Ron Davis / Ron Davis' Symphronica

(Translated)

Pianist Ron Davis (by the way, the husband of Daniela Nardi) - winner of an astonishing technique, authentic heir of the greatest pianists of Toronto - "classic" Glenn Gould and jazz musician Oscar Peterson. The way he played at the same time the left hand and right black piano on white elektropianino - breathtaking sight! - Trud (Russia)

“His playing is reminiscent of Oscar Peterson or that of Jamie Cullum… A brilliant virtuoso… [Symphronica] is a musical journey, in a country without borders, where jazz and classical blend brilliantly in all their splendor.” – Espace Musique (October 2013) - CBC

“Four stars! …thrilling …very beautiful … A beautiful piano touch, muscular swing with a classical frame that will make many music lovers happy.” - Journal de Montréal

“Quatre étoiles ! Une belle << patte >> au piano, du swing muscle avec un écrin classique qui fera le bonheur de biens des mélomanes.» - Journal de Montréal - Journal de Montréal

“Four stars! …thrilling …very beautiful … A beautiful piano touch, muscular swing with a classical frame that will make many music lovers happy.” - Journal de Montréal

“Quatre étoiles ! Une belle << patte >> au piano, du swing muscle avec un écrin classique qui fera le bonheur de biens des mélomanes.» - Journal de Montréal - Journal de Montréal

Le vendredi 4 octobre, l’Alliance Française de Toronto a réuni deux grands jazzmen de Toronto pour un concert exceptionnel.

D’entrée de jeu, Ron Davis l’a annoncé : « Ce soir, toutes les notes seront jouées dans les deux langues officielles ». Le ton était donné. Et quel ton! Ron Davis n’est pas n’importe qui. Ron Davis est un pianiste et compositeur torontois dont la carrière connaît un rayonnement international, notamment en Europe et au Japon. Ses principales influences pianistiques comprennent Art Tatum et Oscar Peterson, mais sa musique est pétrie d’influences diverses, allant du classique au rock en passant par le klezmer. Son plus récent projet, Symphronica, lui offre l’occasion d’interpréter ses compositions à la tête d’orchestres symphoniques.

Et pour l’accompagner ce soir, rien de moins que le contrebassiste, compositeur et pédagogue Mike Downes. L’un des jazzmen les plus en demande au pays, comme en témoigne la liste impressionnante de ses collaborateurs qui comprend, entre auters, Oliver Jones, Diana Krall et PJ Perry.

Que fait-on lorsque l’on fait du jazz? On improvise, mais à partir d’un thème. L’improvisation, c’est du travail. Beaucoup de travail, d’adresse et de talent. Ce n’est pas pour tout le monde. On tord le thème, on le travaille, on en ressort un son inattendu et beau.

Fut un temps, le jazz était le rap d’aujourd’hui. La musique que les parents interdisaient à leurs adolescents. Et un jour, cette musique a été dépassée par une autre. Par le blues, puis le rythm’n’blues et enfin le rock’n’roll. Pourtant, le jazz est bien plus qu’une mode, c’est une autre manière d’aborder la musique et même, peut-être, de voir le monde.

Alors, demande Mike Downes, comment remplir le fossé entre « la musique que les gens écoutent et celle que les jazzmen jouent »? Peut-être en reprenant des succès contemporains plutôt que de ne choisir comme support que des morceaux composés dans les années 1930. C’est ainsi que le public de l’Alliance Française a pu profiter d’une splendide reprise de Poker Face, de Lady Gaga. Un succès d’un été, pour un jazz tout en impro et en envolées. « La carte n’est pas le territoire, de la même manière, la partition n’est pas le morceau », explique Mike Downes. L’improvisation joue une place centrale dans le jazz. Mais l’improvisation, c’est énormément de travail. Un travail en amont, pour être capable de s’exprimer comme on le veut avec un instrument.

Et c’est ce que ces deux musiciens ont fait en envoyant du rêve et du son au public. La définition du jazz en somme.

Photo : L’improvisation joue une place centrale dans le jazz.

Auteur:
Raphaël Lopoukhine
- lemétropolitain.com

Le vendredi 4 octobre, l’Alliance Française de Toronto a réuni deux grands jazzmen de Toronto pour un concert exceptionnel.

