Thursday, April 23, 2009

Dan Meichel: Show them how it really is Danny boy - don't rest in peace!

On Monday morning, April 20th, Paula Fayerman wrote on Facebook: Dear Friends, Dan Meichel died while on tour in Japan. It is thought he had a heart attack. I will miss Dan's smiles and of course hearing him play and sing. I'ld like to do a tribute to Dan on noise this Thursday April 16 from 9:00-10:30 pm. If you have a story or song or hello, please let me know. I'm not sure how to organize this yet, but maybe we can have people drop by CJSW 90.9 studios or call in.

Monday evening, Lyle Pisio called me and confirmed the news. There will be a tribute to Dan this Thursday evening, on CJSW radio from 9ho0 - 10h30h. Check out CJSW's website to hear the live broadcast: www.cjsw.com. Look for Paula Fayerman's NOISE show. As a tribute to Dan, I will post the letter of support that I wrote for his trip to Japan.

To whom It May Concern,
I am writing this letter in support of Dan Meichel’s endeavor to go to Japan, research, discover, and play with artists who approach sound in unique ways. It would be in his best interest to leave Calgary, AB for six months, acquire fresh experiences and to bring back to the prairie community different and challenging ideas.
It is through Dan Meichel and the tiny Noise community in Calgary that I was initiated to the art of improvisation. Little did I know that these formative years would lead to my ability to be a diverse and adaptable player, with a creative and fearless approach to improvisation, be it in jazz, folkore music of different countries, or any other style.
Dan has touched the Calgary Arts Community on all levels. He crosses over from music, to theatre, to dance and visual art happenings. This includes having worked with Alberta Theatre Projects, One Yellow Rabit Theatre, Street of Crocodiles’ celebration of the New Gallery’s 25th anniversary, and Peter Moller’s Shrine of Impossible Love.
Please consider Dan Meichel as a not only one musician who would benefit from going overseas to discover and learn new forms of approaching sound and performance, but an artist who would bring back to an entire prairie community a much needed boost of creative energy.
Sincerely,
Brigitte Dajczer

Wednesday, January 14, 2009

Carmen's top picks

My violin mentor, Carmen, is back in town. A Romanian Rrom who comes from a long lineage of violin virtuosos, Carmen changed my playing, my outlook on life and my approach to music. Eventually, I'll dedicate a post to him, his story and how we met but for now I leave you with Carmen's lesson of the day. Unlike in the beginning where we worked on actual violin technique and repertoire, now our lessons mostly consist of Carmen and I sitting down, having a coffee and watching youtube clips. Here are some clips of top violinists and virtuoso musicians...

Romanian Violinist Ovidiu Bartes...
Take the time to sit through the whole 6:45mins of his exquisit playing. Please listen to his perfectly executed mordentos (ornaments), and near the end (4:55mins) the pace picks up. Not only is his technique impeccable, but at times I think I see a playfulness and delicate touch of joie de vivre in his interpretation (0:46mins). Absolutely delightful!



A duel between Serbian accordeon virtuoso Dejan Kostic (aka Mozart), the legendary Romanian accordeonist Ionica Minune & Romanian accordeon virtuoso Marian Mexicanu



Chinese virtuoso Chuan Yun Li playing a unique version of Paganini's 24th Caprice in A minor. I love how he shakes his head at the end of the piece. I don't know which one I was more blown away by: the arrangement or his playing...



Serbian Romani artist (i think...) Miki Cortan's mind blowing solos on Yamaha keyboards. As of 0:24 mins he's eating up tips like there's no tomorrow...and the more tips there are, the more madness there is. I wish I could play the violin with such reckless abandon !! (I don't know why there's a 2-3 second delay in the sound synch....oh well, enjoy)



à+
Brigitte

Saturday, January 03, 2009

Butterflies and Kisses

Happy New Year! It's January 3rd, and I'm finally back home (Montréal). Today was spent in Luc Boivin's studio (www.studio.tapageur.ca) recording with Quebecois/Moroccan artists Hassan El Hadi and Sabah Bounit. They are currently working on Hassan's album, and today he had guests in such as Quebecois Trad Icon Yves Lambert (Bottine Souriante & Le Bébert Orchestra-www.lapruchelibre.com/lambert), Bambara Trans mastermind Khalil Abouabdelmajid (www.bambaratrans.com) and I. The day was "quietly spent" recording tracks, hanging out in the studio and chatting over coffee and fast food.

