Jazz on the Mountain at Whistler had some of the biggest names in jazz-fusion on its roster: Gary Burton, Kevin Eubanks, Stanley Jordan, Spyro Gyra, the Rippingtons. But it was a straight-ahead, straight-shooting saxophonist and club owner from Vancouver who quietly stole the show, wherever he played – and he played a lot.
Cory Weeds played his straight-ahead, swinging standard jazz every day of the three-day Labor Day Weekend at the inaugural Whistler Jazz Festival, whether it was with his own Quartet (keyboardist Ross Taggart, bassist Ken Lister, drummers Joe Poole, Julian MacDonough), the Night Crawlers, or a band he’s booked on the regular at his Cellar Jazz club on West Broadway in Vancouver. As a part of the Acoustic Jazz Series held at Whistler’s North Shore Credit Union and the Mountain Top BBQ Jazz Series, Weeds truly earned his moniker as the hardest-working man in jazz business.
At a most unusual jazz venue – basically a bank in the middle of Whistler Village – Cory Weeds and his bands packed ‘em in, up close and real personal. For the September 3, 4 p.m.-5:15 p.m. show, he and his Quartet schooled the audience on the kind of jazz that usually comes to mind, pure, unadulterated be-bopping, straight-ahead, smoking jazz reminiscent of John Coltrane, Cannonball Adderley, Rob Mullins, Bill Evans, Sonny Rollins…
In between standards and a few originals, including stuff from his new CD, “Just Like That,” Weeds charmed audience members seated so close to the musicians they could touch them, with an impromptu stand-up routine inspired by the unusual venue: “I feel very secure [here]. We could leave our equipment here, it’s safer than our hotel room, and we could also apply for a mortgage, but no bank would ever give a mortgage to a musician…”
For the fellow working musicians in the room, Weeds and his Quartet certainly stood out from all the fusion to provide the ultimate definition of jazz the way it was originally intended to be. Clear harmonic convergences, hints of sensual interplay, familiar swing time signatures, syncopated chords skipping along that walking bass… music to Weeds’ ears.
The sax player is also known for his immensely popular, full-throttle, full-time Vancouver jazz club, Cellar Jazz, located on 3611 West Broadway St., Vancouver, (604) 738-1959, and record label, Cellar Live, which sprung from the success of the live music at his club. A father, husband, radio host, all-around nice guy, Weeds is always on the go, always ready to jump in and get the job—whatever the job—done.
“I like it straight hard and hard swinging. Bebop and hard bop are my things. Art Blakey's Jazz Messengers, Horace Silver, Hank Mobley, Kenny Dorham, Jackie McLean, etc. There are enough people out there trying and I emphasize trying to continually re-invent the wheel, come up with new things or 'push the boundaries' and for me, a lot of that music comes up short. I'm all for people who want to try to innovate, but it's not for me.” —Cory Weeds
The North Shore Credit Union shows (Acoustic Jazz Series-Jazz on the Mountain at Whistler) delivered straight-ahead, quality jazz, arguably the best in the entire festival. How’d you feel it went, as a major part of that success?
Well, seeing as I was in two bands and booked the other, I'd have to say I feel pretty good about it. It always feels good as a local musician to play for local crowds who are really into the music and recognize the talent level of the artists that live in their backyard.
I liked that audience members could meet the artists after their shows. It’s kind of rare for any festival to be able to do that and not have to worry too much about security. What did you think about this part of the festival, meeting the fans in person and getting direct feedback?
It's really great to not only get direct feedback, but in this case, to be so close to the audience…basically in their lap. Musicians really feed off the energy of a crowd and at the bank, the crowd was right up there with us basically. I always enjoy what people have to say and what they like about what they're hearing.
How were you received by the audience at all your different shows?
Pretty much exactly the same. People loved the music, they loved the tune selections, they loved the difference between the acts, etc. I was very flattered and quite humbled by all the great feedback I got personally and the groups got as a whole.
What were some major reasons for you doing this festival and do you believe it paid off?
I like to play music and I like to bring my music to as many people as I can. As long as the necessities are met, like finances and logistics, etc. I 'm always into playing jazz music. This was the case at the festival. Everything was first class all the way.
Describe a favorite part of the festival experience.
Hanging out with friends, playing music in a beautiful setting.
What else did you guys do during the festival, were there any other acts you caught and what’d you think of them?
With owning a jazz club and hearing as much music as I do, I don't yearn to go out and hear music all the time, so I laid low. My wife and two-month-old baby came up for a day and we just enjoyed Whistler. There honestly wasn't much that interested me musically and the stuff I wanted to see was either happening when I was busy with my gigs or when I was hanging with my wife and daughter.
How’d you rate the Jazz on the Mountain at Whistler as a festival for its first time out? What were the best and worst aspects about it from your perspective?
