THE STEVE KOVEN TRIO AT THE JAZZ BISTRO

On the second of a three night residency at the Jazz Bistro, I saw the Steve Koven Trio, which has had the distinct pleasure of being together as a unit for 23 years recording, performing, and touring as a well oiled unit.    It is one thing to hear them on CD.   It is another thing to hear them live because the trio maintains an infectious energy that carries among each other and to its audience whenever they play.  

In a program consisting of originals and choice standards, pianist Steve Koven, bassist Rob Clutton and drummer Anthony Michelli transform the pieces into integrated, interactive moments where rhythm, groove, harmony and melody come together as a whole.    Through their sets they manage to make the music exciting and accessible to the audience while at the same time find new creative approaches to bring each song to formidable life.   

Among the originals, the band opened off the night with a Keith Jarrett-infused gospel groove piece entitled “Lola Land”, which got the night rolling to a fun toe-tapping start.   Steve in this original piece plays his heart and soul out with its singable melody and infectious gospel overtones, while Rob and Anthony provide the tight funky backbeat to give it a fun ride.     The groove continues on a Latin scale with the original “Cervantino”, which has a very funky montuno opening that feeds off on the infectious rhythms supplied by the tight rhythm section.    In the piece the audience was even treated to Anthony’s intense rhythmic drum solo that added to the dance-like qualities and celebratory nature of the piece.    Some other highlights included the reggae-inflected piece “Mr. Springer”, with a driving reggae backbeat supplied by Steve’s chords, Rob’s bass lines, and Anthony’s drumming.   One of my favourites of the night would have to be “Bug’s Blues”, which has an infectious melody and groove throughout that makes you want to snap your fingers and tap your toes to the infectious swing that the music supplies to its listeners.

In addition to the fiery energy that the trio carries throughout the night, they even have the ability to be reflective and tranquil in some of their selections.   For instance, on one of Steve’s newer pieces “Mist-ic”, it was a reflective, classically influenced piece that painted a picture of being at the beach passing the time away.    When I first heard that piece it was a solo piano piece, but with the live addition of bass and drums it really accentuated and gave the piece lots of textural colours.   On a romantic note, Steve’s composition “Lily” painted a beautiful, reflective portrait of his wife, reminiscent of a beautiful flower.   “Cameo” brought back the Keith Jarrett gospel influence but in a slow jazz waltz format, with a very intricate melody that adds to the spiritual tranquility and beauty of the piece.  

In addition to the brilliant originals that show off the broad scope of Steve’s composing abilities, the trio has an uncanny ability to take classic standards and transform them into new vehicles for improvisation and group interaction.    In their take of Duke Ellington’s “Caravan”, Steve uses the left hand to supply a swinging bass line and solo piano passage to build up the swing until the bass and drums come in to allow more freedom and playfulness in his piano solo.    He even does the prepared piano bit close to the end of the song, bringing a sense of free improvisation and modern sensibilities to the classic repertoire.   The sentiment is also carried in Thelonious Monk’s “Well You Needn’t”, where the trio keeps shifting tempos, Steve plucking piano strings and the trio playing free jazz before ending with the melody.   On Billy Strayhorn’s “Take the A Train”, the trio has real fun with the piece by providing effects of a riding train, with Steve and Rob playing a running train bass line, Anthony using brushes to give the effect of wheels slowing down, and Rob breaking out the arco bass and playing it classically to add to the effect of the train.   

Upon hearing Steve, Rob and Anthony as a live unit, their sense of interplay and group interaction keeps getting better and better as the years go on.   As a unit they know how to feed off from one another and pass on ideas that make them sound united and better as a functioning unit.    It is worth the price of admission to see the Steve Koven Trio perform because audiences get a chance to see three guys perform at the top of their game with no signs of slowing down or mellowing out in the years to come.  

OFFICIAL STEVE KOVEN WEB SITE:

http://www.stevekoven.com

(Steve Koven, Rob Clutton and Anthony Michelli)

GRAY MATTER CD RELEASE AT THE REX HOTEL

On what would be the last leg of a 10 day tour, a modern jazz quintet named “Gray Matter” made a two day stop to Toronto to perform their genre-bending, forward thinking jazz to a very enthusiastic audience.   What is even more special is that throughout this tour they are promoting a brand new CD of original compositions that is a pot-pourri of funk, hip hop, and modern jazz that gives the band a unique identity of its own.

The “Gray” in this band is named after drummer Derek Gray and bassist Justin Gray, brothers and fine musicians who compose, perform, and provide rhythmic support for the ensemble.   Rounding out the quintet is pianist Todd Pentney, Vancouver saxophonist Eli Bennett and New York-based trumpeter Ingrid Jensen.   Through this potent lineup, they really cooked up some engaging music that points to the future of jazz and beyond while staying grounded in the fundamentals of groove, rhythm, and improvisation.