Being back home actually had an impact on me. For the first time I realized that perhaps...just maybe...I was feeling "At Home" like most people would define it. Whereas in the past, I never quite felt at home in the environment I lived in: raised in Calgary, I was still being told to "learn how to speak english you immigrant" even though I was perfectly fluent in both languages and oh so Canadian. This left me feeling like I definitely wasn't at home in Calgary, so I had come to define home as "my own personal home...my home within" (with a motion towards the heart). Returning to live in Montreal along with the extensive touring/traveling in the past years has continued to solidify my idea of "home within", mostly as a coping mechanism for artists and future generations to pull themselves together in the midst of cultural, geographic, social and emotional states of displacement. More and more people in the world are experiencing this today, so it's only natural to adapt. But back to Luc Boivin's studio, and the friends & peers I found myself amoungst...

I felt "at home" with them simply because they provided me with familiarity and a safe feeling. This was due to a combination of the following ingredients: common shared space (recording studio), common shared interestests (music), a project bringing us together (Hassan's CD) and most importantly, a solid foundation of past experiences shared amoungst each of us. This group today is a microcosm of a larger community of Quebecois/Canadian/International artists that have been criss-crossing in and out of each other's projects, shows, and lives for a long time. It's through this network of memories and work stories that we are brought together and feel "connected".

Being home brought me back to reflecting on the Montreal Jazz Festival 2008 show we played with Amanda Mabro this past summer (www.amandamabro.com). While in Europe, I suddenly became aware of being disconnected from my femininity and I suddenly longed to confide in a female friend...someone who felt my language. Years in the music business has turned me into an Egg: cold and hard on the outside (for the freelance female musician must be a supremely virtuose playing machine better than any male counterpart to simply be seen as: "a good musician"), and at the same time within this egg shell holds an oh so soft, warm and fragile being. Laugh if you will, the result is a career and no personal life. No personal life is in a way...no home. No "home" is the saddest thing that could happen to a human being. Having met Amanda Mabro and working with her for barely a year now, Amanda's warm and emotional spirit forced me to open up.

The night we played the Montreal Jazz Festival was the closing Saturday night of the event. Amanda was scheduled to play from 8-9 & 10-11pm on the Rio Tinto Alcan stage. Although it was a prime time spot, I was in denial and nonchalantly went shopping at Complexe Desjardins minutes before we were to do soundcheck. Once on stage, I only noticed the ocean of people after the first song, when a roar of clapter & screaming pushed the energy we had put out from onstage 20 fold back into our faces. That evening, I would later find out that each set we played was witnessed by 20 000 people. The energy from the mob was intense...A long long time ago I lost the feeling of Butterflies in my stomach (that you get from being nervous before a show). But adrenaline plays tricks on your mind. Maybe those Butterflies had flown away from my stomach decades ago...but a new feeling emerged: a dry mouth, sweaty hands and the tingling feeling of kisses in the palms of my hands. At the end of the show, it was announced that Amanda would be signing CDs. I wandered around a bit before meeting up with her and the band at the tent. The line-up was incredible, and I was accosted by people who recognized me from the show. A couple teenage girls completely freaked out and were jumping all over me. Once things calmed down, everybody in the band, along with their significant other, started making their way to the metro. I remained alone; remember...no personal life. We took the metro to our respective homes, agreeing that we'd meet up at Boule Noir to celebrate this important evening. High from such an amazing show, adrenaline still running through my system, I opened the door to the empty apartment. I crashed. The evening went from total joy and adulation, to an unbearable loneliness. I had arrived "home", but in a way...to no home. For somewhere in this whole equation of success, I had forgotten to build close love & friendships outside of the working music environment.

And the point of this story? omg...are you still reading this blog? Well, a lot of reflecting on how to create healthy balance between work and play. So the Hollywood ending is as follows: Since then, Amanda & I's connection continues to grow, I try to spend more time hanging out with friends who aren't professional musicians, and there's always those wonderful moments when you find yourself in a studio with a bunch of old working buddies and think to yourself: "I'm happy to be home". May you all have a beautiful year of 2009, full of butterflies and kisses.

