Sienna Dahlen and François Jalbert
Court, mais jazz
La Nouvelle Scène
Saturday, October 8, 2016 – 7:30 p.m.
Sienna Dahlen's music floats comfortably in the intersection of jazz, singer-songwriter, chanson, art song, and cabaret. Her delivery and musicianship clearly show her jazz roots, but her songs are more confessional and intimate – and less swinging – than straight jazz.
She's just released a new CD, Ice Age Paradise, a highly personal collection of songs chronicling a difficult time in her life. It was recorded with a nine-person ensemble including horns and strings, and, at shows this fall in Toronto and Montreal, she's presenting the music with the full ensemble.
But for Ottawa, she performed a stripped-down version: just her on vocals and keyboards, and François Jalbert on guitar. Even with simpler arrangements, the songs still ended up sounding rich and expressive, with Dahlen's strong and multi-octave voice well supported and underlined by Jalbert's inventive guitar lines.
Although the material was personal, the presentation was very Canadian: Dahlen switched effortlessly and frequently between English and French, within songs and during her introductions. This was partly because of the location: La Nouvelle Scène is Ottawa's francophone theatre space. But there was a easy naturalness to the interchange; it felt like simply another mode of expression rather than a political point – not surprising for a vocalist who divides her time between Montreal and Toronto.
Only two of the songs were from the new album. Three were from Dahlen's previous album, Verglas, and she also included a song by the late Montreal singer Lhasa de Sela.
Five years later, fans still remember Thursday jazz nights at Café Paradiso – and are paying to hear that music again this weekend.
Three jazz listeners are sponsoring a concert on Saturday at GigSpace, where guitarist Tim Bedner and vocalist/pianist/flute player Elise Letourneau will recreate the music they used to play at that former Ottawa jazz venue.
“We were totally taken aback that someone missed what we were doing on Thursday nights,” Bedner said. “That was good for the heart and soul - that there were folks out there who would miss what we would do, with piano, guitar, voice, and flute. Also the repertoire that we had – favourites for folks that would come out.”
Café Paradiso closed in mid-2012, after a 14-year run, and more than 10 years as a major downtown jazz venue. It was a high-end restaurant which showcased jazz musicians visiting from Toronto, Montreal, and New York City (including Christine Jensen, Kirk MacDonald, David Braid, Sheila Jordan, and Dave Liebman), as well as well-known Ottawa jazz musicians such as Roddy Ellias, John Geggie, Mark Ferguson, and Diane White.
And every week for 4½ years, Bedner and Letourneau would play jazz standards, tunes by guitarist Pat Metheny, music by the Beatles and by Paul Simon, and choice Latin bossa novas.
“That is what every musician dreams of, getting something like that on a weekly, steady basis, because you show up every week trying to do better than you did the week before, adding new repertoire, tweaking songs out,” Bedner said. “Trying to come up with different things each time we play it, or go deeper in the tune, it's valuable! Having that: it's definitely like going back to school again.”
“I've been very, very lucky that I've been able to continue playing weekly at other venues since Café Paradiso. Again it's just getting that connection to music using the creative process of, 'OK here I am again, playing this tune, maybe a little bit differently, hopefully still as musical as I can be.' ”
“I respond well to deadlines, and having a reason to learn a tune or two or three every week was really valuable – having that Thursday night target,” Letourneau said. “It was really good for repertoire building. I thought I had a pretty good repertoire before, but just having that reason to keep adding to it, and having a place to try it out and gauge – 'OK, people seem to enjoy that, or people were kind of indifferent.' Sometimes they were indifferent, sometimes they were just focused on their meals.”
The Canto Trio
Ascension Jazz Series
Church of the Ascension, Ottawa
Sunday, September 25, 2016 – 7 p.m.
The Canto Trio – Peter Woods, Devon Woods, and Hélène Knoerr – consists of two saxophonists and one double bassist/vocalist. It's not your typical jazz group, or trio sound.
But this chordless ensemble did a more-than-credible job of performing a well-chosen selection of jazz classics at their concert Sunday, to an appreciative audience.
The concert was also the first in a new jazz series at this church in Ottawa East, and showed off the church's excellent acoustics and friendly ambiance.
Peter Woods, Devon Woods (no relation), and Hélène Knoerr first met and played together at an Ottawa jam session a few months ago. They started chatting, and it turned out that Devon Woods had a large folder of arrangements for two saxophones. In July, the three performed a noon-hour concert at MacKay United Church, where Peter Woods is minister; this was their second full show.
