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The Ottawa Jazz Festival reversed its 2012 deficit with a surplus in 2013 of $120,834.
Treasurer Jean Vanderzohn attributed the surplus to greater sales of passes and single tickets, increased liquor sales, the new Signature concert series – and non-jazz acts like Willie Nelson and the Doobie Brothers.
Speaking to the festival's Annual General Meeting (AGM) on November 27, she noted that artists' fees exceeded $1 million for the first time this year ($1.115M), primarily because of big non-jazz names like Nelson, the Doobies, and David Byrne and St. Vincent, as well as R&B/jazz crossover artist Boz Scaggs.
It also reflects “the continually increasing cost of artists”, she said. “Every time Catherine goes out and talks to somebody, it seems their fee's gone up from last year and the year before.”
This compares to only $710K for musicians in 2009 or $922K in 2012. In 2010, the festival spent $885K on musicians for its 30th anniversary, which featured major names like Dave Brubeck, Herbie Hancock, Bill Frisell, John Scofield, Roy Hargrove, George Benson, Joe Lovano, and Tord Gustavsen.
Wednesday, December 11, 2013 - 9 p.m.
Cover: By donation
- Linsey Wellman - saxophones
- Mike Essoudry - drums
- Joe Hincke - bass
Some favourites from the Balkans, some John Zorn tunes, a few originals and even a couple of jazz standards rendered unrecognizable, from three well-known and adventurous Ottawa jazz musicians. There will be laughter, there will be tears, there will be drinking and there will be eating.
Capital Vox will celebrate a less-known side of Dave Brubeck at its opening season concert Saturday, with both choral pieces and solo piano music written by the late, renowned jazz pianist and composer.
The concert will be only a few days short of the first anniversary of Brubeck's death (December 5, 2012, just before his 92nd birthday). The Ottawa community jazz choir wanted to pay tribute to him, said director Elise Letourneau, by exploring the compositions he wrote for choir and voice.
But the piano won't be forgotten, either: the choir will be accompanied by pianist Sally Robinson, and keyboard master Brian Browne will perform solo in the middle of each set.
Brubeck is not usually associated with choral music, Letourneau said; most people have never heard the part of Brubeck's repertoire that Capital Vox will present.
In fact, up to about three years ago, she only knew of Brubeck's instrumental jazz – and then she discovered the choral compositions.
“I thought: this is really cool! And the more I looked the more I found. This wasn't just one or two choral pieces he wrote. He wrote a lot of music for choir. We're programming a whole concert of it, but there's probably a whole 'nother concert of Brubeck material that we didn't do, that we could. And then on top of that, he wrote a few Masses and music like that as well.”
Jamie Baum is exploring new territory in her current Canadian tour, which reaches Ottawa on Saturday at GigSpace.
It's the first opportunity for the American jazz flute player to play with Jane Bunnett, her Canadian fellow flute player and longtime friend. It's also a release tour for her latest CD, which has taken her in new and original directions inspired by music from the Indian subcontinent.
“I really love Indian music and qawwali music,” Baum explained.
Several of the pieces on the album are directly inspired by performances by the late Pakistani vocalist Nusrat Fateh Ali Khan, who was a singer of Qawwali, a form of Sufi devotional music. Others, while staying within the jazz mainstream, reflect Baum's experiences performing in India and listening to music from there. That led her to “new ways of writing and improvising”, which she enthusiastically described.
The quintet's tour includes Kitchener-Waterloo, Toronto, Quebec City, Ottawa, and Kingston. OttawaJazzScene.ca spoke to Jane Bunnett the day after the first show in Waterloo, and she said that show attracted a “full house and a fantastic turnout – and the music is pretty adventuresome music. The crowd was really receptive. They loved it.”
Baum and Bunnett first met at a jazz convention in the 1990s, and have both been nominated in the same categories for Jazz Journalists Association Awards.
“So she would be there and I would be there, and we would start to bond and hang out. When she'd play in New York, I'd go hear her and we'd get a bite. When I was in Toronto, and even once in Montreal and she was there at the same time, we would just hang out,” Baum told OttawaJazzScene.ca.
“She's been in the Downbeat polls as I've been in the Downbeat polls. We have a lot of mutual friends in common, with people who have written about woodwinds,” Bunnett said. “I think originally the first person was a writer-journalist-radio guy in New York named Bob Bernotas, who said to me, 'Oh you've got to meet Jamie. You'd just get along great!' And sometimes that can be the worst thing somebody tells you: oh you guys will just get along great, and you end up like can't stand the person, right? Why did they say that? But we really did: we hit it off. And so we've been friends ever since and we keep in touch.”
The Bryn Roberts Quartet plays GigSpace on Thursday, November 21, at 8 p.m. It's part of a cross-Canada tour which took them to the Cellar in Vancouver on Nov 15-16, and The West End Cultural Centre in Winnipeg on November 17. The tour continues to the Jazz Bistro in Toronto on Wednesday and Thursday, November 19-20, and the Upstairs Club in Montreal on Friday, November 22.
