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OttawaJazzScene.ca Jazz Favourites Poll: Pick your Jazz Favourites!

OttawaJazzScene.ca invites you to take part in the first-ever OttawaJazzScene.ca Jazz Favourites Poll.

What do you like most about jazz in Ottawa-Gatineau?

  • What was your favourite festival presenting jazz ?
  • Which venue did you most like to listen to jazz in?
  • Which radio show played the jazz you liked hearing?
  • Which CD released in 2013 was your favourite? ... and more!

There's a lot of exciting jazz and creative, improvised music being played and heard in Ottawa-Gatineau, and we're asking you to pick your favourites for 2013. Not “the best” – sometimes even picking the criteria for “best” can be difficult – but simply your favourite, whether it's a big band, or a concert series, or a jazz jam.

Why now? It's JazzApril this month, and we wanted to put a local angle on this international celebration. And we wanted to recognize and honour our Ottawa-Gatineau successes – people, business, and non-profits who are making great music and supporting jazz and creative improvised music.

Find out more and Get your ballot

 

Jacques Emond's jazz recordings play on, at Carleton University

Jesse Stewart needed 60 boxes to transport Jacques Emond's 4,000 vinyl records to Carleton University © Brett Delmage, 2014

A year after his death, Jacques Emond's huge collection of jazz CDs and vinyl records lives on at Carleton University. They are a vital part of the tens of thousands of music recordings and scores which have been recently donated to or acquired by Carleton University – now making its music collection of more than 70,000 recordings one of the largest among Canadian universities.

“We had a minimal jazz collection, that consisted almost exclusively of CDs,” Carleton U music professor and Juno-award-winning jazz musician and improviser Dr. Jesse Stewart told OttawaJazzScene.ca.

He was very much hands-on in helping grow the jazz collection in the last six months: purchasing boxes to move the music to Carleton University and packing and transporting the LPs. (He even used one of the sixty empty cardboard boxes as a startling musical instrument at the 2013 IMOOfest [review])

“I feel like Carleton will now have one of the best collections of any Canadian university in terms of recorded jazz.”

Read more: Jacques Emond's jazz recordings play on, at Carleton University

 

Triades at la Maison de la Culture

Thursday, April 17, 2014 - 8 p.m.
Tickets: $30,  $27 (with an Odyssée Card)

  • Sonia Johnson - vocals
  • Annie Poulain - vocals
  • Charles Biddle Jr. - vocals

Triades, c’est le trio que forment les mots, la mélodie et l’interprète. Triades, c’est l’énergie enlevante de trois chanteurs et trois instrumentistes fous de jazz mettant en vedette Sonia Johnson, Annie Poulain et Charles Biddle Jr. Triades, ce sont deux trios qui s’entremêlent, s’unissent et se répondent en créant des fresques poétiques destinées à mettre en relief les mélodies de quelques-uns des meilleurs compositeurs de jazz québécois!

See the OttawaJazzScene.ca interview with Sonia Johnson where she talks about Triades:

www.maisondelaculture.ca

Odyssée Hall
Maison de la Culture de Gatineau
855 Boulevard de la Gappe
Gatineau
819-243-2525

 

John Geggie reunites with favourite Canadians for an Invitational concert tonight

John Geggie and Christine Jensen take a moment to go over the music they will play tonight at the NAC 4th Stage © Brett Delmage, 2014For more than a dozen years, jazz bassist John Geggie has brought superb jazz players from Canada and the world to play together in new combinations. Tonight in Ottawa at the NAC Fourth Stage, and tomorrow afternoon in Kingston, is the latest – and perhaps last – in this long-running series of concerts.

But if it is, he's leaving with a great lineup, with many Juno-award-winning Canadian jazz musicians. Geggie has played with every one of them at a previous concert in his series, some several times.

Saxophonists Christine Jensen (2014 Juno) and Joel Miller (2013 Juno), and pianist David Braid (2012 Juno) are all well-known as ground-breaking composers as well as instrumentalists. Trumpeter and composer Jim Lewis is a frequent face in Ottawa, performing with Geggie and with Christine Duncan, and is a long-time instructor at the JazzWorks Jazz Camp. Drummer Ted Warren has played in many memorable concerts here.

The one thing you can guarantee about a Geggie Invitational concert is that it won't just be a collection of greatest hits. Each musician contributes music, but the group reworks it and gives it new interpretations. As Geggie said in an email, “Ultimately, I simply wanted to put together a fun band of friends and create some creative music.”

    – Alayne McGregor

Read more: John Geggie reunites with favourite Canadians for an Invitational concert tonight

 

Omer Klein gave an exhilarating and intense performance for his Canadian debut

Omer Klein ©Brett Delmage, 2014

Omer Klein and Haggai Cohen-Milo
National Arts Centre, Fourth Stage
Ottawa, Canada
Wednesday, April 9, 2014 – 7:30 p.m.

