Leading up to the launch of the Burgundy Jazz interactive documentary in June, this series of
interviews aims to reach out to key members of Montreal’s jazz and interactive
communities. We chatted with Montreal-based Saxophonist and composer Erik Hove about the contemporary
jazz scene in Montreal and connections to previous generations of musicians.
How did you first get into jazz?
I came from a
musical family, and started playing saxophone in highschool because it seemed
like one of the “cooler” band instruments. I was lucky to have a good band
program and great teacher who inspired a lot of enthusiasm amongst the students
and pushed us to enter competitions. It was a great way to build confidence, as
I went from writing a short solo in
Concert band to improvising in the Stage band.
What drew you to Montreal?
Growing up in
Kamloops, I initially began my university studies closer to home at the
University of Victoria, but quickly realized that it wasn’t the best place to
develop as a jazz musician. I was drawn to McGill, which at the time in the
early nineties, was one of the few Canadian university granting a full degree
in Music, which was an important criteria for my parents. I immediately fell in
love with Montreal. There’s something unique in North America about it, I liked
hearing conversations in two languages as I walked down the street. It’s
cosmopolitan but small enough to have a good quality of life, you can walk most
places, and the rents are still reasonably low.
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| Erik Hove |
You’ve also lived in New York, how did that compare?
Montreal has a
vibrant jazz scene, but there’s a certain disconnect between jazz and the
population at large. Whereas in New York, there’s more of a general interest in
it, people have a greater appreciation and knowledge of jazz as being an
important defining characteristic of the city. I studied with Blue Note
recording artist Greg Osby for a year and a half, then stayed in New York for a
number of years afterwards playing with my band Soundclash. But Montreal always
felt like home, so I was glad to come back.
You’re known for playing and composing more
experimental contemporary jazz; what would you say the connection is between
the artsists from the golden age of jazz in Montreal, and what you’re doing
today?
It may seem
like a very different musical form, but it’s absolutely not disconnected from
previous generations. I see my music as following in a tradition of
improvisation and experimentation, which is a constant in jazz. It’s always
been a highly innovative practice of pushing boundaries, a mix of individual
and community-based expression, of finding your voice. The phrasing in my music
is also derived from a swing rhythmic undercurrent, playing overtop in a way
that’s rooted in bebop language. In fact, I still practice jazz standards in
jam sessions and consider it to be a strong part of what I do. On a practical
level, I also went a lot of great jam sessions at Biddles as an undergrad
McGill student, so we were always aware of this tradition of great Montreal
jazz musicians that preceded us.
How do you see the future of jazz evolving in
Montreal?
I imagine it
will continue as it has always been for the last little while. One of the
things that I’ve always liked about Montreal is its experimental bent, with
active scenes in free music, musique actuelle, or contemporary classical.
There’s more overlap between genres and an openness here to more esoteric or
experimental types of jazz. There’s also support and appreciation amongst different
genres of musicians. One of my current projects actually involves working with
a mix of classical and jazz musicians: a small contemporary chamber ensemble, a
jazz rhythm section, accompanied by myself and a trumpet player, as part of my
Jazz performance Masters at McGill. I’ve been lucky to have made a living mainly
as a musician for the last eight years or so, and I think part this success has
been due to this pluralistic view and an openess to playing and working with other
types of music.
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