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Montreal International Jazz Festival, Day 2

TromboneShorty

It’s the 35th annual Festival International de Jazz de Montreal. MAGNET’s Mitch Myers translates the action.

The 35th Montreal Jazz Festival keeps on rolling along, devouring all in its path. On Sunday the fest presented Elvis Costello with its esteemed Spirit Award for overall musical excellence. Costello performed a solo concert at the beautiful Maison Symphonique auditorium, and perhaps it was just a coincidence that his Canadian spouse, Diana Krall, just happened to be playing a huge free outdoor show, the Grand Event, on that very same evening. Costello’s own show was well received but felt rather perfunctory as he cruised through a selection of songs from his 40-year career. Gracious, witty and sly, Costello played plenty of his obscure compositions as well as crowd-pleasers like “Watching The Detectives” and Nick Lowe’s “(What’s So Funny ‘Bout) Peace, Love And Understanding.” Perhaps he was saving himself to some degree, because later on he appeared as a “surprise” special guest at Krall’s show, joining her concert encore of “Ophelia,” “Whispering Pines” and Bob Dylan’s “Subterranean Homesick Blues” in front of approximately 100,000 people.

Quality jazz gigs continue to capture the imagination. The Jack DeJohnette Trio came through town, displaying the veteran drummer along with bassist Matt Garrison and saxophonist Ravi Coltrane. One interesting thing is that Coltrane is the son of John Coltrane, and Garrison is the son of John Coltrane’s old bassist Jimmy Garrison, making this band a second-generation jazz supergroup or, as they say, “in the tradition.” DeJohnette seems particularly energized by his cohorts, as the 70-year old drummer is playing with the fire and conviction of someone half his age.

The Jeff Ballard Trio is another drummer-led ensemble, and its late-night gig at the beautifully intimate Gesú was an unqualified success. Ballard is a wonderful percussionist, and his unorthodox group features West African guitarist Lionel Loueke and Puerto Rican saxophonist Miguel Zenón. Loueke played both bass and lead parts on his electric guitar, and he also “sang” percussive clicking noises derived from the Xhosa language. This is a remarkably adventurous ensemble, and Ballard was gracious enough to invite trumpeter Ambrose Akinmusire onstage for one number, who also did not disappoint.

Akinmusire is one of the brightest young trumpeters on the contemporary jazz scene and is really hitting his stride. His tone is unique and almost immediately identifiable, harking back to the pioneering spirit of Miles Davis. Hosting three different nights at the Gesú for his part in the Montreal Festival’s Invitation Series, he began his residency with a duet concert alongside veteran guitarist Bill Frisell, which Akinmusire called a “life-changing” experience. On Monday Akinmusire played with his working quintet, doing some material from his new CD, The Imagined Savior Is Far Easier To Paint. Simply put, Akinmusire is one to watch. He’s already a star with a long road ahead.

Aging drum legend Ginger Baker was in town leading his Jazz Confusion group through a well-attended show at the Theater Maisonneuve. Although Baker is best known as the old rock drummer from Cream, he’s actually a jazzman through and through. His quartet featured saxophonist Pee Wee Ellis, bassist Alec Dankworth and African percussionist Abass Dodoo. The band played standards like Wayne Shorter’s “Footprints” and Thelonious Monk’s “Well You Needn’t,” but Baker also showed his affection for the music and rhythms of Lagos and Nigeria. Baker’s percussion interludes with Abass Dodoo were reminiscent of his time with Fela Kuti, and the band also drew haunting melodies from Ginger Baker’s Air Force circa 1970. Tiring as the show was for Baker, he gave it his all and that was good enough.

Returning New Orleans star Trombone Shorty kept the party going late at the Métropolis on Monday. As usual, Shorty’s band was rocking and dynamic. I mean—dynamic! Mixing hip hop, funk and in-your-face rock with some truly wailing guitar, screaming saxophone, a killing rhythm section as well as his own trombone and trumpet, Shorty sang, chanted and jammed Tremé-style all night long. And that’s simply the best way to clear one’s palate here in Montreal after another long night of jazz—to dance your ass off.

—Mitch Myers; photo by Sharonne Cohen