D’entrée de jeu, Ron Davis l’a annoncé : « Ce soir, toutes les notes seront jouées dans les deux langues officielles ». Le ton était donné. Et quel ton! Ron Davis n’est pas n’importe qui. Ron Davis est un pianiste et compositeur torontois dont la carrière connaît un rayonnement international, notamment en Europe et au Japon. Ses principales influences pianistiques comprennent Art Tatum et Oscar Peterson, mais sa musique est pétrie d’influences diverses, allant du classique au rock en passant par le klezmer. Son plus récent projet, Symphronica, lui offre l’occasion d’interpréter ses compositions à la tête d’orchestres symphoniques.

Et pour l’accompagner ce soir, rien de moins que le contrebassiste, compositeur et pédagogue Mike Downes. L’un des jazzmen les plus en demande au pays, comme en témoigne la liste impressionnante de ses collaborateurs qui comprend, entre auters, Oliver Jones, Diana Krall et PJ Perry.

Que fait-on lorsque l’on fait du jazz? On improvise, mais à partir d’un thème. L’improvisation, c’est du travail. Beaucoup de travail, d’adresse et de talent. Ce n’est pas pour tout le monde. On tord le thème, on le travaille, on en ressort un son inattendu et beau.

Fut un temps, le jazz était le rap d’aujourd’hui. La musique que les parents interdisaient à leurs adolescents. Et un jour, cette musique a été dépassée par une autre. Par le blues, puis le rythm’n’blues et enfin le rock’n’roll. Pourtant, le jazz est bien plus qu’une mode, c’est une autre manière d’aborder la musique et même, peut-être, de voir le monde.

Alors, demande Mike Downes, comment remplir le fossé entre « la musique que les gens écoutent et celle que les jazzmen jouent »? Peut-être en reprenant des succès contemporains plutôt que de ne choisir comme support que des morceaux composés dans les années 1930. C’est ainsi que le public de l’Alliance Française a pu profiter d’une splendide reprise de Poker Face, de Lady Gaga. Un succès d’un été, pour un jazz tout en impro et en envolées. « La carte n’est pas le territoire, de la même manière, la partition n’est pas le morceau », explique Mike Downes. L’improvisation joue une place centrale dans le jazz. Mais l’improvisation, c’est énormément de travail. Un travail en amont, pour être capable de s’exprimer comme on le veut avec un instrument.

Et c’est ce que ces deux musiciens ont fait en envoyant du rêve et du son au public. La définition du jazz en somme.

Photo : L’improvisation joue une place centrale dans le jazz.

Auteur:
Raphaël Lopoukhine
- lemétropolitain.com

The now acclaimed pianist and composer makes a living off of music, and with eight noteworthy albums behind him, he has firmly established himself as an innovative force within the world of jazz. - National Post

Alex Davis should not have worried when he told his son Ron, "All you care about is music, why can't you get a real job?" The now acclaimed pianist and composer makes a living off of music, and with eight noteworthy albums behind him, he has firmly established himself as an innovative force within the world of jazz.

Davis's talented fingers and shifting, indefinable style become clear when he hops onto the piano seat opposite bass player Mike Downes at an on-campus event put on by Musicians@Ryerson and Hillel@Ryerson. He takes on pieces from Duke Ellington's C Jam Blues to Bal u Grubego Joska (Polish for "Party at Fat Joe's"), an eponymous song about his late grandfather, to an improvised jazz version of You Are My Sunshine.

"It's a border-free, open-playlist type of influence," Davis says when asked about his multi-genre playing, which originated from stride and swing roots. "Eclectic? Sure. I would just call it open-minded. I appeal to different tastes."

Davis is quick to say that his music does not qualify as "jazz purism," and he openly embraces criticism of his work. "You're not making a statement if there isn't room to disagree with the statement," he says. "When you're making music, there has to be room for rejection in your work, otherwise it's too bland."

It is little bits of wisdom like these that Davis shares with the group of students and guests gathered before him at the evening performance. "Let me tell you, the music that you're getting from whatever source you're getting it from â?¦ that music is as highly processed as a McDonald's hamburger. One of the things about this music is it's handmade."

Davis is a small man with a big presence. Upbeat and energetic, his amusing digressions bubble with exaggerated impersonations and droll self-mockery. "I married a musician and she thought she was marrying a lawyer!" he jokes. "Thank you for putting up with it," he tells an old schoolmate after she congratulates him on his performance, at the end of the night.

Light-hearted and loquacious in person, at the piano Davis is straight-faced and focused. His nuanced, freestyle improvisation emits liveliness and breeziness, combining the fragile and strident in a quick succession of notes.