Well, just a reminder, this is my perspective. I'm not a fan of smooth jazz and there was a very, very, very large component of smooth jazz in this festival. Too each their own and I don't begrudge anyone who has invested as much time and money in something like this as Arni [Schwisberg, festival founder] has. It's just not my thing, so that part of it was not a good aspect for me. The best aspect was that Arni made a great decision in making sure there was a local flavour to the festival which, in my opinion, is very important on so many levels and I applaud him for doing that, because a lot of festivals simply don't.
You aren’t just a sax player showing up for gigs. You run your own jazz club, Cellar Jazz, in downtown Vancouver, you own your own record label, you’re a radio host… Do you sleep? What’s the secret to juggling all these balls, yet maintaining some semblance of a life with family too?
Well, honestly my biggest job is trying to find balance. It's a constant struggle for me, and something that I work on continuously. It's a battle and sometimes I lose, but I love everything I do and so I just have to try to dedicate a little time to everything and do the best job can. Sometimes I feel like I do a lot of things kinda well, but would really like to do one or two things really, really well. It's not in the cards though. I'm a doer and I’m afraid if I don't do it, then nobody will, so I do everything.
Of all the jobs you hold, which role do you most identify with, are most comfortable with, and why?
This question has been fouling me up a bit. I keep trying to come back to it, thinking I have a clear answer, but I really don't. Everything I do is so connected, so it's hard to suggest one is more important or significant. It's funny, when I feel uninspired and stagnant musically, I think that being a club owner is really the one I identify with the most and when I feel like I'm playing really well and getting lots of gigs and am super inspired, I feel like I identify more with being a musician. This is a tough question. I guess I was a musician first before all of this other stuff and that remains very important to me, but the club owner/booker is also very important …
What’s the local jazz scene like, as well as the caliber of the local musicians?
We are very lucky here to have the scene that we have. There are so many musicians that play diverse, rich and wonderful music. Booking the club is easy when you have so many wonderful groups of musicians to draw from. I can't say enough about our local scene.
What do you look for in a band, whether you’re booking them for the jazz club, record label, or just joining in for a jam session?
Again, a tough question. I do look for quality of product for sure. But I have booked plenty of things that are below what I feel is acceptable for my stage, but the room is full and people are having a good time, so I guess one of the first concerns for me is what a band's draw potential is like. I will, however, book bands that I feel passionate about, even though I know they [have] very little profile in the city. The fact is, I really don't need any solicitations for gigs. There are enough bands in this city and enough that are touring for me to book the club.
What kind of a jazz musician are you, what kinds of music do you most groove to as a player, and why?
I like it straight hard and hard swinging. Bebop and hard bop are my things. Art Blakey's Jazz Messengers, Horace Silver, Hank Mobley, Kenny Dorham, Jackie McLean, etc. There are enough people out there trying and I emphasize tryingto continually re-invent the wheel, come up with new things or 'push the boundaries' and for me, a lot of that music comes up short. I'm all for people who want to try to innovate, but it's not for me. My last record just got ripped for being ‘derivative.’ That was the best compliment that reviewer could have given me. I just want to swing and sound good.
Apparently there’s a huge divide between the traditionalists and the progressives in jazz – musicians who expect jazz to be left alone and not tampered with, versus musicians who love to play with all compositions, even covers that can cross musical genres (Stanley Jordan does a jazzed up version of Katy Perry’s “I Kissed A Girl”). Where do you stand in this perennial argument?
I think that the divide you're talking about is between 'smooth' jazz and all other jazz, to be honest. Look, I like what I like and I have strong opinions about a lot things, especially music. Having said that, we're all out there doing our thing, trying to eke out a living and play music. If smooth jazz is what turns your crank and you're making a living and enjoying it, then who am I to say it’s not valid or crappy? It doesn't mean I have to like it and I certainly don't, but it's unfair of me to judge someone based on their preference of genre. Crossing musical borders can be great and I happen to be a big fan of the rearranging of pop and rock tunes. One of my favorite records was Herbie Hancock's “New Standard,” where that’s all they did. Very cool.
Any updates on important projects you’d care to share? I think I heard that you have a new record out.
I have a brand new album out called, “Just Like That,” which I'm very proud of and I also play alto in The Night Crawlers, and our latest record got nominated for a Western Canadian Music Award. I have two recording sessions coming up, one with Lewis Nash and Peter Washington. It's a cool project by myself and a guitarist from Vancouver, Bill Coon. In October, I'm doing a live record with NYC organist Mike LeDonne, guitarist Oliver Gannon and drummer Jesse Cahill. We're doing the music of Hank Mobley and we're recording live in Edmonton at The Yardbird Suite.
Comments