Both Peter Woods and Devon Woods had a tenor sax and a soprano sax, and they played them in all possible combinations (two tenors, two sopranos, soprano/tenor, and tenor/soprano). Sometimes they'd play in unison, and other times they'd play contrasting melodies, entwining and circling around each others' lines – but always they were listening and responding to each other. Devon Woods also brought a vintage metal clarinet dating from the 1930s, and added its richer sound to “Mood Indigo” and “East of the Sun” to good effect.
Two Ottawa musicians unveiled a sculpture that sings in an Ottawa city park on Saturday.
Jesse Stewart and Matt Edwards created The Listening Tree in St. Luke's Park, on the north-east corner of Gladstone and Elgin. It's a 5-metre-high structure of stainless steel tubes which acts as a transition and gateway to the park. The individual tubes echo the stainless steel traffic signal poles on the adjacent sidewalk, while their combined form resembles the canopy of large trees in the park.
Most importantly, this sculpture creates sound – but only when the wind is in the correct direction. Several of the tubes have carefully tuned slots in them which will channel the wind when it comes from the south or west – but most strongly from the southwest, when gusts blow up both Elgin and Gladstone. The result: a series of shifting tones.
“We thought it would be nice to have something that would draw people in a little closer so they could have a more intimate experience with [the park], and we decided to do that through sound,” Stewart said.
But not all the time. “It's not singing today, unfortunately. The wind is not blowing in the correct direction for that to happen, but, actually, we think one of the special things that can happen with this piece is that it's not always singing. You have to be here at a specific time. And so the experience is tied to that time,” Edwards told the audience of local residents, jazz lovers, and city staff and politicians.
“It's not supposed to be always active. It's just supposed to be once in a while, so the neighbours don't complain, but other neighbours get to enjoy it,” said local city councillor Catherine McKenney. When McKenney asked who had heard it during the ceremonies, several members of the audience put their hands up to indicate they had heard the sculpture singing since it had been installed a month before.
When Edwards was recently adding a protective layer of wax to the sculpture, he related, a man came up to him and said, “This amazing thing happened the other day. I came here and I heard it singing! It was a bit of a windy day, and I didn't realize that was going to happen. I've never heard anything like it.”
Stewart said they hoped the sculpture might allow people “to experience a sense of discovery – that they might be here and all of the sudden it will start singing.”
Saturday at 1 p.m. was the official opening. Stewart and Edwards played an short concert to start the ceremony, producing intimate, improvised music on two handpans, a drone-producing Shruti box, an accordion, a bamboo flute, and a frame drum.
Steinway Piano Gallery, Ottawa
Thursday, September 22, 2016 – 7 p.m.
For his current solo piano tour across Canada, John Stetch has reached forward and backwards, to his own roots in music and to a rethinking of the well-known classical repertoire. And the result, at his first tour stop in Ottawa, was a dynamic and engrossing hour of music.
Although he's a jazz pianist, the pieces Stetch played Thursday weren't drawn from the standard repertoire. That's a deliberate decision, as he told the audience. He's been to jam sessions in New York City, where he currently lives, and heard other pianists play standards – all too similarly to the way he would.
So he's creating his own sound by playing music other jazz pianists don't: his reinterpretations of classical concertos and sonatas; take-offs on TV theme songs; and music inspired by his Ukrainian-Canadian heritage.
Stetch is originally from Edmonton, and one of his earlier albums was called Ukrainianism . He played several pieces from that album, based on folk melodies and on Ukrainian history. He also drew from his 2013 Juno-nominated Off the Cuffs album, in which he took well-known classical compositions by Mozart, Shostakovich, Chopin, and Bach, stripped them back to their roots and reinvigorated them.
Samba, bossa nova, Antonio Carlos Jobim: that's Brazilian music to most people. But there's lots of interesting and appealing music from that country rarely heard here.
At GigSpace on Saturday, Rachel Beausoleil will introduce a much broader picture of Brazilian music to Ottawa.
The Ottawa vocalist has been studying “Música Popular Brasileira” (MPB) for the last five years. She's now writing her PhD thesis about this music, which includes most of the genres that Canadians think of as Brazilian jazz. During three extended trips to Brazil, she's taken classes from master vocalists, attended conferences, and performed with musicians there.