Friday, December 26, 2008

Flashback: 06/12/05 = United Nations Climate Change Conference 2005: A truly Montreal experience

A quick flashback to December 6th, 2005. This entry was taken from a gig diary I had before I started the Blog. CONTEXT: At the time, I played three times a week @ a theatre called: La Maison Hantée. Peter Snow, a magician from La Maison Hantée was co-booking the talent for the United Nations Climate Change Conference (UNFCCC)/Gala Evening that would be hosted in Montreal's Biodôme (www2.ville.montreal.qc.ca). The first Meeting of the Parties to the Kyoto Protocol (MOP1) was held in Montreal from 28 November to 9 December 2005, along with the 11th conference of the Parties to the UNFCCC (COP11).
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Conférence des nations Unies sur les changements climatiques
United Nations climate Change Conference
Soirée Culturelle du Canada
Canadian cultural Evening
Au/At the Biodôme (December 6th, 2005)

J-F Ouellete (washtub bass), Stéphane Boucher (trumpet and ukelayle) and I (violin) played at the Biodôme this evening.

About a week ago, we went to the Radio Canada (CBC) headquarters on René Lesveque and were fitted with these ugly lime green men’s suites. Each suite was labeled with a piece of laminate paper giving details about the costume (what T.V. show it was from, the date of the production, the name of actor etc.) All I can remember is 1981, and Roy Dupuis' name (Shake Hands with the Devil-2007, The Rocket-Maurice Richard 2005, etc. ) written on J-F’s suite tag. The lime green suit jackets were accompanied by tacky shirts to go underneath. After a half hour of searching for the most embarrassing combination, our costumist found us men’s blouses with rococo lace and frills around the buttons. I got the fluorescent pink one, J-F the baby yellow and Stephane: amber. We each got silk bow ties to match our silk kerchiefs of which I can only remember mine being sky blue. I was the only lucky one to be given purple suede platform shoes to match the tiny purple lines in my plaid lime green pants (this was mostly due to the fact that the pants were too long for me, so platform shoes were a quick solution.) Oh yeah…we were off to a good start!

Upon our arrival at the Biodôme, we were greeted by the salty smell of a pond being drained out to be cleaned. Passes were given to us after we presented ID, in which I had to wait an extra ten minutes because the girl could not find my name on the list. There were a few rules laid out for us: 1. We were told not to play in the Biodôme’s ecosystems. 2. The animals were not to be disturbed 3. We were not to speak to the delegates and heads of state unless spoken to first. After wandering through the halls unsure of where we would settle down and play…we decided to do our make-up & hair, while waiting for the place to fill up before getting started. The last touch to the outfit was the green clay (Argile) put on our faces and in our hair. I put my hair in two French braids and had no difficulties making the ends stick straight outta my head with the clay: I had a wire placed through my braided pig tails so that I had a Pippi Longstocking look. I got a little on the suit and prayed that CBC wouldn’t come after me.

We found a secluded corner and started playing. It felt so cold…we felt so out of place…so after barely 10 minutes of playing, we stopped and decided to find a better place to play. We strolled around and noticed kiosks devoted to food and alcohol. Waiters started offering us sushis, as well as Québec wine. After 5 servings of sushi, and one or two glasses of wine, we felt properly warmed up and started playing. We wandered around as we played our music; gathering from the looks on delegates faces we must have seemed funny. I had already decided that I felt like a glorified clown with a red violin glued to my argile covered neck, so I went with it. Amoungst us Artists was a Hugger Busker, some Faux waiters and waitresses, the two Cirque du Soleil lizard girl acrobats slinking around on the glass ceiling of the Biodome, the Montreal Gospel Choir, and many more.

We eventually found a prime performance spot; in the front couloire where 80% of the delegates where schmoozing. As we played, the waiters (during such events like this one, considered equals in the brotherhood of servers vs musicians) brought us drinks and food…interrupting our playing with hedonistic gifts for the mouth, spirit and soul. Security came up to us and told us there had be complaints regarding performers consuming food and wine. We were warned for the first time. J-F & Stéphane stuck to their guns; they used their boyish charms and flirted with the waitresses. They got the waitresses on our side and soon after the girls brought food and drinks to us secretly. I drank and ate too much. We looped the repertoire and improvised in between, shouting out sporatic vowels and grunts. It felt as if our playing was permanently out of tune, but the rhythm J-F held on the washtub bass kept the crowd going. Some shouted out “Tom Waits”, and others stared, curious. We continued playing and met some of the most beautiful people:

1. A man from South Carolina enjoyed our tunes. He often stood a few feet away and watched us…grabbing wine from the waiters and offering it to us. We shook our heads "no", but still grabbed the drinks.