Music wasn't always the way of life for Davis. Despite playing piano since age eight and studying at the Royal Conservatory of Music beneath Darwyn Aitken (a student of classical master David Saperton and jazz legend Oscar Peterson), Davis decided to pursue a career in law. Two years later, he returned to the University of Toronto to get his PhD in French and teach, as an assistant French professor.

Davis' fervour for professional music was reignited just 16 years ago, when saxophone player Doug Banwell nudged him into a jam session that soon transitioned into regular gigs at local cafés. It took four years for Davis to remove "lawyer" from his email signature.

Since then, the piano has ousted the legal robes and conjugation charts. Davis has toured worldwide with various collaborators and accrued a great deal of praise to his name, with Jazz.FM calling him "one of the great minds in jazz" and CFRB "one of Canada's A-List pianists."

In his newly released album Blue Modules (displaying a cover image that Davis calls his "FU cover"), covers like Elvis' Viva Las Vegas and Jimi Hendrix's Voodoo Child (Slight Return) are interspersed with originals. Symphronica, his next album, set for release in late 2013, is a jazz-symphony fusion that bridges the divide between classical and jazz.

Davis has also found a way to shrink the gap between music and charity. For eight years, he co-produced Jazz for Herbie, a benefit for the Sick Kids Hospital Foundation, and he served as secretary of The Glenn Gould Foundation for many years.

These days, he also performs regularly for various charities and sits on the advisory boards of Reaching Out Through Music and the Jazz Performance and Education Centre, as well as serving on the board of Opera Five. "There are so many challenges in music that somehow I think we can identify with some of the charitable causes," he said. "There's that natural symbiosis."

Though fulfilled with his music career, Davis can't help but to wander back to his late father's misgivings. "My father was always like, "You're a lawyer, you're a French professor and now you do just piano?", he jokes with a hint of earnestness. - National Post

André Rhéaume … nous a chaudement recommandé ce nouveau disque de Ron Davis... très groovy, ludique et funky... Le mec est insaisissable. C’est un excellent pianist… Mais il est surtout un chercheur, un chasseur de sons et d’harmonies, et un sans peur en matière de répertoire. - Radio-Canada/CBC

André Rhéaume … nous a chaudement recommandé ce nouveau disque de Ron Davis... très groovy, ludique et funky... Le mec est insaisissable. C’est un excellent pianist… Mais il est surtout un chercheur, un chasseur de sons et d’harmonies, et un sans peur en matière de répertoire. - Radio-Canada/CBC

André Rhéaume … nous a chaudement recommandé ce nouveau disque de Ron Davis... très groovy, ludique et funky... Le mec est insaisissable. C’est un excellent pianist… Mais il est surtout un chercheur, un chasseur de sons et d’harmonies, et un sans peur en matière de répertoire. - Espace musique

André Rhéaume … nous a chaudement recommandé ce nouveau disque de Ron Davis... très groovy, ludique et funky... Le mec est insaisissable. C’est un excellent pianist… Mais il est surtout un chercheur, un chasseur de sons et d’harmonies, et un sans peur en matière de répertoire. - Espace musique

Pianist Ron Davis is a player with many strengths. He is not afraid to pull several influences into his compositions and enrich them. He plays with a compelling passion, his journey marked by reflection as well as by abandon. He brings it all together, working in close harmony with his band to create an impressive musical palette.

Subarashii means great in Japanese and that is precisely what Davis says he felt after a tour of Japan. Back in Canada, he wasted no time in getting his band to play two dates at Paul Hahn Pianos, a venue in Toronto.

The music has a nice flow even as styles flit from one tune to another. The mood is set with "Allelujah, a gentle blues that vents its way in on Davis's piano before Richard Underhill takes it into gospel land on his alto saxophone. The whole is divined by the parts, and it comes thorough the seamless horn lines and all five comfortable in the groove.

Construction and freedom find their haven in "D'Hora. Underhill gets the klezmer melody singing, angling his notes and letting long lines sweep in. He then goes out on the trail opening a swell of ideas, firing them with burnished phrases. Sacha Boychouk adds the sweet sounds of the clarinet, swinging the pulse, but he is right in there with the hard interjections that push the boundaries without breaking them. Davis is lyrical, his run chockfull of harmonic delight. It's a fine tune that clasps attention, as does the stunning "Réel de Pointe-au-Pic. Davis pirouettes in with a light touch, opening reference points for Boychouk. Soon they are off on an entertaining path that takes in the delights of New Orleans music, some swing and Dixieland, making this compelling listening.

