertoire, the new album he's working on, playing with younger musicians which is a jazz tradition, passing it on, Art Blakey's Jazz Messengers, how he connects with the drummer being a bassist, how his drummers have to be a free spirit and ferociously brave, bassists that turned him on : Ron Carter, Scott LaFaro and Richard Davis on the acoustic bass and Larry Graham, Billy Cox, James Jamerson and Carol Kaye on the electric bass, how he started playing the saxophone when John Coltrane died, what he listens to these days on his home Jukebox, and young bassists we should be looking out for...

For more info on the Sept. 2nd concert,

For tickets for the Sept. 2nd concert, it's here

For the music and video interview from the 2017 Montreal Jazz Fest, it's here

CDJAZZ by Christophe Rodriguez

Alex Lefaivre - YUL

Tuesday Aug. 14th at the Dièse Onze in a festive 6 to 8, young bassist / double bassist Alex Lefaivre, founder of the Parc X Trio, welcomes us to the launch of his new album : YUL. Like the album name says (YUL is the Mtl airport code), this is not an invitation to travel to far away lands but to travel right here in Montréal. In the handwritten message that joined the CD that I received the instrumentist says : YUL finds its inspiration in the city that I grew up in, and where I chose to live. I've spent many years walking in its paths, travelling on the metros and buses, looking for my muse in it's public venues and recesses.

Althought YUL doesn't name streets or places, we recognise with this release many aspects of Montreal. With these very personal compositions that sometimes have a cinematographic title : Halloween (a reinterpretation of a John Carpenter film soundtrack) or a detective novel such as The Juggernaut as well as Nostalgia, Alex Lefaivre draws a very beautiful canvas with a background of modernity. Sided by drummer Mark Nelson, guitarist Nicolas Ferron and alto saxophonist Erik Hove, Alex Lefaivre shares his vision of urban poetry, just like the band's sound. Throughout what we could qualify as a perfect connection, Alex and his collegues play some very beautiful melodies and riffs, with today's sounds. This common langage that is miles away from studio writing allows us to discover the talent of a composer, as well as of a bassist that knows how to share his emotions.

The Righteous / Halloween / Estelle / The Juggernaut / Nostalgia / Skyline / Cascade / YUL

Alex Lefaivre, bass & compositions
Erik Hove, alto sax
Nicolas Ferron, guitar
Mark Nelson, drums

To see two teasers, it's here and here

To see the video of Cascade, it's here

To listen and buy : iTunes, Google, Amazon

YUL launch : Tuesday Aug. 14th 7pm @ Dièse Onze

The Aug. 14th launch on FB, it's here

Alex Lefaivre on FB, it's here

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

TVJAZZ  July 3 2017
Stanley Clarke - interview and music - at the Mtl Jazz Fest July 3rd 2017

A swingin' monthly event : The Taylor Donaldson Big Band at the Résonance Tuesday Aug. 21st.

Taylor Donaldson Big Band 150x150.jpgTaylor Donaldson's Big Band adventure started in 2015 when the Kingston trombonist and composer got together with a group of musicians to play some of his arrangements.
The group quickly built up their songbook of originals that mix swing tradition and modern writing, in a relaxed and friendly ambiance. As soon as you listen, you'll be charmed by their sound which is perfectly balanced, with a lot of creativity and imagination in their improvisations and driven home with a faultless rhythmic precision. 

A McGill University graduate in jazz, the trombonist and composer quickly made a name for himself in the jazz world collaborating, among others, with Christine Jensen, Oliver Jones, and the Orchestre national de jazz de Mtl. He also often plays with the Kingston Symphonic Orchestra. He composes and arranges original pieces that are played by many ensembles such as the Orchestre national de jazz de Montréal, the Toronto Jazz Orchestra or the Bundesjazzorchester (Germany).

