Carleton University Jazz Ensemble
Kailash Mital Theatre, Carleton University
Thursday, April 7, 2016 – 7:30 p.m.
It was an evening of tight ensemble playing with a touch of showbiz sparkle, as the Carleton University Jazz Ensemble presented its year-end concert Thursday.
The material: mostly jazz classics from the 60s and 70s, particularly by Herbie Hancock, Chick Corea, and Cannonball and Nat Adderley. The style: polished and with considerable verve, with smooth entrances and introductions. The men generally wore suits and the women dresses, and (as was pointed out from the stage), trombonist Eric Cathcart even wore a trombone-themed tie.
The evening opened with the rhythm section of the Studio B Band vigorously pumping out the relentless beat of Hancock's “Cantaloupe Island”, and the horn section and vocalist making a grand entrance a few bars later. In the 70-minute show, there were two bands (Studio B and Studio A), each playing five songs.
Both bands included several vocalists, some doubling on other instruments. Particularly notable was the 7-piece Studio B band's rendition of Cannonball Adderley's “Sack o’ woe”, with Lucia Iacovitti-Villeneuve and Kelsey Hayes both brightly scatting, together and separately. That band closed with Corea's “Armando’s Rhumba”, giving it a brassy intro and strong Latin beat, followed by wordless vocals, and with alternating sparkling piano and horn fanfares closing it out.
At their GigSpace concert on Saturday, Garry Elliott and Steve Boudreau are giving their compositions an opportunity to evolve and get better.
The Ottawa jazz guitarist and pianist have played together as a duo for years, including releasing a well-received CD of quiet and nuanced originals in 2013. But on Saturday, they'll add two new musical viewpoints from Montreal: bassist Adrian Vedady and drummer Camil Belisle.
It's a chance to showcase the new music they've written in the last three years, Elliott says, but also to make their older material even better – for the benefit of the audience as well.
“The thing about writing is that you only play [your songs] once in a while. So you don't really explore them in the same way as, say, you would when you play standards. Because you're always playing the standards, so you get to know them really well.”
Back in the heyday of jazz, “the boppers or even Lennie Tristano or the Bill Evans Trio – any of those people – they played their material every night in clubs. We don't really get the opportunity to do that as much any more.”
“So it's not so much putting out too much new material but getting better playing the old material, because we really don't play them enough.”
The Ottawa Chamber Music Festival will showcase Cuban and avant-garde jazz in its 2016 edition, with performances by Jane Bunnett and Maqueque, renowned Cuban drummer Dafnis Prieto, bassist Roberto Occhipinti, and cellist Ernst Reijseger – plus a tribute to Duke Ellington.
The festival, which will run from July 21 to August 3, 2016, is again complementing its core classical offerings with late-night jazz and improvised music – even combining them in some cases. It has so far released a partial concert schedule.
Chamberfest will offer its late-night concerts at the recently-reopened La Nouvelle Scène on King Edward Avenue in Lowertown, with that location replacing St. Brigid's Centre for the Arts.
Highlights so far announced include:
Saturday, July 23: Jazz composer Claude Bolling mixes “Baroque elegance with modern technique” in his Suite for Violin and Jazz Piano Trio. The eight movements are based on mostly classical dance forms, with mainstream jazz segments (and a few vintage ones) inserted around and under the violin soloist – and with the rhythm section propelling each movement and adding lots of swing. This performance features Alexandre DaCosta on violin and Graham Wood on jazz piano, along with Éric Lagacé on double-bass (seen here with Oliver Jones) and Dave Laing (Christine Jensen's drummer) on percussion. The second half of the concert will include pieces by Dizzy Gillespie, Michel Legrand, and Lennon & McCartney.
It wasn't your typical concert. It wasn't even your typical jazz concert, as students in Carleton University's music program showed off their year-end accomplishments in a free concert in Patrick Cardy Studio on April 5. The double bill included free and conducted improvised music, followed by a set of roots and jazz, both played to an appreciative audience which filled the studio.
The first set was the final performance of professor Jesse Stewart's “Improvisation in theory and practice” class. Stewart described the performance as “music that never existed before. It will never exist again.” The first song was conducted, as was the third in a much more dramatic way, while still being improvised by the individual players. “It's structured in the course of the performance in real time by virtue of the conducting and the decisions we collectively make in the moment,” Stewart said.
The class consisted of 17 students from a wide variety of backgrounds, Stewart said. “Some people are coming from a jazz background. Others are coming from a singer-songwriter background, some are coming from a classical background, so in many ways this ensemble is very much about the negotiation of differences. That's the joy and fun of exploring those differences throughout the semester and here this evening.”
