Jill Townsend Big Band Releases Legacy: The Music of Ross Taggart: Island Jazz Exclusive Interview with Jill Townsend
About eighteen months ago Cory Weeds of Cellar Live Records in Vancouver proposed to Jill Townsend that her big band record an album of Ross Taggart originals to honour Ross who was only forty-five when he passed away on January 9, 2013.
The album was funded as a Kickstarter project and was launched June 30 at two concerts in Vancouver.
Many Islanders helped fund the project because Ross Taggart, who was born and raised in Victoria, was beloved on both sides of the water.
The album, which features some of the west coast’s greatest jazz musicians, can be purchased now at Cellar Live.
I recently interviewed Jill about the project by email. Here’s what she had to say.
IJ: Eighteen months after it began, your Ross Taggart project is finally done and the CD’s are on their way to project donors. How are you feeling now that it’s complete?
JT: Exhilarated, exhausted, satisfied, grateful to have been part of this project, and happy that it’s completed!
IJ: How did the launch in Vancouver go?
JT: The audiences for both shows were very receptive, and the band played beautifully. It was an emotional evening for sure, but here we were, celebrating Ross and his music, and celebrating the final result of this project.
IJ: How do you feel about the recorded results? Any favourite cuts?
JT: I’m very happy with the recording.Thanks to everyone in the band, and of course Chris Gestrin deserves special mention here; he did a fantastic job of recording, editing, mixing and mastering the CD. Each tune has a story of course- Legacy is one of my favourites, and TV Lunch was a tune I thought would work well for big band. Light at the End of the Tunnel is a gorgeous arrangement by Bill Coon, and is one of the highlights for sure. Bill Runge also contributed a lovely chart of Open Book.
IJ: You knew Ross Taggart’s music before, but what discoveries did you and Bill [Coon] make as you dug into the tunes and began arranging them for big band?
JT: Well, the fact that there were so many compositions to choose from to begin with! It was a somewhat difficult process at first to go through the boxes of music, but as we played through his compositions, we chose the tunes relatively quickly that we each wanted to arrange. Ross’ compositions’ are imaginative, colourful, joyous, and poignant. He wrote so many tunes for friends, or an event that took place, or something personal to him. Every note counts in Ross’ music.
IJ: How did your arrangements evolve as you took the charts to the band and started working with them?
JT: My goal for arranging is to have the chart finished and completed to my own liking before bringing it to the band. I’m not a fan of making too many changes afterwards. However, the benefit of rehearsal allows for a few quick fixes or changes. With any large ensemble, the timeline is always tight between rehearsal and performance!
IJ: Tell us about the recording process. How many days, how many takes, etc.? Challenges? Crazy moments? Inspirational moments?
JT: It was just after Christmas when we recorded, and took place over two and a half days, so really only three sessions plus a little extra time. That was challenging in itself, as it’s a busy time for most musicians. We had a lot of music to record in a short amount of time, so the sessions were very focused.Yes, there were some crazy moments for sure, but you know, that’s all part of the process when you have 17 or 18 musicians & personalities in one room!
IJ: You and Cory Weeds decided to go with donor funding through Kickstarter. Having been through it now, how do you feel about that approach to album funding? Do you recommend it?
JT: Absolutely! We had overwhelming response to this project, and being able to donate online made the process easier for contributors near and far, and across the globe. Also, contributors received project updates, so they were involved in the process as each stage of the project unfolded.Thank you to Cory Weeds, and to all of our contributors!
IJ: In the absence of decent government funding for independent jazz projects in this country do you think this is the way of future?
JT: Well, it’s one way for sure, and was a positive experience for us. Grant funding is still available, and as always, musicians have to be resourceful in finding various ways to present their music.
IJ: Any chance of getting the band over to Victoria for a performance of Ross’ music?
JT: Of course, I’d love to bring the whole band over to Victoria! At this point, Bill and I are planning to come over in early 2016 and perform some of the charts with Monik Nordine and the Monday Night Jazz Orchestra.
IJ: What’s next for Jill Townsend?
JT: We’re performing with Dr Lonnie Smith (B3 organ) in December, so I’m excited about arranging some new charts for that project.Planning to record another CD of original music by (guitarist/composer) Bill Coon and myself in the not-too-distant future, and there are a few other things simmering..which will be announced closer to the time. Check out jilltownsend.ca for future performances with the band.
The Victoria jazz community was very sorry to hear of Hermann Nieweler’s passing on Wednesday night. In recognition of his decades-long support of jazz in Victoria, I’m reprinting my story about Hermann’s Jazz Club that appeared in Boulevard Magazine in 2010.
High on Jazz and Loving It
It’s Thursday night at Hermann’s Jazz Club and the Tom Vickery Trio is deep into an entrancing rendition of My Funny Valentine. Not a single patron is talking. Even the usual background clatter of dishes has stopped. For one sublime moment, the awareness of the entire room is focused on the beauty of this classic tune. It’s pure magic, but only sixteen people, including this writer, are here to enjoy it.
On nights like this, a loyal jazz fan has to wonder what it takes to get more people through the doors of one of the best live jazz venues in the country.
Go anywhere else in Canada, including Toronto, Montreal, and Vancouver, and you won’t find a room like Hermann’s says Sebastian Picard, a 21-year-old University of Victoria student and part-time musician. “We’re so lucky to have a place like this!” Picard and his friends come every few weeks, noting that it’s an inexpensive night out and a really comfortable, spacious place to be.
