Phil Dwyer Trio
Les Brasseurs du Temps
Sunday, March 2, 2014 – 8 p.m.
Based in Vancouver Island, Juno-winning musician and composer Phil Dwyer doesn't often perform in Ottawa-Gatineau. Local jazz fans were lucky that he had a series of dates and recording sessions in Toronto last week, and that musicians Sylvie Duchesneau and J.P. Moisan figured out how to extend that trip by one more day to bring him to Les Brasseurs du Temps (BDT) in Gatineau.
It was a chance for Dwyer to play with his son Ben on double bass, and with Jim Doxas on drums. And what they gave an appreciative audience was straight down the mainstream, a mixture of standards and a Dwyer original, but all delivered with verve and clarity.
Unlike his quieter show with Don Thompson last summer at Chamberfest, this time Dwyer chose a generally energetic set-list, featuring pieces by Thelonious Monk and John Coltrane. His tenor sax strongly rang out through the large upstairs concert area at BDT, sometimes commanding, other times coaxing, and always creating enjoyable music.
The show opened with Monk's “We See”, which showed off Dwyer's pure tone on sax. Its swinging vibe put both the audience and the musicians at ease. The intensity increased with “Village Green” (best known in the recording by drummer Elvin Jones), and demonstrated what would be a consistent pattern throughout the show: the strong communication among the trio, each underlining the other's performance. The piece included a rumbling bass/drums duet, and pungent, vibrating lines on sax, and inspired strong applause.
The Jérôme Beaulieu Trio
National Arts Centre Fourth Stage
Saturday, March 1, 2014 – 7:30 p.m.
Sitting front and centre on the stage Saturday night was a manual typewriter – a portable Remington – placed on a small box. Not your typical accessory for a jazz piano trio, you might think.
But as a percussion instrument, and a way to intrigue the audience, it worked remarkably well.
This trio of 20-something Montrealers – Jérôme Beaulieu on piano, Philippe Leduc on bass, William Côté on drums – have made a point of including unexpected sounds, loops, and effects to enhance their music. So there were extensive collections of effect pedals next to both the piano and the double bass, and Côté could play sound clips from his drum pad, as well as deploying his own repertoire of bells and other percussion instruments.
But, at the same time, those effects never distracted from the essential flow and melody of the music.
Café Nostalgica, the University of Ottawa restaurant whose Wednesday jazz nights had been an important part of the scene for many years, will again serve jazz with its beer.
Ajà Besler, the Advocacy and Communications Coordinator for the Graduate Student's Association (GSAED), which owns the café, told OttawaJazzScene.ca over email that “Jazz Nights will be making a come-back. We'll post news on our website and Facebook page when it's official.”
The café regained its liquor licence on Tuesday. The loss of that licence last fall had led to all evening programming being canceled, including the jazz nights.
For many years, the Wednesday jazz nights at Café Nostalgica at the University of Ottawa have been an important nurturing place for local jazz artists, giving them a place to experiment with new material and lineups in front of an appreciative audience, if not great pay. The Graduate Students' Association decided to tear down and completely rebuild the old building containing the café to make it larger and more accessible; it closed at the end of March, 2012.
The National Arts Centre Orchestra will host Canadian crooner Matt Dusk for Christmas.
On December 19, Dusk and the orchestra will present a concert of well-known holiday tunes, including "Silent Night", "Little Drummer Boy", and "Winter Wonderland". They will be joined by Juno-award-winning jazz vocalist Molly Johnson, who was last at NAC in 2013, and by the Ottawa Choral Society.
Dusk is up for a Juno this year for his album, My Funny Valentine – The Chet Baker Songbook, which features an eighty-piece orchestra and special guests Arturo Sandoval, Guido Basso, and Emilie-Claire Barlow. He has released four albums, one of which, Two Shots, went gold in Canada. Dusk is an alumnus of the St. Michael’s Choir School and studied under jazz piano legend Oscar Peterson at York University.
Johnson has released five jazz albums; she was nominated for four Junos for best Vocal Jazz Album, and won for Lucky in 2009, She also received the 2009 National Jazz Award for Best Female Vocalist.
She is an Officer of the Order of Canada, recognized both for her music and her charitable work raising funds for people living with HIV/AIDS. She also hosts the weekend early morning program on CBC Radio 2.