It was lights out for the third piece and ensemble's term project, where the players were conducted by light. “We talked about light replacing graphic scores during the course. We will use light almost as a moving graphic score,” Stewart said. The audience was also handed glow rods and laser pointers and encouraged to provide additional input to the performance.
April is the month when the world officially raises a toast to jazz, ending on the 30th with a gala concert in Washington, D.C. hosted by President Obama. In Ottawa, the month is a little more low-key, but there's still lots of jazz, particularly showing off local and Canadian talent.
There's three new jazz films being premiered at the ByTowne Cinema. There's three CD launches – by Toronto vocalist Micah Barnes, by Montreal drummer Mark Nelson, and by the Atlantis Jazz Ensemble. There's a large-scale tribute to the ground-breaking Canadian jazz composer and trumpeter Kenny Wheeler, and the third in Petr Cancura's Crossroads jazz/folk series. And there's a giant, one-time-only MegaBand being created and trained by Rob Frayne for a mid-April concert.
These April jazz highlights are brought to you by Robert Godin, Tyler Harris, Jonathan Langsner, Brady Leafloor, Mark Miller, Ron Sweetman, and Geoff Zeiss. We greatly appreciate their support!
Visiting musicians to listen for in April include pianist/vocalist Michael Kaeshammer, Montreal saxophonist Tevet Sela, the Sultans of String, Ontario pianist Steve Holt, and Americans trumpeter Byron Stripling with drummer Bob Breithaupt.
And to top it all off, this is the month local students show off what they've learned in the last year with wide-ranging ensemble concerts and graduation recitals.
Toronto saxophonist Allison Au now has a perfect Juno record: two albums, two Junos. This evening, she was awarded 2016 Juno Award for Jazz Album of the Year (Group) for her new release of multi-layered original music, Forest Grove. She had previously won a Juno for her debut album in 2013. Ottawa-area audiences heard Au performing a number of the pieces from Forest Grove at Merrickville's Jazzfest last October.
Toronto pianist Robi Botos won Jazz Album of the Year (Solo) for Movin' Forward, his propulsive combination of originals and standards supported by a strong combination of NYC musicians (saxophonist Seamus Blake, bassist Robert Leslie Hurst III, and drummer Jeff "Tain" Watts). That music was very warmly received when Botos presented it at last summer's Ottawa Jazz Festival.
And Montreal-based vocalist Emilie-Claire Barlow won Vocal Jazz Album of the Year, for Clear Day, her music-in-the-large orchestral project with the Metropole Orkestre. She presented several selections from that album in her concert with the NAC Orchestra last December, and will present it again with orchestra at this summer's Montreal Jazz Festival. She also won a Juno for her previous album, Seule Ce Soir, in 2013.
Au and Botos were later featured together in a Juno Jazz All-Stars performance at the Juno awards banquet in Calgary, along with fellow nominee Al Muirhead on trumpet.
Montreal saxophonist Colin Neufeld and violinist Sarah Neufeld won Instrumental Album of the Year for their joint album, Never Were The Way She Was. Stetson is acclaimed in the jazz community for his improvisations, particularly on bass saxophone, but also plays with many indie groups. He and Neufeld are scheduled to perform together at this summer's Ottawa Jazz Festival.
Ottawa group The Souljazz Orchestra were nominated for World Music Album of the Year for Resistance, but were beaten out by Boogat.
The winners in most Juno categories were announced this evening, but the most high-profile pop/rock categories will be announced Sunday.
Jazz has a habit of promoting legends, particularly about its best musicians. So it's no surprise that the new film, Born To Be Blue, takes the narrative of part of Chet Baker's life and turns it into a story, one that's an even better story than reality.
Baker's biography is inherently glamorous (if not an example that you'd want your children to follow). There's his prodigious natural affinity with the trumpet, which supposedly made Charlie Parker issue the warning to NYC jazz trumpeters like Dizzy Gillespie and Miles Davis that Baker was a “little white cat on the coast who's gonna eat you up”. There's Baker's alternately romantic and tragic long-term addiction to heroin which slowly turned him into a wraith of his original crew-cut, handsome self. There's his mysterious death in 1988, falling from a window of a cheap Amsterdam hotel.
There's the early photos of Baker by famed jazz photographer William Claxton, whose camera turned Baker into movie-star handsome – helped by Baker's instinctive style and ability to play to that camera.
And ultimately there's the beautiful, mellow, melancholy music Baker made with his trumpet and his voice, particularly with his signature tune, “My Funny Valentine”. He and saxophonist Gerry Mulligan revived the little-known Rogers and Hart ballad in 1952 for their first recording for Fantasy Records, and his “cool” yet deeply emotional rendition of that song defined his style and made him hugely popular.
