Take a touch of fun, add a good dose of virtuosity and simmer all in a great jazz barrel and you should get something like this unusual creature what John Pizzarelli.
So last night the monster jazz John Pizzarelli was visiting the region on the occasion of the 21st edition of Jazz and Blues Festival Saguenay. The prodigious guitarist has delivered a sublime performance in front of the many spectators who occupied almost all the seats of the Theatre National Bank.
While the program was announced focus mainly on extracts from the latest album Pizzarelli, the guitarist and his trio of musicians will still be allowed some detours that will not have any of the affected public enthusiasm.
In entry way, viewers will thus had a few titles of Duke Ellington in refreshing reinterpretations of Pizzarelli. For example, the title usually playful Do not Get Around Much Anymore has been interpreted in a version with more melancholic sound, making it more justice to the content of the text of the song.
Now one of the big surprises of this concert will certainly Oscar Night for Ray Kennedy, as a tribute to Canadian jazz legend Oscar Peterson. Not only the pleasure of the musicians on stage was palpable, but every solo that punctuated the room knew literally lift the crowd.
That’s when John Pizzarelli has delivered a monologue simply tasty in which he has described the circumstances that led him to work with Paul McCartney. While the musician was addressing the audience in English, they were hung to his lips, drinking in every sentence and exploding with laughter at each of the many gags launched with disconcerting ease by guitarist.
For the record, so it’s after recording an album offering jazz reinterpretations of The Beatles that fate has led Pizzarelli to be hired a few years later by McCartney as rhythm guitarist for an album together several standards. A few months later, it was McCartney himself who suggested Pizzarelli will resume its securities post-Beatles era, suggestion that the guitarist will be honored without hesitation.
Among the titles selected by Pizzarelli, spectators Chicoutimi will therefore have to marvel at the replays of Silly Love Songs, My Love and Heart of the Country.
Frankly, it is fascinating to see how these songs are entitled to a new life without being distorted. The essence of the songs remain, or their skeletons and their joints are fully reviewed. Here, one is almost tempted to call these reinterpretations of pure exercise of original creation so one can guess a research and a concern for inventiveness.
Upon leaving, Pizzarelli and his band had just finished their rendition of Here Comes The Sun Beatles. In the room, we could see the smiles mingled with a few happy tears. It is in such moments that one realizes that when the virtuosity serves the music of the heart, the magic might do that appointment.