DAVID VIRELLES: GNOSIS

In one of the most magical and most forward thinking places in Toronto for live music, I decided to take in a concert of some of the most unique music put together by a good old friend of mine.   He would go by the name of David Virelles, fellow Cuban and prodigee of Jane Bunnett.

I first met David at the IAJE conference in January of 2003.   I even took a Barry Harris workshop with him and when we saw the 50^th anniversary of the “Quintet:  Live At Massey Hall”, we hung out the night away with greats such as Dave Holland, Max Roach, Roy Haynes, Roy Hargrove, Kenny Garrett, and one of our main piano heroes, Herbie Hancock.

All of a sudden now, David moved to New York, and at a ripe young age he is now backing up and recording with Chris Potter, Tomasz Stanko, Andrew Cyrille and Ben Street to name a few.   He got his training through the AACM (Association for the Advancement of Creative Musicians) through legends such as Muhal Richard Abrams and Henry Threadgill.   Through these experiences, he is fusing the elements of the avant-garde, post-bop, contemporary classical, free jazz, and Afro-Cuban music into a uniquely potent style that is really energetic, rapturous, and gets you in the zone wanting more.

The performance was split into two sections.   David Virelles played mostly solo piano some short pieces and compositions with a few highlights from vocalist Roman Diaz and a percussion instrument.   From what I gathered, one moment David would play with the sensitivity and the romanticism of a Beethoven or a Chopin, but once he locks in a groove, he brings a percussive element that is just as intense and fiery as a Cecil Taylor.  

The actual world premiere performance, Gnosis, is a work that is a fusion of classical elements mixed with avant-garde, Afro-Cuban jazz.    It is a marriage made in heaven.   One of the highlights of the movement was a section in which David and the percussionist played a near 10 minute groove that was so intense, rapturous, and spiritual that I had to literally get up off my seat and start doing interpretive freestyle dance to the music, communicating with the percussionist who was egging me on with his rhythms.   That alone was what David really achieved that night.   Gnosis, which is Greek for “Spirit” (hence where you get the word Gnosticism) was just like that.   For me, it felt like a Pentecostal church service that didn’t want to end.  

In my honest opinion, David Virelles’ “Gnosis” could very well be the best concert that I have ever been to in 2015, since it was art at its most energetic, spiritual and classiest at its best.

OFFICIAL DAVID VIRELLES WEB SITE:

http://www.davidvirelles.com

(David Virelles)

WHAT DOES THE WORD "GAY" REALLY MEAN?

Gay.   Sadly, it is probably the most hijacked word of our time.   Back in the day, it did not mean what it does mean today.  

In the 1890’s, it was a decade known as the “Gay 90’s”.   Before the turn of the 20^th century, the decade birthed composers such as George Gershwin and Duke Ellington who would redefine the musical landscape of America with its fusion of jazz and classical musics.   It was the dawning of progress and a new time.    “Gay”, as it was known back then, meant happy, and in that decade, it was a happy, promising time of progress.

This definition has held its course, but when Stonewall of 1969 happened, the definition was seriously hijacked to something that is really not of God, and not of progress.   “Gay”, meant that if you are sexually and physically attracted to the same sex, it is OK.   According to the Bible (and I may lose friends as a result of this), homosexuality is an abomination unto God (Leviticus 18:22) and those who practice homosexuality will NOT inherit the kingdom of God (I Corinthians 6:9-10).   I didn’t write the script.   God did.   And everyone on judgment day will have to answer.

I have dealt with this temptation, and to the day I’ll die or if God calls me home, I will not give in or back down to society pressures or a “feels good, do it” mentality.   My body is the temple of the Holy Spirit, and as a result I will serve God through my whole self.

I want to recapture the meaning of the word “Gay”.   If it is the original meaning denoting that I am a happy individual, then yes in that case, I’m gay.   But in light of the contemporaries, I reject their nuance of vocabulary to fit their agenda.

And on that note, that is the truth, the whole truth, and nothing but the truth so help me God.

MATT DUSK INTERVIEW, FEBRUARY 2013

CONRAD:  Last year, you did a concert in Las Vegas with a 17-piece band.   What was it like filling in the shoes of legends such as Frank Sinatra, Dean Martin, Sammy Davis Jr. and all the other greats?

MATT: I’ve been performing in Vegas on and off for the last 8 years, but haven’t had the opportunity to perform with a big band.   Las Vegas music IS big band music… It’s obvious; Casinos are always blasting it in the lobby.   For me LIVE FROM LAS VEGAS was an opportunity to perform some of my favorite big band tunes,

CONRAD:   This album is sort of a return to the roots of jazz singing for you.   Do you find it easier to sing jazz standards vs. pop material or is it all just the same in your opinion?