Davis has once more created music that appeals right down the line. - AllAboutJazz.com

With his 8th album, Toronto-based jazz pianist Ron Davis has taken a very different approach to the jazz standard. In a very deliberate effort to avoid the obvious jazz conventions, Davis' new album Blue Modules is almost all covers; but not the songs you'd expect on a jazz album. In fact, Blue Modules is at times more steeped in pop, soul and funk than jazz. For modern jazz fans, it almost seems like The Beatles and Stevie Wonder are becoming the new standards. Davis takes on less obvious tracks from both artists (“I Will” and a driving, upbeat version of “You Can't Do That” from The Beatles, as well as “Don't Worry 'Bout a Thing” and “Living for the City” from Wonder.) Davis also has a nice sense of humour about his work too, covering the Sesame Street classic “Mahna Mahna”, doing a surf-tinged cover of Elvis' “Viva La Vegas,” and turns Jimi Hendrix's “Voodoo Chile” into a smoky, film noir lounge track. The most surprising cover here is XTC's : Making Plans for Nigel”, which Davis takes to an expansive, spacy place. The best covers are the recognizable ones that go to a place that is the Ron Davis’ own. Davis puts his own twist on the well-known songs consistently throughout the album. This is an excellent jazz release that is challenging and accessible at the same time. - earshot

[Blue Modules] is fun...innovative... Ron Davis' new album belongs on the JazzFM91 First Listen list! - JAZZ.FM91

[Blue Modules] is fun...innovative... Ron Davis' new album belongs on the JazzFM91 First Listen list! - JAZZ.FM91

Adventurous and unconventional, he’s all about taking giant steps every time he enters a recording studio. - Toronto Sun

Adventurous and unconventional, he’s all about taking giant steps every time he enters a recording studio. - Toronto Sun

Boasting a truly eclectic mix of songs you might not be expecting to find on a jazz release, he and his simpatico adventurers apply what can only be called Ron Davis’ signature spirit of improvisation. With Blue Modules, Davis underlines his skills as a phenomenal instrumentalist, a composer and an arranger. He jumps from grand piano to Fender Rhodes, celeste and back again – honouring the true progression of his sense of what jazz can be. At the same time, he reinforces his fan base – those who know him for his swing-based, post-bop approach to the genre of jazz piano – by taking a few risks in the name of good fun… Blue Modules is a progressive step forward ... - artandculturemaven.com

Boasting a truly eclectic mix of songs you might not be expecting to find on a jazz release, he and his simpatico adventurers apply what can only be called Ron Davis’ signature spirit of improvisation. With Blue Modules, Davis underlines his skills as a phenomenal instrumentalist, a composer and an arranger. He jumps from grand piano to Fender Rhodes, celeste and back again – honouring the true progression of his sense of what jazz can be. At the same time, he reinforces his fan base – those who know him for his swing-based, post-bop approach to the genre of jazz piano – by taking a few risks in the name of good fun… Blue Modules is a progressive step forward ... - artandculturemaven.com

Known as one of Canada's most fluent jazz pianist/composers, Ron Davis steps outside the box with this eclectic and very entertaining new album. He and his ace band of A-list locals put a refreshing spin on tunes from the diverse likes of Hendrix, Elvis, the Beatles and Sesame Street ("Mahna Mahna"). Yours truly especially loves the offbeat yet tuneful take on XTC classic "Making Plans For Nigel", while the funky original "Pawpwalk" is another highlight. - newcanadianmusic.ca

Known as one of Canada's most fluent jazz pianist/composers, Ron Davis steps outside the box with this eclectic and very entertaining new album. He and his ace band of A-list locals put a refreshing spin on tunes from the diverse likes of Hendrix, Elvis, the Beatles and Sesame Street ("Mahna Mahna"). Yours truly especially loves the offbeat yet tuneful take on XTC classic "Making Plans For Nigel", while the funky original "Pawpwalk" is another highlight. - newcanadianmusic.ca

…puts a refreshing jazzy spin on a truly eclectic collection of songs from the pop and rock genres. Check this out for a diverse grouping of artists covered: The Beatles, Jimi Hendrix, Elvis and Sesame Street. Davis contributes some fine originals too, including “Pawpwalk.” The brilliant XTC hit “Making Plans For Nigel” is given a delightful twist here. … Highly recommended. - corrieretandem.com

…puts a refreshing jazzy spin on a truly eclectic collection of songs from the pop and rock genres. Check this out for a diverse grouping of artists covered: The Beatles, Jimi Hendrix, Elvis and Sesame Street. Davis contributes some fine originals too, including “Pawpwalk.” The brilliant XTC hit “Making Plans For Nigel” is given a delightful twist here. … Highly recommended. - corrieretandem.com

