Sunday, March 01, 2015
   
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On the scene today

On the jazz and improvised music scene in Ottawa-Gatineau today:

  • 9:30 a.m. to 1:30 p.m.: Lucas Haneman at Brookstreet Hotel Perspectives Restaurant
  • 2 p.m.: Alex Moxon at Herb & Spice Wellington West
  • 2 p.m.: Apex Jazz Band at the Kanata Royal Oak
  • 3:30 p.m.: Bumpin' Binary at the Elmdale Oyster House and Tavern
  • 4 p.m.: Hugh O'Connor Duo at the Chez Lucien
  • 4:30 p.m.: Jazz Vespers at All Saints Anglican Church Westboro with Mike Tremblay and Tim Bedner
  • 6 p.m.: The Glebop Jazz Trio with Dominique Forest at the Arrow and the Loon
  • 6 p.m.: Wayne Eagles Duo at Brookstreet Hotel Options Jazz Lounge
  • 7 p.m.: Edwin Gans and Jean Bergeron Duo at Vineyards Wine Bar & Bistro
  • 9 p.m.: The Chocolate Hot Pockets at Irene's

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Rake-star and hats to make a second orbit at Mugshots tonight

David Broscoe ©Brett Delmage, 2015Ottawa's Rake-star Arkestra brought the musical energy and extra-terrestrial feeling of Sun Ra to the Improvising Musicians of Ottawa-Outaouais (IMOO) concert on January 15. The seven musicians that comprised the arkestra that evening delivered a highly improvised set that had the audience smiling and frequently laughing with them at their fresh musical creations.  The concert included a Sun Ra composition, Moog synthesizer, and an essential, but quieter, set of hats.

They're making a second orbit tonight at Mugshots (8:30 p.m. 75 Nicholas Street - the old jail hostel). Their full planetary system will include John Sobol (baritone sax, tenor sax), Jamie Gullikson (drum set, percussion), and Don Cumming's full size Hammond organ. Come prepared for "a spirited, raucous and occasionally beautiful time."

View photos from this concert

    – Brett Delmage

See also: Rake-star aims for the sublime, and sometimes the chaotic, in Sun Ra's music


View the photos

 

South African pianist Abdullah Ibrahim makes rare appearance at 2015 Montreal Jazzfest

A three-concert series featuring South African pianist Abdullah Ibrahim is the highlight of new additions to the 2015 Montreal Jazz Festival announced today.

Abdullah Ibrahim (photo provided by the Montreal Jazz Festival)Ibrahim's last Canadian performance was at the Guelph Jazz Festival in 2012. That festival describes his music as a “deeply soulful blend of gospel, kwela, and Ellington-inspired jazz that is elegant in its simplicity” and his compositions as “deeply lyrical”. Ibrahim was mentored by Duke Ellington in the 1960s and early 70s, and played with the Ellington Orchestra. In the 1970s, he founded the Cape Jazz sound: his music was used to support the black revolt against apartheid.

At Guelph, he played solo piano: an hour-long, uninterrupted piece, flowing between standards and his own works, but always beautiful and compelling.

At Montreal, he will play a solo show in the intimate Salle de Gésu on Thursday, July 2; and on July 3 will appear there with his Mukashi Trio (piano, cello, and flute/clarinet/saxophone), a chamber jazz group which released a well-received CD in 2014. “Mukashi” means “Once Upon A Time” in Japanese.

On July 4, Ibrahim will present his longstanding project, Ekaya, which he first launched in 1983. It's a septet, with tenor, alto, and baritone sax, trombone, and bass, drums, and piano. The Montreal jazz festival describes it as “an encounter between both instruments and cultures, between the oral musical tradition of South Africa and the vibrant legacies of Duke Ellington and Thelonious Monk.”

Other 2015 Montreal jazz festival jazz concerts announced today:

Read more: South African pianist Abdullah Ibrahim makes rare appearance at 2015 Montreal Jazzfest

 

Alex Moxon searches for the heart and soul of Grant Green's music

Alex Moxon loves taking his favourite jazz albums apart and seeing what makes them tick – and then reinterpreting them in live shows.

Alex Moxon in the 2014 tribute to Miles Davis' Filles de Kilimanjaro, with Marc Decho and Adam Saikaley. ©2014 Brett DelmageThis Sunday, the Ottawa guitarist and composer will pay tribute to Grant Green, a renowned jazz/bop guitarist from the 60s and 70s, with a quintet playing two of Green's albums from front to back. The show is the first in a new monthly jazz series in Lowertown.

The series, at the Das Lokal restaurant on Dalhousie Street (north of the ByWard Market), is scheduled for the last Sunday of each month, and will feature local jazz and improvising musicians playing a variety of jazz and singer-songwriter projects, each crossing genres at least a bit.

That includes the Green show, which will have touches of funk and soul. “This music is all pretty funky. No swingin'. It's sort of a 60s funk vibe.”

Green was particularly influential in soul jazz and organ trio music, Moxon said; he's “soulful, he's understated, and he's got very nice hornlike phrasing.”

