Saturday, March 25, 2017
   
Text Size

Ranee Lee shares a generous performance with many sides

Ranee Lee
Harold Shenkman Hall, Shenkman Arts Centre
Friday, December 2, 2016 – 8 p.m.

View photos by Brett Delmage of this performance

Ranee Lee doesn't just sing: her voice is a flexible instrument that can softly caress a lyric – or jump, growl, and bop the night away..

'I enjoy every second of what I do' - Ranee Lee  ©Brett Delmage, 2016

At 8 p.m. on Friday, she sashayed onto the stage at the Shenkman Arts Centre, and, from then until 10:45 p.m., the energy never flagged. In two sets totaling 2¼ hours, the Montreal jazz vocalist performed jazz standards to pop ballads to lesser-known gems in a show which flowed easily and kept the audience entranced.

Lee's career has lasted more than 50 years – and the experience showed in how she gave each song an arrangement and the attention which allowed it to shine. She could project lyrics with blistering precision and speed, as she did in her opening number, or slowly bring out their beauty in a thoughtful “Lullaby of the Leaves”.

She used her expressive voice and her hands to underline the meaning of the lyrics – but also to incorporate her vocals as part of the overall sound. In that, she was well supported by her band of experienced Montreal jazz musicians: her husband, guitarist Richard Ring, plus drummer Dave Laing, double bassist Dave Watts, and pianist Taurey Butler. There was a comfortable, swinging vibe on stage, and an easy, quick communication among the musicians.

The concert was advertised as showcasing Lee's latest CD, What's Going On [2014]. I thought the pieces from that CD were among the highlights of the show, particularly when she was joined by the members of the Birds on a Wire string quartet, who contributed rich and lovely melodies to the mix.

Cellist Jane Chan was featured on “White Gardenia”, a plaintive ballad which Lee's long-time musical associate Roger Peace especially contributed to the album, along with Butler. Chan added full, melancholy cello lines and a solo, which underlined the lyrics' story of lost love, as did Ring's evocative guitar solo. Lee sang the elegy with care and deep emotion, letting her voice ring through the hall.

Read more: Ranee Lee shares a generous performance with many sides

 

Escape the Christmas carols with jazz in December

Read about week 2's jazz in December

You don't have to be stuck in a Christmas carol jail this month. There's lots of non-seasonal jazz to keep you happy.

Daniel Ko is featured in Record Runner Rehearsal Studio's first concert on Dec 2. ©Brett Delmage, 2012From big bands to jazz vocals, from creative exploration to jazz influenced by Gershwin or Shostakovich, there's a variety of interesting music available in December in Ottawa-Gatineau – as well as Christmas cheer!

The month opens with a holiday classic, with the Jerry Granelli Trio performing their annual Tales of a Charlie Brown Christmas at Dominion Chalmers United Church. Drummer Granelli is the only remaining musician who played on that iconic recording of Vince Guaraldi's music, and he's teamed up with two Canadian musicians – Chris Gestrin on piano and Simon Fisk on bass – to recreate it, this year with the The Cross Town Youth Chorus providing the vocals. You want comfort music – you've got it!

Also on December 1: the local jazz band Stay Tuned plays “accessible jazz” to raise money for refugees at a show at the Sheba's Cove restaurant in Westboro. There's no cover or minimum, but donations to assist refugees getting settled here in Ottawa will be welcomed. Or, if you like swinging across the dance floor, the Starlighters big band will be playing a Christmas-themed dance at the Ron Kolbus Centre on December 1.

Read more: Escape the Christmas carols with jazz in December

 

Jazz vocalist Ranee Lee has flourished in Canada

More than 45 years ago, Ranee Lee chose Canada for love – and she's never regretted it.

Ranee Lee (photo by Pierre Arsenault)The award-winning Montreal jazz vocalist will make a rare appearance in Ottawa on Friday at the Shenkman Arts Centre, performing music from her latest CD with an all-Canadian band, including a string quartet. And when OttawaJazzScene.ca spoke to her on Monday, she praised the many Canadians who contributed to that CD and to her career as a whole.

Canada has given her “every opportunity”, Lee said. “It's given me my life.”