The concert is part of the orchestra's 2014-15 season, which it announced today. This season, the orchestra performed three nights with Canadian jazz vocalist Denzal Sinclaire in a tribute to Nat King Cole. Local jazz singer Kellylee Evans also presented a Christmas show.
The NAC will also continue its Casual Fridays program next season, with three classical concerts being preceded by hour-long sets by local jazz artists. The jazz groups include:
In March 2014, jazz listeners will have almost a superfluity of great jazz to hear, including two local CD releases:
Starting with the first weekend (February 28 to March 2):
- soprano saxophonist Jane Bunnett returns to Ottawa on Friday to play with guitarist Roddy Ellias, bassist John Geggie, and percussionist Jesse Stewart (think of Jane more in her modern jazz rather than her Cuban jazz persona),
we move on to Saturday with
- the Jérôme Beaulieu Trio making its first appearance outside Quebec at the NAC (read our interview with Beaulieu to learn more about the trio's innovative modern jazz),
- American guitarist Joel Harrison with a high-powered NYC quintet, making a rare Ottawa appearance at GigSpace,
- the first J'acousmatic experimental music performance at the University of Ottawa.
On Sunday, there's
- renowned Canadian multi-instrumentalist Phil Dwyer giving an afternoon workshop and evening concert at Les Brasseurs du Temps in Gatineau.
- the Capital Youth Jazz Orchestra's second show of the season with a diverse and upbeat program of big band music, some arranged by local jazz musicians
- the Keys 2 Drums Trio with Steve Boudreau, Jeff Asselin, and Michel Delage getting into percussive instruments at IMOO, and
- a new group, 2React, with Marc Decho, Alex Moxon, and Mike Essoudry, playing improvised hip-hop at Stella Luna.
Starting March 4, The Beeched Wailers, led by trumpeter Nick Dyson, start a new weekly jazz jam at the Rochester Pub.
On the second weekend (March 6-8):
- Claudia Salguero brings her new show, IDILIO, to the NAC with some of the best local Latin jazz performers
- The Capital Vox Jazz Choir presents jazz interpretations of 60s music in its Sounds of the 60s concerts at Arts Court
- The Boilermaker Jazz Band comes up from Pittsburgh to play at two special swing dances
- There's experimental, improvised chamber music and poetry,with Music in the Barns at the Black Sheep Inn
The third weekend (March 13-14), renowned avant-garde jazz bassist William Parker is in town.
- He'll give a free masterclass at Carleton University
- Perform with Jesse Stewart and dancer Patricia Nicholson at the Carleton University Art Gallery, and
- Be interviewed with Nicholson at Carleton University,
- Perform with David Mott and Jesse Stewart at GigSpace
That Saturday (March 15), you again have a difficult choice, this time between two excellent Toronto groups:
- Lina Allemano Four (with Andrew Downing, Brodie West, and Nick Fraser) at GigSpace
- Myriad 3 (with Chris Donnelly, Ernesto Cervini, and Daniel Fortin) at Brookstreet Options Jazz Lounge
- Ottawa's Souljazz Orchestra getting everyone for a second debut of Inner Fire at the Babylon Nightclub
The following Saturday (March 22), there's even more worth hearing:
See the OttawaJazzScene.ca review and photos of this concert: Three standing ovations for Jérôme Beaulieu Trio's first show outside Québec .
Jérôme Beaulieu thinks jazz musicians can learn from popular musicians – not so much for their musical style, but for their ability to connect with audiences and to incorporate new sounds and new recording techniques into their music.
The 26-year-old Montreal pianist, whose trio will appear at the National Arts Centre on Saturday, plays well within the jazz trio tradition. His musical heroes include modern jazz pianists like Brad Mehldau and Aaron Parks. But when you listen to his trio, you can hear some quite different embellishments on top of the strong melodies.
Within Quebec, his trio has won considerable praise. They're one of a small number of groups chosen by Radio Canada in 2013-14 for its Révélations series. They won the 2011 Montreal-based Jazz en Rafale competition, and Festi-Jazz Rimouski's 2011 Grand Prize, and their first album was a finalist for an Opus prize.