Gary Telford, 68, a retired librarian, drives in from Sidney most Thursday nights to enjoy the weekly jam session and has been doing so for ten years. “There’s always the potential for a musical surprise,” he says. “It amazes me that a town this size has so many great players.”
Joan Dick and Gary Spence, a middle-aged couple who periodically visit from Salmon Arm, agree. “We’ve never come when the music hasn’t been good,” says Dick.
Victoria is blessed by an unusual concentration of high calibre jazz artists and Hermann’s has been their home for nearly 30 years, making it the second oldest club of its kind in Canada. Only the Yardbird Suite in Edmonton is older and that was established in 1957.
Logic says Hermann’s shouldn’t be here at all. Jazz clubs everywhere have been closing for years under assault from changing (some would say declining) musical tastes and the digital revolution that keeps people glued to electronic devices instead of out enjoying live music.
So how does it stay open?
The musicians credit owner Hermann Nieweler. Tom Vickery, 71, leader of the house band for 24 years, says, “I’m just amazed and I think everybody is, that it’s lasted this long…but he [Nieweler] likes the music…he likes the musicians…he’s just a big fan.” Vickery, a mainstay of the Victoria jazz scene, says the club has “meant everything” to him. “I’m still in awe that I can go down to this jazz club every Thursday and play this wonderful grand piano.”
Sean Drabitt, another prominent local player, says the club is clearly “a labour of love.” Now 40, Drabitt first played Hermann’s when he was only 17. He left Victoria in the 90s, pursuing a career in LA, New Orleans, and New York, where he worked with some of the best jazz musicians in the world, including the esteemed Marsalis family, and so he is well aware of how successful jazz scenes function.
“It’s important for a jazz community to have a meeting place and an outlet,” says Drabitt, noting that jazz is a highly social music. “To have a specific jazz room…is invaluable.”
Ross Ingstrup, the current head of the Esquimalt Secondary School jazz program, points out that Esquimalt students have been performing at Hermann’s weekly for the past 19 years. “Any opportunity you have to put kids in a real life setting [is good],” he says. “It’s a huge boon to the program.” Ingstrup adds that Nieweler and his staff have “tirelessly supported music education in Victoria.”
Nieweler credits others for the club’s longevity. “It’s actually the Victoria fans that have kept this place going and the staff and the musicians,” he tells me one morning as he shows me the memorabilia decorating the walls.
Wearing a black baseball cap and a plaid scarf, the gregarious 74-year-old stands before a photo of the first band he ever booked and proudly recalls how it all started at the club’s original location, a hotel he owned on Government Street (now the Bedford Regency). “This band came along… and people came, and people came, and people came – they were standing on Government Street. I didn’t know what to do!”
“It became a hobby…I was working in construction and hiring bands,” he says, explaining how he juggled operating a jazz club with his main occupation of running his construction business. “It became fun – no heavy duty pressure.”
It wasn’t fun in 2000 when a suspicious fire broke out in the cabaret above Hermann’s at its present location on View St., destroying the club and much of the building housing it. But Nieweler rebuilt it from the ground up, making improvements and doing much of the work himself.
Nieweler’s devotion and personality can be seen everywhere, particularly in the idiosyncratic decor. Wrought iron gates built by a retired blacksmith to invoke the atmosphere of a New Orleans jazz club mark the front entrance. Spoked metal wheels from an antique Alberta haying machine form the handrails for the stairs leading to the small green room behind the stage. Outside the back doorway, a galvanized steel star embedded in a concrete step greets the musicians.
Inside, old instruments he has collected decorate the walls along with numerous framed photos representing the thousands of musicians who have appeared here. In one, jazz icon Wynton Marsalis stands shoulder to shoulder with a group of local players, a symbol of the many famous players who have stood on the bandstand.
But what of the future? Nieweler has been talking retirement for some time. “Friends pass away and I think, Jesus Christ, I’d better do something with this place…but only certain people can do it – you’ve got to have a love with it, too.”
Walking me to the door, he offers one final thought delivered with his trademark laugh. “Like Churchill says, you can’t surrender. Jazz goes in your veins. Once it’s in your bloodstream, you can’t get it out!”
Victoria audiences who recall Montreal pianist Marianne Trudel’s rapturous performances at Jazzfest International, Jazz at the Gallery and at Hermann’s have reason to celebrate.
Trudel returns to Victoria on Wednesday, June 10, 8 pm, at Hermann’s, with her trio Trifolia, an acclaimed project that in 2013 won Trudel her first of two Juno nominations. (The second was for a recent project with trumpeter Ingrid Jensen).
Trifolia features Trudel on piano, Etienne La France on bass and Patrick Graham on percussion. Her Victoria appearance is part of a tour that will also take her to Seattle, Washington, and LaJolla, California.
In describing her project, Trudel’s press material says, “The name “trifolia” is often applied to a plant that possesses three leaves. In the case of this trio, the three musicians of Trifolia form a dynamic, living unit, sharing with audiences everywhere their passion for heartfelt communication through sound.”
Radio-Canada’s Isabelle Craig has said of Trudel, “She takes the piano through all the musical styles, from jazz to classical, including a taste of rhythms from around the world. The pianist-composer-improviser explores and pushes her instrument to its limits and beyond.”
The Gobe and Mail has called her “the hottest young pianist on the Montreal jazz scene.”
I’ve seen Trudel perform at least three times in Victoria and all I can say is don’t miss this show. It promises to be one of the most exciting jazz performances you’ll see this year or any other.
Here’s a taste: