One of the things that distinguishes Jim Hall from other jazz guitarists is his originality.
Many guitarists take a lick-based approached to improvisation. Over time they develop a vocabulary of licks – usually gleaned from other players or transcribed from records – and thread them together to create a solo. Some rely heavily on such licks while others will play improvised-on-the-spot melodies perhaps half the time.
Jim Hall does neither. He considers improvising an art form and likens it to painting. As a result he favours motivic development in his solos, meaning that he will improvise a “motive” or musical idea on the spot and then build on it and explore its variations as he develops the solo. The result: a new canvas each time he sits down to play.
In fact he has only transcribed one or two solos in his entire life and that was many years ago. When he listens to other players – often horn players – he does so to get the feeling, not to pick up specific phrases or licks. He’s just as likely to get his musical inspiration from other art forms, especially painting and poetry.
You can hear this approach in this wonderful 1981 recording with Don Thompson(piano) and Terry Clarke(drums):
It’s an understatement to say that Jim Hall, who turns 82 this year, is the most influential jazz guitarist alive today. Pat Metheny, Bill Frisell, Ed Bickert and many others all put him at the top of their list of influences, and many jazzers, regardless of instrument, see him as an iconic figure in modern jazz. Metheny calls him the “father of the modern jazz guitar.”
These accolades are well deserved. Starting in the late 50s Hall played with the very best including Ben Webster, Bill Evans, Sonny Rollins, Ella Fitzgerald, Paul Desmond, and Art Farmer. His early period includes seminal recordings with Evans (Undercurrent and Intermodulation) and Rollins (The Bridge).
He also has interesting connections with Canada.
When Paul Desmond came to Toronto in the early 70s, Hall recommended that he hire Ed Bickert as his guitarist. Hall had played in Toronto a lot and had gotten to know Bickert well. I’ve never been able to verify this story from a primary source but apparently Hall said to Desmond that Bickert was so good he scared him when he came into the room.
(A side note: the story is believable since Bickert has that kind of reputation amongst guitarists. When I interviewed Pat Metheny for a CBC documentary on him and Linda Manzer, Metheny told me after the interview that he was in complete awe of Bickert and didn’t really understand how he did what he did.)
Carrying on with Hall’s Canadian connections:
He played in a trio with Don Thompson and Terry Clarke and recorded an album with them.
Vancouver (formerly Montreal) guitarist Bill Coon chose studying with Hall over doing a graduate degree.
Mike Rud, another great Canadian guitarist who spent time in Vancouver and Victoria (he’s now in Montreal), also studied with Hall.
There are more connections and more to say but for now I’ll leave you with a recording featuring Hall playing All the Things You Are with Pat Metheny, Chistian McBride and Antonio Sanchez:
“Josh’s cymbal beat made you want to smile and dance. Don’t need much more than that.” – Nicholas Payton
Josh Dixon was only 41 when he died of heart failure in his sleep, but judging from the response to his passing so far, he has several lifetimes worth of accolades to send him on his way, all of them earned through his masterful drumming and positive personality.
Pianist Karel Roessingh, who has known Dixon since he was four years old and has been a major figure on the Victoria jazz scene for years, says Dixon was not only “a really, really great drummer” but also a terrifically positive person with a wonderful sense of humour who took delight in everything he did, whether it was playing music, whacking a ball around a golf course, or painting a house.
“He had an almost boyish wonder about him,” says Roessingh, adding that Dixon was always friendly, humble and respectful and “clearly had a hugely deep love for his family.” Roessingh recalls him talking about his family “all the time.”
As a player Roessingh says Dixon was “a kind of trickster” who would get a sly smile on his face and then do something totally unexpected that would surprise and delight his fellow musicians. “He had such a simple little drum kit – like something from a toy box – but the stuff he did with it!”
