Montreal Jazz Festival 2011
Brahem's second Invitation series performance may not have reached quite the same transcendental high as the prior evening's show with Dave Holland and John Surman, but it came close. With a house about 80% full, Brahem presented the trio responsible for Le Pas du Chat Noir (ECM, 2002) and Le Voyage De Sahar (ECM, 2006), featuring two French artists who are no strangers to the oudist's record label: François Couturier, whose Un jour si blanc (ECM, 2010) continues the pianist's exploration of music inspired by the films of Andrei Tarkovsky; and accordionist Jean-Louis Matinierwho, in addition to being a member of the quartet responsible for Couturier's NostalghiaSong for Tarkovsky (ECM, 2006), also played on clarinetist/saxophonist Louis Sclavis' Dan La Nuit (ECM, 2002). It was another evening where the compelling power of silence and subtlety trumped more overt demonstration, though everyone in the trio was an unmistakably masterful performer.
From left: François Couturier, Anouar Brahem, Jean-Louis Matinier
Interacting with Couturier and Matinier on as deep a level as he did with Holland and Surman the night before, Brahem's music for this trio leaned more to a kind of European romanticism, though he didn't desert his Tunisian roots entirely. But the compositions were less linear in nature, in no small part because every instrument in the group was capable of more orchestral harmonies. That there were no clashes anywhere during the set was a testament to each player's acute perception of his band mates, and a mature restraint that encouraged a "listen first, play later" approach.
The music ranged from the neoclassical leanings of "Vague / E la nave va," which could have easily fit in a concert by Brahem's Norwegian label mate, pianist Ketil Bjørnstad, to the brighter, almost folkloric "Nuba," where Brahem's shifting of the pulse gave it a slightly idiosyncratic complexion that belied an inherent melodism that imbued the entire performance, as Brahem doubled his theme with soft, wordless singing. Effortless mastery was endemic to the performance, whether it was Brahem's relaxed but always perfect articulation, Couturier's gentle cascades of notes or Matinier's similarly lithe ability to play Puckish call-and-response. Brahem didn't exploit the possibilities of his fretless instrument often, but at one point his own smooth glissandi were matched by Matinier, on an instrument not normally disposed to note-bending.
With music that, even when it was exciting, was somehow not of its timewhere everything seems to be noisy and fast-pacedBrahem clearly struck a deep chord with his audience, which wouldn't let the trio go until it had satisfied them with not one, but two encores, both separated by enthusiastic standing ovations. Ovations that were both well-deserved in an evening of music that, along with his other two Invitation series shows, contextualized Brahem in a much broader sense. Populated with numerous a capella solos, as well as passages where the trio broke down into subset duos, Brahem's merging of form and freedom in the context of genre and culture-transcending beauty was clearly the thread that ran through the three projects being presented at the festival, making his final performance, with his current The Astounding Eyes of Rita band, one to be as eagerly anticipated as the other two shows in his Invitation series.
Touring North America is tough for any group, but it's even more of a challenge for Norway's Jaga Jazzist. Being a nonet would be enough, but when you're bringing enough instruments to open a small music store, and an additional three people (including front-of-house sound, monitor board and road manager), it starts to sound a little more like rock and roll. And, despite Jaga's left-of-center musiclargely composed by reed man/guitarist Lars Horntveth, an irresistible combination of minimalist tinges and Frank Zappa idiosyncracies, rock-heavy beats, complex harmonic underpinnings and knotty but unmistakable, anthemic melodiesits tours are rock and roll...well, at least, sort of.
Jaga Jazzist, from left: Andreas Mjøs, Mathias Eick, Lars Horntveth
Erik Johannessen, Peder Simonsen, Øystein Moen (missing: Martin Horntveth)
Certainly the sold out Club Soda, with a standing room capacity of about 700, leaned heavily on a younger demographic, though there was no shortage of gray/no hairs, most of them from the progressive rock crowd that has come out in increasing support of the group since the release of One-Armed Bandit (Ninja Tune, 2010). Drummer/spokesperson Martin Horntveth (Lars' brother) spoke, after the 100-minute set, about people driving as much as eight hours to catch one of Jaga's showssome, even, who were making the trek to catch the group on multiple shows in a 10-city tour that has crossed the continent from west to east, starting in Los Angeles and ending in New York City, with stops in San Francisco, Seattle, Vancouver, Minneapolis, Chicago, Toronto, Montreal and Ottawa along the way. There simply aren't many acts in the jazz world where you can find such committed fans.
