Tag: jazz

Superstein plays at jazz fest

Andrea Superstein performs July 4 from Pyatt Hall during this year’s TD Vancouver International Jazz Festival, which starts June 25. (photo from Wendy D Photography)

Vancouver vocalist, composer and arranger Andrea Superstein has a new song out. It’s cheerful, upbeat. And she will perform “Every Little Step,” which was released in March, live for the first time at this year’s TD Vancouver International Jazz Festival, which starts June 25 and runs to July 4.

“‘Every Little Step’ was my saving grace during the pandemic,” Superstein told the Independent. “I wrote it at a time when I was feeling really overwhelmed by the uncertainty that living through a pandemic brings. I was emotionally exhausted from listening to the daily press conferences and I just needed something good. I received a Digital Originals grant from the Canada Council for the Arts and that was the impetus.

“The song was inspired by the beautiful landscapes of B.C., which I experienced on a family camping trip to Nelson,” she explained. “We live in such a beautiful place and being able to spend so much time in nature really saved me during the pandemic. In a way, it’s my homage to B.C.”

Of course, Superstein couldn’t meet in-person with musicians to workshop the composition, so, she said, “I had this crazy idea to reach out to musicians across Canada (some of whom I’d worked with before and others who to this day I still haven’t met in person) to write, arrange, record and make a music video completely in isolation. It was wild! We didn’t have one rehearsal – we didn’t even have a group Zoom meeting. Elizabeth Shepherd and I wrote and arranged the song together over Zoom and we communicated some ideas to each specific player and they self-recorded (audio and video) from their home studios. And we made a super-fun music video for it, as well.

“The more I think about it, I can’t even believe what we accomplished. I love the song so much! The vibe is a super feel good ’90s groove but, symbolically, it was so meaningful because, despite all being trapped at home, we found a way to be together in this weird virtual way. It was transformative for me.”

On the video, Superstein and Shepherd’s song is performed by them, with Superstein on vocals, Shepherd on keys, Carlie Howell on bass, Isaac Neto on guitar, Colin Kingsmore on drums and Liam MacDonald on percussion. For the jazz festival performance, Superstein will be joined by Chris Gestrin (keys), Nino DiPasquale (drums) and Jodi Proznick (bass).

“I’m so happy to be playing with them,” said Superstein. “They each offer such a unique perspective to the music and they’re all wonderful humans!”

The show is on July 4, 7 p.m., at Pyatt Hall and will be streamed on Coastal Jazz & Blues Society’s YouTube channel, she said. “Regarding a possible audience,” she added, “the festival is closely monitoring all provincial health orders and will make a decision on indoor audiences after the next provincial health update on June 15.”

Superstein is looking forward to being able to perform live again.

“I miss that special relationship that is forged during live performance,” she said. “There is something truly magical about collectively experiencing a moment in time that can never be recreated. That being said, I am blown away by the digital innovation that has emerged during the last year-and-a-half to keep the arts alive, and I attended some amazing concerts and theatre this year.

“As for me, it’s been relatively quiet on the performance front. I did a livestream concert through Or Shalom’s Light in Winter series in early 2021, which was so incredible. Other than a few other small things, I’ve been keeping it pretty low key, slowly working away at composing new music and taking my time with life.”

Playing at the jazz festival, she said, “I think it will be an incredible way to give momentum to many of the creative ideas I’ve been sitting with these past two years and a great chance for music lovers to reconnect, seeing as it’s been some time since my last performance.”

The last time that the Independent interviewed Superstein was in January 2020, just before the pandemic hit in full force. Among other things, she spoke about her then-new album, Worlds Apart, which she had described to CBC as having the themes of “the pain of being in a one-sided relationship, the loneliness of technology, and positivity in times of destruction.”

“As an artist, I like to observe life and then transform those observations into stories. I think this was helpful for me at the beginning of the pandemic because my curiosity was heightened, there was so much unknown,” she explained. “I found that to be both scary and exhilarating. I was also trying to figure out how to homeschool a 5-year-old while teaching full-time online without completely unraveling. So, creativity, flexibility and leaning in helped me survive most of 2020. Those are definitely skills that I use a lot as an artist. Truthfully, though, I don’t think anything could have prepared us for the pandemic.”

In addition to the new song “Every Little Step,” Superstein has started working on a new album, which she is hoping to release in late 2022.

“It’s a huge undertaking,” she shared, “with lots of moving parts, culminating in a multimedia performance. It will showcase collaborations with Elizabeth Shepherd, whom I treasure, and my dear friend Ayelet Rose Gottlieb (who you have featured before), among others. There’s also upcoming opportunities for non-musicians to be involved in the process, so people can stay in touch with me over social media if they want to know when and where that’s happening.”

As for her upcoming performance, she said, “In terms of what people can expect from the show, we’ll be doing some brand-new arrangements and compositions, a few gems from Worlds Apart, as well as a few old favourites. Like a true Superstein show, I’m going to take the audience on a sonic journey, whether that’s direct from Pyatt Hall or from their living rooms, it’s going to be a celebration!

For tickets ($11) to Superstein’s July 4 concert or any of the jazz festival’s more than 100 virtual events, visit coastaljazz.ca. There will be performances by local artists, as well as streams from New York, Chicago, Philadelphia, Amsterdam and Paris; free online workshops; club performances; and a continued partnership with North Shore Jazz. All streams will be available until midnight on July 6.

Jazz that’s personal, timely

Andrea Superstein’s next local performance is at Centennial Theatre in North Vancouver on Feb. 5. Her new album is Worlds Apart. (photo from the artist)

For the last year, Andrea Superstein has been touring Canada with her new jazz album, Worlds Apart. Her next local performance will be at Centennial Theatre in North Vancouver on Feb. 5.