Antoine Drye, a renowned New York trumpeter who has performed with many of the best jazz musicians in the world, says Dixon was a “natural drummer” and a “swinging dude” who fit very well into the New Orleans and New York scenes that he joined in the early nineties with his best friend, bassist Sean Drabitt. “That’s a hell of an achievement in itself,” says Drye, noting that to become a working musician in New Orleans and New York, the very breeding ground of jazz, “takes balls.”
Drabitt calls the years in New Orleans with Dixon “a golden time” where a group of young players learned together under the tutelage of the great Ellis Marsalis. He remembers playing up to three gigs a night, gigs that sometimes included members of the Marsalis family – Ellis, Wynton, Branford, Delfeayo, and Jason – in different configurations. Nicholas Payton and Brian Blade were also part of the scene, as was Jason Stewart.
Stewart, now bassist for the Ellis Marsalis Quartet, says Dixon was “a great drummer” and a clever person with a particularly dry sense of humour. He had “a great feel” and was clearly well entrenched in “a certain tradition” of drumming, he adds, noting that unlike some drummers who overwhelm the bass, he meshed really well because of the quality of his sound.
Drabitt says that everything Dixon hit sounded good and that he had a “masterful” ride cymbal on the level of Claude Ranger’s, the iconic Canadian drummer who mysteriously disappeared in 2000. “He got the colours he needed.”
Dixon had little formal musical education beyond high school but studied with Ranger, Jeff Hamilton (Diana Krall’s frequent collaborator), and Marvin “Smitty” Smith, a famous drummer who toured with everyone from Sonny Rollins and Dave Holland to Sting and Willie Nelson.
Mostly, though, he got his musical education the old-fashioned way by listening to records, playing gigs, and immersing himself in the scene. Drabitt says he was heavily grounded in the early sixties both “soundwise” and “approachwise,” citing drummers like Elvin Jones, Grady Tate, Tony Williams, Billy Higgins and Philly Joe Jones as major influences.
Multiple Juno winner Hugh Fraser, who played his first professional gig in Victoria with Dixon’s dad George and eventually would mentor Dixon, says that even before he traveled to New York and New Orleans, the young Dixon “sounded like an old spirit,” and had a “wide open” swing feel that distinguished him from other drummers, not only in Victoria but also in Canada.
Fraser feels that his immersion in the New Orleans and New York scenes simply magnified qualities that were already there. “He had such traditional flare and drive” says Fraser, crediting Dixon’s listening to a lot of different recordings and growing up with his drummer dad, for the great feel he possessed.
Fraser adds that Dixon’s enthusiasm made him fun to play with. “He was always up for playing in the true sense of the word.” He fondly recalls the young Dixon pulling up to his (Fraser’s) mother’s house in a convertible MG with the top down and his dad’s drum kit stuffed in the back – a scene right out of the 40s in Fraser’s mind – ready and excited to play.
He remembers, too, that while teaching in London he would get phone calls from Dixon and Drabitt at 4 am in the morning, excitedly telling him they were at Mary’s (his mom’s) house jamming.”I thought jams happened only when I was there, ” laughs Fraser, adding that Dixon “was a sweetheart we’ll all miss so much” who infused his music with a playful, magical spirit.
Phil Dwyer, another multiple Juno winner, met Dixon and Drabitt in the summer or 1988 or 1989 when they played together with Dave Keen at Pagliacci’s in Victoria. A precocious musician himself who had journeyed to New York a few years earlier to immerse himself in the scene when he was only 17, Dwyer says “it was pretty clear they were (real) musicians who were in it for the long haul. “I was really pleased to hear that they had both struck out for south of the border.”
When Dixon returned from the U.S., Dwyer says you could tell he was someone who had “been sitting at the feet of the masters and paying attention.” He describes him as “a real groover” who “hadn’t checked his ego at the door – he’d checked it at the building down the block.” Dwyer adds that he had great respect for the jazz tradition “without pandering to it,” and when he played, he made things feel good and gave back “the right kind of energy.”
Vancouver pianist and trumpeter Brad Turner, who met Dixon in the early nineties and played with him in various quartet and trio gigs in Victoria and New Orleans, says Dixon was one of those rare drummers with both great technique and great musicality, making him a tasteful accompanist and a formidable soloist who played flawlessly with passion and fire.