A goldmine of inspirational nuggets! - All About Jazz

Definite Bestseller...Splendid new recording... killer playing! - Toronto Sun

Toronto's ... Ron Davis Trio has been one of Canada's hottest acts in both bop and pop circles for many years, and it's obvious why. Offering the daring stabs of Monk and the lushly evocative swoops of Art Tatum, pianist Davis's bold runs crackle with confidence, and his flawless upright-and-drums backup illuminates every not - Editor- CNET

"Ron Davis ... is One of Canada's A-List pianists!" - CFRB Radio

"[Subarashii Live] is a smooth transition between musical notes that gather together to shape a true Jazz Masterpiece. Songs like Mio Latino express a wonderful feeling of serenity, which inspires a state of mental tranquility." - CSCR Radio

Touche à tout surdoué, le pianiste torontois Ron Davis semble l’incarnation vivante du mouvement perpétuel, butinant de fleur en fleur au gré de projets dictés par ses coups de cœur successifs. Mais il y a une constante chez lui: le plaisir. Celui du partage, d’offrir au public ce qu’il veut, mais aussi ce qu’il n’attendait pas. Celui, enfin, de l’éternel gamin qui vient d’apprendre un nouveau tour de passe-passe et qui brûle d’envie de le montrer à tout le monde.

On ne s’étonnera donc pas que le jour même de son retour d’un long séjour au Japon, Davis ait mis en branle les événements qui ont mené au spectacle Subarashii Live, ce qui mènerait ensuite à la parution de l’album du même nom, lequel signifie «fantastique» en japonais.

Rameutant ce qu’il convient désormais d’appeler son quintette, c’est-à-dire le saxophoniste Richard Underhill, le clarinettiste Sasha Boychouk, le contrebassiste Mike Downes et le batteur Ted Warren, Davis nous livre neuf pièces dont les titres – Allelujah, Mio Latino, D’Hora, Reel de Pointe-au-Pic – donnent une idée de leurs provenances des plus diverses.

Et le plus grand plaisir de cet album est de constater à quel point ses musiciens, choisis parmi les grandes pointures de la scène torontoise, investissent non seulement leur technique, mais aussi leur humour et leur âme, dans cette entreprise.

Si les doigts de Ron Davis donnent par moments l’impression de danser sur le clavier avec la fébrilité de quelqu’un qui aurait un espresso de trop dans le sang, cela n’a rien du «m’as-tu vu quand je swinge». Chez lui, la vélocité est le produit naturel de l’exhubérance, lui permettant de canaliser – et de partager, toujours – cet irrésistible torrent d’idées qui le traverse, et dont ses complices négocient avec aplomb tous les remous. Car il convient de préciser que, pour ses fréquents débordements, la musique de Ron Davis est toujours d’une rigueur structurelle exemplaire.

Parfois, on a reproché à Davis l’extrême accessibilité de son écriture, l’irrésistibilité de ses mélodies. Mais plutôt que de se laisser démonter par le fait que les maisons de disques ont jusqu’ici boudé sa démarche hybride («Je suis trop pop pour le jazz et trop jazz pour le pop», ironise-t-il), il produit ses propres enregistrements, mène sa barque avec courage et intégrité, s’amusant avec sa muse et comblant son public au passage. Subarashii et chapeau, M. Davis! - l'Express

"[Subarashii Live] provides an emotional salve for what ails you... . Overall rating: awesome!" - WholeNote Magazine

By Jerry D'Souza

Pianist Ron Davis is a player with many strengths. He is not afraid to pull several influences into his compositions and enrich them. He plays with a compelling passion, his journey marked by reflection as well as by abandon. He brings it all together, working in close harmony with his band to create an impressive musical palette.

Subarashii means great in Japanese and that is precisely what Davis says he felt after a tour of Japan. Back in Canada, he wasted no time in getting his band to play two dates at Paul Hahn Pianos, a venue in Toronto.

The music has a nice flow even as styles flit from one tune to another. The mood is set with "Allelujah," a gentle blues that vents its way in on Davis's piano before Richard Underhill takes it into gospel land on his alto saxophone. The whole is divined by the parts, and it comes thorough the seamless horn lines and all five comfortable in the groove.