The first set opened with a medley of songs, “Footprints” and “Today is the Day”.   Footprints is an intriguing number which shifted between 4/4 and 7/4 time while keeping a steady funky beat throughout the piece.   Todd in this opening melody shows his funky and groovy side in his solo passage on the electronic Hammond B3 organ while the groove is supplied strongly by the Gray brothers during the solo passage.     Ingrid’s solo on the trumpet brings a high energy that echoes the later works of Freddie Hubbard at times.    After a moving piano interlude by Todd, the ensemble breaks into “Today is the Day” which slows down in pace but picks up in intensity and groove when Eli solos to the point of achieving “sheets of sound”.

“One By One” delves into the ambient/trance vibe through Derek’s rhythmic setup on the drums, leading into Justin’s solo that has a horn-like sensibility applied to the electric bass.   Eli’s saxophone playing becomes more intense and electrifying, in lieu of the intense groove applied through Derek’s drums, Justin’s bass, and Todd’s accompaniment on the electric organ.

On what would be the somber moments of the evening, there were two compositions in the set that were dedicated to the memory of beloved Canadian politician Jack Layton, both written by Derek along with lyrics by special guest singer Jillian Harris.   In the first piece “For J.L.”, the rhythm section provides a free flowing introduction that is dreamlike, futuristic, and heavenly at the same time.    The heavenly motif is applied throughout by Jillian’s vocal, which is angelic, soothing and peaceful to listen to while celebrating the life of a respected Canadian.   Todd’s piano solo is a very moving solo that breathes in life and hope into the memorable piece.     On “Eulogy”, the piece opens with a sample of the sermon given at Jack Layton’s funeral by the Rev. Dr. Brent Hawkes (senior pastor of the Metropolitan Community Church of Toronto) , before the emotional lyrical delivery is executed by Jillian with her memorable lyrics.    Throughout the performance there was a gospel hymn quality that made you feel at church, while taking the time to remember and celebrate a man who impacted the lives of many.    To make it extra special, Jack Layton’s widow Olivia Chow and the Rev. Dr. Brent Hawkes was in attendance on the opening night of the Toronto leg of the tour to witness these wonderful creations in person.

To cap off the set, the composition “Wake Up” started off with a energetic, rhythmic, and swinging solo by Derek Gray, before shifting into Latin and bebop figures by the band in its opening passages.   Ingrid’s trumpet solo becomes highly energetic and soars mightily through the changes, and Eli’s saxophone solo navigates the shifts effectively from Latin rhythms into straight-ahead bebop.    Before closing the number on an energetic note, there is a cool unison passage by the horn players before taking it to a close.

From what I heard on opening night, “Gray Matter” is a cutting edge band to look out for in the months and years to come.    Through their incorporation of funk, hip-hop, electronica rhythms and jazz, it is bound to win new audiences with its collective sounds, rhythms and compositions.   

OFFICIAL GRAY MATTER WEB SITE:

http://www.graymattermusic.ca

Front Row:   Derek and Justin Gray

Back Row:   Eli Bennett, Todd Pentney, Ingrid Jensen

THE DAVID RUBEL QUINTET LIVE RECORDING AT JAZZ BISTRO

A couple of years ago, I had the pleasure of reviewing, interviewing and promoting David Rubel and his debut jazz album “Into the Dark”.   Since that time, he has garnered rave reviews, radio airplay and a busy schedule through his teaching and performing of jazz music.

On three nights at the Jazz Bistro from March 5-7, David Rubel and his stellar quartet came together again to perform their stellar brand of jazz music.   But this time around, there have been a few changes.   First, the repertoire consists of tried, tested, and truly swinging standards ranging from Tin Pan Alley, bebop, hard-bop and post-bop eras.   Second, the performance is being recorded live for a future CD.   Last, and not least, the quartet has been augmented by a stellar vibraphone player from London, England by the name of Nat Steele to bring an extra complimentary voice to the David Rubel sound.

Nat Steele is a vibist who is one of the rising stars of his instrument in London   He is clearly influenced by the modern vibraphone sounds by the likes of Milt Jackson and Bobby Hutcherson, and can be heard performing a lot in the London Jazz Scene in places such as the legendary Ronnie Scott’s jazz club.    He was discovered by David Rubel through a YouTube video, and through developing a mutual friendship that crosses international and musical divides they were brought together to record a live album that celebrates this cultural exchange.

From the beginning, the quintet gets into a swinging groove as evidenced in their treatment of Dave Brubeck’s “In Your Own Sweet Way”.   From the start, David’s saxophone tone is warm and relaxed, inviting the listeners to the charming beauty of the piece.   Nat follows the inviting atmosphere of the piece by providing a cool Milt Jackson influenced solo that is laid back, swings easy, and leaves the audience wanting more.   The rhythm section throughout is superb, with effective accompaniment by pianist Winston Matsushita, bassist Malcolm Connor, and drummer Robin Claxton. 