2. A woman from South Asia came up to us with tears. I assumed they were tears of joy, for she had a pleasant smile on her face. As we played through her emotions she went up to Stephane, J-F and I, and barely grazing the surface of our cheeks, gave us a kiss so soft yet powerful in its teared understatement. She took the time to give each of us one. Light & fragile, it was a kiss of bliss that sent shivers down my spine...

3. Delegates from all over the world wanted to get their pictures taken with us. We had many people insist on taking pictures of themselves with us, and videotape of our performance. A group from Botswana…some Quebecois women, even a group from Japan…

4. At one point during the evening, I found myself standing still; a glass of wine in my right hand and the violin on the left, staring at two penguins who were staring right back at me. Glass separating them from I, we were only a meter away from each other. Some US politician was standing next to me staring at them as well. I looked over at him, we made eye contact...he seemed startled to be staring at me…then back to penguins…back to me...back to them...it must have been so surreal for him.

As the night went on, we ran into the South Carolina man very often. Throughout the Biodome, I would see him and he’d cheer us on while we played...at some point we had a couple of seconds to chat. Immediately, we were warned a second time; not to be too friendly with the delegates – or to drink & eat their food. Still playing a set that now stretched out to be about 3 1/2 hours long, the last I saw of him was at the end of the evening when I finally put my instrument down. As he slurped away at a fresh water oyster next to a food kiosk, he asked me what my favorite food was. I didn’t know where to start (after all, there are so many yummy foods worth eating! i thought to myself), so he offered me a fresh water oyster while asking me if I had ever tried them before. “No” I answered, and as I tried my first oyster he commented on how erotic it was. Hmmm....me in a clown costume with Argile all over my face and hair, and a South Carolina delegate in an expensive suite in the middle of the Biodome eating oysters with tabasco sauce...I sure hope he got the "Canadian Cultural Evening" he was looking for. We ate a couple more oysters not saying much, looking at each other. Then J-F & Stéphane called me over to pack our stuff. 5 hours had gone by since the beginning of the evening (of which we played one long set of 3 1/2 hours) and it was time to leave. Before leaving the Biodôme, I went to the washroom and caught a glimpse of myself in the mirror. The green argile had worn off around my temples and neck from sweating, and my mouth showed traces of wine drinking; a red ring with green argile cracks. I was embarrassed at the sight of me! What a horrendous looking violin clown I was.

As for the results of this Conference? According to some articles, it was a great success in that the event marked the entry into force of the Kyoto Protocol. The UNFCCC hosted more than 10,000 delegates, it was one of Canada's largest international events ever and was the largest gathering in Montreal since Expo 67. Back then Stéphane Dion was the Environment Minister and according to Wikipedia: The Montreal Action Plan is an agreement hammered out at the end of the conference to "extend the life of the Kyoto Protocol beyond its 2012 expiration date and negotiate deeper cuts in greenhouse-gas emissions." (CBC's The National).

Wednesday, December 03, 2008

Quartier Matonge, Ixelles-Brussels with Jeff Kavanda

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Wednesday, November 26, 2008

Touring with Geoff Berner in the Netherlands

On the morning of November 17th, I flew into Paris, caught a train to Liège (BE) from Gare du Nord, took the #4 bus to rue Surlet and arrived just time for soundcheck for Geoff Berner's show. From there we toured through Amsterdam (Nuewe Anita), Haalem (Patronaat), Vaals, Middleburg (Kaffe t'Hof) and back to Amsterdam.

Every show had its own flavour, and although everyone of them was a success, perhaps the most memorable moments for me would have to be:

1. Playing to an over capacity crowd of 200 at the Nuewe Anita (Amsterdam), where some didn't get into the venue because of lack of space, most watched us from a second floor balcony hollering as if it were a real punk show, and once the whiskey ran out for Geoff and I, the owner quickly brought us a 32oz bottle of Vodka to keep us in top performance shape.

