On the eve of the 250th anniversary of the United States, or, if you prefer, Divided States, the Gesu celebrated the centenary of the birth of the mythical trumpeter Miles Davis, by playing his 1959 album, the equally mythical Kind Of Blue, which profoundly transformed the jazz of that era.
Montreal trumpeter Ron Di Lauro conceived this project in 2010 and has revived it occasionally since. Given that we’re talking about jazz and improvisation, this project is never exactly the same each time it’s revived.
It’s no easy feat for this sextet of Montreal musicians to embody Miles Davis, John Coltrane, and Cannonball Adderley on saxophone, Bill Evans on piano, Paul Chambers on bass, Mike de Masi on double bass, and Jimmy Cobb on drums. And yet it’s possible, as they demonstrated with conviction.
The Gesù was largely filled, mostly with white or salt and pepper hair, in great shape for a concert that started at 10:30 pm. Many die-hard fans of Miles Davis from that era and sometimes, a few younger ones, well educated by their parents or music teachers.
Di Laurienne’s recipe for this reincarnation: certainly, we play a classic, we respect its form, but when the time comes for solos, for magical improvisation, we remain ourselves and, in doing so, we give new life to the music.
Yannick Rieu and Jean-Pierre Zanella played tenor and alto saxophones, one more languid, the other more edgy and virtuosic. They were instantly recognizable. Taurey Butler, the American turned Montrealer, distanced himself considerably from Bill Evans with much longer solos. And why not?
Martin Auguste on drums provided a subtle rhythm section, and the bassist, whose name escapes me, delivered solos more innovative than his predecessor on Kind of Blue. After all, we’re 63 years later, and we need to feel it.
And Ron Di Lauro was Ron Di Lauro. The former university professor knows his trumpet and how to use the mute to resonate like Miles. All while asserting himself in the solos. A blend of respect and innovation.
I had a great time. Judging by the loud applause during the encore, I wasn’t the only one.
Hello Miles and hello to those Montreal musicians who have reincarnated him for us!
Photo Frédérique Ménard-Aubin