Saturday's Fourth Stage concert will be their first appearance outside Quebec, and Ottawans' first chance to hear this new generation of Quebec jazz musicians. The trio will perform primarily pieces from their latest album, plus a suite from their first album. Most will be originals, but they'll also include a few of the pop songs they've covered on their albums.
Beaulieu said that the trio – himself on piano, Philippe Leduc on bass, and William Côté on drums – have been influenced by popular music in two ways: first, that they've recorded jazz covers of both Quebec and American pop music, but also “in the sense that we try to have a certain melodic approach to jazz.”
“If you don't listen to jazz normally and if you're not into that art form and you're not into the whole improvisational aspect of it that makes it hard to understand sometimes for people who didn't study it, you'll still be able to relate to it because there's a certain melodic quality to it. When you listen to the song two or three times, you can actually hum along to it. In that sense, I think we bring a pop sensibility to it, which makes it easier for people to connect to it and which doesn't necessarily mean that it's simplistic. We try to find a balance between those two.”
Percussionist Jesse Stewart vividly remembers the first time he met Toronto jazz musician and composer Jane Bunnett in person.
It was back in 1992 or '93, at the awards ceremony in Toronto for the Jazz Report Canadian jazz awards. Stewart was in high school, and had come with his band teacher. And in among all the jazz luminaries there, he got to sit at the same table as Bunnett, and they both received awards that night.
“The who's-who of Canadian jazz was in this room, and I thought, 'Wow! This is amazing.' I met Jane, and I was wet behind the ears and just 16. I remember it very clearly because I had been such a fan of her work. I remember when Spirits of Havana came out in the early 90s, and just thinking it was a really, really great album all the way around.”
Over more than 20 years, their paths have continued to cross and they've played together occasionally. But this weekend, Bunnett is up in Ottawa for a more sustained interaction with Stewart: a workshop Thursday afternoon, a rehearsal Thursday evening, a masterclass and two performances Friday, and a recording session on Saturday.
OttawaJazzScene.ca interviewed Cory Weeds last year about his Cellar Jazz Club in Vancouver and how he kept it successful, both artistically and financially.
We're sad to report that tonight (February 26) is the Cellar's last night: Weeds couldn't reach an agreement with his landlord to extend the lease on the location.
Weeds is, however, staying in jazz in Vancouver. He's presenting a concert series in April, as well as booking a Tuesday night jazz series at a local restaurant. He will continue running his Cellar Live record label, and says he's looking for other things to do.
If you have a Livestream account, you can see Weeds' closing remarks at the club tonight at 7 p.m. PST.
Denzal Sinclaire Sings the Nat King Cole Songbook and More with the NAC Orchestra
NAC Southam Hall
Thursday, February 20, 2014 – 8 p.m.
As a singer, Nat King Cole was known for his personal warmth and sincerity. He wasn't hip, or arch, or trying to appeal to the in-crowd – he sang simply and naturally.
Those same qualities were in the foreground as Canadian jazz vocalist Denzal Sinclaire, together with the National Arts Centre Orchestra, paid tribute to Cole. The Thursday evening concert was the first of a three-night run, and will repeat on Friday and Saturday.
Performing to a mostly-full house, Sinclaire was debonair and cordial, introducing the songs with informality and occasional humor. The first set was all-Nat-King-Cole, showing the late singer's range: from classics like “Nature Boy” to lesser-known ballads like “To the Ends of the Earth”; from up-tempo rousers like “Route 66” to the moving “Mona Lisa”.
And the audience greeted the music enthusiastically. Throughout, they were intently focused on the stage, and occasionally greeted songs with welcoming hand clapping. The applause after each song ranged from strong to very strong to heavy, and the concert ended with a standing ovation.
This was one of the Orchestra's regular Pops concerts, but it was led by guest conductor Jeff Tyzik, who also arranged all the music and selected the songs in conjunction with Sinclaire. Tyzik and Sinclaire have been molding this show for the last year, with three concerts in Western Canada in 2013, and more planned for the United States next year (the 50th anniversary of Cole's untimely death).
See the OttawaJazzScene.ca review of this concert: Warm and sincere, Denzal Sinclaire wows the orchestra audience
Denzal Sinclaire used to get upset when people compared his singing style to that of jazz vocal legend Nat King Cole.