“I don't like the attitude of small fish, big fish. I don't like that attitude, because I believe we all have to swim accordingly. I feel that the opportunities to raise a family, to be diverse enough to act, to sing, to dance, to play instruments – all of which was afforded me this opportunity through having my roots planted in Canada now.”

“I've toured most of the world as a Canadian ambassador, representing our art form in many countries. Just two months ago, we were in Johannesburg, South Africa, in a jazz festival there. So my Canadian roots have reached far and wide. And due to that, and the fact that I have a long history with McGill University as a vocal teacher there, I was given the Order of Canada. And you can't live anywhere else and get that!”

“So I believe that by fortune of birth I was given the opportunity to be born in the United States, which I don't regret. I had a wonderful childhood and a great family, and still do, and I got to see the best that the world could offer me, the best career that I could ever choose for myself.”

Lee has had a highly successful career as a musician, musical theatre performer, actress, and educator. She has released 12 jazz albums for the Canadian label Justin Time, and won a Juno for best vocal jazz album in 2010. In 2006, her joint album with pianist Oliver Jones was named Album of the Year at the National Jazz Awards. She was awarded a Dora Mavor Moore award for her performance as Billie Holiday in Lady Day at Emerson’s Bar and Grill, and produced and starred in the musical Dark Divas about the lives of seven renowned female jazz vocalists. She was named to the Order of Canada in 2006.

Read more: Jazz vocalist Ranee Lee has flourished in Canada

 

The Crooked Jazz Trio doesn't travel straight-ahead

The Crooked Jazz Trio
The Record Centre
Sunday, November 20, 2016 – 4 p.m.

View photos by Brett Delmage of this performance

Outside was the first snowstorm of the season: wet, cold, slippery. Inside the Record Centre, the Crooked Jazz Trio performed music that ranged from toasty to sizzling.

Crooked Jazz Trio: Dave Schroeder (bass), Jeff Asselin (drums), Steve Boudreau (keys) ©2016 Brett DelmageThe trio is Dave Schroeder on electric bass and guitar, Steve Boudreau on keyboards, and Jeff Asselin on drums – three Ottawa jazz musicians who each spent a great deal of time away from this city, studying and touring, and who are now back and playing jazz together.

But not straight-ahead jazz. Schroeder said that their name comes from their flexible approach to the music: “We're what could be called '"jazz'" but we are in no way bound to adhere to any stylistic limitations. And I play electric bass (though I do intend to play upright with the trio as well), and that is not a 'straight' or traditional approach to jazz. And we're all shifty and 'crooked' in that sense. So we're happy to corrupt any style of music!”

They opened Sunday's show with Boudreau's “Schraday”, a tip of the hat to Schroeder. It was a warm, inviting number, with a Dr. John vibe and an easy New Orleans-style groove, with Boudreau vamping on keyboards and Schroeder playing harmonica. They built up the pace in the next number, Boudreau's “Running Gun”, a more exploratory number with a strong forward momentum.

Schroeder and Boudreau are both former members of the local jazz band The Beeched Wailers, and they included “Harvest Stroll”, a piece Boudreau had written for that group – but given a quite different interpretation. This version opened slowly and slinkily, and created a integral groove with the bass line underlying the strong organ riffs. Asselin played brushes on his snares and cymbals, but still created emphatic rhythms underneath.

Schroeder said one reason he liked playing with this trio was that many of his tunes suited the line-up. “I don't generate as much music as Steve does, but I have tunes that will suit the trio. Playing with the Beeched Wailers, a lot of my music wasn't that effective with the quintet, but I really like to write for a trio. So it's nice to get those tunes off the ground.”

Read more: The Crooked Jazz Trio doesn't travel straight-ahead

 

Safe Low Limit: creative, new low blows and bows (video)

Safe Low Limits's Steve Berndt and Keith Walton    ©2016 Brett DelmageSafe Low Limit presented its music, which extends far into the bass clef, to appreciative listeners at Le Petit Chicago on Monday nights in November. This was their first public performance as a quartet.