At Saturday's concert, she and her group, Sol da Capital, will present songs by many composers covering the full range of these styles – from ballads to bossa nova, from music written a century ago to modern songs. What these songs have in common is a dedication to quality; rhythmic, harmonic, lyric, and melodic richness is insisted on in MPB, Beausoleil says.
Sol da Capital started when Beausoleil met Brazilian guitarist Evandro Gracelli, who spent a very busy two years in Ottawa, performing and working with many local musicians. During his stay in 2010-11, they formed the group to perform Brazilian music and their own compositions. They've kept up the connection, even when separated by 8000 km, and Beausoleil has continued performing in Ottawa with local musicians familiar with Brazilian music.
Marianne Trudel Quartet with Ingrid Jensen
Guelph Jazz Festival
River Run Centre, Co-operators Hall
Thursday, September 15, 2016 – 7:30 p.m.
Marianne Trudel and Ingrid Jensen
Guelph Jazz Festival Colloquium
University of Guelph
Friday, September 16, 2016 – 9 a.m.
Marianne Trudel wasn't going to let anything stop her getting to the Guelph Jazz Festival this year.
The Montreal jazz pianist, composer, and improviser suffered a serious concussion this summer, and hadn't played the piano for two months – only starting again 12 days before the festival. Her doctor had recommended she not perform.
But as a long-time performer at Guelph, she did not want to miss the last festival to be curated by artistic director Ajay Heble. “This is my favourite festival in the country,” she told the audience at her Thursday night concert, “and Ajay is a very, very special person, close to my heart. I think he did a merveilleux with this festival, and it's something special to be here for his last show.”
For this concert, she was accompanied by three stalwarts of the Montreal jazz scene: Jim Doxas on drums, Rémi-Jean Leblanc on double bass, and Jonathan Stewart on tenor and soprano sax – plus trumpeter Ingrid Jensen (formerly of BC, now of Queens, NY). They performed six pieces from Trudel's most recent CD, La Vie Commence Ici , all originals of considerable sweep and richness.
The theme of the album is the ability to be fully present in the moment – an ability which Trudel contends many of us have lost. For many years, she said, she was the only musician in Montreal without an iPhone, and getting one, after considerable peer pressure, was her “worst mistake ever”.
Trudel was very much present at this concert. Given the vibrancy of her performance, you would not have known she had been ill.
Listening to clarinetist François Houle, you hear a man endlessly fascinated by the myriad possibilities in music. His enthusiasm for his many different projects – even involving a mysterious hum – bubbles over as he talks.
When OttawaJazzScene.ca interviewed him over the phone this week, he got so involved in our conversation that when he was stung by a wasp while walking he ignored the pain and kept on talking.
Houle is an wide-ranging innovator on the clarinet, taking it to places ranging from free improvisation to classical to new music to world music to melodic jazz, and even as a first-call musician for indie rock artists like Matthew Good. He has been listed several times by Downbeat magazine's Critics' Poll and Reader’s Poll as a “Talent Deserving Wider Recognition” and “Rising Star”. His more than 20 recordings have earned multiple Juno Award and West Coast Music Award nominations. His performances with French pianist Benoit Delbecq were a highlight of the 2012 Ottawa Jazz Festival.
This week, he is on tour in Ontario and Quebec. He performs on Friday and Saturday in two featured concerts at the Guelph Jazz Festival. He'll also play in Ottawa, Toronto, Hamilton, and Montreal. He's playing a solo concert in Guelph;his other shows are in a trio with two fellow Vancouver musicians – guitarist Gordon Grdina and drummer Kenton Loewen.
They're long-time friends: “We've been working together as a group and in various projects for the last ten years. These guys are my brothers on the scene here. They're my go-to collaborators.”
Grdina is a Juno-winning composer and musician, who mixes mainstream jazz, free-form improvisation and classical Arabic music, as well as rock and punk. Loewen plays improvised and rock music, including with an anarchist punk band, an art pop group Mother Mother, and Tanya Tagaq.
For François Houle, it's always been about the clarinet, starting from when he was 7 years old.
Unlike most other clarinetists, he doesn't double on saxophone, or even play the bass clarinet. He has regular B-flat, A, and E-flat clarinets, and that's it.
