Neil Watson and the Winnipeg Jazz Orchestra
Unlocking the mysteries of jazz appreciation and devotion
Nick MacMahon, Staff
In 1997, The Winnipeg Jazz Orchestra (WJO) declared a covert war on the arts scene. After 10 years of guerrilla warfare, it’s time for journalists everywhere to expose the heroic cause of these brave freedom fighters. Armed with a tape recorder and some naive optimism, I crossed the treacherous grounds of U of M’s crumbling campus to meet with the spokesperson for the WJO, Neil Watson, regarding future attacks.
Bathed in graffiti and permanent marker, the entrance was a test of strength. Snapping my fingers and scatting in a polyrhythmic swing, I crossed my fingers of my one free hand, hoping to gain entry with my impeccable performance . . . fade to black. As I regain consciousness, the doors of perception flung open, illuminating the word of jazz. Operation “Triple Threat” was revealed.
With six concerts per season at the Winnipeg Art Gallery, “Triple Threat” is one of their final assaults and you still have time to take up arms ($15 for students) in preparation for their March 16 attack. The concert will feature three guest musicians alongside the 16-piece big band — Sammy K., a Los Angeles-based drummer, has collaborated with the world’s finest, including the legendary jazz pianist, Dave Brubeck, and the late Bob Hope. His mastery of pop, rock, funk and big band is evident in modest medleys posted on his website. Another versatile veteran, B.C.-based trumpet sensation, Mike Herriott has also tagged along for the ride. A multi-instrumentalist, maybe he’ll pull out the triangle this time (tuned to F#, of course). Completing the death-squad trinity is Winnipeg’s own Janice Finlay — one of Winnipeg’s top saxophonists and the artistic director of Manitoba Conservatory’s Jazz Institute.
One might think that a big band performance would shy away from the chaotic spontaneity prevalent in smaller ensembles due to the difficulties of co-coordinating a 16-piece ensemble; apparently this is not the case. According to Neil Watson (general manager and saxophonist for the WJO), we should “expect the unexpected.” He reminisced about a past gig, where the rhythm section locked in with the trombones paving a groovy path to a new tune altogether.
Reflecting on the complexity of big band jazz, Watson enlightened me on his jazz philosophy and the quest to reach more people. “If it’s got that thing that makes you dance a little bit, it’s going to be listenable to mass audiences . . . the trick is finding your own artistic integrity but remembering that that rhythmic element has to be there.” Although Watson is the PR guy for the WJO, he’s genuine — I’ve seen him countless times churning out vibrant solos, swaying to and fro, possessed by the swing (unlike most of the stiff-as-rods jazz musicians on the scene). Encouraging experimental boundary-pushers with a wise summation, he concluded, “You can play whatever you want, if that groove is there, people are going to enjoy it.”
Ultimately, there’s another force at play in the life of a jazz musician, which goes beyond a few delayed claps, interrupted by a shattered plate and laughter, after a heart-wrenching sax solo. “The appreciation from an audience, it’s in the background somewhere, but it’s not what’s driving you. There’s something about learning the craft and learning the art that pushes you forward.” Watson, who recently completed his master’s degree in jazz performance at the U of M, reflected on his devotion to the craft. “I’ve always been drawn to improvisation [and the sound of the saxophone] for as long as I can remember. . . . You start to experiment with it a little bit and then you start to hear the levels that some of these guys are doing it at and I want to reach that level.” Awestruck from an inspiring Count Basie big band performance, he pledged himself. “Whatever it takes, I’m willing to do it.” Indeed, he’s now living it. Juggling the responsibilities of fatherhood, marriage, gigging, managing and educating, he still sets time aside for four hours of practice a day, like any obsessed jazz musician.
With three years of WJO experience, Watson’s insights and philosophy speak volumes about the jazz scene and they can help you place full trust in these audacious vigilantes.
If you can’t make it out to “Triple Threat,” check out the “Flip for Jazz” gala fundraiser on April 15 at the Inn at the Forks. The WJO, along with students and faculty from U of M’s jazz studies program, will dot the first two floors. A little big band, a quartet and a trio will play in various “themed rooms,” each ensemble playing a distinct jazz style along with the appropriately themed food and drinks to match. If that’s not good enough for you, you can save your money for the season finale, “The Best Is Yet To Come,” featuring ace-saxophonist, Miguel Zenon on April 27 at the WAG. Also,you’re your jazz-bluegrass fusion fix (with Neil Watson) on March 9 at the Park Theater.
