Keith Price :: Double Quartet to perform Live on the Rooftop

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photo by Lindsey Bond

by Phil Enns

For Jazz Winnipeg’s Nu Sounds series last year, local jazz guitarist Keith Price organized a Double Quartet to re-envision Ennio Morricone’s landmark soundtrack for The Good, The Bad, and the Ugly in the style of Miles Davis’ late 60s-early 70s “electric period” (the full soundtrack, accompanied by scenes from the film, can be heard on Youtube). This year, Price’s Double Quartet is set to perform at the Winnipeg Art Gallery’s Live on the Rooftop series on July 3. Stylus sat down with Keith to discuss his past work, what currently inspires him, as well as his unique approach to jazz and composition. Continue reading “Keith Price :: Double Quartet to perform Live on the Rooftop”

Jazz Fest – (Long Lost) BADBADNOTGOOD Feature from 2012

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by Shanell Dupras

Jazz trio BADBADNOTGOOD were scheduled to play Jazz Fest in 2012 shortly after the release of their new album on April 3, 2012, BBNG2, which mainly features covers of artists like Odd Future, James Blake, and even My Bloody Valentine. Stylus got a hold of Alex Sowinski, the drummer/sampler, and Chester Hansen, the bassist, for an interview. Shortly before our June/July 2012 issue went to press, BBNG cancelled a number of their Canadian summer dates. We’re happy that they’re able to make Jazz Fest this year. Here is our long lost BADBADNOTGOOD feature from 2012. Continue reading “Jazz Fest – (Long Lost) BADBADNOTGOOD Feature from 2012”

collage-à-trois :: Q + A


Everything is beautifully white or awfully brown, auto-body shops are padding their coffers, and Winnipeg’s annual-show-season has the addition of collage-à-trois’ Winter Show. Formed in the summer of 2011, the jazz-inspired trio has been steadily writing, rehearsing, and playing in and around Winnipeg—including the TD International Winnipeg Jazz Festival and the Fringe Theatre Festival Mainstage.

This year, collage-à-trois’ Winter Show is also doubling as the release of their debut, self-titled EP. Stylus sat down with the three women  for a laughter-filled chat about their formation, their EP, bilingualism, and their upcoming show. Below is an edited transcript.

Catch collage-à-trois’ second annual Winter Show at the Gas Station Theatre on Friday, December 21st. Doors are at 7:30; show is at 8:00. Tickets are $15 ($10 if you are a student).

Continue reading “collage-à-trois :: Q + A”

Curtis Nowosad :: A Man About Town


By Holden Bunko

Chances are if you are familiar with Winnipeg’s jazz scene, you have probably heard of today’s interviewee. Curtis Nowsad has been an active and participating member of Winnipeg’s music community for many years, but has recently come into his own as a musician. Weekly gigs, cross-country tours, and even an upcoming album release means that Curtis is a pretty busy dude, yet he absolutely loves what he’s doing, and shows no signs of slowing down. With talent like his, we hope he never does. Continue reading “Curtis Nowosad :: A Man About Town”

Les Doigts de L’Homme – 1910

Les Doigts de l’Homme’s latest album will bring you right back to the year 1910, as its title suggests. That year, a gypsy boy named Django Reinhardt was born. It took him less than 25 years to revolutionize the world of jazz and become a legend of the guitar, creating a new mix between American jazz and the traditional gypsy music of his community.
Now, the band is going go back to the roots of this music fusion. The album celebrates the 100th anniversary of Django Reinhardt’s birth, offering six covers of his songs, three new songs and eight covers of other traditional songs.
With no singing, this album is only dedicated to the purest tradition and expression of the style: improvisation. The solos will leave your ears and your brain awestruck and your mouth speechless. The speed in the interpretation is completely unbelievable, and the swinging accompaniment of the second guitar and the double bass will make your feet stamp.
The highlights of this album lie in the wonderful arrangement and interpretation of the waltz standard “Indifférence,” and the ballad “Russian Melody.” Standards like “I’ve Found a New Baby” or “Minor Swing,” are well executed and refreshed, and make for great listening.
However, the album tracks are uneven in length. During some tunes, the soloist seems to loose track of the melody, preferring to expose his technical virtuosity. If this trick works during two songs, you’ll then be overwhelmed by the hundreds of notes bombarding your ears non-stop.
In a nutshell, this album is certainly a good record and should please jazz lovers. That being said, the overwhelming virtuosity and the lack of melody highlights could be criticized, and lose your attention. If you are new to the style, your best pick might be to start with a best of the legend himself, Django Reinhardt. (Alma records, www.almarecords.com) Simon Delacroix