He was first introduced to the instrument through his father's big band LPs. Records by Benny Goodman, Artie Shaw, and Woody Herman were often heard in their house – and they all played clarinet.
"And so I just got that sound in my head. One day when I was 7 years old, a cousin showed up and he had started the band program at school. He had his clarinet, and he said, 'Oh I really hate it! I don't want to play it,' and he left his clarinet at my place. And so I started tooting on it, just out of curiosity, and I just basically fell in love with the instrument. And having that sound of that music from the 30s and 40s and 50s in my head, I just started taking lessons and never looked back.”
“That was it. I was hooked from the get-go.”
When Houle was studying for his Masters in classical clarinet at Yale University, he got to meet Benny Goodman in person. “He came to do a fundraiser with his big band and I got to hang out with him for a few days – not just hearing him live but actually getting to hang out with him. That was pretty special!”
“He was already an old man, a bit grouchy, but very generous with his time and talking to us, the students about his career and his life, and his approach to the clarinet and all that. That was very informative and very inspiring.”
Betty Ann Bryanton Presents Sideways Bend Reprise
Les Brasseurs du Temps, Gatineau
Saturday, September 10, 2016 – 7:30 p.m.
Like many jazz fans, Ottawa vocalist Betty Ann Bryanton prefers the night to the morning – and figures she should be able to sleep in on a Saturday! But the City of Ottawa allows construction to start at 7 a.m. weekdays and Saturdays. Over the last 18 months, with three different large buildings going up in her neighbourhood, she's heard far too many loud beeps and bangs at times she'd rather be sleeping.
At her Sideways Bend show on Saturday, she took revenge – in song.
“The Noisy Blues” was a fast-paced blues which she wrote one morning when she was woken up, again. She and her band played it with an edge, and added beeping, barking, bird calls, and other raucous noises to demonstrate exactly how annoying the noise really was. With lots of energy and even some scatting, it was a performance that grabbed the audience and received strong applause.
But it was only one of the highlights in a well-tuned performance of jazz vocal pieces which Bryanton organized. After a sold-out premiere at GigSpace last May, this was the second time she had presented the material. This reprise show also sold out, with the lower room of Les Brasseurs du Temps in downtown Gatineau completely packed.
In two sets, each more than an hour long, Bryanton performed songs from across the 20th century, ranging from ballads to blues to Latin to upbeat jazz numbers. She had spent a year preparing the original show, and this clearly showed in its professionalism and smoothness. And with Pierre Monfils on guitar, Howard Tweddle on electric and double bass, Lu Frattaroli on drums, David R. Miller on keyboards, and Dmitry Egunov on soprano and tenor sax, she had a good local band which was clearly comfortable with the music.
Roddy Ellias and Megan Jerome with guest Ed Lister at Irene's Pub
Sunday, September 4, 2016 – 9:30 p.m.
OttawaJazzScene.ca chose this show as our jazz pick of the week – and we're glad we did!
Guitarist Roddy Ellias and vocalist Megan Jerome created a zone of beauty and intimacy Sunday night at Irene's, at the first of four weekly shows they're performing there this month.
Together with guest Ed Lister on trumpet and flugelhorn, they combined originals by both of them with jazz standards in two flowing sets. It was a quieter show than most Sunday sessions at Irene's, but their audience was intent and almost completely silent, and applauded generously throughout. (The same could not be said for the five-some playing pool at the back of the room, but they eventually did quiet down and left by the start of the second set.)
Ellias and Jerome have performed together in larger ensembles, but this is the first time they've performed as a duo. Jerome told the audience “We're just trying things out, doing things other than what we normally do”. Ellias has often played standards, particularly in duos with other guitarists, but he hadn't performed Jerome's songs before; Jerome primarily plays her own material, and doesn't often play standards or Ellias' compositions. Lister's own bands, like the Chocolate Hot Pockets and ERU-ERA, are much more hard-hitting and loud, although he also performs in quieter ensembles.
- Musical friends return to 2016 Guelph Jazz Festival to celebrate founder's last year
- It's a new jazz season - and September sings!
