Jonesing For Jazz

On Friday, I made my way over to Revival Club around 8:45 pm for Canadian Music Week (CMW). With rising star Nikki Yanofsky on the bill, I figured it might be tough trying to get admission later. Turns out the club was running so late that doors was pushed back an hour to 9:30 pm. So I, and along with a growing number of nattily dressed people, cooled our heels in line. I watched with bemusement as a wide variety of personnages (some quite indignant) tried to get in with a range of reasons: guest list, media, chummy with club owner, etc. Some were ushered in with alacrity by the bouncers, others stood with the rest of us.

Inside, it became clear why there was all the hoopla. This showcase was sponsored by a major label: Universal Music. In addition, music legend Quincy Jones was on hand to introduce Yanofsky. So there was a lot of folks from other areas of the music biz on hand: security, hanger-ons, VIPs, entertainment media. Watching the glad-handing, schmoozing, and back-patting, things just got weirder and weirder as the night progressed.

But what about the music? Luckily, it was actually good. First to go up was Jesse Gold, the only act not signed to Universal. This young guitarist (19-20 years old) and his equally baby-faced band brought swagger and jamming funk to the show. Apparently, he impressed Mr. Jones so Gold may not be unsigned long. Bobby Bazini had a couple of country-fied songs appropriate to his jeans and shirt look. But with 3 back-up singers, he also did some soulful wailing.

After a glowing introduction by Quincy Jones, who executive produced her new "debut" album, Nikki Yanofsky came on stage in a tight retro black dress with fringes. With a full band including a horn section, they barely fitted on the small stage. Yanofsky's new mainstream sound was a mix of soul, pop, and jazz. She has a big voice and an assured stage presence, not surprisingly since she has been performing since she was 14. Covering most of the songs on the CD (Little Secret, Necessary Evil, Waiting On The Sun), it was upbeat, danceable, and accessible. But as she pointed out, she wanted to bring "jazz back" so there were a lot of jazz elements, including several scat solos from her. With her talent and big label backing, Yanofsky won't be playing  in small clubs for much longer. Actually, it was more in the spirit of CMW that she even played at this smaller venue tonight.

After her set, a phalanx of excited young men and giggling women crammed up to the stage. Cris Cab from Miami was their man. Recently signed and with a big hit in Europe called Liar, Liar (written with Pharrell), he brought a reggae-lite pop sound. It was fun to dance and sing to, and not too complicated or deep. There were two other acts: newcomer Andee and veteran Kardinal Offishall. But now that we were almost 1.5 hours late and approaching 1 a.m., I decided to make my way home.