When drummer Chuck Logan says that the Cellar was “the school of music” where young musicians could learn to be their best selves, he could be talking about any of the above “listening rooms”-and it’s this contemporary resonance that might be Jago’s greatest contribution to improvised music in Vancouver. That link isn’t explicitly made in Live at the Cellar, but its collected anecdotal accounts sound uncannily familiar. Or, as Jago puts it in her lengthy, sociological introduction, “Even once a scene has lost its power.…the social connections formed through participation in scenes do much to enable the social interactions upon which urban living depends.” Sixty years on, those connections, however attenuated, still animate artist-run underground venues such as Merge, Sawdust Collector, and 8EAST. From 1956 to 1963 it was a number of different things: a collectively managed workshop space for progressive musicians a venue for cutting-edge imports such as Wes Montgomery, Ornette Coleman, and Charles Mingus and perhaps most importantly, a local launching pad for the kind of interdisciplinary thinking that would blossom here in the later 1960s.Īs such, Live at the Cellar deserves an audience beyond jazz aficionados: in a town that tends to endlessly reinvent the wheel, it tells how the first wheel was forged. Earnings and Net Worth accumulated by sponsorships and other sources according to information found in the internet. Explore Echoes lyrics, translations, and song facts. Discover exclusive information about 'Echoes'.
The original Cellar, as opposed to saxophonist Cory Weeds’s now-shuttered nightclub, was a basement room at 2514 Watson Street, near the intersection of Broadway and Main Street. 'Echoes' is American song released on 25 July 2020 in the official channel of the record label - 'Jelly Roll'. Photo by Don Cumming, courtesy of Jim Carney Doreen Williams with Chuck Knott (bass) and Al Neil (piano), ca. Too little of that work has been done in this city, and University of Edinburgh lecturer Marian Jago’s Live at the Cellar, which sports the unwieldy subtitle Vancouver’s Iconic Jazz Club and the Canadian Co-operative Jazz Scene in the 1950s and ’60s, is a welcome start. Which, of course, doesn’t mean that its artifacts can’t be collected and cherished, or its history written down. Evanescent in its nature, a discipline of being in the moment, jazz is and should be resistant to codification. A century later, that locale is still a jazz venue, but other rooms and even entire genres of jazz have all but disappeared here, leaving little in the way of documentary evidence.
Jazz in Vancouver has a surprisingly long history, predating even the legendary pianist and composer Jelly Roll Morton’s 1919–21 residency at the Patricia Hotel’s lounge. Live at the Cellar: Vancouver’s Iconic Jazz Club and the Canadian Co-operative Jazz Scene in the 1950s and '60sīy Marian Jago. UBC Press, 330 pp, softcover
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