MATT:  Jazz music is much easier for me to sing because I have a real love for standards, I’ve been singing thin music for almost 16 years.   The more you do it, the better you become.   However I’ve discovered there is no ”finish line” in music.   You ‘re always learning

CONRAD: What is it about Chet Baker and his music that intrigued you so much to do this recording?

MATT:    I first discovered Chet Baker when I was a teenager.  His instrumental music was played a lot on the local jazz radio station.   I was amazed at the way he played so softly and beautifully… I wanted to try and capture those moments in my voice on the new album.   I’ve noticed the younger generation doesn’t know anything about Chet Baker, so by doing this album, I hope it will bring greater attention to the great 40 year career that Chet Baker had.

CONRAD:   I know that you received beginning training singing classical music at St. Michael’s Choir School.   What was the catalyst of transitioning from classical to jazz?

MATT:   When I was in my teen years, I discovered “crooning” To be honest I found the music fun loving, almost cheesy.   Soon after I discovered a little thing called Karaoke, and I quickly realized I could have my own big band behind me… well, almost!  I took my karaoke tapes to a few talent nights, and realized it was a great way to meet girls!  I said to myself “I don’t care what kind of music this is… I’m gonna do this for the rest of my life!”.

CONRAD:   When I first heard you, I had to admit that you were a copy of Frank Sinatra at first.   Was it a struggle for you over the years to find your own voice or singing your own material has helped create your own voice?

MATT:   Everybody has a mentor, and the best way to learn is to copy someone.  You use them as a point of reference, and over time you begin to develop your own style. I was fortunate enough to be taught by Bob Fenton, a piano player at York University.  Sadly, Bob is no longer with us, however he taught me how to sing lyrically, just like the crooners had learned long ago.

CONRAD:  In this album, you have special guests ranging from Emilie Claire Barlow, Guido Basso, Ryan Ahlwardt and Arturo Sandoval.   Describe to me what was it like working with these people and how each one of them contributed to the flavour of the project.

MATT:   Most musicians know who Chet Baker is, and know how amazing he was.   The reason I chose Arturo Sandoval as the main soloist was because although he is known for playing high and loud, Arturo can play very quietly and tenderly.  This can be heard on his album “ A Time for Love”.  I’ve known Emilie Claire Barlow for a long time, and thought her voice would be perfect as a duet on “Embraceable You”  It is one the highlights of the album.  I’ve played with Guido Basso throughout the years, and his tone on the flugelhorn is legendary.  When doing a tribute to a great trumpet and flugal player, you have to include him, as he is legend in his own right.  Ryan Ahlwardt did vocal arrangement of “I Fall In Love To Easily” which was a throwback to the Pied Piper’s vocal ensemble work.  Both him and I have a love for that old crooning vocal style. 

CONRAD:  So upon release of this album, is there a tour in the works?

MATT:   I’ll be touring across Europe, Asia and North America throughout 2013, with a full Canadian Tour in the fall of 2013.

CONRAD:   Who is your all time favourite singer, and why?

MATT: Frank Sinatra.  I’ve always been enamored by his voice.  Lucky for me, I sing in the same range as he does, so it was always easy to figure out how’d I sound on his tunes.   Sinatra also had a way of singing loud, then tenderly, and had amazing breath control… man could that guy sing!  He was a great inspiration for a young singer in their teens. (me!) 

CONRAD:   What is your all time favourite album, and why?

MATT:  My favourite album is Frank Sinatra’s “In The Wee Small Hours Of The Morning.”  When I was going through my first breakup, my jazz ensemble teacher, Mark Eisenman, told me to listen to it.  I was hooked.  I still love the album today, can play it anytime and never get bored of it.  Chet Baker sang a song called, Deep In A Dream, which is also on “Wee small…” I love Chet’s version even more and had to include it on my latest album.

CONRAD:  In your opinion, do you think that classic jazz music has a thriving future ahead?

MATT:  Good music never dies.  The music business will change, but not the love and passion for good music.  It believes it will be nearly impossible to have #1 world wide hit in the jazz/classical genre, but it’s not needed.  Both genre’s have lasted for decades and have become a truly unforgettable genre.  Most genres have difficulty lasting A DECADE!  I truly believe that jazz and classical music will always be available to the discerning ear.

