Montreux Jazz Festival
June 28 to July 13, 2019 Montreux Jazz festival
began in 1967, driven by the vision of Claude Nobs in collaboration with Geo Voumard, Rene Langel, and the Office of Tourism in their hometown Montreux, on Lake Geneva. This year 2019, was the 53rd edition. For two weeks in July, the small town expands to entertain a quarter of a million visitors. Montreux has managed to maintain the original ethos and character of what is a Music Festival more than a pure jazz festival. It was a product of its time. By 1967, the split between instrumental modern jazz and popular blues-derived music with lyrics and dance rhythms was final. At Montreux, it's all music. Miles Davis
played here, so did the The Rolling Stones
on their first tour. There was an enormous amount of music at Montreux, twelve live stages (half of which are free) stretch along the side of Lake Geneva with the magnificent Alpine mountain range as a backdrop. Music played in the afternoon, in the evening, and through the early morning.
Day 1 Sting
, former frontman for the British rock band The Police, opened the festival showcasing his many musical incarnations, which have been decorated with 17 Grammy awards. His performance is part of his "Sting My Songs Tour." For the moment his work is centering on Reggae collaborations with Shaggy. However, he admitted there was still enough jazzman in him to improvise some sections.
All major performers with an established songbook play their biggest hits at festivals, whatever their current projects may be. Hearing a big hit live has a special magic that is impossible to reproduce in the studio environment.
Sir Elton John
CBE, celebrated a sparkling 50-year career by including Montreux in his "Farewell Yellow Brick Road Tour" after 300 million album sales. His adaptation of "Candle in the Wind" for Diana, Princess of Wales, was the highest selling single in history. Realizing that the 4,000 capacity Stravinski Auditorium would be insufficient for Sir Elton's audience, even with two performances, the decision was taken to transform the local stadium in Montreux into an outdoor venue for 15,000 people, in just three weeks.
Performances at the Montreux Jazz Club began with Seun Kuti& Egypt 80 building on the style of his father, Afrobeat pioneer Fela Kuti
. The Montreux Jazz Club has theatre style seating for 600, at times configured with candlelit tables to seat a hundred people close to the stage, creating the club atmosphere.
Montreux Jazz Festival supports High School and University jazz bands. Throughout the Festival there were orchestras from Utah State, Southampton University UK, Denver Jazz Club, Mountbatten Big Band UK, Groover Big Band, Holland, The Philadelphia Jazz Orchestra, Dixie Dominus Traditional jazz band USA, and the California Jazz Conservatory. in many cases the young musicians fund their travel, underlining the sad economic fact that big bands are a very tough commercial proposition.
In the evening, Janet Jackson, youngest of the famed Jackson family and a driving force in a 1990 revival of R&B popularity, performed in the Stravinsky Auditorium while at the Montreux Jazz Club, British singer Rahh presented her soul compositions. She included "I won't be a problem," which broke down into a section of rhythmic clapping in counterpoint. Her composition "For the Love of It" was dedicated to her father, who once briefly shared management with The Beatles
. The name Rahh makes onomatopoeic reference to a tigress' roar, and in places, she displayed feline energy coupled with her powerful, wide-ranging voice. Bobby McFerrin
may be best remembered from among his ten Grammy awards for writing "Don't Worry, Be Happy" (1988). McFerrin took the stage with four acapella singers in his VOICorchEstra. As soon as they sat down in a semi-circle, McFerrin kicked off his shoes and began to sing his joyful sounds, slapping at his chest for emphasis, defining the rhythm, dipping through his vocal range from high to low in a beat. He called "You got it" to pass the sound and balance between them, conducting intuitively. The music became ethereal, mesmeric as it flowed. At times a flute could have been playing, at times a drum solo was discernible, but the magic was that there were only ever five singers on stage.
Day 4 Snarky Puppy
gave a workshop to explain their band as a cooperative of around 15 musicians from which scheduling and availability indicate the members to play a tour or gig. Fresh musicians and ideas defeat complacency or as they admitted in reply to a question, encourage occasional confusion. In composition, they record the kernel of an idea and tempo. If they decide it has merit, the band defend that first inspiration, keeping it sacrosanct through the process, regardless of other musical or commercial pressures.
In the evening Chilly Gonzales took to the Montreux Jazz Club stage. The laconic humor of Gonzales the self-confessed showman, dressed in a belted bathrobe, brought a welcome lightness to the mood of the festival. Make no mistake; the man can play the piano. The first of his compositions was reminiscent of the measured calm of "Gymnopedies" (Erik Satie, 1880). Then the tight spotlight on Gonzales opened out, and another spot lit on Stella Lepage and her 'cello. They played his 2011 composition "Cello Gonzales." The extended mature depth of the 'cello notes in arco blended with the single strike notes and chords of the piano. Joe Flory on drums and flugelhorn joined in singing with the group as Gonzales continued his banter in three languages at the same time.