He recalls a night in 1994 when The Sean Drabitt Quartet (Drabitt, Dixon,Turner and saxophonist Terry Deane) played the entire John Coltrane A Love Supreme album. “Josh was on fire that night,” says Turner, adding that he was the kind of guy who would “give you the shirt off his back” and was a “gregarious, generous and intelligent person.”
Tom Vickery, who gigged with Dixon around town and played with him at the Hermann’s jam every Thursday night for the last few years, says ” he had a passion for those drums”, and “he made me play,” adding that he was always upbeat when he arrived, could play any style, and “had a special touch.”
Dixon also made an impact outside the jazz world. Victoria Juno-nominated bluesman Bill Johnson credits Dixon with stretching him as a musician:
“As I’m a blues artist, playing with Josh Dixon was an experience that left me feeling both guilty for restraining him, and on the other hand, free from the blues form. If I felt the inspiration to take off into uncharted territory, he would be there ready to fly. He was like a springboard for my imagination. Those gigs were among the most musical experiences of my life.”
It’s not only older, established musicians who have great things to say about Dixon. Mitch Fisher, a 12-year-old student of Dixon’s who studied with him for five years, says Dixon was “a very nice guy” who in their weekly sessions focused more on “on playing than just learning,” and had “a really good positive attitude.” Fisher says other drum students had the same experience and always looked forward to their lessons with him.
Those words might have been spoken by Vancouver drummer Jesse Cahill who has written on his blog how important Dixon was to him as a young drummer growing up in Victoria and trying to make his way in the jazz world.
“Josh was one of the first real jazz drummers that I ever saw perform live. I’ll never forget him coming to my high school when I was in grade nine and playing in a trio with pianist Louis Rose and bassist Russ Botten. After that I made a habit of going to check him out at the restaurants and cafes around town whenever I could. Eventually he started giving me the opportunity to sit in on his gigs, always offering encouragement and advice. He gave me a few formal lessons but most importantly he was always happy to hang out and talk about playing music.”
Evidence of Dixon’s impact can be found in the press, too. A glance through journalist Joe Blake’s old Backbeat columns in the Times Colonist shows that Dixon, with Drabitt, had a major impact on the local scene very early in his career. “Ferociously swinging,” and “concise, joyful, orchestral” are just a few of the descriptors Blake used as early as 1991 in praise of Dixon’s drumming.
The last word, though, must come from Sean Drabitt who has been with Dixon on his musical journey since they were 16-year-old’s playing the music of The Police and forming their first jazz group. “I was always impressed with his ability to be so nurturing,”says Drabitt. “He always seemed to care.” And of his general approach to life and music, Drabitt adds, “He had an old wisdom to him…he was very accepting and a genuinely nice guy.”
Needless to say Josh Dixon will be missed by many people, not least among them is Grammy-winning New Orleans trumpet and piano iconoclast Nicholas Payton, who put it succinctly when he expressed what Dixon meant to his fellow New Orleans musicians:
“Josh’s cymbal beat made you want to smile and dance. Don’t need much more than that.”
The Victoria jazz community is deeply saddened by the sudden passing of drummer Josh Dixon last Wednesday at age 41. The coroner’s report identified a congenitally enlarged heart as the cause of death.
Tributes to Josh are pouring in not only from the Victoria community but also New York and New Orleans where he lived for a number of years and performed with some of the top names in jazz including Herb Ellis, Roy Hargrove, Nicholas Payton, and Kurt Rosenwinkel.
An informal jazz jam tribute is planned for this Thursday, January 26, 8 -11 pm, at Hermann’s Jazz Club in Victoria.
A formal memorial service will be held at Hermann’s on Saturday, March 3 starting at 4pm.
Josh’s wife Jennie is creating a website to honour him. It is up now and will be completed in February.
I’m currently working with Sean Drabitt on an extended article that will pay tribute to Josh and document his life as a musician. Stay tuned.