Moxon first encountered Green's albums while researching material for his own group The Chocolate Hot Pockets. “Initially I heard an album he put out called Ain't It Funky Now?. It's all James Brown covers and things like that, arranged for a jazz group. I thought, 'Oh wow! That's super great!' ”

And it spoke to him. “His playing is ... he gets right to the heart of what he's talking about. There's no fluff. It's just like, this is the music. Deal with it.”

The quintet will perform the entirety of two Green albums, both live recordings on Blue Note. First up will be Alive! (1970), followed by Live at the Lighthouse (1972). “I've been waiting a long time to have an excuse to play that kind of music.”

Read more: Alex Moxon searches for the heart and soul of Grant Green's music

 

Vocalist Mary Margaret O'Hara was alternately stunning and frustrating (review)

Mary Margaret O'Hara, Peggy Lee, and Aidan Closs
Ottawa Winter Jazz Festival, Day 6
Dominion Chalmers United Church
Sunday, February 15, 2015 – 7 p.m.

I first heard vocalist Mary Margaret O'Hara and cellist Peggy Lee play together in 2012. Their Beautiful Tool project, which also incorporated several other talented Vancouver musicians, opened that year's edition of the Guelph Jazz Festival. I was immediately highly impressed with the group sound and inventiveness of Lee and the other instrumentalists, but I found O'Hara frustrating – in particular because I had consistent difficulty understanding her words, whether sung or spoken.

I decided not to review that concert because the art gallery they performed in is notorious for “eating” and distorting vocals, and I might not have been fair to the show. Given O'Hara's performance this Sunday at the Ottawa Winter Jazz Festival, perhaps I was being overly cautious.

Read more: Vocalist Mary Margaret O'Hara was alternately stunning and frustrating (review)

 

Keep On Keepin' On: the power of love, commitment, and mentorship (review)

Keep On Keepin' On [2014]
with Clark Terry and Justin Kauflin
directed by Alan Hicks
Wakefield International Film Festival, February 21-22, 2015


Keep On Keepin' On will receive its Ottawa-Gatineau premiere at the Wakefield International Film Festival, with two showings on February 21 and 22.


Parents find this out all too quickly: it's not what you say, it's what you do when it comes to raising children. How you act is more important than what you tell them.

And that's also what makes this recent documentary about the great jazz trumpeter Clark Terry so intensely believable and so emotionally strong. In the film, you can see Terry working with his students, passing on his love and knowledge of particular songs and of jazz in general, and connecting with his longtime musical colleagues. In archival clips, you can see him in action in his heyday, playing his heart out and clearly communicating his joy in the music.

Keep On Keepin 'On posterTerry is now 94. He came to fame playing in Count Basie's band, and then spent almost a decade in what he referred in as the “University of Ellingtonia” with Duke Ellington, before becoming the first African American staff musician at the NBC TV network in 1960. In 1991, he was named a National Endowment for the Arts Jazz Master; in 2010, he received the Grammy Lifetime Achievement Award; in 2013, he was inducted into the Jazz at Lincoln Center Nesuhi Ertegun Jazz Hall of Fame. He has performed on more than 900 recordings, including several collaborations with Oscar Peterson.

Biographies of him say that he established a lasting reputation in his long career for “his wide range of styles (from swing to hard bop), technical proficiency, and infectious good humor” – and that's what comes through in this film, despite Terry's increasing physical frailty throughout. In 84-minutes, it tells a compelling story, both about Terry's illustrious career, but also about how he's kept on going into his 90s.

But it wouldn't be so strong if it wasn't also about one of his long-time students, jazz pianist Justin Kauflin. They first met at the William Paterson School of Music in New Jersey, where Terry taught as a visiting professor, and Kauflin has kept returning for private lessons even when Terry moved to Arkansas. The film shows Kauflin trying to establish his own career but even more importantly finding his own voice as a musician, and the intense work he puts into this despite setbacks.

Read more: Keep On Keepin' On: the power of love, commitment, and mentorship (review)

 

The Lost Fingers take gypsy jazz to places it doesn't belong (review)

The Lost Fingers
Ottawa Winter Jazz Festival, Day 4
Dominion Chalmers United Church
Friday, February 13, 2015 – 9:30 p.m.

Around the end of the 1960s, as rock became preeminent and jazz started to decline in popularity, some record executives had the bright idea of making jazz vocalists more “with it” and “hip” by having them sing modern rock hits.

In 1970, Columbia Records president Clive Davis forced vocalist Tony Bennett to make an album called The Greatest Hits of Today. The story goes that Bennett was so upset at the choice of material that he actually vomited before the first recording session for the album. Reviews were not kind, particularly for the totally unsuitable "Little Green Apples".

Some rock and pop songs – particularly those with strong melodies – can be adapted into beautiful and intriguing jazz versions, but not all of them. So when I read the Ottawa Winter Jazz Festival description of this show and realized that the Lost Fingers would be dedicating almost all the concert to gypsy jazz versions of rock, house, disco, and pop songs, a little warning light went on in my brain.