OttawaJazzScene.ca's Inside the Scene interviewed all four members of the group: Steve Berndt (trombone and vocals), Ken Kanwisher (cello). Dr. Keith Walton (tuba), and Michel Delage (drums). All four enthusiastically shared their motivations for participating in this project, the challenges and pleasure of making this music, and what a Doctorate  in tuba is all about (fascinating!) on-camera.

Our story also features excerpts from their performance of Steve Bendt's composition, Safe Low Limit.

– Brett Delmage

Related: Safe Low Limit digs deep for Jazz Mondays in November

Watch the Inside the Scene video story

 

“Don't waste your notes”: an interview with Dong-Won Kim

Dong-Won Kim is a master percussionist from South Korea. He has studied various forms of traditional Korean percussion music for three decades, including farmer’s drumming and dance, shamanic music, and Pansori accompaniment, and has performed throughout Europe, the U.S., Canada, Japan, and many other countries. He's also a member of cellist Yo Yo Ma's multi-national Silk Road Project.

Korean percussioniust Dong-Won Kim  ©2014 Brett DelmageHis instruments include the jang-go, an hourglass-shaped drum with hide-covered ends; the buk, a round leather barrel drum; and bronze gongs.

But he's gone beyond that tradition – creating new possibilities in jazz and creative improvised music. And that's the type of music he'll be playing on Friday with GigSpace in two duo concerts with Juno Award-winning percussionist Jesse Stewart.

Kim created a notable stir with his inventive performances in several appearances at the Guelph Jazz Festival. He has played and recorded with Stewart both in Guelph and in Ottawa.

He's been living in Ottawa since mid-September, working as Carleton University's musical artist-in-residence for the fall term. He's taught weekly lessons in Korean rhythms, but also lectured on the theory and practice of improvisation and musical performance. His lecture topics have included “Rhythm for Designing Space”, “Composition in Improvisation”, and “Movement in Sound, Sound in Movement”.

OttawaJazzScene.ca editor Alayne McGregor interviewed Kim on Monday about Friday's concert, what he's been teaching at Carleton, and how he approaches music – but also about his experiences as a political prisoner in Korea in the 1980s, and how that solidified his determination to become a musician. This is an edited version of our conversation.

OttawaJazzScene.ca: What's it been like being in Ottawa?

Dong-Won Kim: Good! I'm very much enjoying being here in Ottawa. I really enjoy it. It's been a little longer than two months so far, and one more month to go.

OttawaJazzScene.ca: How did you first start studying traditional Korean percussion music?

Read more: “Don't waste your notes”: an interview with Dong-Won Kim

 

"Canada Scene" 2017 launches with Robi Botos' jazzy nod to Oscar Peterson

Pianist Robi Botos poses with the statue of Oscar Peterson outside  Canada's National Arts Centre. Botos, a protege of Pederson's, will help celebrate his music and inspiration as part of Canada Scene in 2017 ©Brett Delmage, 2016

Canada's National Arts Centre (NAC) announced its 2017 Canada Scene festival today, including a major tribute to Oscar Peterson with pianists Robi Botos, Oliver Jones, Jon Kimura Parker, Bill Charlap, Gerald Clayton, Benny Green, and Justin Kauflin.

The Canada Scene festival will run from June 15 to July 30, 2017 – the middle of Canada's 150th birthday year. It will feature artists from across Canada in music , dance, theatre, culinary and visual art, performing at the newly-renovated NAC. It will also be the culmination of seven previous “Scene” festivals at the NAC which celebrated different regions of Canada between 2003 and 2015.

Robi Botos opened the launch event playing a swinging and virtuosic rendition of Peterson's “Blues for Smedley”. He will be one of seven “renowned pianists and close friends of Peterson” included in the July 10 “Oscar, with Love” tribute in Southam Hall – playing on Peterson's own beloved Bösendorfer Imperial grand piano, which will travel to Ottawa for this occasion. The evening will be hosted by Peterson's daughter, Céline.

Fellow Canadians Oliver Jones and Jon Kimura Parker will also perform, along with Americans Bill Charlap, Gerald Clayton, Benny Green, and Justin Kauflin. They will be accompanied by renowned Canadian bassist Dave Young, who played with Peterson for 35 years, in appearances in the Oscar Peterson Trio all over the world up until Peterson’s death in 2007.