Creative and involved in the world of jazz, Taylor Donaldson is also the founder of Whitewater Publishing that publishes arrangements for jazz ensembles as well as teaching materials. Next Tuesday he'll be playing the role of composer and player in a vibrant, energetic and laid back ambiance.
Let's swing !

Direction : Taylor Donaldson


Michael Johancsik
Jason Stillman
Annie Dominique
Chris Maskell
Melissa Pipe


Dominic Rossi
Andy King
Lex French
Nicolas Boulay


David Martin
Olivier Hébert
Colin Lloyd
Jean-Sébastien Vachon

Piano : Jonathan Cayer
Doublebass : Sébastien Pellerin
Drums : Louis-Vincent Hamel

For a video of the Big Band in Automn In New York, it's here

For more info,

Tuesday August 21st 9pm
(As well as every 3rd Tuesday of the month)
5175A Ave. du Parc    
Benjamin Goron :
Facebook / twitter

Montreal’s Jean-Michel Pilc and Jim Doxas join the faculty for the 25th Anniversary JazzWorks Jazz Camp, August 16-19 at the Cammac Music Centre on beautiful Lake MacDonald.

Jazz Camp 150x180.pngThe JazzWorks 25th Annual Jazz Camp is a great way for singers and instrumentalists to polish their jazz theory and performing skills with innovative Canadian jazz artists and international guests, in a relaxed and supportive environment. With Montreal bassist Adrian Vedady as Music Director, it's an intensive, adult-focused learning experience for jazz musicians of all levels. They can immerse themselves in improvisation, jazz history, composition and arranging, combo rehearsals and master classes, topped off with nightly high-energy jam sessions and exciting concerts featuring Camp participants alongside JazzWorks’ faculty of world-class jazz pros.

Enhance your experience with the optional Composers' Symposium or Independent Practice Session - August 13-16.

An additional three-day session (August 13-16 - first day optional) is available for aspiring and experienced composer-arrangers looking to hone their craft. This stand-alone composition workshop is a great lead-in to the Jazz Camp, providing valuable insights and new approaches to composing and arranging for those who are writing original tunes and arrangements. Sessions include individual mentorship and group coaching, plus dedicated solo studio time to work on new creations. This special, small group event includes the option to use the additional 2 or 3 days for solo practice time and impromptu jamming with other Campers. Composition faculty includes Jean-Michel Pilc, Sienna Dahlen, Adrian Vedady and Julie Michels.

The Composers' Symposium runs from August 13-16 (first day optional), followed by the Jazz Camp from August 16-19, 2018.

This year’s all-star faculty features a stellar lineup of seasoned jazz artists and educators from Canada and the U.S.:

Adrian Vedady — Bass, Camp Musical Director
Julie Michels — Voice
Sienna Dahlen — Voice
Don Braden (New York) — Saxophone
Shirantha Beddage — Saxophone
Itamar Borochov (New York) — Trumpet
William Carn — Trombone
Roddy Ellias — Guitar
Lorne Lofsky — Guitar
Jean-Michel Pilc — Piano
Kate Wyatt — Piano
Jim Doxas — Drums
Nick Fraser — Drums
Garry Elliott — Guitar, Vocal Accompanist
Steve Boudreau — Piano, Vocal Accompanist

It’s the highlight of my whole year! Time to focus on music I love with people who love it as much as I do. The thrill hasn’t worn off in 10 years.” - Leslie Toope, vocalist

Composer's Symposium :  August 13-16, 2018
Jazz Camp : August 16-19, 2018
Cammac Music Centre
Harrington, Qc. (2 hrs from Mtl)

Registration :

Packages start at $735.00 CAD ($555 USD) including room and board. To register, you can reach us at 613-523-0316 or

For more information, visit

TVJAZZ  July 1 2011
Jean-Michel Pilc François Moutin Ari Hoenig at FIJM 2011

TVJAZZ  October 2 2015
Marc Copland Adrian Vedady - My Foolish Heart - L'OFF Jazz at the Lion d'Or, Oct. 2nd 2015

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