Construction and freedom find their haven in "D'hora." Underhill gets the klezmer melody singing, angling his notes and letting long lines sweep in. He then goes out on the trail opening a swell of ideas, firing them with burnished phrases. Sacha Bovchouk adds the sweet sounds of the clarinet, swinging the pulse, but he is right in there with the hard interjections that push the boundaries without breaking them. Davis is lyrical, his run chock full of harmonic delight. It's a fine tune that clasps attention, as does the stunning "Reel de Pointe-au-Pic." Davis pirouettes in with a light touch, opening reference points for Boychouk. Soon they are off on an entertaining path that takes in the delights of New Orleans music, some swing and Dixieland, making this compelling listening.

Davis has once more created music that appeals right down the line. - AllAboutJazz.com

Definite Bestseller

Ron Davis/Sasha Boychouk jazz collaboration 'destined to happen'

By ERROL NAZARETH

It would be easy to judge The Bestseller by its title and charge its creators with arrogance -- or at least wishful thinking. But to do so would be to miss both the point and the beauty of the splendid new recording by pianist Ron Davis and clarinetist Sasha Boychouk.

It's a rare coupling, clarinet and piano, but one that works to great effect on this disc that embraces styles as diverse as klezmer and gospel. Davis' and Boychouk's playing is absolutely killer, the chemistry they share is undeniable, and the record is proof that this collaboration was destined to happen.

In fact, Davis says a duet recording was in the stars after the two played together the first time.

"There was so much pleasure ... it was a given that we should record," he says. "It wasn't a falling in love. It was instantaneous and whole from the get-go. It's like those couples who say, 'As soon as I met so-and-so I knew we would be married.'"

The fact that The Bestseller was recorded over "two relaxed, wonderful days" is testament to their musical connection, one that Davis attributes to Boychouk's openness.

"He is not bound by right and wrong -- as if such a thing existed in music -- and he is not constricted by theory," Davis says, "He does not play by the book or from the book. He makes music. He plays from the heart, and he has the virtuoso chops to go wherever his heart takes him."

Davis says that when they finally found time to record, he would "call a tune, Sasha would let me know if he felt like playing it then, and away we went!

"Sometimes we would talk a bit about tempo or about arrangement, but for the most part the playing was spontaneous. We didn't need to talk and process much."

Davis, who is as adventurous and unconventional a player as Boychouk, defines their style as "playing without borders."

"I don't play theoretically correct bebop scales," he says proudly, his statement aimed squarely at the jazz police. "No style-appropriate riffs. Not what I'm supposed to play. I play what I think, what I feel is the most musical sound at the moment."

Sweet coincidence, then, that the piano Davis played on The Bestseller was the Steinway concert grand piano that is said to have been Glenn Gould's favourite at CBC.

"Glenn Gould is a huge influence on me," says Davis, who is on the executive leadership group of the Glenn Gould Foundation.

He says that the piano/clarinet coupling is quite rare, adding that it's a shame considering how beautiful the blend is.

"I think Oscar Peterson and Buddy DeFranco recorded a duo album, but I can't think of any other off-hand," he says. "There was a time when clarinet and piano were the reigning instruments in jazz. The heyday was the 1930s: Benny Goodman and Artie Shaw on clarinet, Duke Ellington, Teddy Wilson and Art Tatum on piano. Yet, no one seems to have recorded any -- or at least many -- clarinet/piano duets."

Another unique element of this project is the story that is woven into the CD. It consists of nine epigraphs by Canadian writer and librettist Val Brandt. When read together, the sentence fragments attached to each musical interlude make up the plotline of The Bestseller.

"I wrote a tune for Sasha called Sashagraha," Davis says. "We then set aside about 10 minutes and played spontaneous improvisations based on the tune. These became the nine interludes on the album. There was no rehearsal and no planning. Just playing." - Toronto Sun

from the Radio Canada International website:

"RCI's Antoine Bonaparte is back with his pick of the best of new Canadian music. This week, he's talking about jazz pianist Ron Davis and his new album, "The Bestseller..." - Radio Canada International

from the Radio Canada International website:

"RCI's Antoine Bonaparte is back with his pick of the best of new Canadian music. This week, he's talking about jazz pianist Ron Davis and his new album, "The Bestseller..." - Radio Canada International

Review - Jan. 15 2009
Ron Davis- The Bestseller

One of Canada's premier pianists teams with Sasha Boychouk on clarinet. - CJAM Music

"Humorous, bold. engaging and energetic, The Bestseller is a sure-fire winner!" - Wholenote Magazine February 10 2009
WHOLENOTE Magazine - Feb. 2009
by
Ori Dagan

The artistry of Ron Davis is revealed not solely by his plavfulisess on the piano. but all the more by his creative decisions as leader.