Young released an Aspects Of Oscar tribute album with Botos in 2011. In 2012, Young, Botos, and drummer Terry Clarke appeared at a star-studded tribute to Peterson in Ottawa, organized by the German Embassy to celebrate the historical connections between Germany and the Canadian jazz icon.

Botos, Jones, Charlap, Clayton, Green, Kauflin, and Young are also included on the recently-released Oscar with Love CD organized by Peterson's widow, Kelly Peterson, of performances on Peterson's Bösendorfer of never-before-heard Peterson compositions.

Read more and watch our video story about the launch

 

The audience kept clapping for Miguel de Armas and Claudia Salguero

Miguel de Armas and Friends, with Claudia Salguero, Sylvio Módolo, and Juan-Luis Vasquez
The Ironstone Grill, The Marshes Golf Club
Friday, November 18, 2016 – 7:30 p.m.

View photos by Brett Delmage of this performance

Two well-known local Latin jazz musicians – pianist Miguel de Armas and vocalist Claudia Salguero – performed together for the first time Friday, to an enthusiastic crowd.

Miguel de Armas and Claudia Salguero created dramatic music that got the audience clapping in their first show together ©2016 Brett Delmage

In two one-hour sets, they played songs from Brazil, Mexico, and Cuba – and some of their favourite American jazz standards as well. Together with Sylvio Módolo on bass and Juan-Luis Vasquez on percussion, they created a warm, lively vibe which kept almost the entire audience intent and smiling – and singing and clapping along at times as well.

De Armas plays many clubs around Ottawa, as well as concerts here and in other cities with his Latin Jazz Quartet. Since January, he has hosted a regular Friday night series at the The Marshes in Kanata, inviting different Ottawa musicians to perform with him – a wide cross-section of some of the best-known names in Ottawa jazz scene.

Salguero, on the other hand, is best known for the large-scale, sold-out shows she's mounted annually at the National Arts Centre, which feature her singing boleros and other Latin American love songs, backed by a band of local Latin musicians in arrangements created by Módolo.

Friday's show opened with the Antonio Carlos Jobim classic, “The Waters of March”, and moved smoothly through a series of songs in Spanish and English, mostly romantic ballads. But there were upbeat numbers, too: “Autumn Leaves” turned into an extended jam, with Salguero's voice swaying over the tight rhythms from piano, bass, and congas, while “Rayito de Luna” was a bright, sunny cha-cha-cha.

Read more: The audience kept clapping for Miguel de Armas and Claudia Salguero

 

Touring Dutch duo impressed by Canadians' response to jazz

Dutch jazz vocalist Ineke Vandoorn and guitarist Marc van Vugt have developed many ties to Canadians in the last 25 years – starting with composer Kenny Wheeler and more recently with guitarist Michael Occhipinti. The duo is touring across Canada this month, including an Ottawa gig on Friday at the Mercury Lounge.

TDutch jazz duo of vocalist/pianist Ineke Vandoorn and guitarist Marc van Vugt [photo by Jiri Büller]hey'll perform their own thoughtful and multi-layered original music – playing with different rhythm sections in each city – and also promote a book Vandoorn has written on the art of jazz singing from a very practical perspective.

Their first experiences of Canada were when they studied at the Banff Centre for Arts and Creativity in 1991 and 1993 – “really a very important thing for us”, Vandoorn said. At Banff, they met renowned Canadian trumpeter and composer Kenny Wheeler, “and played his music and we started to be friends”.

“It was an honour to work with him. He loved Marc's music and his contributions were spot on. He was a very shy, but also witty man and we laughed a lot.”

Then when they were about to make their first CD, “we asked Kenny if he was interested in being our featured guest at the CD – and he wanted to do that, so that's how we got to know him better. So we played with him several times in the Netherlands.”

“We always kept in contact and Marc and Kenny discussed sometimes each others compositions and arrangements. Very special. He was also very generous and when he had heard us play he called us afterwards to tell us how much he loved it.”

In Banff, Vandoorn also met vocalist Norma Winstone, and “we became friends. At some point I was invited at a festival to do a special project, and I decided to invite her for a vocal duet. We did it twice at different festivals.”