What Born To Be Blue does really well, more than anything else, is capture that music and that style. The music, both the incidental jazz interludes and the actual songs, is simply gorgeous. That's due to Toronto composer and pianist David Braid, who wrote and arranged the jazz score – as well as researching it, transcribing music from recordings, orchestrating, and producing and recording it.
“You just take words and you sing scat or you sing words to jazz solos, to instrumental jazz pieces that never had words originally to them. There's this wealth, and body, of lyrics that have been written to a Lester Young solo or a Miles Davis song that never had lyrics originally written for it.”
“It's a very creative thing,” Steve Berndt told OttawaJazzScene.ca when we met him and vocalist Christine Fagan on the roof of the NAC over the Fourth Stage, where they'll present “Vocalese with Steve Berndt and Christine Fagan” on April 2.
“The sky's the limit. You can write your own lyrics to things. You could scat sing a solo, which I am planning to do. And you can do a lot of different things with harmonies. It's great. Christine and I sing well together. It's been a while we've been planning this show so we're looking forward to it.”
Christine Fagan was equally passionate about this music. “When I put out a CD, it was mostly, when I think back on it, vocalese, because it was taking instrumentals by friends of mine and writing words to them. So it's kind of a question of what songs to leave out for this show because there's a lot of stuff we'd like to be able to do.”
Watch the OttawaJazzScene.ca video story for a wonderful sample of them singing together, and talking enthusiastically and knowledgably about the music they love and will perform with a jazz trio that includes Tim Bedner, Norman Glaude, and Jamie Gullikson on April 2.
Their show will be one of the last jazz concerts at the Fourth Stage before it closes for 14 months for an upgrade, so we also asked them about their impressions of this stage which they've both performed in many times.
– Brett Delmage
Steve Berndt and Christine Fagan will present Vocalese at the NAC Fourth Stage at 7:30 p.m. on Saturday, April 2, 2016. Tickets are $25.
Related story: Christine Fagan: a collaboration with lyrics
Watch video stories about other Ottawa-Gatineau vocalists who brought their personal approach to unique jazz concerts at the Fourth Stage:
- Dominique Forest launches her first CD, C'est a moi, with verve
- Bamboo Groove - Asian-infused jazz and love songs (video)
Bassist Olivier Babaz came to Montreal the long way round – via France, the Netherlands, and Réunion Island in the Indian Ocean – a globe-spanning journey whose influences are reflected in his newly-released fourth album.
Babaz will give the album, Odd Light, its Ottawa debut this weekend at the Options Jazz Lounge at the Brookstreet Hotel in Kanata. The CD's underpinnings are strictly jazz, but its melodies and rhythms come from a wider palette, including the East African music Babaz learned on Réunion.
It's a guitar trio album – with well-known Montreal jazz musicians François Jalbert on guitar and Mark Nelson on drums complementing Babaz on double bass, electric bass, and kalimba – and the second album the three have recorded together.
Babaz describes the music on the CD as something “fragile, but sophisticated. ... It's really world-music-oriented but with sophisticated structures. There are some tunes that are almost more progressive music than jazz, but with huge improvised parts in them. And of course a lot of different influences. That's the main thing: the styles are very broad.”
It's not surprising given his world travels. Babaz was born and raised in Paris, and then studied music, particularly jazz, in the Netherlands and in several locations in France, including graduating from the Centre des Musiques Didier Lockwood outside Paris and the Music Academy International in Nancy. While in Nancy, he became close friends with people from Réunion Island, which is a large French overseas province on an island located between Madagascar and Mauritius, with almost one million inhabitants.
He moved to Réunion and spent five years there, meeting his wife, and studying classical and jazz bass. He played with local musicians, most notably with pianist Meddy Gerville, who is known for fusing local rhythms with jazz and improvisation. The island's music reflects South Indian Ocean music and East African music tradition and culture, he said, including “all the music from South Africa. Mozambique, Madagascar, especially Mauritius. It was a music I was really lucky to find myself in the middle of that and play with.”
When Rob Frayne heard a performance by his son Charlie's Brazilian drumming class in January, “it just blew me away”. And the reason why was his son's teacher, percussionist Liz Hanson.
That inspired the Ottawa composer and saxophonist to start jamming with Hanson, and to create his newest project, DrumSwamp. The quintet, playing “jazz and drum-grounded music”, will have its debut at GigSpace on Saturday.
Hanson is a classically-trained percussionist who has also extensively studied Brazilian music and rhythms, and has spent more than a decade teaching percussion to students in New York City-area schools. Last July, she moved to Ottawa with her husband, Juno-nominated jazz musician Petr Cancura, and their four-year-old daughter.
