Complete Liner Notes

Making music, particularly improvised music, is a collaborative art. So much depends on the conditions that bring the players to the sacred space where art is spontaneously created. The collaborations go beyond the players on the stage - often invisible to the audience are those participants who through their action, expertise and love of the music have a crucial part in the magic being created.

The important unseen collaborator in the music presented here is the late Ken Pickering whose official title was founding Artistic Director of the Vancouver International Jazz Festival, a position he held for over 32 years until his untimely passing in the summer of 2018. Ken had a profound and lasting effect on the music scene in Vancouver and around the world by building the Jazz Festival's reputation as a global leader in innovative and forward thinking programs.

Ken’s expansive musical taste began with programming very early visits from emerging artists like Tim Berne, Bill Frisell, Wayne Horvitz and the Esbjorn Svensson Trio balanced with established elders like Miles Davis, Max Roach, Betty Carter and Sonny Rollins. Not to mention luminaries of the European scene like Misha Mengelberg & Han Bennink’s ICP, Willem Breuker’s Kollektief, Stan Tracey, Globe Unity, etc. His curation skills extended to special projects such as the sole North American appearance of the Dedication Orchestra led by Louis Moholo celebrating the legacy of the Brotherhood of Breath and featuring the very top players of the British avant-garde Evan Parker, Steve Beresford, Harry Beckett, Maggie Nichols and others.

His ability to bring all of this together came from a deep understanding and appreciation of the music and almost legendary networking skills. He put people together in ways that would not only benefit them personally, professionally and musically, but would also strengthen the jazz community as a whole.

So when François Houle was considering putting together a new project, he naturally turned to Ken, his friend and mentor, for advice. As Ken's partner, wife and soul mate Christine Fedina recalled "We were at a café for our regular Monday morning hang when François asked Ken for his recommendations for a new international band, as he had a very special talent for “hearing” musical relationships. Almost immediately, Ken offered a list, and it became the genesis of Genera, a group of musicians who developed a unique relationship with one another partly due to their special connection with Ken."

The musicians of Genera - François Houle, Taylor Ho Bynum (now Marco von Orelli), Samuel Blaser, Michael Bates, Harris Eisenstadt and Benoît Delbecq) had, as predicted by Ken, an instant affinity, embarked on a tour and recorded a well-received debut for the Songlines label. Sadly, they also eventually performed at Ken's memorial service in Vancouver in October 2018 among an international community of friends, colleagues and admirers who gathered to remember the man and his legacy.

Which brings us, several years later, to this current recording. François writes: “This album pays tribute to and celebrates the memory of Ken Pickering, my best friend, mentor, and supporter of my work from the moment we met back when I first moved to Vancouver in 1990. The compositions were not intended as a suite but as the pieces emerged it became evident to me that there was a hidden narrative binding them together as a whole, such as a Requiem (an act or token of remembrance, the Latin accusative of requies, ‘rest’). As I composed the music, echoes of brass band marches, motets, masses, and the Blues wove their way into the sound fabric.

“Stand By is a fitting Blues intro, a call and response reminiscent of the work of John Carter whose music was introduced to me by Ken. Hearing Carter’s clarinet and compositions was a paradigm shift that pointed me in a creative direction which I never wavered from. Requiem came to me in the middle of the night as a dream, with all sections clearly defined, slightly third stream in design, with quartal harmonies at the foundation, and a rhythmic drive reminiscent of Eric Dolphy.

“Ekphrasis is primarily a minimalist piece, with a simple palindromic structure - the “looping” quality of the piano part is something I’ve grown to appreciate in Benoît’s work. This Tune... is a freebop piece, a type of signature practice in the early 90’s Vancouver creative music scene. It reminds me of the long nights of jamming at the old Glass Slipper club during the annual jazz festival. The title Gish Gallop is somewhat at odds with what the piece is about - Ken struggled with the politics of institutional dictates and this piece reflects the mood and philosophical stance Ken opted for in the face of adversity. He never spoke ill of anyone, choosing to remain hopeful that things could always improve. Gish Gallop is what I’d call the demons that got in the way of him achieving some of his artistic goals. His legacy proves that beauty always prevails. Scarlet is another example of the type of free- spirited energy that has emanated from the Vancouver scene since the 90’s, in good measure due to Ken’s discerning curatorial practices. There’s a little nod to the New Orleans Brass Bands and the South African Free Jazz musicians Ken was so fond of.”

“Song L is a love letter to my wonderful partner Lara, who heard the music on this album as it was being realized. The piece aims at underlining that nobody’s perfect, that we all have our good days and bad days but simple acts of kindness (which she intuitively excels at) make up for our shortcomings. After a reading of Shusaku Endo, the tune Deep River symbolizes the deep roots of music, in all its estuaries, currents and deltas. The Blues also permeates this composition, as well as the psalm/prayer- like Chorale, where a group discussion ensues, where the interplay between the members of Genera weaves a sad yet hopeful and joyful sound.”

I’ll save the final word for Chris Fedina – “Ken’s untimely death was devastating and felt especially tragic for these guys. This act of gratitude and love is a lasting tribute to a beautiful soul by this extraordinarily talented group of his dear friends. You may hear a tinge of nostalgia woven through these compositions here and there, but mostly you will hear the joy, humour and boundless love of the human spirit!”

liner notes by Nou Dadoun, with editorial contributions from Christine Fedina, Michael Bates, and François Houle