Spaces and faces of Jazz Fest 2019

From the many rooms of the Canadian Museum for Human Rights, to the specially-designed RAW:Jazzfest venue, to the well-known and loved living room surrounding the Cube, these photos aim to demonstrate what shapes a show: the spaces and faces.

What’s a room full of music without listeners, too?

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Jen DoerksenComment
Get educated: the benefits of a music education for a career in jazz

While some might think that jazz school is just jamming all day, students also study subject areas including composition and arranging, songwriting, jazz history, theory, musicianship, pedagogy, film scoring, recording, sound mixing, and production.

 Some jazz pros never actually step foot into a post-secondary institution, however, and go on to become successful – if not legendary. Is it beneficial, then, to go to jazz school to find work and be successful in the field?

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Katie Fowler
Sonic improvisation: experimental sounds from Civvie and Trio Telfær

Sometimes music can sound a little bit less like ‘music’, and more like an exploration of space, textures, and tones. Abandoning the classic chorus/verse, or head/solo structure for songs can offer artists brand new room to play and to create.

Winnipeg artists Civvie and Trio Telfær have stepped away from structure in favour of music that is constantly changing – relying on the tradition of improvisation and on picking up new sound-making strategies in the creation of their unique music.

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Jen Doerksen
TOP 5's

We asked some of Winnipeg’s most notable characters which 5 artists they’re most excited to see at the 2019 TD Winnipeg International Jazz Festival. Here are the acts they’re jazzed for!

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Michael Falk
The Comet is Coming - Trust in the Lifeforce of the Deep Mystery

UK trio The Comet is Coming – Shabaka Hutchings on saxophone and clarinet, Dan Leavers  (aka Danalogue) on keyboards, and Max Hallet (aka Betamax) on drums – shape an intergalactic adventure through rich synths, distorted drum machines and the alternately soothing and stressful sound of Hutchings’ sax.

If the point of this album is to implore the listener to trust in something greater than themselves, it more than accomplishes its goal.

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Jen Doerksen