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TD Toronto Jazz Festival, Days 1-3: June 23-25, 2011

By Alain Londes
July 2, 2011
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TD Toronto Jazz Festival 2011
Toronto, Canada
June 24-July 3, 2011
2011 marked the 25th anniversary for a festival that is a key stopping point for artists coming to Canada. Organizers always have to strike the right balance when booking top names and other talented international artists.

A key change from previous years was the relocation of the big white tent—housing all the Mainstage concerts—from Nathan Philips Square, in front of City Hall, to the park square located between Roy Thomson Hall and Metro Hall. More lawn area provided more comfort to check out the free afternoon shows on the adjacent stage. Venues hosting the better-known names ranged from the Enwave Theatre, near the lake, to Koerner Hall and the Sony Centre, while the Glenn Gould Studio was the spot for unique piano solo showcases by

Randy Weston

piano
1926 - 2018

" data-original-title="" title="">Randy Weston,

Jacky Terrasson

piano
b.1966

" data-original-title="" title="">Jacky Terrasson,

Vijay Iyer

piano
b.1971

" data-original-title="" title="">Vijay Iyer, and

Kenny Barron

piano
b.1943

" data-original-title="" title="">Kenny Barron.

Friday, June 24, 2011

To ease into the end of the work day on this Friday afternoon, Quotes Bar and Grill was a lovely and quiet environment for some classic easy swing. The Canadian Jazz Quartet, featuring guitarist Gary Benson, vibraphonist

Frank Wright

saxophone, tenor
1935 - 1990

" data-original-title="" title="">Frank Wright, bassist

Duncan Hopkins

bass, acoustic

" data-original-title="" title="">Duncan Hopkins and drummer Don Vickery were joined by New York tenor saxophonist

Harry Allen

saxophone
b.1966

" data-original-title="" title="">Harry Allen. With such classics as Jerome Kern's "The Way You Look Tonight," "Laura" and "Tenderly," Allen's superb technique, combined with melodic emotion and depth, was crystal clear. An intimate live setting such as this allowed the audience to relax while hanging on to every note. For balance, the group also played classics such as

Billy Strayhorn

piano
1915 - 1967

" data-original-title="" title="">Billy Strayhorn's fast, bluesy ballad, "I'm Checking Out (Goom-Bye)." Three wonderful sets closed fittingly with "That's All," from the Great American Songbook.

In order to create a real street party atmosphere for this year's occasion,

Aretha Franklin

vocals
1942 - 2018

" data-original-title="" title="">Aretha Franklin, the Queen of Soul, was the key headliner for a free concert. It's never easy being an opening act, but, when the lead singer with Jordan John & The Blue Angels asked the crowd if they wanted to hear one more, it was worth a little smile when the crowd answered with a resounding "No!" The large band brought together musicians who came with Franklin, as well as top locals such as Juno Award-winning trumpeter {John MacLeod and saxophonist Alex Dean. At the start of the show, the band warmed things up, before Franklin finally came onstage to the delight of an enthusiastic crowd. Recognizing the context of the festival, she selected "Cherokee" as her first song. From there it was one favorite after another. She chose not to include "Respect"—and she didn't need to, with everything that she had to offer. She delivered R&B hits including "Baby, I Love You," "(You Make Me Feel Like) A Natural Woman," and "Moody's Mood for Love," in honor of the late NEA Jazz Master

James Moody

woodwinds
1925 - 2010

" data-original-title="" title="">James Moody. She also played piano on "Bridge Over Troubled Water," a quieter tune, before picking up the pace with what could have been a gospel revival meeting, all the way to another classic, "Freeway of Love."

Saturday, June 25, 2011

The

Dave Holland

bass
b.1946

" data-original-title="" title="">Dave Holland kicked off the Jazz By The Lake series, over at the Enwave Theatre, for an early evening show on June 25. A frequent visitor to Toronto, Holland is one of those busy musicians who has accomplished much yet continues to devote a considerable amount of time to composition for various band formations. All the members of his standard quintet bring their own technical adeptness and individuality to the whole. The quintet's Toronto performance clearly demonstrated the collective personality that fans were expecting. Holland assumed the centre of the formation, and acted as a cheerleader for his relaxed fellow musicians. A brief issue with feedback had trombonist

Robin Eubanks

trombone
b.1955

" data-original-title="" title="">Robin Eubanks commenting jokingly: "Hey, that's in the key of the song!"

On the post-bop "Cosmosis,"

Chris Potter

saxophone, tenor
b.1971

" data-original-title="" title="">Chris Potter switched from tenor saxophone to soprano, in order to push the high notes of this vibrantly swinging tune. During his solo, Eubanks added a quick

Miles Davis

trumpet
1926 - 1991

" data-original-title="" title="">Miles Davis reference that did not go unnoticed by Holland, who visibly enjoyed the trombonist's improvisational ideas. "The Sum Of All Parts" showcased the trombonist's engaging style, as well as his double voicings, used during the more intense measures.

