If the unique Francos allowed us to fully relive the music festival experience two weeks ago, the first two nights of the Festival international de jazz de Montréal have just announced the color: the largest and most famous metropolis festival, in its 42nd presentation, will attract thousands of fans until next week.
A young Australian multi-instrumentalist left-field artist (Tash Sultana) who is a contemporary or mainstream British singer (Corinne Bailey Rae), has the same result: people’s musical-and social, too-the appetite seems limitless this summer.
The two -night course where the hardest thing was not to tread.
The Untouchable Gregory Porter
Gregory Porter’s claim that he was a singer, said nothing. But to say that we will meet a singer if we attend a Gregory Porter concert would be a complete understatement. For his return to the Jazz Festival on Friday, the American is entitled to the most beautiful room (Maison symphonique) to shine and he has shown that he is untouched.
Few singers have a voice like Porter’s: almost inferior to Barry White, flexible like Marvin Gaye’s, powerful like an opera singer and quiet like a well-paded chair. Porter can express himself in vocal compositions that reflect influences from soul to gospel to jazz.
From the beginning, holding accepted almost all of these genres in addition to featuring a pure jazz saxophone solo and an operatic finale. the dapper On My Way to Harlem, for its part, is colored by a stunning hard bop flavored trumpet solo. The six musicians who accompanied Porter, no doubt about it, were on a very high level.
If the love is too much, I’ll take more said Porter before translating If Love Is Too Much in a deep voice and with an almost intelligent accompaniment. He then spoke of his youth and the habit of churches in the South of making songs that last… 45 minutes, while clapping their hands.
I won’t ask you that. After COVID, we were all pretty out of shape. But in four minutes?
After a deliberately slow introduction that seemed like a countdown, Porter set the tone with applause. For four or five minutes, for Liquid Spirit, the clapping of hundreds of hands echoed to the heights of the enclosure as musicians played wild on joint solos (saxophone-trumpet) or individual (drums). An uncontrollable turmoil, a whirlwind of joy in which the large room in which we found ourselves became a
Church full symphony.
The unique Be Good as well as Dad Gone Thing then Porter was allowed to show all the skill he could. In fact, there’s nothing he can’t do, vocally speaking. Probably the best performance seen from him in the last decade at FIJM.
ans et il m’a demandé ce que j’allais jouer ce soir. Je suis partie.”,”text”:”J’ai rencontré quelqu’un cet après-midi dans le lobby de l’hôtel. Un membre de la presse, je crois. Il m’a dit qu’il m’avait vu sur scène il y a 30ans et il m’a demandé ce que j’allais jouer ce soir. Je suis partie.”}}”>I met someone this afternoon in the hotel lobby. A member of the press, I believe. He told me he saw me on stage 30 years ago and he asked me what I was going to play tonight. I left.
Meshell Ndegeocello told the anecdote with a big smile after a good half-hour performance at Monument-National on Friday. If the partner in question was in the room, he certainly didn’t know the dynamic and overly excited bass player in 1990. during his FIJM service at Club Soda in 2012. The American I had seen before was on fire at Spectrum where Going wild with Pat Metheney is unknown. In the one hour I spent there, he played his seated electric bass, restrained, almost cautiously. He hasn’t put himself in the foreground to the point that he’s more backward on the front stage than his drummer (also a singer) and his guitarist.
But that, in the end, remains in shape. Basically, Meshell Ndegeocello simply put together a different car to get through what he wants to say and express these days. Impossible not to be touched to listen Fountainslike a prayer from a mother to her child. Susannaa song that has been around for a decade, is more touching in this new, more refined sound setting.
The bassist has also presented several new compositions related to his project with American writer, poet and playwright James Baldwin. Strong songs and a well-felt tribute, even if the words were carried by one or more of the three performers on stage.
Like the colleague Ndegeocello mentioned, I didn’t see what I expected on Friday, but I did see (again) an artist who developed his art and his passion in other ways.
Corinne Bailey Rae was on the main stage at the Place des Festivals for about twenty minutes on Friday when she performed Until It Happens To You. Then my friend Carole whispered in my ear:
it’s music for the french.
There is no doubt about it. Besides, I think I saw a couple do that during the song in question. Concrete, not bad all British concerts were revealed in 2006 with Keep your Records from this water: a marriage between sensuality, slightly lascivious rhythms and songs associated with the common denominator which is love.
Notice, love can’t prevent a kind of irony, like when the singer is introduced. breath
to all who love their best friend.
Backed by an impeccable band, the Briton can set the tone himself on the rhythm guitar, just as he did when he introduced the invigorating. Paris Nights/New York Morningsbut it can also be attractive to the public.
A remarkable event at the time Green Aphrodisiac. At first glance, the sweet song doesn’t seem to be adapted to an audience outside of thousands of people. However, Bailey Rae slowed down and then slowed the tempo to the point where the entire backbone of the music relied on background drums, almost inaudible bass and…
The singer asked for the help of the public, who also started tapping their fingers, while ending the song with
na-na-na-na-na end of course. Artist-public communions during loud hitting and thunderous songs or with cohesive stops, we’ve seen that be a ton over the years. But have we ever seen mass communion during that peaceful rendition? Not sure. It was magic.
The atmosphere was very different on Thursday night, during the opening night when Tash Sultana appeared on stage. The Australian multi-instrumentalist (guitar, bass, drums, keyboards, flute, saxophone, trumpet, etc.) is expected to be the proverbial star of the new generation he has already made.
For nearly 40 minutes, he gave a performance that was impressive and limited. Unique, because he made each song by sampling four or five instruments.
We’ve probably already seen that, with him and the other artists, there’s a real “performance” aspect to the thing. On the other hand, sampling keeps the musician from a repetitive motive and unchanging tempos. It’s impossible to differentiate your approach to music, other than the instrument
soloist which allows you to color everything.
The arrival of her musicians completely changed the game and allowed Tash Sultana to express herself in terms of instrument and vocal, she excelled in both aspects. At the end of the day, this opening night has more than just setting the tone. He would put the bar too high. Let’s see in the next few days where we take that.