Davis has achieved critical acclaim for his pristine presentation of, and devotion to. the jazz tradition. On The Bestseller (Minerva/Davinor 233377). his sixth recording. he has pared it way down. Aside from two solo piano tracks, this is an enter album of piano/clarinet duets with Sasha Bovchouk. a formidable Ukrainian musician who has recently relocated to Canada.

Playing with remarkable virtuosity and a fine sense of humour, Boychouk is an ideal musical match for Davis. In addition to nine collaborative interludes, the original material is mostly penned by Davis. with several gems worth citing: Rhythmaron plants a fresh twist on the Gershwin standard I Got Rhythm. Allelujah is a luminous, pensive waltz and Street Stomp is the Klezmer answer to Dancing in the Streets. For good measure, a few covers, including the Sesame Street/Muppet Show anthem Manha Manha. Humorous, bold. engaging and energetic, 'The Bestseller" is a sure-fire winner. - Wholenote Magazine

Nuit Blanche 2009
Written by Chelsea Thomas Tuesday, 06 October 2009

This weekend Toronto was littered with art and throngs of people for Null Blanche. In honour of this spectacle. Davies Howe Partners hosted its annual Nuit Blanche Black and White affair. The event was held at the firm's spectacular office, which looks more like an art gallery than a law firm.

Partygoers were serenaded by top jazz musicians including Ron Davis, who is [sic] not only a lawyer but also one of Canada's leading jazz pianists. alongside Jon Burr and Sly Juhas. In addition to the incredible music. paintings and photographs by four local artists were on display to round out this incredible evening. - Precedent Magazine October 07 2009

"Ron Davis...just might be the best Jazz pianist in Canada right now." - Riveting Riffs

Be prepared to hear some stunning new music this weekend as the Windsor Symphony Orchestra performs new works for jazz piano and orchestra with guest pianist Ron Davis and his trio. - CBC

Be prepared to hear some stunning new music this weekend as the Windsor Symphony Orchestra performs new works for jazz piano and orchestra with guest pianist Ron Davis and his trio. - CBC

Be prepared to hear some stunning new music this weekend as the Windsor Symphony Orchestra performs new works for jazz piano and orchestra with guest pianist Ron Davis and his trio. - CBC

"WSO SymphRonica rocks - The orchestrations of melodic material are reminiscent of the symphonic early recordings of Chuck Mangione and the orchestra sessions Miles Davis did with Gil Evans.... beautiful... stunning... mesmerizing... inventive!" - THE WINDSOR STAR

“One of the great minds in jazz!” - Jazz.FM (August 2012)

"Ron Davis' "The Bestseller" CD with Sasha Boychuk is a true work of art."
Ralph Benmergui - Jazz.FM - Ralph Benmergui - Jazz.FM

The Ron Davis Trio's appearance here in Kumamoto was a great success, and a wonderful introduction to the people here of Canadian jazz. That was the first time, in my experience, that an audience gave a standing ovation at a Street ARTPLEX concert. I want to tell the Canadian people: I hope you go and enjoy the Ron Davis Trio! - Kohji Hayama - Chief Organizer

Dominique Denis
L’Express
November 20 - 26 2007

Exceptionally gifted and eclectic, Toronto pianist Ron Davis seems like the living incarnation of the perpetuum mobile, buzzing from flower to flower following his successive projects as they emerge, straight from the heart. But there is one constant with him: pleasure. The pleasure of sharing, of offering to audiences what they want, but also what they do not expect. It’s the pleasure of the eternal child, who has just learned a new magic trick and can’t wait to show it to everyone.
It should come as no surprise, then, that the very same day he returned from a long stay in Japan, Davis set in motion the events which led to his Subarashii Live show, which then led to the album of the same name, which means “fantastic” in Japanese.
Rounding up what is now his quintet saxophonist Richard Underhill, clarinettist Sasha Boychouk, bassist Mike Downes and drummer Ted Warren Davis gives us nine songs whose titles (e.g. Allelujah, Mio Latino, D'Hora, Réel de Pointe-au-Pic ) give an idea of the diversity of their origins.
And the greatest pleasure of this album is to hear how much these musicians, selected from amongst the outsized talent of the Toronto scene, invest not only their technique, but also their humour and their heart, in this enterprise.
If Ron Davis’ fingers sometimes give the impression of dancing on the keyboard with the febrility of somebody who has just one espresso too many in his system, there is none of the “look at me swing” in it. With him, velocity is the natural product of exuberance, enabling him to channel - and to share, always - the unstoppable torrent of ideas accompanying it, the every swirl of which his accomplices negotiate with aplomb. It bears clarifying that, for all its frequent spillovers, the music of Ron Davis is always of an exemplary structural rigour.
Davis is sometimes criticized for the extreme accessibility of his writing, the irresistibility of his melodies. But rather than let himself be undone by the fact that the record labels have, until now, rejected his hybrid music (“I’m too pop for jazz, and too jazz for pop”, he says with irony), he produces his own recordings, steering his ship with courage and integrity, amusing with his muse, and satisfying his audiences all along. Subarashii and hats off, Mr. Davis!
- L'Express