(Matt Dusk and Me...The Best of Friends)

ON MUSIC: A STRAIGHT, A GAY, A WOMAN AND A LEGEND

Music.   It always has and it always will be a part of my life.   Classical.   Pop.   Blues.   Hip-Hop.   R&B.   Gospel.   Bossa Nova.  Easy Listening.    And then there is my favourite style of music that will define my life, jazz music.

It is ironic that on the most tragic day of America on September 11^th, 2001, my only class that day was intro to jazz performance at York University.   I didn’t know how to function.   I felt that Jesus was going to rapture the church at any moment.    I didn’t feel a reason to live.   But I knew that I have a purpose, a reason, to bring joy, peace, and love to the world through the music I play and the relationships that I foster.

I met friends along the way that encouraged me to solider on during my development.    I want to share four of those people:  Matt Dusk, Ori Dagan, Laila Biali and Oscar Peterson.

When I first heard Matt Dusk, I was turned off to be honest with you.   He sang Frank Sinatra like cheap brandy and I lost complete respect for him.   When I met him for the first time properly at the Beaches jazz festival, I cordially bought his CD with my piano teacher Mark Eisenman and his trio plus Pat Labarbera, and as a result became one of his number one fans that is bringing the Sinatra cool to the Canadian jazz scene.    When I bumped into him in Christmas 2005, he was so happy to see me I was shocked that he even remembered who I was.   I even told him, I’m not doing the piano ever again.   Disappointed, he took the CD, and to this day I have autographed, “To Conrad, Keep Playing Piano, Never Give Up.   Matt Dusk”.   Matt, wherever you are, rest assured I kept the course and one of these days, we are going to do an album together.

Ori Dagan, a gay Israeli, is what I would call the Kurt Elling or Mark Murphy of the Canadian jazz scene.   When we first worked together, he had a horrid voice, but over time he developed into an amazing vocalist and songwriter.   In my very first professional jazz gig at my favourite coffee shop, “The Second Cup”, in a packed attentive audience of Christian supporters, I for the first time played my brand of Christian themed jazz with just a keyboard and an electric bassist by the name of first year student Brett Potter.   Ori attended my very first jazz show, and became one of my biggest fans.   When he did reviews of the jazz shops, it wasn’t a coincidence that the only five star reviews that he gave were the shops that I was involved in.    Later on, we collaborated on a song for the city of Toronto called “Toronto Swing”.  We didn’t get picked, but I kept the composition and played it as a bossa nova.   Now Ori is a star, is happily married, won competitions, released recordings, and has a very busy schedule.   Hopefully we will be the Canadian Rodgers and Hammerstein and work on a jazz musical.

Laila Biali, the woman, is a very special, gifted lady.   I kept hearing her name not in jazz circles, but in the church circles that I frequent.   I decided to attend a concert that she put on with her “Crossings Quartet”, comprised of her original compositions.   Then I decided to attend the after party.   I just wanted to say hello.   And when she saw me, I sat right beside her, she asked me a lot of questions like Oprah Winfrey, and at a young age she became a mover and a shaker.   I was smitten and attracted by her beauty, faith and grace.   I finally felt like I have found the one, but it wasn’t meant to be.    We had our space to heal and think of things, and out of it we have grown to be mutual, respectful friends.   In her “Introducing the Laila Biali Trio” album, I was given a credit forever enshrined in the album because I helped her fund the project.     After a very busy career, she is now settling down in Toronto with her fine husband Benjamin (one of the twelve tribes of Israel) and her beautiful boy, Joshua (Hebrew for Salvation, derivative of Yeshua, in which we get Jesus).

And last, but not least, there is the legend, Oscar Peterson.   I was fortunate to see him perform three times and meet him twice before he passed away on Christmas day.   I have pictures from when I met him at the IAJE Conference in 2003 for the first time and he gave his bold signature in my book.   Fast forward two year later to November 20^th, 2005.   In what would be one of his final performances, Oscar put on a charity concert for World Vision at Roy Thomson Hall and it was one of the best nights in my life.   Something told me to go back to Roy Thomson Hall and hang out, and I was glad that I did.    To make it short, for free I took up a life-sized poster, and Oscar autographed “Happy Birthday, Oscar Peterson”.     Every time I see that poster, I feel that he is watching every move I make.   The only downside: He didn’t get to hear me play.    But he told me, “We need a LOT of piano players”.

As I approach my 35^th birthday, I feel that the journey is about to begin.   Time to shine.   Here’s to life, here’s to love, and here’s to you and me.

Sincerely, 

Conrad Gayle.