- Conjunction: three jazz and three classical musicians make music that sings (review)
- A powerful jazz fusion outing for Modasaurus (review)
- The swinging style of Denielle Bassels
- Trumpet Bootcamp gives students a different perspective
- Kiran Ahluwalia filled the park with haunting melodies and circling rhythms
- Carleton U Jazz Camp faculty quintet enjoys the upbeat (review)
- The 2016 Merrickville's Jazz Fest gets funkier and celebrates John Lennon
- 'I got rhythm': Rob Frayne takes the helm at the JazzWorks jazz camp
- 2016 Carleton U Jazz Camp goes all-Ottawa, with afternoon concerts
- Gene DiNovi infuses Duke Ellington's music with his own life
- The Ottawa and Gatineau jazz scenes strut their stuff in August
- A flowing conversation among Ernst Reijseger, Jesse Stewart, and David Mott (review)
- A standing ovation for So Long Seven's mélange of rhythms and influences
- A show of thanks: Mike Rud honours jazz guitarist George Benson this weekend
- Chamberfest: A jarring juxtaposition of jazz and classical
- The Doug Martin Quartet gives a vibrant release to their 'Spirit of Survival' CD
- Jesse Stewart, David Mott & Ernst Reijseger share a passion for invention & improvisation
- Ernst Reijseger at Chamberfest: reinventing how audiences see and hear the cello
- Will Halifax Jazz Festival's Heather Gibson put jazz on NAC stages as the new NAC Presents producer?
- Oliver Jones takes on new challenges in his farewell tour
- Doug Martin revisits Cuba in music in his new CD, Spirit of Survival
- Take a Jazz Stay-cation: Ottawa jazz highlights in July
- Classical and jazz dance together at the 2016 Ottawa Chamberfest
- Canadian saxophonist P.J. Perry named to the Order of Canada
- A hard-driving quartet finds new corners of modern jazz
- Steve Bilodeau reaches the semi-finals in Montreux Jazz Festival International Guitar Competition
- Kirk MacDonald & Pat LaBarbera are back in town, celebrating musical friendships
- Brian Browne and Peter Woods fill the Record Centre with standards
- Ottawa's jazz fans discover new groups and new sounds in the 24 hours of the Jazz Ramble
- Two CDs by Nick Fraser create beautiful moments through collaborative improvisation
- The Amos Hoffman Quartet adds classical and Mid-East motifs to mainstream jazz
- A rural county excited by jazz: what Prince Edward County Jazz Festival does differently
- Finding new ways to develop young jazz talent at the Prince Edward County Jazzfest
- There's lots more live jazz than just the jazzfest in June
- The Bank Street Bonbons show the power of brass at Irene's
- The timeless beauty of jazz raises thousands for refugees
- This Sunday: discover jazz vocalists and support refugees
- The 2016 Prince Edward County Jazz Festival is showcasing the Canadian jazz it loves
- William O'Neill: a guitarist talks about his love of big band music
- Erin Saoirse Adair adds power to her anger with a jazz backing
- Ottawa jazz fans show their appreciation for Oliver Jones' 76-year career (review)
- The Rachel Therrien Trio rethinks and reenergizes jazz classics
- Andrew Ferderber's A+ graduation performance, and how he got there
- Sweet swing fills the church as the Hard Bop Association pays tribute to Duke Ellington
- Fawn Fritzen matches originals with vocal jazz classics in a finely-tuned show
- Ed Lister's hard-swinging tribute Wednesday to Duke Ellington's classic music
- Fawn Fritzen takes a fresh approach to jazz standards
- Jazz swings through May
- An expanded quartet rethinks the music (video)
- Miles Ahead, but not in reality (movie review)
- Michael Kaeshammer and his audience have fun with energetic and varied music
- Michael Kaeshammer plays the music he loves and that's in his fingers
- Song of Lahore shows jazz triumphing over intolerance (movie review)
- Sitar, violin, guitar & cajon entice the audience at high-energy Sultans of String show
- The Sultans of String create an improvised collaboration with Indian sitar
- Polished performances from the Carleton University student Jazz Ensemble
- Garry Elliott and Steve Boudreau add new voices and viewpoints to their music
- Students fuse genres to create new music in year-end Carleton University concert
- Raise a glass (or several!) to jazz in Ottawa in April
- 2016 Jazz Juno Awards winners: Allison Au, Robi Botos, and Emilie-Claire Barlow
- Born To Be Blue stays true to Chet Baker's music, but romanticizes his life (movie review)
- Vocalese with Steve Berndt and Christine Fagan: "A jazz adventure" (video)
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- Only applause broke the silence as the Sonoluminescence Trio played the Record Centre
- 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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