Drummer

Nate Smith

drums
b.1974

" data-original-title="" title="">Nate Smith exhibited impeccable timing as he navigated through varying time signatures in the same tune. On "Lucky Seven," he used shakers in his right hand, while keeping his other left hand and both feet busy without needing to pushing volume—a real clinic in itself—while the unassuming

Steve Nelson

vibraphone
b.1954

" data-original-title="" title="">Steve Nelson brought precise flair on vibes and marimba. Such a delicate touch came out for the beautiful melodic line on the vibraphonist's "Go Fly A Kite," the quintet's fitting encore, following a well-deserved standing ovation.

For a bit of blues, the Mainstage concert featured Stax! With guitarist

Steve Cropper

guitar, electric
b.1941

" data-original-title="" title="">Steve Cropper, bassist Donald "Duck" Dunn and singer Eddie Floyd—all part of the legendary Stax label during its soul music heyday. A key point during this journey down memory lane was when Floyd brought another Stax alum, Eric Mercury, onstage to sing "Knock On Wood" and "Soul Man." "Soul Man" could have benefited from a full horn section for more depth and its familiar sound.

Sunday, June 26, 2011

If a theme had to picked for Sunday evening it would have to have been world music, but in the general sense of the word, with each act different in style and substance. The most iconic performer was pianist

Randy Weston

piano
1926 - 2018

" data-original-title="" title="">Randy Weston who, at 85, continues to perform and educate about the origins of music and the history of jazz. The Glenn Gould Studio was a fitting venue for this intimate solo performance, with Weston making discussing his experiences with the late

Ray Bryant

piano
1931 - 2011

" data-original-title="" title="">Ray Bryant.

Emphasizing his African heritage with the theme of movement to other lands, Weston selected

Duke Ellington

piano
1899 - 1974

" data-original-title="" title="">Duke Ellington's "Caravan," a jazz standard composed by Puerto Rican-born trombonist

Juan Tizol

trombone
1900 - 1984

" data-original-title="" title="">Juan Tizol—establishing, as Weston explained, a link to the Caribbean and, ultimately, to Africa. His Ellington theme continued with "Chromatic Love Affair" and "Perdido," aach selection possessing its unique interpretation around the melody.

Moving through the historical journey, Weston also showcased

Fats Waller

piano
1904 - 1943

" data-original-title="" title="">Fats Waller and

Thelonious Monk

piano
1917 - 1982

" data-original-title="" title="">Thelonious Monk. Offering interesting tidbits of information, Weston talked about how African music is as old as Africa, how its definition of harmony emphasized the connection of souls with the universe, and how music stems from the Creator. He also referred to

Thomas Wiggins

drums
b.1944

" data-original-title="" title="">Thomas Wiggins (1849-1908), a visually impaired pianist who could play anything that he heard.

Weston also played some of his own compositions, including "Berkshire Blues" and a beautiful rendition of the lyrical "Little Niles." The performance ended on a distinctive contemplative tone, as attendees left inspired and relaxed after this unique opportunity to witness a jazz legend.

Moving onto the Mainstage Concert, Dubmatix kicked things off with a good dose of predominantly reggae and dub. The group then gave way to the 13-piece collective and two-time Grammy Award-winning

Spanish Harlem Orchestra

band / ensemble / orchestra

" data-original-title="" title="">Spanish Harlem Orchestra. Quite a few local Latin jazz musicians were in the house to enjoy a show, which included material from the group's recent CD, Viva la Tradic��n (Concord, 2010), such as the cha-cha-laced "Como Baila Mi Mulata," and "La Salsa Dura," a perfect example of how the band combines strong horn lines for its two trumpeters, two trombonist and one baritone saxophonist/flautist, together with its three vocalists.

For this performance, vocalist Herman Olivera— the lead singer of the

Eddie Palmieri

piano
1936 - 2025

" data-original-title="" title="">Eddie Palmieri Orchestra—replaced Ray De La Paz, who could not make the gig, and fit right in, featured on

Celia Cruz

vocals
1925 - 2003

" data-original-title="" title="">Celia Cruz's classic "Ahora Si." In the middle of the set, to the orchestra gave the vocalists a rest with Oscar Hernandez's "Rumba Urbana," also providing a solo spot for the pianist/bandleader.

Mitch Frohman

saxophone

" data-original-title="" title="">Mitch Frohman—a sax and flute veteran of 25 years with the great

Tito Puente

drums
1923 - 2000

" data-original-title="" title="">Tito Puente—was very impressive in the horn section and as a soloist. Some cool salsa moves were also seen on the makeshift dance floor, and the audience was on its feet for the climactic ending, with veteran Toronto percussionist Luis Orbegoso—who has played and recorded with many artists including the Spanish Harlem Orchestra—joining the group onstage.

Photo Credit Marek Lazarski

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