While Chilly Gonzales repeated at the Montreux Jazz Club, Rock band ZZ Top performed their "50 years with ZZ Top" in the Stravinsky Auditorium. Outside the artist's entrance, fans wearing false beards dressed in chalk-striped suits and waited near the band's sleeper bus to welcome them.
A lecturer from nearby Lausanne Conservatoire gave a workshop on Techno-live systems. Later at the Talent Awards in La Coupole, Italo-Swiss singer Giulia Dabala sang "Why don't you like me?" Recording a track of her voice in techno-live, she then over sang the loop, creating a rhythmic groove on an electronic drum at the same time. Two friends joined her in close harmony, sharing the production process. They may have been alone among singers at the festival to use a tuning fork for precise vocal pitch. In spite of the demands of the technical process, this was a pleasingly melodic and polished performance, each song bespoke, performed live and recorded in the moment.
In the Montreux Jazz Lab's 2,000 seated/standing space, Texas band Khruangbin (airplane in Thai) explored the sounds of world cities in a hard-driving funk psychedelic Eastern style. Donald Johnson Jr had the drums, Laura Lee bass, and Mark Speer guitar; both of them added vocals. Later in the Lab, Cat Power (Chan Marshall), who is on her tenth album, put her past life troubles behind her. Her austere earlier work surpassed, her music now evinced shades of early blues with energetic rock rhythms.
In the afternoon, Melvin Taylor
gave a blues workshop answering questions on his life in music. Born in Jackson, Mississippi, he grew up in Chicago
." Blues is the foundation of modern music," he said, adding "Blues always comes from someone before you."
Next evening at the Montreux Jazz club, Taylor played his Ibanez SA200 guitar joined by Bernell Anderson and Rick Jones on keyboards, B.T. Richardson on bass and J.Davenport on drums. So the band was made up of a rhythm section and blues guitar, with electronic keyboards added. The audience applauded, and the show roared along. And yet, there was something more authentic and intimate about what happened the previous day in Taylor's workshop. Then the Chicago bluesman had sat on a chair as if he was sitting on his front porch with his guitar comfortably balanced, telling stories and singing, bending strings and playing out his blues. From one day to the next, Montreux programmers had illustrated the paradigm shift from blues to rhythm & blues, bringing along with it the 12-bar blues progression to form the basis of much of pop music.
In the park, Pacific Mambo Orchestra, a 12-piece band, heavily laden with brass and percussion, played Latin dance rhythms with all the energy required to tempt the audience onto the grass dancefloor. Joan Baez
played the Stravinsky Auditorium her "Fare thee well" celebration. Baez was once the steely conscience of American youth at war. Pacifist, plaintive folk singer and guitarist, she returned to Montreux to celebrate her long career. She was accompanied by Gabriel Harris drums, Dirk Powell
on guitar, piano and bass with Grace Stumberg supporting vocals. Baez sang "Oh Freedom / Before I'll be a slave / l'll be buried in my grave / And go home to my Lord to be free." Anthems from troubled times in America. There were unrequited love songs too "T'would be the sweetest thing / To make me sing / Ah, but I may as well try and catch the wind." There were the same innocence and purpose as ever, calling her audience to peace and freedom in her haunting voice.
Meanwhile in the Montreux Jazz Club, Portuguese/ Brazilian trio Coladera was joined by Marcos Suzano on percussion. The trio sang traditional songs and sambas from their homelands in a fine tenor voicing while playing guitars and electric bass.
The afternoon workshop was a conversation between French singer Camille Bertault
and Brazilian composer and Latin Grammy winner Ivan Lins
, who explained the source of his inspiration as the multiplicity of different cultural influences in his home country. He accepted Bertault's challenge to compose live and started a Latin groove on the keyboard as she imagined a melody line. Clearly, they did not have time to work on the composition in depth, but Bertault does specialize in intuitive scat versions of classical music, so her ability to compose in the moment is well-honed.
In La Coupole, Brekky Boy from Australia on the piano was joined by Liam Hogan, drums and Robert Hamilton
, stand up bass. Each piece built to a loud crescendo then dropped to a sharp finish. They featured complicated rhythmic patterns and insistent phrasing in their music. When music is played so loud that ear protectors are issued at the door, it does beg the question of whether important detail is being lost in the noise, particularly when the musicians are achieving such high technical quality.
Throughout the festival, special trains departed for scenic journeys to Chateau d'Oex carrying New Orleans
Jazz Bands, Paradise Creek and Pichette, and boats cruised Lake Geneva featuring Brazilian, rock, jazz funk and blues music. More trains left for Rochers de Naye presenting bluegrass and rockabilly music en route. El Mundo was a temporary dance studio built beside the lake, every night featuring the latest in Latin dance and Fitdance music.
In La Coupole, Italian Trio Mezcal played what Giuseppe "Pip" Dimonte (bass) described as world music, with Emiliano on percussion including a set of conga drums and Alessandro Lorenzi on guitar. A series of long, low bass notes accompanied the guitar phrases. There was a vague Arabic vibe, but after returning three times to search out the sound, it remained present but unresolved. The bass was often played in arco and always performed well.