“I discovered my voice when I was a kid. My parents enrolled me in a musical theatre program at school and I sang in a choir,” Superstein told the Independent in a recent interview. “But my family were concerned about music as a profession for me. They thought the life of an artist was uncertain, so I went on to train as a teacher. I have been teaching theatre in several Vancouver schools since I moved here from Montreal. I still teach part-time. I taught at King David [High School] for awhile. But I always had music in my life as a hobby.”

At some point, the young teacher decided to explore if music could be more for her than a hobby. In 2009, she attended a weeklong summer swing camp, a jazz camp for adults in Sorrento, B.C. “I loved it,” she said. “It gave me access to the big names on the Vancouver jazz scene. I learned so much. I decided that, for my next birthday, I would get myself a gig. I knew I could do it and I did it.”

That performance was so successful and meant so much to her, she committed to pursuing jazz as a career. She couldn’t live without it anymore.

In 2010, Superstein released her first album, comprised of her arrangements of jazz standards. The same year, her debut performance at the Vancouver International Jazz Festival earned her a nomination for a Galaxie Rising Star award. Now, 10 years later, she is a well-known Vancouver jazz vocalist.

“I still teach theatre, while I’m still a learner in jazz,” she said with a smile. “It is good to have different outlets for my creativity.”

Her latest album, Worlds Apart, is mostly her own compositions, although it includes a few of her interpretations of other songs.

“I love jazz because it is often a reinvention of something old, something known, but the musician makes it her own, as I did with the song ‘My Favourite Things’ from The Sound of Music,” said Superstein by way of example. “I’ve seen the movie many times. I performed in the musical, in the roles of Maria and Reverend Mother.” She created her own arrangement of the song for her album.

“With Worlds Apart, I wanted to deliver something personal by examining the timely issues we all face,” she added. “We simultaneously exist in conflict and in symbiosis, and the contrast fascinates me. It is not only explored in the lyrics but also reflected in the harmonic structure and the songs’ arrangements.”

For her original compositions, Superstein writes both the music and the lyrics. She loves performing, interacting with the audience. “It gives me the biggest joy,” she said.

“I love talking to people between the songs, telling them funny stories about my music and lyrics, offering some extras. I love to hear the audience laugh or applaud. It’s like building a community, creating relationships. Not many jazz performers do that, I think, and it sets me apart. Or maybe it is my theatre background showing…. Usually, my talks are not scripted. There is always an element of impromptu. I try to be open to possibilities.”

Worlds Apart includes songs in three languages: English, French and Hebrew. “I grew up in Montreal, so I’m fluent in both English and French. When we performed this album in Montreal, people loved it when I spoke to them in French,” Superstein said.

She wrote the album’s Hebrew song years ago. “When I was 17, in 1996, I spent six months on an exchange program in Israel, on a kibbutz,” she said. “I was overwhelmed by the different life there, by the people. There were many bus bombings at that time, [Yitzhak] Rabin was recently assassinated, but people didn’t exhibit fear. Just the opposite. Everyone was passionate, on fire for life, and I wrote a song about it.”

When she started working on this latest album, she remembered that song and thought it appropriate for Worlds Apart, so she revised it and recorded it.

“This album is the first I didn’t produce myself,” said Superstein. “It’s good to have someone else to listen, to make suggestions. I invited the Montreal jazz singer Elizabeth Shepherd to be my producer. I also hired a group of Montreal musicians to record the disc. They are wonderful musicians, I enjoyed working with them, and I toured with them for the past year.”

The musicians performed in jazz concert series, in small theatres and bookstores; they also gave some house concerts.

“The life of a musician is a challenging one,” said Superstein, “but I’m fueled by my love for my art.”

For more information and other concert dates, visit andreasuperstein.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

A life of music, poetry

Ayelet Rose Gottlieb released two new collaborative CDs this year. (photo by Sergio Veranes)

Ayelet Rose Gottlieb released two new collaborative CDs this year: Who Has Seen the Wind? by the group Pneuma and I Carry Your Heart: A Tribute to Arnie Lawrence. Both creative endeavours will appeal to those who appreciate top-level musicianship, improvisation and meaning beyond the notes.

As she has done with other recordings, Who Has Seen the Wind?, which was released on Songlines, centres around a theme. In this case, the wind. Gottlieb and James Falzone, François Houle and Michael Winograd – clarinetists and fellow composers – have written music inspired by a range of poetry from various cultures, including Iranian and Japanese. The title of the CD comes from a poem by English poet Christina Rossetti of the same name, and Pneuma means breath, spirit or soul in ancient Greek.

I Carry Your Heart: A Tribute to Arnie Lawrence, which was released on Ride Symbol Records, also has poetry as one of its foundations, but it is, as its name says, a tribute to Arnie Lawrence and, specifically, his record Inside An Hourglass.

“Arnie’s Inside an Hourglass album has always been one of my favourite Arnie Lawrence records,” Gottlieb told the Independent. “In 1969, he went into the studio with his band and with his 8-year-old son Erik and with 5-year-old Dickie Davis Jr. (son of bassist Richard Davis). The band and children played a full record worth of improvised music together. This improvisation was released on the record label owned by the great flautist Herbie Mann.

“When I became a mother, this record started resonating with me in a new way. It reflected something of how I wanted to be a parent – in freedom, in music, in improvisation, with my kids and not in an ‘alternate reality’ that is separate from them.

“At one point,” she said, “I spoke to Arnie’s son, Erik, about the idea of revisiting the concept of that original album. Erik jumped on board and, along with my three little kids and our mutual friend and musical partner, Anat Fort, we went into pianist Chris Gestrin’s home studio in Coquitlam, B.C. My three little kids were 2 years old (twins) and 7 months old at the time of the recording. Baby Maia was with us for the full eight hours and the twins were there for about four hours. We also used some pre-recorded sounds that I edited in advance to create daily-sound tapestries for us to improvise over.

“We brought in some poetry by Arnie and E. E. Cummings and we let the day unfold as it did. The music on this album is all fully improvised – unrehearsed and unplanned. The biggest challenge was then to choose what to toss and what to keep. We loved so much of what came of this once-in-a-lifetime session.