2. playing Kaffee t'Hof (Middleberg), where the ultra hip and styling venue owner gave us some top notch whiskey that had a huskey-smokey taste. His collection of religious iconography statues were sporatically placed throughout the bar; all of them missing a limb...and he insisted on tipping us an extra 100 Euros because he truly enjoyed our show.


3. 5 shows in 6 days, with a quick stoppover to see the Norwegan band: Kaizers Orchestra play @ Tivoli's in Utrecht on our only night off. Geoff was invited on stage to play "Whiskey Rabbi" with them, we got to walk around Utrecht (which, b.t.w. is perhaps even prettier than Amsterdam...and it's canal is straight out of a fairy tale), and I got to share my first DUVEL beer with Norwegan guitarist Geir Zahl, my partner in crime: Geoff, and a bunch of Kaizers Orkestra groupies. Did you know that their groupies like to buy them large Chocolates in the shape of the first letter of their names? Wow! Why don't I get groupies like that?! LOL

5. Elizabeth, the lovely Austrian PH.D student who rode her bicycle 30km one way and 30km back to see the show, all this through a snow storm.

6. And of course, there was the attemp to live up to Amsterdam's reputation by attempting to smoke Barney's joints. The result was a pathetic duo; Geoff and I getting lost in the streets of Amsterdam, Geoff catching the train and I missing it because I wasn't quick enough to figure out what was going on, me almost leaving my violin behind on the train, and us being sick the morning after...with my speaking to the dutch waiter in french for some unknown reason. We both concluded that we are not made for Amsterdam's green stuff.


Check out Geoff Berner's new CD "Klezmer Mongrels" at www.geoffberner.com or www.myspace.com/geoffberner

Saturday, November 15, 2008

Face to face with a Bootleg = $15 CAN

Here it is: the Bootleg I suspected was floating around of an epic gig I played at Théâtre Corona in 2004 with the following musicians at Le Festival du Monde Arabe. The show was a concept gig where musicians from the Occident meet musicians/mystic sufists from the Orient:

Montrealers:
Michel Donato (contrabass - played with Oscar Peterson), Thom Gossage (drums - top canadian drummer), Thuryn Von Pranke (keyboard - internationally renown musician), Jeremiah McDade (woodwinds/multi-instrumentalist - tours the world with The McDades), and me (violin).

Morrocans - 8 morrocan sufists from Tangier & Marrakech:
Abdellah El Gourd, Abdelkader El Khiley, Lahcen Alti-Llah Khalid, Rahali, Mohamed Benothman, Ahmed Benothman, M'Barek Benothman, and Najib Senhadji

First off, I never signed any document that would allow this to come out. Beyond that, I have many mixed emotions about it all: from surprise & disdain at the fact that I had to buy a CD that I contributed to the musical phenomena of...for $15 CAN...and knowing that I, nor any of the other musicians, will never ever see a cent of it - to an ironic sense of accomplishment when my friend Joe looked over at me (as I borrowed $15 from him to buy the CD) and he said in awe: "Wow, you have bootlegs of your playing floating around?! Cool..."

One thing for certain: my investigation about the circulating rumours of an existing CD is now over. Three years ago I got in a cab and the cabbie was playing a CD that had a very distinctive violin and sax playing wrapped in a gnawa trance of Karkabouhs. I asked the guy what show it was and he proudly explained "Gnawa El Jazz". I then went through the underground arabic community rumour mill... (also labeled by the community as "le téléphone arabe") and found out that my friend Nazir had a copy of the CD. It took me a year of playing phone tag with him to get a copy of it. That was last year (2007). And just when I though it was all behind me, two weeks ago I ended up at a Nomadic Massive show and found the official bootleg on sale.



That's all folks. I'm not ready to go into a full on sermon about bootlegs and all that shit. Especially not when we live with the World Wide Web and we download everything to high heavens for little money or free. All I can say is that as a musician living in these modern times, we work/live like dogs trying to pay the bills and we scramble like rats in hopes for our music to be heard and appreciated. We are stupid enough to leave it to others to make the money off of our backs. And that's where I want to change.