Justin and I slept very well, and awoke with great anticipation for the actual beginning of the 2009 Portland Jazz Festival. First, we savored some Peet's coffee and a light breakfast, then headed to the 1st event, a Jazz Conversation — an interview with Terence Blanchard moderated by the Oregonian's Luciana Lopez, in a wonderful light-filled space at the Jazz Bar at the Portland Center for the Performing Arts. The event was only about one block away, so we walked, with my trusty R2O2 alongside.
We managed to snag front row seats for what turned out to be a very informative and interesting session with a most creative, sensitive and insightful musician ... Terence Blanchard. Luciana Lopez proved to be a very capable interviewer, asking meaty and interesting questions, which both Blanchard and the audience appreciated. Terence talked at length about the impetus for the impressive work we were about to hear later that evening, A Tale of God's Will (A Requiem For Katrina) ... in its entirety. He told a very profound, personal story of visiting his Mother's house (where he grew up and learned to play trumpet) for the 1st time after hurricane Katrina struck and not hearing a sound. No birds — nothing but wind! It was beyond eery to him. He also provided a glimpse into his early life as a musician, recounting piano lessons, and the moment at which he was awestruck by the sound of a trumpet for the first time. Terence also introduced the man who designed and custom-built the trumpet he's been playing for the past 18 years or so ... a Portland resident, David Monette. Monette's trumpets are played by some of the world's leading trumpeters and command a very high price. Not only that, but the wait time is considerable ... a minimum of six months, and usually over a year. Dave appeared to be a very modest, unpretentious man, and was very friendly and approachable.
After her interview with Blanchard, Lopez opened the Jazz Conversation to questions from the audience, which included one from me — a question about the importance of breath and breathing as a musician — and not only for musicians who play wind instruments. I also asked if yoga was ever a part of his routine.
I told Terence that I was a drummer, and he was already aware of my breathing difficulties, having seen R2O2 with me on a couple of occasions. He told us of his connection with a yogi while with Art Blakey many years ago, and of his use of boxing for developing and maintaining his focus, breathing and stamina for the past 14 years or so. Meditation has also been part of his breathing regimen.
After this Jazz Conversation was concluded, I had a nice exchange with Luciana Lopez, who thanked me for my question and said we'd probably cross paths again during the festival. She was right.
At the point when just about everyone had cleared the room I was unexpectedly approached by a lady who extended her hand to me with what appeared to be a large business card. The card depicted several very small representations of wonderful paintings of musicians ... blues and jazz artists. She introduced herself — Diane Russell, a Portland artist. We had a nice chat,and I told her that I wanted to check out her website and see more of her work. She was very modest, to say the least. As far as I'm concerned, Diane's work is much like a category of some jazz artists ... Talent Deserving of Wider Recognition. We soon became friends, and had enjoyable conversations about art & jazz on several occasions.
No comments:
Post a Comment