Jazz festival will be more ‘edgy,’ artistic director says
Seeing Brazilian tropicalia legend Caetano Veloso and Japan’s searing noise rockers the Boredoms on the same night convinced Rainbow Robert that the TD Vancouver International Jazz Festival was extremely special. This year marks her first time programming the massive multi-venue event after founding artistic director Ken Pickering announced his retirement after 33 years in the position.
Robert started working with the festival in 1998, “a quick 20 years ago.”
Hailing from Montreal, she had come to attend UBC pursuing a degree in Sanskrit translation and philosophy in the Asian Studies department. Clearly, good subjects to study to prepare you for a life of programming creative, improvised music and more.
“Pretty loosely, apart from the fact that it’s all about communication, culture and the ways that we uplift ourselves in our daily human lives,” quips Robert. “I knew from that night seeing those two wildly diverse artists on the same night that I could very happily spend the rest of my life doing this.
“This year’s festival reflects that interest in presenting music that can put you into full reset mode and, I think, continues on the exceptional legacy built before.”
Now that she is in the position of artistic director, going full bore bringing as wide a spectrum of performers as possible to grace local stages during the 10-day-long festival is a complete thrill.
One she hopes is reflected in giving the public choices ranging from former Led Zeppelin frontman Robert Plant and the Sensational Space Shifters (June 26, Queen Elizabeth Theatre) to Chicago free-jazz trumpeter Jamie Branch’s Fly or Die project (June 30, the Ironworks) or the big band under Kendrick Lamar collaborator, saxophonist Kamasi Washington making his local debut (June 24, Queen Elizabeth Theatre).
“I want to see that level of transfixion where you are elated, shocked, perplexed, heart-melted, all those other places that you can go from wildly different performances all distilled into a tight time frame,” she said.
“At the moment, I’m super excited about what’s coming out of Chicago and New York and you’ll see that at the Ironworks series this year.
“Previously, the pendulum had swung heavily in the direction of Scandinavian artists, but this year it’s something different, a little more punk, a little more edgy and improvised.”
The final festival roster, assembled with the help of programmer Cole Schmidt (Juno award-winning guitarist for Pugs & Crows) and the suggestions of so many others, is jam-packed with bands that come at making music with energy. From the death metal-meets-jazz of drummer Dan Weiss’ Starebaby to the political groves of England’s funky Sons of Kemet or Los Angeles fusionistas Knower, there will be some dancing happening. There will also be a lot of new relationships being forged through the collaborations between local and international artists.
“Putting together those collaborations is one of the most delicate of all aspects of the work because you need to think of everyone involved and consider how they will enjoy it and be challenged by it,” Robert said.
“It’s increasingly easy to get quick responses from international artists when suggestions are made because of the global reputation of our local players.”
Even someone with such big ears for all kinds of sounds must have a few dream acts to bring to town, and Robert is no different. She doesn’t hesitate at all when asked about some dream artists to book at the festival.
“Two of my holy grails would be PJ Harvey and Patti Smith, because those babes are right up there,” she said. “I almost had Harvey last year, but a routing thing made it impossible. I maintain it will happen.”
As to any advice to give to people who might dream of having her job, she says get out and see everything you can, all the time. Becoming an absolute addict for live music is essential to keeping aware of what’s out there.