Every Christmas out comes a seasonal “jazz standards” lesson for my students. It was always a hit for them to learn a few classical Christmas songs sung by local jazz artists. As an English instructor, I had to find my moments, unlike music teachers. My favorite part was seeing the look on their faces. They were always amazed to learn that Michael Bublé was born and raised in Burnaby, BC. They also learned who Diana Krall was. Another BC native, who was born in Nanaimo, BC. For me, selfishly, it was an excuse to listen to a genre of music I love.
UPDATE: LATEST INTERVIEW with Tim Reinert of INFIDELS JAZZ
Those learning moments happen to all of us. I had my moment during a recent interview with Tim Reinert of Infidels Jazz. So, I decided to write a condensed version of Vancouver’s Jazz history. Vancouver’s jazz history began in the 1900’s, much like the rest of North America. Clubs like the Patricia Café (now known as Pat’s Pub) and the Pantages Theatre opened. Later venues like the Cellar and Harlem Nocturne evolved into vibrant post-war underground scenes. Some key figures included Jelly Roll Morton, Black club owner Ernie King, the iconic bandleader Dal Richards and Producer/Saxophonist Cory Weeds.
The Roots (early 1900’s)
In 1917, alcohol prohibition began, and the Patricia Café opened. Jelly Roll Morton played at Pat’s (Patricia Cafe), a local spot that helped establish the genre in the city. Jelly Roll Morton came back and forth to Vancouver. Initially, he began with the Patricia Musicians but left abruptly, possibly due to conflict among the members. Morton was often known for his somewhat generous ego.
In 1921, Morton returned to Vancouver and pulled together a house band trio. The trio was located at Hotel Irving on the northeast corner of Hastings and Columbia. But as time passed, tensions between Canada and the USA were on the rise. Morton complained about the union restrictions on musicians. Later, partway through the 1920’s, an outright boycott was put on American musicians coming to Canada. Fortunately, in 1940, Duke Ellington’s presence on the jazz scene brought an end to this.
Another notable district supporting the early jazz roots was Hogan’s Alley. It was part of a larger black community in Vancouver’s historic Strathcona neighbourhood in Vancouver East. Its origins are believed to date from 1915-1917 when a couple of railway lines were being built. The area was known for its culture. It included eateries like Vie’s Chicken and Steakhouse. Musicians such as Louis Armstrong and Ella Fitzgerald frequented it while visiting Vancouver.
Post-War Golden Age (1950s-1960s)
The Cellar: The famous underground club was formed by a group of musicians wanting a place to play. It was literally in a basement located on Main Street and East Broadway; thus, its moniker. One of its mandates was to nurture local talent and foster a “co-operative” jazz scene. This premier jazz club, a hot spot in Western Canada, was one of the only hosts to international artists. Member and guitarist, Jim Kilburn, was quoted as saying, “A partial list would include Ornette Coleman, Scott La Faro, Dave Pike and Don Cherry. Occasionally, we booked established stars like Barney Kessel, Charlie Mingus, and Harold Lang. But we’re encouraging a broader policy.” The original Cellar Jazz Club opened in 1955 and later closed in 1964.
The Harlem Nocturne Cabaret was a nightclub located in the Strathcona neighbourhood. The cabaret was situated at 343 East Hastings and managed by Ernie King and Marcella Williams. During that era, it was Vancouver’s only Black-owned nightclub. Jazz artist and founder, Ernie King, would host renowned musicians. Meanwhile, his wife, Marcella “Choo Choo” Williams, showcased performances by her and other dancers.
Denied a liquor license, it operated as a bottle club, whereby people would need to bring their own alcohol. King would keep pop bottles behind the counter in case the police entered the premises. To no surprise, based on the era, this happened often. The club symbolizes the resilience and artistic prowess of Vancouver’s Black community, which paved the way for cultural expression. The club opened in 1957 and closed in 1967 after the decline in people going to jazz clubs.
