Suoni Per Il Popoli Festival

Understated Musicians, Underrated Festival

Words – Drew Williams

Held in June, the Suoni Per Il Popolo Festival has been the most intriguing event since David fought Goliath, or more realistically speaking, Cassius Clay fighting Sonny Liston at the tender age of 18.

The giants of the so-called jazz festivals should take note of this micro-level institution taking the avant-garde scene by storm. It’s diverse stylings of jazz, avant rock, worldbeat, and electronica is hard to beat. Staying afloat in a corporate entertainment world with measly government funding and generous low-key private sponsors - the SUONI begs to differ.

Before its 2002 inauguration in Montreal, avid listeners of improvised sounds had to venture off to Vision Fest in N.Y.C., or Edgefest in Ann Harbour, Michigan, but as the years went by, the SUONI in the Mile-End district of Montreal become more and more of a crowd pleaser.

Mauro Pezzente (Owner of Sala Rosa & Casa del Popolo), Steve Guimond, and Peter Burton showcased programs that have a greater diversity of musical genres than most avant-garde festivals.

This two-week festival houses some of the most important names in improvised music: William Parker, Fred Anderson, Alan Silva, Sunny Murray, Hamid Drake, Joe McPhee, Ken Vandermark, Peter Brontzman, Evan Parker, Matthew Shipp, our own Shalabi Effect, and the electrifying Sun Ra Arkestra.

In terms of setting, the Sala Rosa is a joint venue with the Montreal Spanish & Anglo Communities. The hall fits about 250 people in a capacity and resembles an old high school auditorium from the fifties, with its ever so posh red velvet curtains on stage.

Ukula talked with Co-organiser Peter Burton.

UKULA: What are some of your objectives in promoting UKULAareness of Canada's independent musicians and labels?

Peter Burton: We promote Canadian musicians at the festival so that they can take their place with similar artists from around the world. We also encourage their voice because authentic and truthful perspectives are needed in a society that is complacent.

UKULA: How do you stay abreast in a multi-festival city ? Who is your target audience ?

PB: We are blessed with really supportive and enthusiastic audiences. All people are welcome at the festival so we try to target all age groups in the two main languages along with various different cultural groups. Organizing the Suoni is a group effort so we stay abreast by talking to a lot of people.

UKULA: Have you been successful in getting the French Media on board?

PB: Yes, we have been receiving more coverage in the French media. The festival has been getting more coverage in general though. It can also be attributed to the fact that journalists are recognizing that it is really fun to interview the artists we program.

For example, a lot of journalists wanted to speak to Halim El-Dabh. After all, who wouldn't want to talk to him? He has had an incredible life and can tell stories for hours about everything from discussing philosophy with Marilyn Monroe to being picked up by Igor Stravinksy while hitchhiking in Colorado.

UKULA: Is it possible to see some of the premiere Avant-Garde Music Film-makers at the SUONI ?

PB: We've managed to present a lot of great live soundtracks to film and video this year but the empasis was on finding musicians who were working with these mediums rather than to find film makers. But we did feature Murnau's 'Faust' and Phill Niblock's 'The Movement Of People Working.'

UKULA: Was your objective in organizing this festival to have new intiatives every year ?

PB: It’s really important to keep the programming fresh and to present new ideas. It is also a reflection of our funding reality. We apply for public grants and one of the grants we get supports new initiatives.

UKULA: Has the impact of technology made a difference in crowd turn-outs ?

PB: I think so. I think that the downturn in the recorded music industry means that people are more interested in seeing live artists. It’s certainly the case that most of the artists we present make most of their living from touring.

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