“Our album is not a remake, but rather a revisiting of Arnie’s 1969 concept,” she stressed. “It’s a tribute to him and an extension of what he started back then, when his son was 8 years old. Fifty years later, Erik was creating this homage to his first album, now as the adult in the room, with his father’s mentee and her three children.”

Gottlieb met the elder Lawrence in Israel, where she grew up, when she was 16 years old; he had moved to Jerusalem from New York.

“He was the first to throw me into the deep waters of jazz,” she said. “My dear friend, fellow vocalist Julia Feldman, and I would go hear him play at the restaurant above the Khan Theatre. One day, someone told Arnie that the two teenagers sitting in the corner night after night are singers! At the start of the next set, somewhere around the middle of the first tune, Arnie walked up to me with a mic and commanded – ‘Sing.’ And that, I did.

“From that night on, Julia and I would frequent any restaurant, café or club he played at. In order to be able to hang with the ever-changing, always burning band, I memorized hundreds of tunes off of my father’s LPs and transcribed countless solos. After awhile, Arnie started calling me to perform with him, not as a sit-in guest, but as an equal on the bandstand. I always felt that playing alongside Arnie elevated my own playing to new levels. His trust in me allowed me to trust myself and my own musicality, at the fragile age of 17.”

Around this time, Gottlieb began composing. “I was finding my voice and my place in music,” she said. “When, at 19, I decided to go study at New England Conservatory in Boston, Arnie, who was my greatest advocate, wrote a wonderful recommendation letter, which felt like he was delivering me to my future teachers – Ran Blake, Dominique Eade, George Russell and others.

“Though my time with Arnie was spent primarily playing jazz standards, I feel that he gave me my foundations as a composer, improviser and as an educator. He taught me to work deeply with my ears, and to be present and connected. He gave me his trust, before I really did anything to deserve it. And this trust gave me the wings I still use to fly.”

Gottlieb is an avid poetry reader and collector, and has “shelves full of books and folders full of files with texts that I may or may not use some day, but they ‘feed’ me with inspiration and insight, daily. In recent years,” she said, “I’ve also been working as a poetry and prose translator from Hebrew to English.”

She sees everything, “through ‘glasses’ of music and poetry,” she said. “Music informs all of my experiences and poetry is built into my world of associations and my way of expressing myself in the world. When I compose, perform or improvise, I am the most ‘me,’ without filters. It feels like a calling, and a personal necessity. I’ve never had a time in my life in which I didn’t have music. It has been my companion and an extension of me, ever since I can remember myself. Some of my earliest memories involve music-making.

“It is also my portal into the world of spirit,” she said. “I experience inspiration in a great variety of ways. I often feel that the music I’m writing or improvising is received, rather than created. Of course, there is lots of knowledge, experience and work that goes into it, too. But this instinctual, primal connection is at the core of all of my works. This is why, when I make music, I do not think about anything other than what the music asks of me.

“I start thinking about the audience when it’s time to birth the music into a physical existence – when I’m working on packaging, releasing an album, bookings, getting the word out about it, etc.”

As an example of this transition from inner to outer focus, Gottlieb gave Pneuma, all of the members of which contributed to Who Has Seen the Wind?

“My contribution,” she said, “was a six-part song cycle based on Christina Rossetti’s poem ‘Who Has Seen the Wind?’…. This song cycle is a great example of my connection to music and poetry.

“The idea to work with clarinets was inspired by my paternal grandfather, who was an amateur clarinetist. Right from the start, this project was a way for me to communicate with him, and continue our connection and relationship beyond the limitations of the physical world. How wonderful to have such a thing as music, which bridges the gap between the earthly and the spheres beyond it!

“Christina Rossetti’s poem, which I know so well, kept surfacing in my associations as I was walking the streets of Vancouver with my babies in the stroller, in autumn 2016. From this poem, eventually emerged the form of this composition.”

When it came time to bring the music into physical form, the band members and their producer, Tony Reif, chose photographs for the CD sleeve by B.C.-based photographer Gem Salsberg, which, said Gottlieb, “pair a visual with the music, making it all the more accessible and clarifying our intensions with this set of music, inspired by the wind. We wrote liner notes, to bring our audience even further into the process of the creation and the stories behind the tunes. The album was released with a beautiful 16-page booklet, with all of the poetry printed.”

While the CD was released just this year, Pneuma’s première performance was at the Vancouver Jazz Festival in 2017.

“I love interacting with audiences,” said Gottlieb, “hearing people’s experiences with the music I make, answering questions, sharing muses, etc. The audience and their support fills my batteries as I continue on my path in music. There is always that back and forth between the internal work that is required in order to create the work and the external, open part of it – which is about sharing it generously, with as many people as possible.”

For more information on or to purchase either of these CDs, or other Gottlieb albums, visit ayeletrose.com.

’Tis the season for jazz

Jazz artist Maya Rae (photo © Maya Rae Music)

Jazz artist Maya Rae has a busy week ahead. Tomorrow night, Nov. 30, she takes part in Temple Sholom’s Fall Fest Fun-raiser, after a benefit concert earlier in the day at Brentwood Presbyterian Church called Socks for Souls. On Sunday, Dec. 1, she is among 11 bands that will perform in Jazz Walk at the Shadbolt. And, on Dec. 4, she is at the Vancouver Playhouse, participating in the show Strings and Jazz.

“Definitely this time of year is very busy when it comes to gigging and playing shows,” Rae told the Independent. “Because it’s surrounding the holidays, people are needing musicians for lots of things, so there are more opportunities to work right now. I’ve also been lucky enough to have played numerous shows throughout the years, so people are reaching out more now, hiring me for future gigs as well.”

One of the highlights of Rae’s past year was a trip to the southern United States.