View photos of this concert

One piano. One double bass. And they so filled the Fourth Stage to the walls with melody and layers of sound that nothing more was needed.

This show was pianist Omer Klein's debut performance in Canada. He made the most of it with an exhilarating and intense presentation, which clearly showed his strong and longstanding connection with bassist Haggai Cohen-Milo. The two were in constant visual and musical communication, trading off the lead and reacting to each other's ideas – important given the amount of improvisation they included in the music.

Klein was touring to support his latest album, To the Unknown [Plus Loin Music, 2013], and started the show with the first two pieces from that album. “Fear of Heights” began with repeated circling patterns and then developed into a flowing, classically-influenced melody, almost like a lullaby. “Bliss” started off in a jazzier mood, with a strong initial riff on both instruments; it then added more texture with flurries of notes, glissandos, fast repeated riffs (bass against piano), and staccato interludes – accented by occasional foot stomps from Klein.

The title of “Modesty” reflected the fact it was based on seven different modes – but also that it was a “modest attempt” by a composer to understand he can't come up with a better melody that would be produced by improvisation, Klein told the audience. The actual composition is just a list of chords and a bass line, without a specified melody, he said; the version he played wasn't going to sound like the piece on the album. This version opened in a more quiet, stately manner, and the melody progressed thoughtfully, exploring variations, before slowly diminishing into a stream of individual sparkling notes.

Klein studied jazz at the New England Conservatory of Music, and privately with renowned pianists Danilo Perez and Fred Hersch. His compositions and improvisational style are clearly in the modern piano jazz tradition: multi-layered, strongly improvisational, and unpredictable with contrasting melodies and rhythms. In fact, he noted that he often doesn't even pick which song to play next before he sits back on the piano bench.

Read more: Omer Klein gave an exhilarating and intense performance for his Canadian debut

 

Omer Klein's lifelong love affair with the piano ... and improvisation

At Omer Klein's concert Wednesday night, you'll hear the result of a life-long love affair with the piano.

The Israeli-born jazz pianist, who studied in the U.S. with Fred Hersch and Danilo Perez, was immediately transfixed when, as a child, he saw a piano being played for the first time.

“It wasn't so much that the specific music did anything to me, it was just the sound of the instrument, and also the look – the black and white keys. It became very, very clear to me that I must press these keys. I don't know a better way to put it. I just felt very strongly that I needed to do that.”

Omer Klein (photo provided by the artist).His concert at the NAC Fourth Stage is the start of an eight-date cross-country tour, from Ottawa to Victoria. It will be his Canadian debut, the first time he has played here despite being introduced to jazz by an Oscar Peterson CD.

The piano will be up-front throughout: on the stage will just be Klein on piano and his long-time musical collaborator, Haggai Cohen-Milo, on double bass. No effects, just the natural sound of the instruments.

“The piano, it's such an amazing instrument. It's so open. It's inviting the pianist to find his or her way to create nuance, to get colours out of the instrument. It's really capable of a wide area of colours and nuance, and I don't think that any effects are necessary.”

He and Cohen-Milo “use a very wide variety of textures when we play, so there is a lot of interplay going on and listening to each other and reacting to each other. The melody can jump around in any direction, harmonies are played by everyone. So it's creating rich textures.”

Klein, who now lives in Germany, has toured worldwide, and released five albums. The latest consists of all originals and features his trio, with Cohen-Milo and drummer Ziv Ravitz. He calls the compositions on the album “songs”, and emphasizes they could be sung, hummed, or even whistled. “They have this kind of lyrical quality.”

“I think my first inspirations as a musician were songs, the human voice singing a three-minute song. That's what I heard first. I discovered jazz later and I discovered the classical instrumental music later. I just think that really emotionally I'm based in that, in song.”

But at the same time he stresses that he and Cohen-Milo are jazz musicians, and how important improvisation is to their performances.

Read more: Omer Klein's lifelong love affair with the piano ... and improvisation

 

The Mash Potato Mashers parade for their final time

The Mash Potato Mashers will parade for their final time on Friday, April 4, after four years of never standing still.

Mike Essoudry leads the Mashers in a crowd-pleasing outdoor concert at the Montreal Jazz Festival ©Alayne McGregor, 2012

Masher leader Mike Essoudry told OttawaJazzScene.ca that the April 4 gig at Irene's Pub – where the band was a perennial favourite – would be the band's last.

“It was a great run, a great time. We had a [cross-Canada] tour, records. It was really fun. And I thought, if it's not going to be that fun and we can't work on stuff, then we can stop.”