But as much as a Jaga Jazzist show is a rock and roll experienceloud and powerful, driven by Martin Horntveth's thundering combination of John Bonham power and Billy Cobham virtuositythere's so much going on beneath the covers of Lars Horntveth's writing that its almost hard to believe, at times, that the group is as popular as it is. Not that the group makes a lot of money (not, at times, as if they make any money), but while Jaga's lineup has gradually shifted over the years, it still retains its core constituency, artists who make Jaga a priority whenever the Horntveth siblingsinclude sister/tubaist/flautist/singer Line, who had to skip this tour as she's a couple of months away from having a baby figure it's time to reconvene. Trumpeter Mathias Eick, for example, is a star on the ascendancy, with two albums on ECM including the recent Skala (2011), but when Jaga calls, he's there.
And why wouldn't he be? His own performance at Jazzahead in Germany, earlier this year, was certainly enthusiastically received, but little compares to the kind of craziness Jaga stirs up in its fans, but especially in Montreal, where audiences are world-renowned for their over-the-top enthusiasm. With 700 people on their feet, screaming, whistling and treating Jaga like rock stars, it's hard to deny that what Jaga doesn't recoup financially on a tour like this, it more than makes up for in "feeling the love."
Focusing heavily on music from One-Armed Bandit, Jaga opened with the "Steve Reich meets Bernard Hermann" vibe of "Toccata," also provikng its mettle at constructing sets filled with peaks and valleys, but mostly peaks, where the lighting was surprisingly well-synched, given that it was a house engineer at the club (this is the first time Jaga has toured without their own lighting man). The use of green laser light beams, sent out from the stage into the crowd and tying in, beat-for-beat, with the music, demonstrated the kind of in-the-moment decision-making Jaga can make when on the road, to adapt to the venues in which it finds itself.
From left: Erik Johannessen, Lars Horntveth, Peder Simonsen
While the music is finely detailedand no small challenge to perform, given that, with 18 arms and legs at most Jaga has to translate the 96 tracks used in the recording of One-Armed Banditthere is also enough space provided to focus on soling from some of the band members. Eick got an extended solo, late in the set, which drew screams of approval from the audiencethough he proved equally powerful when he put down his trumpet and picked up a double-basswhile Øystein Moen's synth tones were, in a word, nasty, drawing from the same outrageous sound worlds that he explores in his more avant improvising trio, Puma, with guitarist Stian Westerhus and drummer Gard Nilssen. The two Horntveth brothers were constant focal points: Martin, beyond his absolute engagement on the kit, a great spokesperson who whipped the already energized crowd into a greater frenzy; and Lars, who took a soprano saxophone solo, mid-set, that belied his general tendency to focus more on structure than freedom.
Andreas Mjøs never took an actual spotlight, but remained quietly charismaticsharing center stage with Lars Horntveth, and moving constantly between guitar, synth and, in particular, the vibraphone that is particular marker for the group's soundwhile trombonist Erik Johannessen (picking up some of the absent Line Horntveth's vocal lines on "Book of Glass"), Even Ormestad (spending almost as much time on keys as he did electric bass), guitarist Marcus Forsgren (no longer new, having been with the group for over a year now, performing last year at the Konsgberg Jazz Festival), and Line's unnamed replacement all contributed to a sound that can be described in terms of its many influences, but is ultimately best described, simply, as Jaga Jazzist music.
This ain't your granddaddy's jazz, but with no shortage of jazz references in spirit if not letter, this is music that fits within the broader sphere of jazz for a younger audience. On a roll after its brief hiatus following What We Must (Ninja Tune, 2005), it's clear that Jaga Jazzist has fully recaptured its momentum and continues to build its audience.
Days 1-3 | Days 4-6