TORONTO, Digital Journal — When it was announced that the Toronto Jazz Festival had to find a new sponsor, there was a concern that it might not happen. But thanks to TD Canada Trust, which practically flew in to save things earlier this year, the 18th annual fest was a go.
The colour of the Toronto Downtown Jazz Festival might have changed to the familiar TD green this year, but the musical selection remained the same: Jazz stalwarts comprised most of the lineup, while risky and forward-thinking artists peppered the festival.
Trumpeter Wynton Marsalis returned for the third time in four years, and guitarist John Scofield was back for the fourth time in five years. As usual, Canadian legend Oscar Peterson opened the festivities with a preview concert at the Hummingbird Centre. But, this year’s Jazz Festival was especially impressive, as it became home to bold and impressive artists that put out enough energy to elevate the schedule above the usual “so-and-so quintet” clichés.
Bluegrass fanatics or jam-rock enthusiasts would’ve felt at home watching Bela Fleck and the Flecktones rock out at Nathan Phillips Square. Popularized through their collaboration with the Dave Matthews Band, the four-piece blends banjo, brass, electric bass and a percussion instrument dubbed the “simultaneous synth-axe drumitar.” With his lightning-quick fingers dancing across the fret board during rousing solos, it was obvious why some say Fleck is one of the world’s best banjo players. Joining him was renowned bassist Victor Wooten, who returned audience applause with several funky bass grooves James Brown could’ve invented. Jeff Coffin filled pauses with sax bursts, and Future Man — garbed in a black cloak and a three-cornered pirate hat — supplied percussion via a Frankenstein-ish device that marries a guitar, a synthesizer and a keyboard. Judging by the shoulder-to-shoulder crowd of 20-somethings at the event, it would be fair to say that the Jazz Fest succeeded in attracting a wider and younger audience, much like it did last year with Medeski Martin and Wood.
Rounding out the “Yep, we’re hip and happening” section was the progressive trio called New Deal, afro-funk band Afrodizz and the jazz-meets-hip-hop series Love Movement.
Another big change in this year’s Jazz Festival was the inclusion of the Next Wave series, which merged music and visual arts at the National Film Board headquarters on John Street. There, drummer Karl Jannuska led his band through ambient jazz tunes while projectors displayed improvised, computer-driven images. The digital didn’t always mesh with the musical very well, but Jannuska’s effortless drumming proved to be great entertainment all on its own. I would assume that these less-popular gems aren’t promoted as heavily because programmers realize their audience is older than 40 and largely made up of tourists.
Every night popular names like pianist/composer D.D. Jackson and violinist Jean-Luc Ponty were showcased. The latter joined two virtuosos — guitarist Al Di Meola and bassist Stanley Clarke — for a show titled “Rite of Strings.” Perhaps a more appropriate title (and a better play on words) would have been “Might of Strings” because each musician exchanged phenomenal solos. Some critics call this “wanking,” but the packed house didn’t mind a bit; Ponty’s call-and-response with Di Meola was particularly impressive, as the two talents flew their fingers up and down the necks of their instruments without breaking stride.
But even with all of the hype and headliners, the smaller concerts can sometimes be what really stamps a lasting impression. So was the case when I sauntered into the legendary Rex Jazz and Blues Bar to soak up the swinging sounds of the Ron Davis Trio; the vibe was very relaxed and the piano playing was the ideal late-afternoon background music to a cold pint. This is really the essence of the Jazz Fest: So much music explodes from every jazz bar that finding a favourite band is only a few bus stops away.
And so ends another Jazz Festival in Toronto. For a crowd that looked hungry, this year’s Fest cooked up treats both tasty and filling. And the great thing about living in a city with so much talent: It’s only a short walk to any jazz lounge where one can indulge in weekly diversions. After all, Toronto jazz blossoms in early July, but it’s always alive throughout the year.