“I went to Nashville last March to record my album and that was definitely one of the most amazing experiences I’ve had so far in my career,” said Rae.

The album, which will see its release in April, is the young musician’s second.

“Every song on it was written by my brother and myself, so the whole project is composed of originals,” she said. “My debut album, Sapphire Birds, is made up of some jazz standards, rearranged pop tunes and a few originals as well. The upcoming album, Can You See Me?, focuses on my original music from the past year, a lot of it reflecting on what I’ve learned and experienced. The music is incredibly personal, but I’m super-excited to share it with the rest of the world.”

Most of the songs on the new recording were inspired by things that have happened to Rae or to people close to her.

“I graduated high school back in June, and so a lot of the songs are about what I experienced throughout that journey,” she explained. “For example, ‘Can You See Me?,’ the title track of the record, is about removing the mask that hides one’s true self and not being afraid to be who you are. I found that, throughout high school (and outside of it), people try so hard to fit a certain box and be who they think they should be rather than who they really are. This song is about removing that façade and being OK with showing your true colours.

“‘Sun Will Come Out Again’ is another tune on the record that I wrote with so many people in mind. So much of the time, when we’re stressed, sad, angry, or any other uncomfortable feeling, it feels like the end of the world. This song is about how, no matter one’s current situation, whether it be big or small, there is always light at the end of the tunnel. That dark, upsetting feeling will not last forever.”

For more information on Rae’s music and upcoming performances, visit mayaraemusic.com.

The Fall Fest Fun-raiser (templesholom.ca/fall-fest-fun-raiser) on Saturday starts at 7 p.m. and also features Annette Kozicki and Friends and Tal & Yael’s Israeli dance, while Strings and Jazz on Dec. 4 includes Sinfonietta, VSO School of Music’s honour jazz combo (vsoschoolofmusic.ca).

The Dec. 1 Jazz Walk is a daylong event, 11 a.m. to 10 p.m., at the Shadbolt Cenre for the Arts. The scheduled lineup includes Rae, Dave Robbins Sextet, Lucine Yeghiazaryan, Dawn Pemberton Quartet, Brad Turner Quintet, Grant Stewart Trio, Cory Weeds Quintet featuring Roy Mccurdy, Steve Kaldesta, Grant Stewart, Alyssa Allgood, Stephen Riley, Chris Hazelton, Jill Townsend Jazz Orchestra and Ernest Turner. It also includes roundtable discussions with various people in the field, such as archival record producer Zev Feldman of Resonance Records in Los Angeles. Tickets and more information can be found at shadboltcentre.com.

Get lost in the sound

Itamar Erez’s new CD, Mi Alegria, is being launched with a concert at the Annex. (photo by Wolfgang Vogt)

Composer, performer and teacher Itamar Erez releases his new CD in a concert June 20 at the Annex. The title, Mi Alegria, or My Happiness, is a play on words: his daughter’s name is Mia.

Originally from Tel Aviv, Erez teaches guitar at Vancouver Symphony Orchestra School of Music and collaborates with renowned musicians from numerous cultures and musical traditions. His music is infused with the melodies, instruments and rhythms from across the Middle East and beyond.

Erez traces his love of music to his childhood home. His father was a pilot who brought many stories and gifts home from overseas trips – food, clothes, shoes and the music.

“You couldn’t get a lot of records. My father would always bring music with him,” said Erez in an interview with the Independent. “Really interesting music: Bartok, Stravinsky, Coltrane and Bach. I absorbed a lot of it.”

There was also live music in his home, he said. He tells these stories with ease, which is reflected in his style of composition, with its shifting, fluid themes and nuanced moods.

“At 6, I asked to play the piano, so we got one and my older sister and both parents took lessons. We’re all musical,” he said.

Added to all the different traditions in Israel, Erez got a well-rounded education in music, which shows in his eclectic repertoire.

“I remember the first piece I wrote that was performed in a theatre: a piano and upright bass duo. I was 16 or 17,” he said. “It was a magical experience to come out with my own music.”

The relationship between father and son, through music, is mirrored in his relationship with his own son, Yahli. The new album features a song written for his son, “Yahli’s Lullaby.”

“It came about when I was improvising in my room and my son was playing,” said Erez. “He was really listening and asked me what it was.”

Erez derives inspiration from a wealth of other sources: literature, history and myriad musical traditions. “My muse is constantly changing,” he said. “It alternates between world music and jazz, with a lot of classical music.” About Mi Alegria, he said, “this release is definitely going towards jazz.”

“I focused on classical composition at one time, and I felt limited,” he explained. “At some point, I just decided to let go of figuring it out. Something wants to come out, influenced by different traditions, meeting musicians from all over the world, like the Turkish musician I met.”

These influences can be heard on his new album.

“‘Samai’ is based on a Middle Eastern melody that I’m ‘quoting’ – a very traditional piece. The original is a folk tune based on a metre of 10/8; classical Arabic or Turkish tradition,” he said by way of example.

“In my daily practice, I play Bach. It’s really important to me, but not in concert because it’s not my tradition.”

Instead, he prefers to perform his own compositions. “I love the freedom of playing my own music because it doesn’t have to fit a standard of performance,” he said.

Erez writes down his compositions, but only when he needs to share them. When he is composing in the moment, improvising on the piano, “I rarely play a piece the same twice,” he said. “When you’re learning to compose and improvise, it’s important to try things out for hours, transcribing, figuring out what other musicians are doing … just getting lost in the sound.”

Of his new release, Erez said, “I’m super-excited. It’s been awhile since my last release and this is a really fresh new sound.”

For Mi Alegria, Erez worked with percussionist Hamin Honari, with whom he has been collaborating for several years, as well as musicians François Houle, Dani Benedikt, Celsa Machado, James Meger, Kevin Romain and Ilan Salem.

