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The TD Canada Trust Toronto Jazz Festival enjoyed its 23rd edition this year with a structure similar to that of recent years. The Mainstage concerts in front of City Hall were a nightly focal point as well as key locations such as the Grandmasters series at the Four Seasons Center for the Performing Arts for Sonny Rollins and the Gary Burton Quartet, the Canon Theater for Tony Bennett, and two theater locations at Harbourfront. Toronto might not have the financial support from all levels of government that Montreal get, but it still attracts the major and up-and- coming international artists every year. June 26: Sonny Rollins On opening night, Mr. Tenor Madness himself, Sonny Rollins, kicked off the festival with a 15-minute-plus outpouring solo on "Sonny, Please." Sporting a white jacket and cool shades, he caused some members of the audience to stand up as soon as he appeared on stage. Approaching the age of 79, he still exhibits an inspiring vitality.
He was joined by Clifton Anderson (his nephew) on trombone, Bob Cranshaw on bass, Kobie Watkins on drums, Victor Y. See Yuen with his Trinidadian influence on percussion, and Bobby Broom on the far right side to provide a certain balance on guitar. He played with sustained creativity and aesthetic balance, still the working musician, practicing every day, looking for that new feeling and inspiration while demonstrating he's capable of playing for hours.
On Irving Berlin's "They Say It's Wonderful," Clifton Anderson and Bobby Broom were featured soloists followed by Rollins trading with the percussionist while Watkins and Cranshaw quietly sustained the foundation over the swinging rhythm. The audience enjoyed a quieter moment with Ellington's emotional "In A Sentimental Mood" with Anderson contributing the appropriate tone in his solo with references to melodies such as "That's All" by Brandt and Bob Haymes. The ninety-minute show closed with a very short rendition of the calypso tune, "Nice Lady," and "Global Warming."
June 27: Charlie Hunter
In addition to headliner concerts, one can easily identify certain gems at a number of venues. One such place is The Pilot Tavern, which hosted Charlie Hunter on Saturday night. He was joined by Brooklyn-based versatile drummer, Eric Kalb. Hunter had already appeared at the festival on the Mainstage, but the quieter and more intimate settings of The Pilot offered a closer taste of his talent in this duo setting. What made the evening fresh and relaxing was that the musicians did not have a set list of pre-selected tunes. Hunter started off by digging right into a blues that he felt like playing at that moment and even jocularly saying to Kalb: "I don't know if I remember this one; we'll find out soon enough!" Of course he did, and that was the pattern for the evening, which was never lost, especially with musicians like these two, who are are talented professionals who have known each other for years. Hunter would set the foundation and Kalb would join in. The evening was filled with rich bluesy grooves, sometimes heavy but never long and repetitive. Other pieces included some R&B as well as funky, head-boppin' fast play with Kalb discreetly throwing in his personal improvised part.
His 8-string guitar, which acts as a bass as well as a guitar, is a very expressive instrument, enabling him to play both parts so clearly you have to stop to see where they're hiding the actual bassist.
The duo closed the first set with a Michael Jackson tune, "I can't help it" as well as the humorously titled "Every morning you wake up, New York says no."
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...