Jane Bunnett, the Toronto soprano saxophonist, flutist and bandleader and her husband, trumpeter Larry Cramer have built their careers at the crossroads between Cuban music and jazz. Twice nominated for Grammy Awards
and a fixture at the nominations for Canada's Juno Awards
, their bands are virtual showcases for the finest musical talent from Canada, the United States and Cuba.
Bunnett has long held an ongoing love affair with the human voice. Embracing Voices
(Blue Note, 2008)one of her most challenging projects to datefeatures the artistry of Grupo Vocal Desandann, vocalists Kelly Lee Evans and Molly Johnson, poet/rapper Telmary Diaz and some of Canada's finest musicians.All About Jazz:
I am tempted to call this interview, "The Best Laid Plans." Meaning, what started out as a live trio recording turned into Godzilla!Jane Bunnett:
I was thinking about my next record and what I was going to do and I realized that I was exhausted, so I thought it would be important for me to work on my saxophone skills in a trio setting.AAJ:
You and Larry wear a lot of hatsmanager, booking agent, travel agent, publicist, chief cook and bottle washer.JB:
A lot of the stuff we do is logistics. I work with Reggie Marshall in Virginia and it is very stressful and time consuming. Also, I was at a bit of a crossroads and asking myself, "How many records have I put out?" And it doesn't seem to mean anything to anybody. I guess I was just weary with the whole thing and I thought it would be a good idea to focus on a record with bass, drums, horn and work on my saxophone. It wasn't like it was going to be a mainstream record, but I thought I would take a break from the Cuban thing.AAJ:
Instead you and your husband, Larry Cramer became involved in one of the most complex projects of your career and at the worst possible time.JB:
It really was the worst possible time. Larry kept saying, "Let's talk about the record," and I just didn't feel like doing it, but every time the film, Spirits of Havana
(2001) aired on television I received e-mails from people asking me when I was going to do something with [the Haitian vocal group] Desandann again; when was I going to bring them to Canada; when this, when that? Even people in the States were asking about Desandann. Anyway, the e-mails had an impact on me and I began thinking that perhaps a group of this stature may not be around in a few years. They are extremely unique, they are Cuban but they have this Haitian element and they have been researching the music for many years and resurrecting a lot of music that has disappeared from the Haitian repertoire.AAJ:
The first time I saw them perform live they literally made my hair stand on end.JB:
The first time I heard them sing I had tears running down my face. There was not even a response like, "I am being moved by this music and I am going to cry." They invoked such a physical reaction in me that I was teary and not even aware of the process. I have always been very intrigued with the human voice and wished that I could sing. I guess that and the fact that Desandann was under the radar and here was this great opportunity to work with them and feature them as a strong component of my recording. I don't want to put what I did with Grupo Vocal Desandann on par with what Paul Simon did with Lady Smith Black Mambazo, but that was the general idea. So that's how the record was born; that was the concept I presented to the record company.AAJ:
Was the recording, Spirituals & Dedications
(Justin Time, 2002) a precursor to Embracing Voices
Yes, for sure.AAJ:
That would be Blue Note records, better known as EMI in Canada.JB:
I was left in a bit of a lurch because I was supposed to get some money to start the project and the record company was sold. Larry and I went to Cuba thinking that we were going to get an advance. In the end, we racked up our Visa bills big time
. I guess at that point we could have bailed.AAJ:
Certainly no one would have blamed you.JB:
But something kept saying, "We have to go through it." Cubans are used to disappointment so if I had told them that the project was on hold they would have understood. But we are very fortunate that we have the Banff Center for the Arts. Initially, it was a beautiful old hotel that was set up for travelers. Later the Fine Arts Center was built and dance companies and painters would go there to work on their projects, it was like a retreat. More recently it has become a conference center but it still maintains an art center.
Anyway, they approached me about coming out there and asked if I needed a cabin to work in. I told them that I needed a place to put together a grand scale project. At the time the record company was involved and I was focusing on bringing Desandann here instead of going to Cuba to make the recording, which is what we have always done in the past. The routine was: we would go down to Cuba for a week, come home with the master, mix it, master it and hand it the record company. Then the record company bailed. In the meantime, Banff offered me rooms and food at a discounted rate, so three weeks before the project started they called me for a rooming list. At this point I was really ready to bail.