The piece “Tides” evokes the ocean so clearly, with eddies of rapid notes below the slower, tidal shifts in the music, with the cymbal taking the role of the surf, crashing on the shore. “Requinto” is a mischievous piece that moves quickly, with many rapid changes, including the sudden arrival of a sweeping clarinet solo – it calls to mind the swift footsteps of children chasing butterflies. “Shesh” is syncopated, laden with whirling rhythms and pregnant pauses. The intense, mesmerizing repetitions and rising tensions evoke the intelligence of Dave Brubeck or Moe Koffmann, while the wind section takes the listener to the Middle East and China.

The new album is fueled by Flamenco-sized passion but also the playfulness of Bach. The result is a work of both tremendous discipline and unbridled freedom. All in all, the mood of the album suggests so much of human experience and emotion, from joyous to the pensive, from comical to introspective and brooding, and beyond.

In addition to the concert June 20 at the Annex, with opening band the Giving Shapes, Erez also performs on July 11 at Hermann’s in Victoria and July 28 at Frankie’s in Vancouver, with his quartet.

Shula Klinger is an author and journalist living in North Vancouver. Find out more at shulaklinger.com.

Reinventing old-time music

Woody Forster and Devora Laye of the Burying Ground. (photo by Mary Matheson)

Contrary to what you might expect, given the band’s name, there is much joy in the Burying Ground. Woody Forster and Devora Laye obviously love what they do, and it comes through in their music, their performances, their promotional photos and even in their responses to an email interview. So, from where does the name come?

“The name came from the Blind Lemon Jefferson song ‘One Kind Favor,’ where he uses the line to describe his resting place,” explained Forster. “I also see it as maybe a metaphor for us finding this music for ourselves that has essentially been buried and forgotten in popular music today, and we are trying to draw from that place and explore those musical styles again.”

The Burying Ground plays 1920s and ’30s blues, ragtime, country and jazz, as well as original works in those genres. Their upbeat songs evoke images of musicians jamming away on the wooden porch of a farmhouse, people dancing and enjoying some moonshine. Their hurtin’ songs, with Forster’s gravelly voice, can make you feel like pouring yourself a stiff drink. The pair share the vocals, with Forster on guitar and Laye on myriad instruments, including the washboard, cymbals, tin can and cowbell – the sounds she produces with the saw will make you shiver. Various other musicians join the duo for performances and recordings.

“I can’t exactly find a reason why I love the music from that era,” said Forster. “I just seemed to get drawn deeper into it as I explored the history and the musicians that created it all. There is certainly a raw intensity in the sounds, as well as a very genuine feeling that I maybe don’t get out of other types of popular music through the last century.”

In November, the Burying Ground released a vinyl version of their eponymous album, which came out in June this year. It followed by a mere six months the group’s January 2017 release, Country Blues & Rags, which is “a collection of the band’s renditions of some of their most beloved songs.” The Burying Ground’s first album was Big City Blues, in 2015.

“The new EP is 11 original songs,” Laye told the Independent. “Our process is different from song to song. The last song on the album, ‘Longing for Home,’ is a song that I wrote for guitar and voice. The melody often comes to me while I’m walking around. For this particular song, I was walking around Vancouver when I smelled woodstove smoke, which made me miss living on Hornby Island, where I spent a couple years in my mid-20s. I sang it for Woody and he played along.

“‘Mean Spirit Blues’ was a trickier process for it’s a more complex song. I hummed the melody to Woody and he put the music to it. He often suggests a bridge or middle part of the song and we just play around with the ideas. We bounce ideas off of each other and give each other feedback. It’s fun, challenging and a nonstop learning process.”

“We are always bouncing ideas off of each other creatively to see whether we are liking what the other is bringing to the table, and tweaking the songs so we are both happy with the final outcome,” agreed Forster.

“We are learning a lot about writing music together and pushing ourselves to constantly grow and improve – and, at the same time, having a lot of fun doing it,” he added.

The two are definitely in sync. They have known each other a long time.

“Devora and I met around 15 years ago now, although we didn’t start playing music with each other until much later,” said Forster. “The Dire Wolves [band] started around 2008 and it was originally formed as a three-piece with me on mandolin, Blake Bamford on guitar and Joshua Doherty on harmonica, with Devora joining in on washboard a short time after. When the band split up around 2013, Devora and I kind of threw around the idea of starting a new project – we were both huge fans of early Americana music and both got more serious about it. And, from there, it has grown into the project we have created, and continues to grow.”

Both Laye and Forster come out of Vancouver’s punk scene, having been in different groups over the years. “As time went on, I gradually got more into old-time, and started studying it seriously in the last five years,” said Forster. “One of our first performances was at a venue called the China Cloud and I can remember being super-nervous, my hands were shaking, and I forgot lyrics, but somehow got through it with out train-wrecking the show. It has taken me awhile to get used to singing and playing guitar in front of people in such a stripped-down form of acoustic music. Not to say I still don’t get nervous, but I can hide it a little better now.”

Laye’s musical path has been varied.

“At home,” she said, “I was always surrounded by music. My dad plays guitar and has always written songs. He used to sing and play for us at bedtime and, of course, many other times. Growing up, I was exposed to different types of music, from classical to folk to Jewish music (Shlomo Carlebach was a big hit for me). My part of going to synagogue every week was the singing. When I was old enough to walk to the synagogue on my own, I would go for the evening/ma’ariv service on Saturdays to sing the zemirot with the enthusiastic congregation.

“I always loved to sing and play,” said Laye. “My eldest sister, Aviva, played the flute and I thought that was really cool and decided I wanted to learn how to play. I started taking lessons from Andrea Minden when I was 7 years old. Started on the recorder, of course, because my hands were too small for flute!

“Anyhow, I studied with Andrea until I was about 14. She was in a family band called the Minden Ensemble and they’d play all sorts of unusual instruments, such as vacuum hoses, bottles, spoons, pots and pans and the saw. Andrea showed me how to hold and bow the saw. When I was in my early 20s, I decided to pick it up and teach myself how to play along to songs, and have been having a lot of fun with it ever since.”

