The dancers came out for Standing Room Only's first tea dance in Ottawa on Sunday afternoon. In fact, there were so many in the audience that the Pantry, which was selling pots of tea and sweets to thirsty dancers, temporarily ran out of china tea cups and had to hurriedly find more.
The big band is in its 10th year of running regular tea dances every winter at the Old Almonte Town Hall, but this was its first foray into Ottawa. Several dancers told OttawaJazzScene.ca that they liked the slightly larger dance floor in Scotton Hall at the Glebe Community Centre, and its good acoustics. Many dancers dressed up for the event, with sparkling dresses and shoes on the women and men in dark suits and blindingly white shirtfronts.
With only 13 members plus veteran singer Pauline Proulx, the band was slightly down from its regular strength. They played their standard big band repertoire, with numbers made famous by Frank Sinatra and Duke Ellington plus some Latin numbers and the occasional foray into the 50s.
At the end of this inaugural event, both dancers and musicians said they hoped that SRO would hold another dance at the Glebe Community Centre. The band will hold its next big band dance in Almonte this Sunday, January 24, from 1 to 4 p.m.
– Alayne McGregor
The Ken Harper Trio with guest Rob Graves
Sunday, January 17, 2016 – 9 p.m.
Ottawa jazz drummer Ken Harper is leading his trio in a month of Sundays at Irene's this month – with different guests and a different sound each week.
OttawaJazzScene.ca caught up with Harper on January 17, his third of five evenings, when he played with percussionist Rob Graves and the other members of his trio: Alex Moxon on guitar and effects, and Mark Fraser on double bass.
It was an evening of surprising textures and varied rhythms, as Graves and Harper inspired each other into extra invention and intensity. They opened with an impromptu and extended improvised piece, with drums and congas in deep conversation while Fraser added melodic riffs on bass. It grabbed the audience's attention with its almost hypnotic feel.
Graves played (in Moxon's words) “everything” – two congas, a small double drum, another hand drum, a cow-bell, a triangle, a string of bells, a clave, a small cymbal, various shakers, and possibly a few more instruments which we missed. He constantly switched among instruments, responding to the other musicians.
Most of the show featured jazz classics: Dizzy Gillespie's “Night in Tunisia”, Duke Ellington's “Caravan”, and a soft, sensual version of Horace Silver's “Cape Verdean Blues”, among them. The group added in several blues, and ended with a Stevie Wonder number. A noticeable Afro-Cuban feel informed much of the music, as well as a strong collaborative feel. “Sunny”, for example, featured bright notes on triangle from Graves accenting a grooving melody on guitar from Moxon, followed by an inflected bass solo, and then a strong drums/percussion duet aka duel.
Particularly impressive was a slower number, Bill Frisell's “Strange Meeting”, with thoughtful solos from each band member.
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