[Mungle Music is] music to sit up and take notice of! - Matthew Robinson

Ron Davis Jazz Pianist

[Subarashi Live (2007- Davinor 89144)] is an eclectic mix that provides an emotional salve for what ails you. Moreover, the cast of characters gels to such a degree, that the usual "pass the baton" relay race that typifies standard jazz charts is so seamless, it's hardly even there.
In some cases the piece titles tell it like it is: Mio Latino is a cheerful upbeat salsa/ samba with just the right spices; Applausable Excuse literally gets the audience going in a participatory fervour; Reel du Pointe-au-Pic is a little more obscure — it's a brilliant take on Dixieland featuring Sasha Boychouk on clarinet and providing Ron a chance to strut his inimitable piano prowess. One of my favourites is D'Hora. It builds to such a tizzy that it pushes the limits of virtual disintegration—pushes but doesn't breach, the group is too tight to actually ever lose it.
The climax of the album is an eleven-minute track called Thomachonga. You'll likely recognize the tune. The improv that Ted Warren brings to the drum solo is outstanding. His finesse and sensitivity melt under the other band members' sizzle — notably the wizardry of Mike Downes on bass. I would be remiss if I didn't mention Richard Underhill's sax work — it's the glue that binds. Overall rating: awesome! - WholeNote

RON DAVIS: This pianist/composer is one of the most versatile artists around. He has successfully collaborated with vocalist Lori Cullen, and released a series of fine albums. His new recording, Shimmering Rhythm,
is dazzlingly eclectic, as Davis explains. "Our sound doesn't correspond to some listeners' notion of jazz. It's not bebop or swing or post-bop. There are elements of each, and much more." Other influences include classical, pop,
and klezmer, and Davis tackles each style with real finesse. His trio's sound is augmented by such guests as famed mezzo-soprano Jean Stilwell, arranger Tania Gill, and skilled string and horn players. - Tandem Magazine

RON DAVIS TRIO - MUNGLE MUSIC- Brilliant Album. Introduced by two numbers written by Davis, the first declaring his strong left hand piano
style, pronounced rythmn, lyrical melodic sense, lush chording in the solos. The second number, based on
classical dance form of the `bourrée, alludes crisply to Satie, preludes a generally allusive style throughout the album with references to ragtime, Wailer, Garner, Monk and classical sources.

Always witty and in good taste, full of humour and a unique sense of story telling, especially in the bluesy
ballads, featuring the sax of guest player Richard Underhill. Davis works well with his partners, Drew Birston on Bass who gives bold punctuation to the pieces; Ted Warren on drums, who provides elegant decor with brushes and light cymbal work. Good mix of standards(4- including surprises--"Popeye the Sailorman, "Hymne a l'amour"), and 10 originals, well-paced from reflective to very uptempo, detailing
Davis' virtuosity, taste, and nowledge of the piano. - The Live Music Report

Ron Davis and his Trio take their influences from the great trios of Oscar Peterson and Andre Previn, and still manage to make their mark. However, they are not immune to the ravages of the last few decades and have a contemporary flavour as well, although never too far away from swing and post-bop jazz. Filled out by virtuoso performances from Drew Birston on bass, and Ted Warren on drums, this is a pure delight.

A true renaissance man, Ron Davis is also a poet, short story writer, a Ph.D. in French Linguistics, and a once-upon-a-time lawyer, who has been performing since 1970. The original material is an absolute delight with “Blues For Suze” (courtesy of special guest Richard Underhill), a particular highlight. Although there are constant musical references to Art Tatum, this only adds to an enthralling CD.

The other gem is Léon Durocher and Gustave Goubliers, “Hymne à l’amour” a remarkable love song, which simply leaves you gasping, wishing and wondering. A fabulous release.


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