And how did she come to the washboard, which she also plays in the Myrtle Family Band?

“I’ve always loved to tap on nearby objects,” she said. “I’d tap on tables, chairs, find music and rhythm in glasses. I think my parents have learned to appreciate that side of me! Haha. I taught myself to play a drum kit when I moved out of my parents’ house, and played drums for some years before picking up the washboard. I had a partner who played old-time banjo and he suggested that I pick up the washboard so we could jam. I wasn’t sure it was a real instrument and thought it slightly inferior to a stringed instrument but, soon after, realized it added a lot to the music and can really be the backbone of a band. I ended up getting more and more into the old styles and into the playing and here I am today playing every day.”

Forster and Laye are based in Vancouver now, but this has not always been the case.

“I spent much of the past year on the Sunshine Coast and commuting to the city for gigs and to see family and friends,” said Laye. “The coast has been really great. I love to be surrounded by the trees, down the street from the ocean – bears, deer, coyotes and cougars through my backyard! Room to think in the quiet.

“The community on the coast has been so supportive of the Burying Ground,” she said. “I didn’t really have any expectations of what it would be like. I didn’t really know anyone when I moved over to Gibsons, and feel very grateful to have met such kind, supportive and inspiring people. Smaller communities are often more supportive, there is the time for that when the pace is slower. The city can be real tricky to break into. There are so many musicians, so much going on all the time.

“The coast is also limiting,” she added. “As professional musicians, there are only so many gigs you can play. Our band lives in the city.”

For more information about the Burying Ground, to hear their music and check out their upcoming shows – including the JI Chai Celebration on Dec. 6 – visit theburyingground.com.

Caravan welcomes Vazana

Amsterdam’s Noam Vazana will play in Vancouver and Victoria next week. (photo by Robin Daniel Fromann)

Multifaceted Jerusalem-born, Amsterdam-based musician Noam Vazana comes to Canada this month for the first time. She plays in Calgary June 6, Vancouver June 7 and Victoria June 8.

Vazana’s B.C. dates are presented by Caravan World Rhythms, whose managing artistic director is Robert Benaroya, and she will perform with local guitarist and composer Itamar Erez, who also hails from Israel.

“I heard about Itamar through a joint musician friend, Yishai Afterman, and through the presenter of the show, Robert Benaroya,” Vazana told the Independent. “We got to know each other by phone and on Chat. Our first shows together will be in Vancouver and Victoria.”

Vazana’s music has myriad influences, including classical, pop, jazz and Sephardi. She composes, and has two CDs to her credit, Daily Sketch (2011) and Love Migration (2014). Performing regularly on stages around the world, she returns to the Netherlands after her shows in Canada, but has Poland, Morocco, Germany, France and Israel also on her tour schedule.

“This is an amazing year, performing 90 concerts in 12 countries,” she said. “I consider myself very lucky to combine my two greatest passions, music and traveling. I get inspired from new people and new places. I get excited every time before I go on tour – the night before, I can hardly sleep because I can already feel new experiences at my doorstep, waiting to accompany me or take me over or be a part of who I’m about to become. Bob Dylan said once that an artist is always in the state of becoming; somehow, it seems that in order to stay creative I always have to be on the way to somewhere.”

One of the unique aspects of her performance is that she plays the piano and trombone – at the same time.

“My first encounter with the trombone was in an explanatory concert the local orchestra gave at my school,” she said of her somewhat unusual choice of wind instrument. “They were demonstrating several instruments and, the moment I heard the trombone, I fell in love with its rich tenor sound. Another thing that appealed to me is that the trombone is an orchestral or combo instrument, so mostly you play it in a formation. When playing classical piano, especially the old-fashioned way, my teachers always told me it was forbidden to try when I asked to improvise and learn chords and songs. So, I mainly kept to the scores and played alone as a child. It sounded cool to me to play in an orchestra and get to play things that were out of the classical context I was already exposed to.”

The trombone stands she uses had to be invented, she said, “and designed especially for the purpose of playing trombone and piano simultaneously.”

“I first used a model I designed myself from a tripod used to support a window-shopping mannequin,” she explained. “It was working quite well but had one main flaw: it was centred right in front of me, in the middle of the keyboard, so I had to be very creative with the piano parts and manoeuvre around it when moving between the registers.

“Then I had a second prototype designed by an engineer who had good intentions but his strength lay in theory and not in mechanical skill. I was struggling to set up the stand during a soundcheck and the owner of the venue told me he knew a blacksmith who might be able to help me. That guy is amazing, autodidact with phenomenal skill, designing motorcycle engines from scratch. He mended the flaws of the second model and eventually created a much lighter third prototype, which is the stand I use today. I have two different models, one for pianos and the other for keyboard.”

Vazana also leads a Sephardi group called Nani, and she will be performing some songs from that repertoire on her tour. While the spark for Nani was kindled in Morocco, its source lies further back.

“At our house, Israeli culture was eminent,” said Vazana. “My father grew up in a kibbutz and I was brought up part traditional, part secular. Foreign languages were forbidden at home and, although my mother spoke fluent Moroccan Arabic and French, my father insisted she talk to me only in Hebrew.

“My grandmother on my mother’s side spoke Ladino and Moroccan Arabic and never assimilated in the Israeli culture, so some of my first memories include her speaking Ladino with my aunt and singing Ladino lullabies for me. She passed away when I was 12 – you can imagine that, throughout my childhood, she was very old and I didn’t get to spend a lot of time with her.

“In both 2012 and 2013, I was invited to play at the Tanjazz festival in Tangier and I took these opportunities to explore the cities where my families originated from, Casablanca and Fez. On my second visit to Morocco, in 2013, during one of my many walks down the narrow streets of Fez’s medina, I heard people singing on the street behind me. As I made way to them, there came more and more people, singing and playing drums and wind instruments, all to a familiar melody. The procession ended in a square and, as I arrived there – I was one of hundreds of people, young and old – I suddenly realized this is a melody that my grandmother used to sing for me in Ladino. It was a special moment and the rest of my travels in Morocco called memories of my grandmother back to me. I felt drawn to a root that was longing to be rediscovered.