“I couldn't believe Liz showed up here!” Frayne said. “I'd met her socially, but at my kids' school, she's teaching Charlie in a Brazilian drum club on Friday. And it's amazing what she's doing! I couldn't believe it. And when I heard her play, like they do a call and response in a samba thing, and it was unbelievable! And that just grabbed me so much.”
He had the idea of teaming her up with one of his long-time musical partners, Chilean-born percussionist Alvaro de Minaya, and the three started playing together informally. Then Frayne added pianist Adam Daudrich and bassist Martin Newman to form DrumSwamp.
The group's rhythm-rich format suits his current style of playing saxophone, Frayne said. In 2014, he returned to playing the saxophone in concert after many years of recovery and re-learning technique after a serious automobile collision.
“I'm still trying to find a way to play the saxophone after getting knocked back to zero. So I'm finding the way I'm playing now, I can actually play in a kind of a percussive or rhythmical or drummy format. So this is something I can actually do, as opposed to trying to play a jazz standard with tricky harmony and tricky fast rhythm. This is more like I guess soulful, or rhythmical, or emotional.”
The name “DrumSwamp” came to Frayne as a working title, and “I guess I liked the name right off. I liked the idea of being surrounded by drums in a swamp. A swamp means it's more like there's stuff around you and there's lots of animal life. I just liked the sound.”
He said Saturday's show will be “good clean drum fun”, and “a chance to bask in the joy of grooves, drums and rhythm-music.”
Sonoluminescence Trio (David Mott, William Parker, Jesse Stewart) with painter Jeff Schlanger
The Record Centre
Thursday, March 17, 2016 – 7 p.m.
The audience was sitting crowded against record bins and standing in the aisles, peering over shoulders to catch what the musicians were doing. They tightly filled the narrow store right to the back. And they were utterly silent and intent during the hour-long show – except when they burst into loud applause.
The Sonoluminescence Trio – David Mott on baritone saxophone, William Parker on double bass, and Jesse Stewart on drums – drew a fascinated crowd in their first appearance at the Record Centre.
But it wasn't just the trio's fluid musical interaction that kept the audience's attention. For their Ontario tour this week, they're being accompanied by painter Jeff Schlanger, who sat at a low easel beside the musicians. He drew as they performed, using calligraphy pens and coloured markers on a large sheet of paper.
The trio played for just over an hour, and during that time, Schlanger steadily refined and added to a colourful depiction of what he saw and heard. He frequently switched among pens, and often drew with two pens at once, creating art whose energetic flow reflected the music. Schlanger calls this practice “musicWitness” and has done it for decades, in locations ranging from NYC to Berlin to Finland to Paris to Toronto. OttawaJazzScene.ca editors had previously seen him witness a concert at the Guelph Jazz Festival.
- Ottawa Jazz Festival announces summer line-up, including Chick Corea, Dan Brubeck 4tet, Wynton Marsalis, The SF Jazz Collective, and Colin Stetson
- Rob Frayne recruits for a jazz band on a mega-scale
- David Mott on the Sonoluminescence Trio in performance (video)
- Jazz to head to the NAC's Back Stage during construction
- James McGowan and Jesse Stewart improvise music from many streams
- First impressions: Friday Night Jazz at The Marshes with Miguel de Armas
- Have your ears stretched in March with jazz from unexpected places
- Rob McConnell's music is "the boss" at Sunday's CYJO concert
- The Harley Card Trio creates a layered and nuanced collaboration at Brookstreet
- David Renaud looks for grace and love in his new duo CD with Brian Browne
- René Lavoie pays hommage to Cannonball Adderley, the saxophonist who changed his life
- Laila Biali is letting her audiences hear songs in the making, in the spirit of jazz
- A wild night at Irene's with the Alive! Ensemble and the music of Grant Green (review)
- From all over the globe, the Florian Hoefner Group unites in presenting luminous jazz (review)
- HML Trio's weekly Brookstreet Options jazz jam celebrates three years of 'good music and a great hang' this week
- Nick Fraser stretches the boundaries of drumming with Justin Haynes' scores (review)
- Crossroads concert scribbled on genre boundaries while remaining true to Lynn Miles' songs (review)
- Vocalist Jeri Brown and drummer Jesse Stewart: 'things that I haven't heard before'
- Hear both the roots and the future of jazz in February
- 2016 Juno jazz nominations move westward, and in unexpected categories
- Linsey Wellman declares his bilingual Manifesto (video)
- Fraser Hollins picks long-time musical friends for his Jazzfest show: Brian Blade, Jon Cowherd, and Joel Miller
- Karen Oxorn reflects 60 years of loving music in her concerts this weekend (podcast)
- An immersion in music from Pauline Oliveros and friends
- Standing Room Only packs the dance floor at its first Ottawa tea dance
- The Ken Harper Trio creates organic rhythms at Irene's
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