It’s the 33nd annual Festival International de Jazz de Montreal. MAGNET’s Mitch Myers translates the action.
I just went through a night of living piano music, for better and for worse. Continuing his four-night showcase “Invitation Series,” Norwegian pianist Tord Gustavsen played an early-evening solo show at the Gesù Theater. I had high expectations for him since he’s the new master of peaceful musical meditations and introspective explorations, but this show was just plain dull. Gustavsen’s playing felt forced, and his lack of inspiration resulted in long, quiet renditions of European folk hymns with very little to offer in terms of improvisation. Still, Gustavsen is a great player with a very sensitive touch, and most of the crowd left the Gesù feeling satisfied, just not me.
The Neil Cowley Trio, on the other hand, provided nothing but thrills and excitement at the L’Astral nightclub (for the second year in a row). Cowley is a dynamic, two-fisted pianist who plays in a riveting, percussive style that seems to appeal to a wide range of music fans. Cowley straddled the line between rock and jazz, as he and his trio were totally in sync displaying loads of dynamics, rocking riffs and intricate time signatures. This is upbeat, aggressive music chock full of great melodies, many of which can be found on the trio’s latest CD, The Face Of Mount Molehill. Cowley is no slouch, let me tell you, as he’s played with the Brand New Heavies (back in the day),and even worked with that popular girl singer Adele. Now, with the Neil Cowley Trio and the band Get The Blessing, we’re finally experiencing a worthwhile British Invasion (of modern jazz). Check them out.
Finally, I bid a wistful goodbye to the Gesù and the Jazz Festival with a late night show by the great Cedar Walton. Now that Hank Jones is gone, Walton might qualify as the grand old man of jazz piano. Nearly 80 years old, he played with all the greats of his generation including Coltrane, Abbey Lincoln, Art Farmer and Art Blakey, to name but a few. Walton was certainly not showing his age on Friday night, and his sterling trio played a number of sharp standards, illuminating exactly why classic jazz still has an important place in the modern world. Personally, it reminded me of seeing Walton at Bradley’s piano bar—another time, another place decades ago. Anyway, it was a fine and dignified way to end the evening, and my time in Montreal, au revior.