In 2012, Vandoorn and van Vugt released a single, “Holysloot”, an intimate jazz song inspired by a Dutch lowlands winter scene. She agreed it was influenced by Wheeler and Winstone. “The way Kenny is composing and the way that he is treating harmonies I think that is something that both Marc and I like a lot. And I'm sure a fan of Norma's singing. And yes, you could hear that there.”

The duo has toured Canada five times, playing festivals including the Ottawa Jazz Festival in 1998. This will be their first time playing Canadian clubs, however, Vandoorn said. They've spent the last week in southern Ontario, teaching students at masterclasses and clinics (including with Christine Duncan's Element Choir) and playing concerts – and have been very happy with the response.

“I must say that all the Canadian audiences are very receptive for our music. First of all, I think that jazz is quite important in Canada. The people are much more used to listening to jazz, I would say, than maybe in the Netherlands. So we have really nice audiences, very committed. And they really love our music so so far it has been great.”

Read more: Touring Dutch duo impressed by Canadians' response to jazz

 

Amy Brandon creates altered states of guitar

Amy Brandon CD Release of Scavenger, with Roddy Ellias
Metro Music, Ottawa
Saturday, November 12, 2016 – 4 p.m.

Guitarist Amy Brandon released her debut CD, Scavenger, in an hour-long afternoon concert in Ottawa Saturday. The CD mixes jazz, classical, and new music, and features her playing solo and in duos, with guitarists Roddy Ellias and Mike Rud and vocalist Laura Swankey – but also with herself.

Amy Brandon released her debut CD, Scavenger, in Ottawa at Metro Music on November 12. She released it in Toronto the following day. ©Brett Delmage, 2016

Many of the pieces on Scavenger are electro-acoustic, with Brandon playing guitar along with recordings of herself which she had substantially altered with effects. As she explained to the audience at the show, in electro-acoustic music the musician can either manipulate sound live (live-processed) or play against previously-recorded and processed music (fixed media).

She picked fixed media, and for four of the pieces she performed at the show, played sound files on her laptop along with her acoustic guitar. Her warm and resonant guitar-work contrasted with the recorded soundscapes, which were much more varied and unexpected. Sometimes they were dissonant and abrasive and metallic, other times attenuated and whispering and reminding one of birds calling or winds rushing.

The result was immersive and multi-layered, pulsating and almost hypnotic in places. Consistently you could hear how Brandon was responding in the moment to the soundscapes. Throughout the pieces, he audience was still and intent, listening carefully and applauding warmly.

Read more: Amy Brandon creates altered states of guitar

 

Safe Low Limit digs deep for Jazz Mondays in November

Safe Low Limit
Le Petit Chicago
All Jazz Mondays in November, 2016

View photos by Brett Delmage of this performance

Safe Low Limit opened its November residency at Le Petit Chicago Monday night – with music extending far into the bass clef.

Safe Low Limit (l-r): Steve Berndt, Michel Delage, Keith Hartshorn-Walton. Ken Kanwisher offer something different on Monday nights at LPC in November.   ©Brett Delmage, 2016

Trombone: Steve Berndt. Cello: Ken Kanwisher. Tuba: Keith Walton. Drums: Michel Delage. Your standard jazz quartet instrumentation it wasn't.

It was the very first show for the group as a quartet. Kanwisher first started working on these arrangements for a previous group, Berndt said – and then he and Berndt started playing together last spring. They debuted some of this music as a duo at the 24-hour Jazz Ramble in June, and then decided to expand to a quartet.

“Keith Walton saw us and thought it was a cool idea so we decided to ask him if he'd like to join in.  That's when we made the decision to go all bass clef instruments, [to] ask Michel Delage if he'd like to get involved and not have a piano or guitar.

They picked the name “Safe Low Limit” because it is “an arranging term that describes a formula that identifies the low point at which harmony ceases to be clear based on the fundamental of a given series of notes played at the same time. It seemed to be the right name for this band!”

Read more: Safe Low Limit digs deep for Jazz Mondays in November

 

Page 4 of 15

<< Start < Prev 1 2 3 4 5 6 7 8 9 10 Next > End >>