“I would spend a lot of anxious time, saying 'I'm not trying to sound like him. It's just kind of there',” the Juno-nominated jazz vocalist said.
“Then after a while I just accepted it. It's essentially a compliment. And it's also if I were to have been a classically-trained vocalist, and with any sort of appealing-sound voice, [fans] might say that I sounded like Pavarotti – you know what I mean? It's a category. So I got that after a while."
In fact, Sinclaire has often included in his own repertoire songs which Cole made famous, albeit not sung in exactly the same way. And on February 20-22, he will sing those songs in Ottawa together with the National Arts Centre Orchestra.
This will be Sinclaire's first appearance in Ottawa in almost a decade; he was last here in 2005 at the Ottawa Jazz Festival, opening for Diana Krall.
The three evenings are billed as “Denzal Sinclaire Sings the Nat King Cole Songbook and more”. The “more” is an important distinction, because while the first set will be all-Nat King Cole, the second set will be Sinclaire's own choices.
For one night a year, Michael Pytura is a big band singer, invoking the music of his favourite Rat Pack vocalists like Frank Sinatra and Dean Martin.
By day, he's the owner of an insurance agency. But Pytura says he's always loved vocal jazz, and last Saturday was his fourth year singing in front of a jazz orchestra to raise funds for the charity Make-A-Wish Canada.
Pytura was backed by ten local professional musicians known for their love of and experience with big band music, under the musical direction of saxophonist Mike Mullin. It was a glitzy affair in the theatre at the Casino de Lac Leamy in Gatineau, attracting a full house, most of whom were either listening or dancing to the music.
Partway through the evening, it was announced that the event had raised $30,000: enough to grant the wishes of three children with life-threatening medical conditions.
Pytura grew up in a very musical family: “my dad was an opera singer, my mom a piano teacher for over 60 years, and we always listened to all sorts of music. Even in high school I'd have Bobby Darin albums and Tony Bennett.”
But a particular love was the Rat Pack group of singers and actors – Frank Sinatra, Dean Martin, Sammy Davis, Jr. – “both from a musical point of view but even just from the type of humour they bring to the table as well. It's the whole package with them.”
But how did that turn into actually singing live with a band? It started at dinner, with a friend who was on the board of directors of Make-A-Wish.
“I had just recorded for fun a small Christmas album, and was excited about it. I remember telling him that night that one of these days I'd like to do a concert for Make-A-Wish, thinking maybe [in] 2018 or 2022. And the next thing I knew, the next week, we're in the boardroom and we're picking dates.”
Pytura was put in touch with Mullin, who hired an orchestra composed of nine of “the best jazz musicians around. And my very first-ever performance was with those guys at the National Gallery in 2011. It went from nothing to a lot very, very quickly. It was a lot of fun.”
- The Sicilian Jazz Project reached the audience's hearts (and made them dance)
- The Maskell-Cousineau Quintet: serious, accessible, and fun music
- Jesse Stewart brings 'Memories of Ice' to free Winterlude shows
- Juno Award nominations recognize many musicians who played in Ottawa-Gatineau
- FOLKRUM dreams big for a new Ottawa-Gatineau concert venue
- Ottawa-Gatineau's 2013 Jazz Score
- Afrocentric jazz returns to Le Petit Chicago after an intense and satisfying debut
- Roddy Ellias, Petr Cancura, and Andrew Downing form equal sides of trekan
- Clayton Connell shows his piano range Wednesday, before heading off to Austria
- Linsey Wellman's Wedding and Funeral Trio melds Balkan rhythms and jazz
- Jazzin' the Holidays creates holiday cheer for GigSpace (video)
- Gaby Warren hosts a baker's dozen of Christmas jazz jams
- AlphaSoul Café to close its doors after more than two years presenting jazz
- The Adrian Matte Quartet heated up AlphaSoul on a frosty night
- Jamie Baum and Jane Bunnett: two voices in close conversation (review)
- CYJO brings a century of music to life in first 2013-14 concert
- Ottawa Jazz Festival shows a 2013 surplus, mainly from non-jazz acts and beer
- Capital Vox remembers Dave Brubeck through both his words and music
- Jamie Baum and Jane Bunnett bring new, Indian-influenced music to life
- Bryn Roberts returns to making his own, lyrical music
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