Pat Metheny may have more fans around the world than just about any other living jazz artist. What a lot of people don’t know is that his incredible acoustic sound heard on albums such as Beyond the Missouri Sky is the product not only of his fine playing but also the work of Linda Manzer, a world-renowned Canadian guitar builder. In fact, since 1982, she’s built over 20 guitars for Pat (including the amazing 42-string Pikasso).
In November I had the pleasure of traveling first to Toronto to record an interview with Linda and then on to New York to meet with Pat in his home studio in Manhattan, the first steps in creating Kindred Spirits:Linda Manzer’s 30-year Journey with Pat Metheny, a documentary I produced for CBC Radio 2′s Inside the Music.
It’s an amazing story about two incredibly creative people and their unique musical collaboration. And it has a bit of a Victoria angle.
In 1978, Linda Manzer, who at that time was working for Jean Larrivee, came to Victoria
when Larrivee moved his guitar factory here. She stayed only six months, deciding to return to Toronto and strike out on her own, but while here –as you’ll learn in the documentary – she purchased an old table saw at a local flea market. That’s the only table saw she’s ever owned and it was used to help produce all those great guitars for Metheny and a host of other artists including Bruce Cockburn, Gordon Lightfoot, Paul Simon, and Liona Boyd.
The documentary is filled with Pat’s wonderful music and offers an inside look at one of the most productive and creative relationships in music history. Have a listen – I think you’ll enjoy it.
A new recording studio has opened in Victoria that could be just the thing for jazz artists and community bands looking to record an album “live off the floor.”
Electric City Sound (ECS)has resurrected the space once occupied by Zero Gravity, a million dollar state-of-the-art studio that saw the likes of Sarah McLachlan, 54-40, and Nelly Furtado pass through its doors before falling victim to the home recording juggernaut that closed the doors of many studios a decade ago.
Using four custom-designed, acoustically-engineered isolation rooms with floating floors and a host of advanced recording gear, ECS can record up to 24 channels simultaneously, making it possible for even a 16-piece (or larger) band to record live.
Groups can choose to record digitally, to tape, or a combination, thus creating the particular sound they want.
The ECS production team is even offering bands a way of getting their audience to pay for the recording session.
Thirty audience members pay $30 each to attend a special concert, which ECS records and films. The band is then given a CD and video, which they distribute free to the fans who attended the show. They can also post footage and tracks on the internet, thus promoting the band and the new album.
ECS is attracting the interest of local musicians. A 16-piece community band has already recorded there and a number of local performers plan to produce projects at the studio in the near future.
The production team is setting up a number of innovative community programs and offers competitive rates to groups wanting to use the studio either with their own engineer/producer or members of the ECS production team.
For more information, visit the studio’s website here.
With the passing of John Dankworth on Saturday at the age of 82, this seemed like a story that should be told…
Early in 1960, a young musician from Victoria, having decided he wanted to see a bit of the world, traveled on an old German steamship from Canada to England, landing in Southampton with nothing more than $50 in his pocket and a trombone case in his hand.
Discovering that $50 didn’t go very far in the UK even in 1960, the young player soon started looking for work. One day he heard that John Dankworth was forming a new big band.
He already knew of Dankworth from his appearance at the 1958 Newport Jazz Festival and from articles about him in Downbeat, and so he phoned him up and explained that he was from Canada, could play the trombone, and would like to audition. Dankworth invited him down to the then newly opened Ronnie Scott’s Jazz Club in Soho where Dankworth’s quintet was playing, suggesting he could sit in on a few tunes after the quintet had finished its set.
The young player walked into Ronnie Scott’s to find Kenny Wheeler on trumpet, Spike Heatley on bass, Kenny Clare on drums and Dudley Moore (the actor) on piano with Dankworth on sax.
A week after the audition Dankworth’s road manager called him and asked him if he wanted to join the big band. Needless to say the 21-year-old jumped at the chance.