Dal Richards, the King of Swing
Entering the height of his career trajectory, Dal Richards came into his own in this era. He was one of those jazz musicians who was bigger than life. His musical career spanned 70+ years, beginning in the Big Band era. As time passed and the interest in jazz clubs waned, Richards adapted. He became a band leader for the Pacific National Exhibition Bandstand. The band played 79 consecutive New Year’s Eve concerts until his death on 31 December 2015. He was a recipient of the Order of Canada, the Queen’s Golden Jubilee Medal, and a B.C Entertainment Hall of Fame inductee. Overall, he is still known as the longest-playing musician in Canada.
The Modern Era
Coastal Jazz & Blues Society was founded in 1985 and incorporated in 1986. The Vancouver-based, non-profit charitable organization dedicated itself to fostering jazz and blues in British Columbia. It is BC’s largest not-for-profit music presenter and producer of the annual Vancouver International Jazz Festival. Additionally, Coastal Jazz and Blues present local, national, and international artists throughout the year. They pride themselves on their long-standing commitment to music education. Two examples of this are the Sounds of Youth Stage and the Vancouver Youth Jazz Orchestra, featured annually. Interestingly, the debut of Vancouver’s International Jazz Festival took place during Expo ‘86.
History Revisited
After its closure and decades later, the Cellar reopened. Cory Weeds, a renowned jazz saxophonist and owner, revisited a new space and opened the “Cory Weeds’ Cellar Jazz Club”. Weeds located his club at West Broadway and Dunbar. This geographic area was closer to another jazz music hub, on the perimeters of UBC. Unfortunately, due to various complications, it sadly closed in 2013.
Reluctantly closing the Kitsilano site, Weeds rerooted himself in his new home as musical director at Frankie’s Italian Kitchen and Bar starting in 2015.. He realized that downtown Vancouver would be much more accessible for the classical jazz purveyors he hosted. Now, Frankie’s Jazz Club is one of the featured venues during Vancouver’s International Jazz Festival.
At the same time, the new club still features the Steinway B piano from the original Cellar Jazz Club. The atmosphere within emanates a vibrant and intimate, supper-come-jazz club. Frankie’s has been in business for over a decade and recently launched an After Dark series. Frankie’s After Dark shows are presented by Infidels Jazz, and start at 11 pm. SeeChangemakers interviewed Tim Reinert of Infidels Jazz this last week. Reinert stated that this was part of Infidels Jazz’s beginnings in officially promoting up-and-coming artists to the scene.
From the Past to the Future
During the interview, we discussed one of Infidels Jazz’s current projects which brings us back to Hogan’s Alley. Infidels Jazz is promoting an up-and-coming Musical Theatre production, “Meet me at Vie’s”. It’s so exciting to hear the history of this Vancouver community back into the current conversation. Hogan’s Alley and Vie’s have become an integral part of Vancouver’s Jazz history, as cited earlier. Krystal Dos Santos, an incredible singer, songwriter, performer, film/TV actor, and playwright, wrote the musical.
Fellow colleagues, Dawn Pemberton, Chris Davies, and herself will be the featured performers. Dos Santos approached Reinert asking him to be on the production team. About Santos, he says, “she’s an artist that is so easy to work with… It’s hard not to get excited about music when working with her.” The musical runs from April 23rd to May 2nd at the Olympic Village Stage at BMO Theatre Centre.
Final thoughts…
As Santos’ colleague Pemberton outlines in her promotional article about the production;
“This is not just a history lesson.
It’s a celebration. A revival. A remembering.”
In the end, Vancouver is rich with talent both musically and artistically. Even though it is a young city and has been coined as a “No Fun City,” times are a-changing. Recalling the past allows the future to be rewritten. It has always been the people who take action that decide this.
Stay tuned for the SeeChangemakers Interview with Infidels Jazz, Tim Reinert. Also, check the SeeChangemakers recent Blog Post on a brief historical view of WOMEN IN JAZZ.
FURTHER RESOURCES:
Journeys to the Bandstand; Thirty Jazz Lives in Vancouver by Chris Wong
Past Tense: Vancouver’s Histories
Capilano University curates the Vancouver Jazz Archive, holding over 400 items documenting the local scene.