Pianist Bryn Roberts composes long, lyrical jazz melodies – memorable ones which are expressed through all the musicians in his quartet. You can hear them in his just-released third album, Fables – and when he appears with his all-star quartet at GigSpace on Thursday. That show will feature selections from Fables, as well as older compositions, some standards, and a few surprises.
Roberts grew up in Winnipeg, which is where OttawaJazzScene.ca editor Alayne McGregor caught up with him for a phone conversation on Sunday. He was at his parents' house for a brief stay, as he prepared for a concert that evening – and was a bit worried that a “pretty miserable snow storm” (a standard risk for Winnipeg in November) might affect attendance.
He's in the middle of a Canadian CD release tour which started with two sold-out nights in Vancouver last weekend, and will continue after Winnipeg to Toronto, Ottawa, and finally Montreal. While the CD was officially released in NYC in mid-September, and was briefly showcased in a European tour, this is the first extensive chance for audiences to hear this music.
It's also the first chance for Canadians to hear much of Roberts in many years. In the late 1990s, after he graduated from McGill, he was an important part of the Montreal jazz scene, and released his debut album in 2000 to considerable acclaim and a Montreal Jazz Festival appearance. But in 2001, he moved to New York City, and for most of the last decade his talents have been as much in demand to back up rock stars like Serena Ryder and singer-songwriters like Dar Williams as they are for straight jazz gigs.
For this tour, Roberts has brought three notable jazz musicians with him: tenor saxophonist Seamus Blake, a Canadian expat who is highly influential in the NYC jazz scene and a member of John Scofield's “Quiet Band”; Matt Penman, best known to Ottawa audiences as the bassist in the SF Jazz Collective; and German drummer Jochen Rueckert, who has played with musicians like Mark Turner, Marc Copland, Kurt Rosenwinkel, John Abercrombie, and Madeleine Peyroux.
This is an edited version of our conversation:
The Ottawa jazz scene showed its diversity and enthusiasm on the weekend, as two very different shows – one touring, one local – both filled GigSpace to the door.
On Friday night, Brooklyn (and ex-Toronto) vocalist Melissa Stylianou brought her quartet to Ottawa as part of a three-city mini-tour of Ontario. It was an intimate show of jazz standards, originals, and a few “left-field choices” which connected well with her audience. The overall sound was stunning.
On Saturday, Ottawa master guitarist Roddy Ellias introduced his updated trio, with Thom Gossage on drums joining Adrian Vedady on double bass. They played an uninterrupted 105-minute set which included the material which they will be recording in the next two weeks (and even took advance orders for that CD).
Much of the material had been featured at previous trio concerts, but that didn't matter. By the time Ellias had improvised new beginnings to tunes and radically changed arrangements, this was a fresh and fascinating example of guitar trio. Vedady and Ellias played a number of duets demonstrating how their two different tonalities could intersect and compliment each other. Gossage added understated texture in some places, and some surprisingly assertive and unexpected percussion in others which served to highlight the entire trio's music.
There's lots of choice again this week, with the star-studded Bryn Roberts Quartet on Thursday and the Trombone Summit on Saturday at GigSpace. Vocal jazz fans will be torn between the Nylons at Shenkman, and Montreal bossa nova duo bet.e & stef at the Mercury Lounge, both on Thursday. Roberto Lopez brings his highly energetic and original jazz inspired by Afro-Columbia rhythms to downtown Gatineau on Friday (we were very impressed with his concerts in Ottawa and Montreal this summer), and Zola's is broadcasting a concert from New York City featuring noted saxophonist Chris Potter. And there's lots more!
– Alayne McGregor, with files from Brett Delmage
- Roberto López combines Colombian rhythms and jazz into danceable music
- Roddy Ellias stops fidgeting and hits the Record button
“I realized that October 31st marked my 51st anniversary from my first gig and I have three records out on my own name,” guitarist, composer, and improviser Roddy Ellias told OttawaJazzScene.ca recently. But now he's working hard to change that as he gets ready to record two albums of his own and appear on a third this year.
As part of that process, his jazz trio, with Thom Gossage on drums and Adrian Vedady on double bass, is performing at GigSpace on Saturday, The concert will preview his album of all-original tunes which they will record in early December. Listeners can expect melodic music influenced by Ellias' years of playing both jazz standards and chamber music, and "the wide spectrum of moods, rhythms, expression and colours that happen with Gossage and Vedady".
“I just find that I don't really want to record something until I have something good to offer. I don't like to just make records because I like making records. When I've compiled enough good tunes and I've worked at them enough then... it's time.”
