Jesse Cook

July 20, 2015

PBS Pledge Drives

The following US PBS affiliates are airing Jesse Cook performances!

As part of their fund-raising packages, these stations will be offering CDs, DVDs and EXCEPTIONAL seating for Jesse’s upcoming local concerts!

Set your DVR, tune in, and tell your friends:  share the news and appreciation of great music!  If your local station is not listed, please send them an email and request Jesse Cook for their next pledge drive event… thanks for the support!

Columbus OH – WOSU
Aug 8 – 9:30pm
Aug 9 – 11pm
Aug 11 – 8pm
Aug 12 – 11pm

July 8, 2015

Les 2 et 3 juillet derniers, Jesse Cook se présentait pour une série de concerts au Festival de Jazz de Montréal. C’était la troisième fois que j’assistais à un de ses spectacles et, comme à chaque fois, j’en suis ressortie émerveillée par le talent et le charisme de ce guitariste de renommée internationale.

Jesse Cook ne rate jamais la cible : à chaque concert, le public est conquis, ravi, accroché à chacune des notes –parfois trop rapides pour les compterqu’il réussit à extraire de sa guitare flamenco. Il tient littéralement le public dans sa main, agrémentant le spectacle de quelques anecdotes racontées à moitié en français et à moitié en anglais –ce qui donne parfois lieu à des malentendus hilarants.

Le tour du monde en musique

Disons-le tout de suite, le guitariste ontarien sait comment faire lever un show, et il l’a encore prouvé le 2 juillet. Mélangeant adroitement anciennes nouvelles pièces, il trouve le moyen de nous faire taper des mains à chaque chanson ou presque, nous entraînant littéralement dans un tour du monde musical avec ses rythmes inspirés de Colombie, d’Espagne ou du Moyen-
Orient. Revenant seul après l’entracte, il fait entrer un par un ses musiciens, au fil des morceaux, dans un crescendo qui atteint son paroxysme avec l’arrivée du batteur Chendy Leon et l’envolée dramatique de Luna Llena, un classique de son deuxième album, Gravity.

C’est à partir de là que le spectacle prend vraiment son envol : lançant l’iconique Mario Takes A Walk (que vous pouvez entendre ci-dessus) par une longue introduction qui nous laisse sur le bout de nos sièges (ou plutôt, sur la pointe des pieds, puisque nous étions déjà debout), Cook ne ménage pas ses effets, et enchaîne les pièces à un rythme infernal, sans une seconde de pause. Quarante-cinq minutes qui ont passé comme l’éclair.

Bien sûr, il y a eu rappel. J’attendais ce moment avec impatience, parce qu’à chaque fois, Jesse Cook et ses acolytes débranchent leurs micros et jouent quelques chansons a cappella, dont la merveilleuse “Fall At Your Feet”, que Chris Church, violoniste et homme à tout faire du groupe (il joue de trois ou quatre instruments), chante à la perfection. Cette fois, nous avons eu droit en plus à la pétillante “Cecilia”, reprise de Simon & Garfunkel, sur laquelle nous avons chanté joyeusement. Et, grande nouveauté, surtout : Jesse Cook lui-même a chanté! En trois fois, je ne l’avais jamais vu fredonner la moindre mélodie. La surprise était totale –et agréable!

Vous l’aurez compris depuis longtemps, j’ai été une fois de plus conquise par Jesse Cook et par ses exceptionnels musiciens –notamment Nicholas Hernandez, dont vous pouvez admirer le talent dans la vidéo ci-dessous. Si jamais vous avez l’occasion, écoutez donc une ou deux pièces, vous serez surpris. Les pièces instrumentales, pour Jesse Cook, ne sont jamais ennuyeuses -tout comme les concerts. 😉

– Anne-Sophie, Lesrockalouves.com

July 3, 2015

Canadian acoustic guitar viruoso Jesse Cook. ALLEN MCINNIS / MONTREAL GAZETTE

When Canadian guitarist Jesse Cook stepped on the Maison Symphonique stage on Thursday night, there was a brief moment of confusion among audience members: either an imposter had sauntered in or his characteristic wavy long locks had been trimmed.

Any and all doubts were quickly erased when Cook’s equally famed fingers began dancing on the strings of his acoustic guitar. It was clear there would be no Samson moment for the 50-year-old.

“If you’re not sure, it’s me. I cut my hair,” the affable Cook said after leaning back and letting his fingers do the talking for an introductory song. Before continuing, he took a few seconds to admire the four-year-old venue for the first time. “It has that new car smell,” he joked, before asking everyone to “not go formal” on him. They did not; this was the sort of energized Jazz Fest crowd that wanted to clap, and they did so with Cook’s full encouragement.

Cook is firmly entrenched as a jazz fest favourite, and his comfortable Spanish guitar-meets-world music formula was familiar to everyone present. He was almost apologetic about playing songs from his latest album, One World, even though they don’t represent a departure from his previous works. As far as surprises go, he performed one song solo with looping pedals, and presented it as a new technique he’s getting acquainted with.

“I spent two and a half years tinkering with loops,” he said in reference to One World. Otherwise, with a clean setup on a capacious stage — even the band’s monitors appeared to be replaced by laptops from my vantage point slightly behind them — Cook and his backing quartet filled the room with reverberating claps and stomps in addition to their drums, violin, two guitars and bass setup.

The drummer switched between regular western percussion, djembes and even a pair of frying pans in an effort to present each song with a different rhythmic identity. At times they contracted their setup even further, with the bandmates huddled around a single microphone or sitting at the front edge of the stage.

Cook was his typically laid-back self, impressing enough with his nimble non-puritanical flamenco guitar playing while never positioning himself as a overbearing virtuoso. It wasn’t a commanding performance emotionally or physically, so much as an unselfish one to allow for greater audience participation. The gambit paid off, based on how often the crowd rose from their seats and clapped along in unison.

Cook mostly went for humour when talking to the audience, although he saved his longest and most informative preamble, about Andalusian music pioneer Ziryab, for an older song of his: Baghdad from 1995’s Tempest.

The three covers Cook chose for his encore were as crowd-pleasing as they were uninspired. Simon & Garfunkel’s “Cecilia” was an easy way to get the audience to resume clapping, while their stripped down version of “Fall At Your” Feet by Crowded House was done without microphones to a respectfully quiet room. The mystifying set closer, neo-folk turkey “Hey Ho” by soon-to-be one-hit wonders The Lumineers, ended the night on a forgettable note.

– The Gazette