“When I got back home,” she said, “I started researching more and more about the Ladino language and culture and started combining a song or two in Ladino in my regular shows. Slowly, I studied the language over the course of a year and developed a substantial repertoire. It resulted in recording a new Ladino album that will be released in September 2017, and winning the Sephardic music award … at the International Jewish Music Festival in Amsterdam,” which took place last month, May 4-8.

Vazana first visited Amsterdam on tour with an orchestra, as a classical trombone player, she said. “At the time, I was a student at the music academy in Jerusalem and this was intended as a 10-day work trip and another 10 days to explore the Netherlands, as it was my first visit. I checked some information about local musicians and schools and applied for lessons with musicians from the Concertgebouw Orchestra.

“After having a lesson with their bass trombonist,” she said, “he asked me if I’d be willing to come back for another lesson with his colleague, the principal trombone player. After a 45-minute lesson, they both decided to invite me to study with them at the Royal Conservatory of Amsterdam, with an internship at the Concertgebouw Orchestra. The day later, I found myself attending a rehearsal with the orchestra, absolutely mind-blowing, because it was the best orchestra I ever heard live (and the No. 1 in Europe at the time). It didn’t take a lot more to convince me to quit my studies in Jerusalem and transfer to Amsterdam.”

This move forms the creative foundation of Vazana’s second album, which won the ACUM (Israel Association of Composers, Authors and Publishers of Musical Works) album prize, charted No. 14 on the iTunes bestselling chart and No. 2 on DPRP’s (Dutch Progressive Rock Page’s) best albums of 2015. It was financed in part by crowdfunding, through which 800 advance copies were sold. (There is a video, set to her song “Waiting,” in which Vazana personally delivers the CD to various supporters, giving each of them a hug. It can be found at youtube.com/watch?v=tW5Y2IEjgI0.)

“Love Migration is a very personal and exposed album, combining parallel stories about two migrations: my first migration to follow my heart, which is music, while longing to find a feeling of home. The second migration is the long-distance relationship I had with an Israeli guy whom I met just as my EU visa was approved, eventually resulting in him migrating to live with me so I could continue to follow my dream,” explained Vazana. “The process took three years to evolve into stories one can retell [with] perspective…. It could have turned many ways, but my personal search eventually led me (and still is leading me) towards taking the feeling of home with me wherever I go. It has been a long journey, but life is a journey and I feel that I evolve every day anew. In my song ‘Lost and Found,’ I describe that sensation: “Every time I look in the mirror / Every time I stand in the corner / Every time I knock something over / It’s a way for starting over / It’s a way to see it anew.”

Vazana and Erez’s Vancouver concert is at Frankie’s Jazz Club June 7, 8 p.m., and their Victoria appearance is at Hermann’s Jazz Club June 8, 8 p.m. Tickets to both shows are $20 at the door and $15 in advance. Visit caravanbc.com or call 778-886-8908.

Adding jazz to people’s lives

Although he plays several instruments, the trumpet remains Gabriel Mark Hasselbach’s first love and his first choice. (photo from Gabriel Mark Hasselbach)

Music is a dazzling mistress. Once Gabriel Mark Hasselbach fell in love with it, he could never let it go. His music brought him from Denver, Colo., to Vancouver, where his jazz performances have been in high demand for many years.

“When I grew up in Denver, they had a new school education system. They allowed good students, and I had 4.0 average, to choose classes. I devoted almost all my junior and senior years to the art and music classes,” Hasselbach told the Independent.

He started playing professionally in his teens. “I’ve been an opportunist, in the best sense of the word, all my life,” he said. “When I recognize an opportunity, I follow it. When I was 14, I wanted to perform, so I went to the local restaurants and ski resorts and fashion shows and asked, Do you need a musician? Maybe on certain days, when the business is slow? And I offered to play.”

Gifted in multiple creative disciplines, he had a choice of several careers paths in high school. “At some point, I contemplated making ceramic sculptures as a career,” he said. “I liked it, but ceramics take time. You give it all, and then it cracks in the oven. Unlike ceramics, music is immediate.”

By graduation, he was sure he wanted to be a musician. “I hit the road when I turned 18,” he recalled. “I answered an ad for an audition for a band. It was in a bad, dangerous part of town, but I went there anyway and I got the job, with the soul band Nitro. All the other players were 10 or 15 years my senior.”

He played with that band and toured the Midwest with them for awhile. He also got a recording his first year.

When Hasselbach returned to Denver, he worked a few non-music jobs, but his calling wouldn’t allow him a long respite. In the 1970s, he came to Canada as a musician, and here he stayed.

“I brought my bicycle, my trumpet and a stack of music books,” he said. “That’s how I learned. I never went to a conservatory, but I read the books, I practised a lot and I performed a lot, alone and with the others. I think, this way, I kept my musical self, my uniqueness as a musician.”

In his early years, he was known in Vancouver by his middle name, Mark. “I changed my performer’s name to my full name, Gabriel Mark Hasselbach, in 1992,” he said. “Gabriel is my first name, and Gabriel was the original angel with a horn – it fit.”

Time and again, his creativity pushed him to explore other avenues besides music. “I used to write for several music magazines,” he said. “I also wrote a wine column for awhile.”

Predominantly, though, he remained a jazz musician, and he was among the original members of the jazz/pop/blues band Powder Blues, which was founded in 1978 in Gastown. “I toured the world with this band,” said Hasselbach. “We played often in Canada and the U.S. We garnered several multiplatinum record awards and the JUNO Awards. I was with the band for five years.”