Ellias would have been pressed to find time earlier to record in the manner he prefers. In this year alone, he was named as Canada's only Jazz Hero by the Jazz Journalists Association in April, organized the inaugural Guitar Now! Festival (which included renowned guitarists from around the world) at Carleton University in May, and wrote two commissioned pieces this summer, including one for the German Meininger Trio. All that on top of his 2012-13 GigSpace concert series and teaching at Carleton University and in martial arts.
Carleton University's community radio station CKCU FM (93.1 / ckcufm.com) ended its annual funding drive on Sunday, November 10, receiving $134,473 in pledges and exceeding its goal of $127,000. Donations to long-running jazz programs were down significantly, however.
According to CKCU station manager Matthew Crosier, $992 was donated to Swing is In the Air, $500 to Rabble Without A Cause (RWAC), and $1843 to In A Mellow Tone.
The annual fundraising campaign raises money to pay the $40 per hour it costs to operate the largely volunteer-based CKCU. This includes equipment purchase and maintenance, electricity (for the radio transmitter and station), rent, music licenses, “CKCU On Demand” streaming audio and archives, and a small core staff.
2013 donations to Swing is In the Air ($992) reached less than one-half the target of $2300, down from 2010 donations of $3141. This was the first fundraising drive that followed the sudden death in early January of longtime host Jacques Emond. Emond had hosted the show for 30 years and was also widely known and loved in the jazz community as the longtime programming director of the Ottawa Jazz Festival.
With new hosts, Swing is In the Air saw a format change this year, with even more airtime given to interviews with, and newly released music by, local musicians. It is now hosted by Vince Rimbach and Ralph Hopper, and occasional guest hosts.
Rabble Without A Cause's donations fell this year to $500, from $780 last year and $850 in 2011 according to host Bernard Stepien. RWAC serves a smaller audience, focusing since its inception in the mid 1970s on avant-garde jazz, and being the primary local radio show where this music is aired weekly. According to Stepien, RWAC allocated 21% of its programming “to local musicians of all styles and level of development” this past year, an increase over 10% in the past.
Toronto guitarist David Occhipinti recently released a new CD, Camera. It's Occhipinti's foray into chamber jazz which he talked about when OttawaJazzScene.ca interviewed him in 2012. OttawaJazzScene.ca has listened to the CD several times and was impressed by its fascinating textures and beautiful melodic music.
Occhipinti is touring right now in support of the CD with an ensemble of Toronto jazz musicians who also cross over into chamber music: for example, Andrew Downing on cello and Peter Lutek on clarinet/bassoon. Ottawa audiences last saw Occhipinti with the four-guitar Walrus Quartet.
This Friday afternoon, Occhipinti and his quintet will be giving a free masterclass/concert at Kailash Mital Theatre at Carleton University.
This Wednesday, Christmas comes early to Ottawa – or at least its jazzy soundtrack!
Vocalist Jozée Devoua, pianist and arranger J.P. Allain, and bassist and engineer Normand Glaude will be premiering their new Christmas CD, Jazz Winterlude, at the NAC Fourth Stage.
Just a bit early for the actual holiday, you might wonder? Glaude said they wanted to ensure they introduced the CD early enough to get it to possible buyers. And, in fact, he said, once Hallowe'en was over, ticket sales really picked up. “There definitely are some die-hard fans out there of Christmas that want to get into the mood early.”
The album was inspired by all the great jazz music which is also Christmas music. “Christmas is a fun time of year. There is a lot of Christmas music out there that people like to rejuvenate every year, and add new music to their portfolio. And quite honestly, I think that there are some really nice jazz standards that are great Christmas tunes.”
- IMOOfest to return after financial break-even and artistic successes
- IMOOfest 2013 Night 3: unpacking the music (review)
- IMOOfest 2013 Night 2: stretching the rules (review)
- IMOOfest 2013 Night 1: a huge dynamic range (review)
- Will Accordion Conspiracy take over IMOOfest? (video)
- Organ-ic fusion fills the church (review)
- Phil Nimmons and David Braid reinvent their music with each concert
- Ensemble SuperMusique takes a chance with IMOO at Club SAW
- Mortimer Katz remembered: a very long life filled with bebop
- Guelph 2013: Wadada Leo Smith's Ten Freedom Summers moved from sorrow to triumph (review)
- Guelph 2013: The improvisers get improv'd
- Three Ottawa vocalists recreate classic Ella and Billie Newport concerts (video)
- Guelph Jazz Festival listeners treated to elevator music (review)
- William Parker tells Guelph 2013: You can't resurrect the jazz masters
- Guelph 2013: Bomata warmed a rainy-day audience with melodic yet unusual jazz
- Guelph 2013: Satoko Fujii and Kaze blew away preconceptions
- Garry Elliott and Steve Boudreau share the improvising spirit in their new CD
- Guelph 2013: Hamid Drake & Jesse Stewart share a creative imagination (review)
- Guelph Jazzfest's community-built concert reaches new heights
- Which Canadian jazz musicians did “NAC Presents” miss? (commentary)
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