And so a young man from a very provincial town on Canada’s west coast entered a world where he made very good money (over 40 pounds a week when the average wage in Britain at the time was about 11 pounds), where a band boy took care of his instrument, and where his performance clothes were waiting for him on a rack when he arrived for the gig. He could hardly believe it.
Nor could he believe that about a week after joining the band, he was told he would be given a feature (solo) and that they would be recording a concerto for jazz band and orchestra with the London Philharmonic Orchestra that Dankworth had just composed. Quite an experience for somebody who, in his own words, was “green as hell,” and didn’t know “his ass from a shotgun.”
That young player might have enjoyed a long career with Dankworth’s band except he found himself longing for simple North American pleasures like a hamburger and milkshake – not to mention a few evergreens and some mountains.
And so after nearly two years with the band, Ian McDougall, having discovered that he could hold his own on an international stage, returned home.
The rest, as they say, is history.
– Rick Gibbs
Congratulations to Ian McDougall who was presented the Order of Canada for his contributions to Canadian music last week in Ottawa.
The official citation reads: “A renowned trombonist and composer, Ian McDougall has had a distinguished career as a musician, bandleader and teacher. At home with both classical music and jazz, he has written compositions for symphony orchestras, chamber choirs, jazz bands and for special events such as the Commonwealth Games. Highly regarded by his peers, he is a top-ranked studio musician, has served as leader of a variety of jazz groups, and has been principal trombone in numerous others. Professor emeritus at the University of Victoria, he was instrumental in developing a jazz program there. He is also an esteemed and dedicated mentor whose students now rank among the top trombonists and teachers in the country.”
Earlier this year, a few months after he found out that he would be receiving the award, I had the pleasure of interviewing Ian in his Ten Mile Point home for a profile in Monday Magazine. That profile is reprinted below.
A Good Road
Ian McDougall reflects on a life well lived.
by Rick Gibbs
Strange how lives unfold. One day you’re a young kid opening your first trombone method book in a tiny working-class apartment in post-war Victoria and the next Read more…
Pianist and composer Brent Jarvis is about to launch the most unique recording of his young career: an entire jazz album based on the poetry of celebrated Canadian poet Dorothy Livesay.
Jarvis, whose previous two albums on Roadhouse Records have garnered praise from the likes of CBC’s Katie Malloch, had never even heard of Livesay when a friend made the suggestion that he try writing music to her words.
Composers have certainly been known to turn poems into songs before (Donovan and Loreena McKennitt and their work with Yeats and Shakespeare come to mind as contemporary examples).
In the jazz world, however, these links have generally been restricted to poets referencing jazz artists in their poems, reproducing the sound and feel of improvisational music in their writing, or actually integrating live music into their readings.
The History of Jazz and Poetry
The relationship between jazz and poetry began in the 1920s and blossomed in the 40s and 50s when beat writers like Jack Kerouac and Allen Ginsberg, who hung out in New York clubs listening to the likes of Charlie Parker, completely embraced the language and lifestyle of bebop, incorporating it fully in their lives and their work.
Kerouac’s novel Read more…
The Comox Valley’s Georgia Straight Jazz Society (GSJS) could teach a lot to jazz societies across the country.
While many such organizations fall into the trap of promoting touring acts over local players, the 150 member GSJS has found a way to encourage both and is quickly becoming one of the most dynamic and successful promoters of jazz in our region.
Founded in 2006 by a small group of volunteers, the non-profit GSJS runs a weekly jazz club in Courtenay that regularly sees up to 90 people filling the Elks Hall to hear local groups. It also offers a highly successful annual concert series featuring touring players, and has developed educational initiatives such as a bursary fund and youth “big band challenge” that encourage the development of young talent in the region.
“It’s all about maintaining relationships with local players.”
As well, GSJS has forged relationships with local businesses and with players from around the island (including Campbell River, Parksville-Qualicum, Nanaimo, and Port Alberni), and it has launched a community big band which now functions as a separate entity under the direction of Greg Bush from Vancouver Island University.
The Society also maintains Read more…