On the next piece of the set, “Alone Together”, the swing factor becomes more pronounced and intense as the members of the quintet turn it up a notch.   David turns it up through providing some intensity into his swing and digging into the song structure and melody.   Winston’s piano solo adds touches of funk and groove into the piece, until the band comes together and closes off the piece on a highly swinging note.  

A real highlight in the set that I attended was the quintet’s take on Hank Mobley’s “Dig Dis”.    In this performance they really got into the core of funky hard bop blues through its delivery of the melody and the hard swinging stop and go solos by David, Nat, and Winston, who played an extended solo passage that brought a gospel tinge to the piece, and even echoing the hard-bop grooves of pianists such as Wynton Kelly and Red Garland for good measure.

A word about the bassist and drummer.    Bassist Malcolm Connor provided a steady groove and sturdy timekeeping throughout the affair, keeping the arrangements and the feel of the performances as relaxed, simple, and swinging as possible.   He even takes a great walking bass solo on the complex George Shearing tune “Conception” and effectively plays the complex melody in unison with David and Nat.    Drummer Robin Claxton brings an excitement and a “snap” to the ensemble by playing with degrees of intensity and at times restraint, showing that he is very adaptable in various musical situations and is very musical in his approach to the drums.   He takes a very strong coda for “What Is This Thing Called Love” before the piece comes to a close.

From what I witnessed on that Friday night, the quintet produced music that really pays homage and brings the audience back to the good old days of a mutually swinging jam session.    Through selecting repertoire that stands the test of time and bringing their own unique voice to the classics, it is a breath of fresh air to hear (and record) jazz music that goes back to the basics of groove, swing, and rhythm.    Through this live outing, not only I got a chance to hear a great complimentary talent from another country share the stage with like-minded Canadians, but I can’t wait for the world to hear what has transpired through the three days of music that was recorded at the Jazz Bistro.

OFFICIAL DAVID RUBEL WEB SITE:

http://www.davidrubelmusic.com

(From Left:   Winston Matsushita, Malcom Connor, David Rubel and Nat Steele.   Robin Claxton is not pictured)

DAVE HOLLAND FACULTY JAM SESSION AT YORK UNIVERSITY

Dave Holland.  A master bassist, composer, producer, bandleader and sideman.   Has worked with the likes of Miles Davis, Herbie Hancock, Chick Corea, Joe Henderson, Wayne Shorter, Anthony Braxton and Kenny Wheeler to name a few jazz greats.   He has led and recorded projects ranging from solo bass to a big band format.   His compositional output as a bass player is second to none other than Charles Mingus.

For a weeklong engagement from February 23-26, Dave Holland came to Toronto to be the first “artist in residence” at York University’s prestigious music program.   There he conducted master classes and workshops to students studying in the program.   Culminating a weeklong of intensive study with the master, the students and the public were treated to a dream jam session where Dave Holland jammed with various members of the faculty at the storied music program at York University.

The first band, consisting of Holland, drummer Barry Elmes, pianist Mark Eisenman, guitarist Lorne Lofsky and saxophonist Sundar Viswanathan, went through lush readings of “Stella By Starlight” and “What Is This Thing Called Love”.   The former was led by Viswanathan’s liberal taking of the melody into newer heights and the band locked into a free flowing groove, with easily swung solos by all in the band, ranging from locked in simplicity by Eisenman into the hard driving range by guitarist Lorne Lofsky.   On the latter, it was set up by a funky Latin groove before breaking into break-neck swing by all in the band, building up intensity and fire as the solos carried on.  

The band was changed up at the third song to add trombonist Jamie Stager and guitarist Robb Cappeletto to do another brisk reading of Cole Porter’s “I Love You”.   Stager’s trombone reading provided a cool, laid back tone to the reading of the tune, and Cappelletto added a youthful spark and fire to the reading of the tune.   For the fourth tune, Duke Ellington’s “Caravan”, cellist Matt Brubeck and drummer Anthony Michelli joined in the fun by fusing in classical, modern improvisation, Middle Eastern and Latin influences into their solos and rhythmic treatment of the tune.  

To close off a wonderful afternoon of jamming and improvisation, the crowd was treated to a “double bass” performance by a duet consisting of faculty member Jim Vivian and Dave Holland himself.    In their treatment of Duke Ellington’s “Take The Coltrane”, they really have fun with the blues head by engendering interplay, conversation, call and response, rhythm and swing by the act of having just two basses playing together.   Jim Vivian has a pretty solid foundation and tone with his treatment of the bass, complimenting well with the surprises and flights of fancy master Dave Holland has up in his sleeve.  

Dave Holland in this faculty jam showed that in music, it is all about having fun and being like-minded in your goals and approach to music.    There was no grandstanding or ego in the faculty jam.   I found it was a splendid and a joyous affair of celebrating the joys of music to a young audience and inspiring up and coming musicians to be the best that they can be. 

OFFICIAL DAVE HOLLAND WEB SITE

http://www.daveholland.com

OFFICIAL YORK UNIVERSITY WEB SITE

http://www.yorku.ca

(Friend Donovan, Dave Holland, and Me)