Read more: The Lost Fingers take gypsy jazz to places it doesn't belong (review)

 

February is a short month but is full of jazz

Updated February 19, 2015

See this week's jazz highlights

In Ottawa, February is the coldest month, but it's got plenty of hot music scheduled! Here are a few jazz highlights in the next month from OttawaJazzScene.ca's more extensive listings.

Vocalist Denzal Sinclaire will perform in Ottawa on February 20 in honour of Black History Month. ©Brett Delmage, 2014On Thursday, Florquestra is back, adding its Brazilian rhythms to la Chasse-Galerie's celebration of francophone music in the Market. And it's the second week of Zakari Frantz' new Jazz Thursdays downtown, which will feature some of Ottawa-Gatineau's brightest jazz musicians and highlight new projects each week.

On Friday evening, put on your dancing shoes and swing to two local bands who only occasionally play around town. At the Unitarian Church, Mango Upstart brings its Latin rhythms to raise funds for the Stephen Lewis Foundation, while in Sandy Hill, Sonic Blue performs for swing dancers.

This Saturday (February 7), three well-known local jazz pianists – Steve Boudreau, Mark Ferguson, and Clayton Connell – are teaming up to help GigSpace buy its own piano. Expect a mix of their own compositions and standards, playing with lots of verve.

If you love organ music, you might want to attend the Saturday afternoon symposium sponsored by the Royal Canadian College of Organists on the history and technology of electronic organs. The talks at Christ Church Cathedral will be divided into “The Profane: Tonewheel (Hammond) & Transistor Organs” (with local Hammond enthusiast and jazz/R&B musician Don Cummings), and “The Sacred: Modern Digital Organs”.

Or, if your tastes run more to the avant-garde, trumpeter Peter Evans is guaranteed to stretch your ears on Saturday evening. Evans plays everything from Baroque music to the freeest of free jazz, and is a prominent member of the New York City scene. He was featured on trumpet in Blue, the controversial note-for-note reproduction of a Miles Davis recording by the avant-bebop group, Mostly Other People Do The Killing (he was a founding member of that group and left them just recently). Evans' solo set will be preceded by solo sets by two prominent Ottawa jazz musicians: Adam Saikaley on Rhodes and Linsey Wellman on alto sax.

Read more: February is a short month but is full of jazz

 

Ottawa Winter Jazz Festival Day 2: having fun with jazz

Jean-Michel Pilc Trio (National Arts Centre Fourth Stage)
Matt Wilson Quartet (National Arts Centre Fourth Stage)
Late-night jam sessions (Arc The Hotel)
2015 Ottawa Winter Jazz Festival, Day 2
Saturday, February 7, 2015 - 7 p.m., 9 p.m., 10:30 p.m.

It was remarkable how many times people I talked to about Saturday evening's winter jazzfest performances mentioned how much fun the shows were. I wasn't initially going to use that word in this review – one wants to be original, after all – but in fact, simple fun, both on the bandstand and in the audience, was an important part of both shows, by the Jean-Michel Pilc Trio and by the Matt Wilson Quartet.

Not that either concert was simple. They both involved highly talented musicians playing full-out and creating complicated and unexpected patterns on the fly.

But on top of all of that musical thought and dexterity was a deep love of and enjoyment in performing the music. Whether it was Matt Wilson's big grin or Jeff Lederer dancing as he played his tenor sax or the smiles flashing among Pilc's trio, you could see an underlying joy and playfulness.

Read more: Ottawa Winter Jazz Festival Day 2: having fun with jazz

 

Ottawa Winter Jazz Festival Day 1: Megan Jerome presents a rich blend of instruments and observations

Megan Jerome Together Ensemble
2015 Ottawa Winter Jazz Festival, Day 1
National Arts Centre Fourth Stage
Friday, February 6, 2015 - 5 p.m.

Megan Jerome went to a funeral on the morning of the day of her Winter Jazz Festival appearance. It was for her late mother's best friend, and it symbolized a change in the last few years in the music she'd been composing – to happier and less fraught.

The concert also featured a new, full-bodied sound for Jerome, with her Together Ensemble – Jerome on Wurlitzer, Don Cummings on full-size Hammond organ (and giant Leslie speaker), Fred Guignon on electric guitar, and husband Mike Essoudry on drums. The ensemble has been playing around town since late last fall, and the instruments provided a strong base for Jerome's soprano and the artful lyrics in her songs.

Jerome's music can't be easily categorized: the nearest might be alt-cabaret with jazz touches. Her background is in jazz piano, Essoudry plays everything from mainstream jazz to avant-garde improvisation, Cummings performs in both jazz and R&B/soul circles, while Guignon has primarily played in folk groups.

But it was a far richer blend than your average singer-songwriter show: Jerome's vocals floated over intricate patterns from Cummings' organ and Guignon's guitar, which both counterpointed and echoed her voice and provided a strong underlying groove and power

Read more: Ottawa Winter Jazz Festival Day 1: Megan Jerome presents a rich blend of instruments and observations

 

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