leonardcohenforum.com

linmag wrote:It was interesting what Adam said about his reaction to Leonard's work. How sometimes it spurs him on in his own efforts and at other times intimidates him. Leonard must be one helluva hard act to try to follow.

Just try it, and you'll find out...

Tchocolatl

This quote about les nuits de Montréal, was it another song from Samina? (I know this is an old song, but, I mean does she sing it?)

"Les nuits de Montréal" is not on Samina's album. It's just something that came up to my mind. It was quite late when I wrote that post, and to me jazz is very much associated with - les nuits de Montréal-.

Linmag I like to see Adam being himself besides this giant that is his father. I can see the evolution of his public persona, it seems more polished now.

One can hear his songs at the radio, as well as Low Million's, and it is good.

Simon, I watched the clip. This cover is good (and I like the way it makes his way here : the force of the cooperation vs the competition) it is in the direct line of this ol' good "classic" blues that we all know and like.

Besides in the articles, I feel that they should not have play the game of comparison with Peyroux, 'cause it is two very different atmospheres. I'm still amaze all over by Peyroux performance (with DMttEoL, yes, but also with her other faboulus covers) and after having read this, I had to take a distance with my preferences to appreciate at its just value the perfomance of Samina.

MADELEINE PEYROUX was at the Montréal Jazz Festival in 1997 and she will be back again this year at the Club Soda on the 3 and 4 of July. I wouldn’t be surprised if SAMINA were invited too at the festival this year, judging by the reception of her first album. If so it would mean that the covers of DMTTEOL will be heard during “les nuits de Montréal” this summer.

If Leonard Cohen were to come back on stage eventually, wouldn’t it be nice if it were here at the Montréal International Jazz Festival? Just a thought.

I am not sure what Adam is saying, but I like the sound of his voice.

Adam has just his father's voice sometimes. I find him pleasant to listen also. (Even if I understand every word )

Madeleine Peyroux came in Montréal last November also - guess what? No time to see the show, 'cause I was aware about it too late to fit it in my schedule. Let see, July is still far. Samina would certainly made it in a place or another, there is so many. Good news, Simon.

Leonard Cohen at a Jazz Festival? NOOOooOOooooo.......Well......Why not, he has few good "bluesy" songs oh yes - that I like very much. The question is more "does he want to get back on a stage?" I doubt it.

Well, Leonard did perform twice at Montreux Jazz Festival, didn't he? In 1976 and 1985. Tennessee Waltz on DH is from 1985 gig there.

The Montréal Jazz Festival actually has a tradition of inviting guests in a fairly wide range of musical styles. Considering how jazz performers are covering some of his songs, he himself would fit in perfectly. LC would be a major event anywhere, but he would be most welcome in an international event in his hometown. I know his eventual performing again has been discussed many times here in various threads. I guess its just day dreaming.... but it's very hard to imagine that he would not be tempted to perform again, event if it were to be in a small, intimate venue.

Tchocolatl:

I missed Madeleine Peyroux last fall as well. I learned she was in town only the night before her show.

I did not know, this International Festival is so huge. I restrain myself to blues and dixie bands most of the times (and this is when I go).

Tom, I know I love this version of Tenessee Waltz he performed at Montreux, although it would not have been my choice for a JF. I would have picked the beautiful "I wanted to leave you" (oups, do I have the title OK?) hum... please correct me if not.

Simon, no doubt that his native town would make it the King of the event. The other questions I have are : "May he really want to deal with this side of the business again? - I mean he did it for so long, and he is kown for his liking about changes, not doing the same thing all the time. Second question : "May he really want to put into jeopardy the happy life (at last) that he can have now in this town, that would be all spoiled if he would return under the spot?

Maybe this is my own daydream but I feel that "no" is the answer to both questions.

But we never know. Keep on dreaming, Simon, they say that dreams come true!!!

I Tried To Leave You

I tried to leave you, I don't deny
I closed the book on us, at least a hundred times.
I'd wake up every morning by your side.

The years go by, you lose your pride.
The baby's crying, so you do not go outside,
and all your work it's right before your eyes.

Goodnight, my darling, I hope you're satisfied,
the bed is kind of narrow, but my arms are open wide.
And here's a man still working for your smile.

I just love that song. And all the savour of a sometimes not so cool life in the last 3 lines. What a love song. Nothing soapy. Just like I like it.

And.

I could see at a JF, Humbled in Love also. I love this song too.

He performed his usual gigs at the festival (20 or more songs), as it was any other show on tour; he wasn't picking any particular jazzy songs.
The strangest thing was that in 1985 he hit Montreux with countrified band In that old interview with Anjani on her site, she was asked about Montreux. Anjani is - as we know - the genuine jazzer (educated and trained az jazz pianist) so she was little shocked by Festival invitation, and story goes soemthing like, that Leonard after he got ovations before he even started, turned to her and said "Darling, I am genuine jazzer"


Leonard Cohen at the Montreux Jazz Festival, June 25, 1976
Leonard Cohen at the Montreux Jazz Festival, July 9 1985

Hi Tom,

Great info. thanks.

To me LC fits perfectly in the jazz univers, maybe if it were only for the melancholy. That same melancholy present in acid jazz or trip hop. He wouldn't have to select jazzy songs to take part in a jazz festival.

This topic actually raised my ciuriosity about LC and jazz in general. Maybe that has been dicussed here in other threads. What has been his relation to jazz? He was a young lad in the 40s and 50s when bebop and cool jazz were cool. Was he a jazz addict in any ways, like the beats (Kerouac et al.) were addicted to bebop?

Simon, you have an interesting point of view about LC and JF. As for me, I would see him at a folk festival. But... ey! I like the answer he gave to Anjani!

As far as I know, he was more tuned to country music as a lad or boy or youth or young Leonard Cohen (stop me somebody) - with the Buckskin Boys band, among other things. I remimber having read an interview in which he was saying that he liked every kinds of music though, he liked music - dot - and was listening to it compusively.

In Montréal, "jazzly" speaking - as you must know as well as me - Mr. Charles Biddle was ruling the game. They even say that if this JF exits it is because once upon a time this american man came to live in Montréal with its music.

Simon, Leonard's first public performances (and bootleg recordings now available!) were just like Kerouac's - he recited / chanted his poetry in Birdland Jazz Club in downtown Montreal with jazz band improvising in the background. (He saw that while he was at Columbia in NYC, were he met Kerouac and Ginsberg on some of their parties). That was in 1958 (see here) in Dunn's Birdland Progressive Jazz Parlour.
The recording of one of his acts is available at fan compilation Master Poems (it's anyway CD of 80 mins with all Leonard's poetry readings from 1958 until KCRW's shows of 1997-8).

That's why Dear Heather reminded so many of his fans and critics on his early years - Villanelle For Our Time, Morning Glory and To A Teacher are surely the conscious return to early beatnik style. (and also dedicated to Montreal poets from the period, which all were Leonard's mentors - Layton, Scott, Klein.)

One note about jazz - Leonard adored (or he still does?) Nina Simone - I read somewhere that most of his first album was written while he was continuosly listening to her record.

from Mojo, 2002