But he wanted to play and record on his own, so he left the band and made his first solo recording in the early 1980s. By this time, he had more than a dozen albums to his name and multiple awards, including JUNOs and Smooth Jazz Awards. He’s had numerous top 15 and higher Billboard hits and he represented the Vancouver jazz scene at the Beijing and Vancouver Olympics in 2008 and 2010, respectively.

Since settling in Canada, Hasselbach has performed with many renowned national and international musicians. From 1996 to 1999, he hired Michael Bublé to sing with his band. When Bublé achieved stardom, Hasselbach worked for him as his music director from 1999 to 2003. Hasselbach also has performed or recorded with Nikki Yanofsky, Jim Byrnes and many others.

Although he plays several instruments, including trumpet, flute, flugelhorn and trombone, trumpet remains his first love and his first choice. He also writes music. Most of the pieces he performs and records are his original compositions.

In the early 1980s, Hasselbach added a new kind of gig to his repertoire. He began performing at Jewish events.

“I’m an honorary Jew,” he joked. “I was first hired to play at a Jewish wedding by a Jewish man who knew me from my restaurant playing. The word spread, and many others invited me. By now, I know all the music pieces required at a Jewish wedding. I know all the procedures and ceremonies. I’m the go-to guy and bandleader for many organizers of Jewish events and rabbis in Vancouver and Winnipeg, have been for years.”

In addition to his active schedule as a lounge musician and at Jewish events, he frequently plays at high-level corporate bashes. “I performed for Bill Gates twice, once in his home. He likes jazz,” Hasselbach said proudly. “I played for the president of Singapore at his birthday gala in Singapore, at the Montreux Jazz Fest, Switzerland, and the North Sea Jazz Fest in Netherlands. I played for the international APEC congress and for the world ice-skating convention.”

The impressive list will continue to expand this year.

“I’m going to perform at the French Quarter Festival in New Orleans and St. Lucia Jazz Fest,” he said. “I’m also going to have a week of concerts in Tel Aviv in 2018.”

But Vancouver is home. He performs here regularly, most Saturdays and Sundays. For upcoming shows and more about Hasselbach, visit gabrieljazz.com. His corporate and wedding website is sassabrass.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Maya Rae launches first CD

Maya Rae performs on Feb. 23 at Frankie’s Jazz Club. (photo by Saffron Kelly)

Vancouver jazz singer-songwriter Maya Rae will celebrate the release of her debut CD, Sapphire Birds, on Feb. 23 at Frankie’s Jazz Club. The album was produced by jazz impresario Cory Weeds, and features an ensemble of some of Vancouver’s greatest jazz musicians, including Miles Black, who played piano and acted as musical director, Weeds himself on saxophone, Joel Fountain on drums, André Lachance on bass and Vince Mai on trumpet and flugelhorn.

Rae’s burgeoning musical career – she is only 14 years old – had its genesis in nothing particularly special: band classes at school, a few musicians on her mother’s side of the family. Yet, from these modest beginnings, she has arrived on the Vancouver scene with a beautiful, textured voice well ahead of her years and a first CD that showcases excellent musicianship, both hers and that of the experienced ensemble brought together by Weeds and Black.

“If I had a dime for every time someone tells me they have a 14-year-old with tons of talent,” Weeds told the Independent, “I’d have retired in Mexico by now. When I heard Maya, I was pretty wowed, pretty shocked.”

Weeds said he carefully scrutinizes projects that are brought to him. “I don’t do these things for the money,” he said, “I do it because it’s a project I believe in. Miles Black was the X-factor behind the thing. He helped Maya select the music and charted it. It’s rare that a project goes so smoothly. The whole band gelled so well the album practically produced itself. It was just a real pleasurable experience.”

Rae agreed. Asked if working with such seasoned musicians was intimidating, she said it wasn’t. “It was great; we had so much fun. They were so helpful, and they taught me a lot. It was an incredible experience to work with musicians like that.”

Weeds admitted to hesitating before releasing the album on his own label, Cellar Live, due to Maya’s youth. When he heard the finished project, though, his hesitation vanished. “You’d have to be an idiot not to put this out,” he said. “The talent’s there and, when the talent is there, age is irrelevant.”

The CD features two original songs, the title track “Sapphire Birds” (about her family) and “So Caught Up” (about the obsession with appearances among teenage girls). The album also features some excellent covers of standards like “I Feel the Earth Move” and “Summertime”; and surprises, with some smooth and skilled scatting from Rae. Rae’s singing is delivered with strength, precise phrasing and nuance, and is alternately delicate and full, easily holding the listener’s interest throughout the album.

The CD release will be a benefit concert, with proceeds going to Covenant House, a local nonprofit that serves homeless youth. Last April, Rae held a benefit concert at Temple Sholom to benefit Syrian refugee families. “In March, I was asked to open for Champian Fulton, and so I had a band and a set list all worked out, and then I heard my synagogue was sponsoring two Syrian refugee families and that seemed like an important thing to support,” Rae explained. (For more on last year’s concert, see jewishindependent.ca/jazz-to-benefit-refugees.)

Rae also sings once a month at Louis Brier Home and Hospital, accompanied by guitarist Sami Ghawi. She tells a heartwarming story about an incident that happened there recently involving Kenny Colman, a well-known jazz vocalist who was a longtime friend and colleague of Frank Sinatra, among others, and who now lives at the Louis Brier.

“We have an open mic when we perform there,” Maya said. “Kenny came to watch the show, and he joined us and sang. He has advanced Parkinson’s, and they said he hadn’t sung in the eight months since he’d been there. It was very emotional for everyone.”

For more on Rae, visit facebook.com/mayaraemusic. While reservations are now closed for the Feb. 23 show, there will be limited tickets available at the door.

Matthew Gindin is a freelance journalist, writer and lecturer. He writes regularly for the Forward and All That Is Interesting, and has been published in Religion Dispatches, Situate Magazine, Tikkun and elsewhere. He can be found on Medium and Twitter.