One consistent description of the eight-piece marching band has been “fun”. No sitting down and looking serious. No sheet music (they memorize their entire repertoire). In performance they're constantly on the move, whether playing in the street at jazz festivals or shimmying through local clubs, and making the audience laugh with their musical and non-musical antics.

But managing a band that size is “difficult”, Essoudry said. “It used to be very easy, at the beginning of that band: the organization was easy, the gigs were very easy. It was easy to do the work when stuff was coming in; it was really great."

“But it was just getting harder and it was getting stressful for me to think about it. I'd get a call for a gig and then I'd email people and then I wouldn't get replies for days. And it's like I can't be chasing people. So that got a little frustrating that way. And I know people are busy: I know two kids have been born in the time and things have happened. Craig [Pedersen] has moved to Montreal, and the first drummer quit the band.”

He decided now was the time to leave. “But it was great. We had a really great time. It was fun; it was a good thing. It was a unique thing for Ottawa.”

Read more: The Mash Potato Mashers parade for their final time

 

Steve Berndt and Brian Browne turn tasty leftovers into gold with "All Over Again"

The musical connection between pianist Brian Browne and vocalist Steve Berndt is immediately apparent. Walking into the piano showroom where I was to meet them, I could see Browne playing the piano, Berndt listening intently, with obvious enjoyment. As we talked, they amplified each others' comments, and laughed and joked together.

This Friday at the NAC Fourth Stage, they release their second album as a duo: All Over Again. It's a direct sequel to 2012's Déjà Vu, and even the album titles are linked. As Berndt explains, it's two halves of a quote from baseball great Yogi Berra: “It's déjà vu all over again”.

Four of the songs, all jazz standards, were recorded in 2012; others were recorded recently.

“Some of the tracks that we recorded in the original Déjà Vu sessions were very good, and I had to make a decision about having an album with 17 or 18 songs on it,” Berndt said. And so I made some decisions about what would be on Déjà Vu, and there's always been these extra tracks.”

“And so I began thinking it would be good to do a bookend album using those tracks, and also to have the chance to record with Brian again. So that's part of the reason I named it All Over Again. So all I had to do was to write a song called 'All Over Again' that was worth listening to and good.”

The bookend theme extends to the cover art. Both CD covers feature piano keyboards, but All Over Again is in ivory and gold, contrasting with Déjà Vu's black and white.

Read the full interview

 

The Roddy Ellias Trio never stops talking with their music (video)

Roddy Ellias and Adrian Vedady at GigSpace. © Brett Delmage, 2013

Ottawa guitarist and composer Roddy Ellias has left audiences in both Ottawa and Montreal absorbed and delighted by his live music with his trio. This month Ellias, bassist Adrian Vedady, and drummer Thom Gossage are putting out their first CD as a group, Monday's Dream. They're marking the occasion with a CD release concert in Ottawa on March 22 and in Montreal on March 30.

The trio recorded the album starting last December, and prepared for it with a well-received concert at GigSpace in November. OttawaJazzScene.ca interviewed Ellias after the concert about his music, and you see highlights from their concert and that interview in our video below.

   – Brett Delmage

You can hear samples from the Monday's Dream and purchase tracks or the whole album at www.roddyellias.com

See OttawaJazzScene.ca's interview with Roddy about the upcoming CD, and our photos and story about their last Ottawa concert:

Watch the video

 

Bumpin' Binary grooves on organ and drums

On Thursday, the stone pillars in the basement of the old Ottawa jail will reflect a double groove.

Mike Essoudry ©Brett Delmage, 2013Mike Essoudry and Don Cummings have formed a new group called Bumpin' Binary: a minimalist configuration of just drums and Hammond organ. But Essoudry says that will be quite enough to fill the space with “funky jazz music”.

“It's a great sound. You have everything there. You have the bass, you have the melody and stuff, and you have the drums. You have this big sound that's possible there, and pretty full for two people.”

But they're adding another voice as well: Petr Cancura will be guesting on tenor sax, just as he did at the duo's first show a month ago. That show attracted a packed house, with strong applause and even a few dancers.

The names spill out from Essoudry as he gets enthusiastic about the heritage of organ music in jazz: John Patton, Jimmy Smith, Lonnie Smith, Shirley Scott, Jimmy McGriff, Richard “Groove” Holmes.

“So there's a bunch of people like that, a whole set of organ players who played jazz. But it's more of a heavy sound of jazz. It's funkier; it swings as well.”

But most specifically, the duo of jazz organist Larry Young and drummer Elvin Jones, and Young's 1966 album, Unity, on which they do an organ/drums duo of “Monk's Dream”. When Essoudry heard that track, “at that point, I said, I know that this is possible, and it's a great sound.”

Read more: Bumpin' Binary grooves on organ and drums

 

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