February is Black History Month, and traditionally features concerts with black musicians in the jazz tradition. You can certainly hear that this month in Ottawa-Gatineau – but also much else in a busy jazz month with a wide variety of shows by local musicians and impressive touring artists. And there's a jazz festival as well.
Local musicians will be performing singly up to big bands. They'll hark back to the tradition, cross over into other genres, and try things which are quite new. Look for everything from tributes to Cannonball Adderley or Charlie Parker or Grant Green, to vocal harmony interpretations of Carol King, to jazz standards, to music from giant 1m and 1.5m diameter gongs reverberating through City Hall.
From visiting musicians, you'll get Chicago jazz grooves, original music for solo drumset, Senegalese percussion, songs inspired by the city of Montreal, a piano/percussion duet inspired by ritual folk music from Cuba, a “total sensory experience” with drums and two pianos, jazz guitar in many genres – and more.
Jazz names to look for this month include Jeri Brown, Harley Card, Nick Fraser, Mike Rud and Sienna Dahlen, The Ethnic Heritage Ensemble, Laila Biali, Fraser Hollins, Joel Miller, Brian Blade and Jon Cowherd, Mike Murley, Carol Welsman, John Geggie, David Virelles and Roman Diaz, the Montréal Guitare Trio, and Petr Cancura. However, for some of the more popular shows, if you have not already bought your tickets, you may be hoping for a repeat performance.
February opened with lots of brass, from the 17-piece Stan Clark Orchestra. The orchestra has moved to a new location, the downtown Metropolitan Brasserie, after the closure of Maxwell's last month. They played big band classics there on February 1 with guest vocalist Johnny Vegas.
At noon on Wednesday, February 3, drummer Ken Harper, who made a splash with his Sunday shows at Irene's in January, premieres his new group, Sidewinder, with blues guitarist Tony D, bassist Dan Grewal, and percussionist Rob Graves, in a concert at Southminster United Church. The band mixes blues, New Orleans grooves, Afro-Cuban, and soul, and draws on the music of Kenny Burrell, Grant Green and Jimi Hendrix.
These February jazz highlights are brought to you by Anne Jolicoeur. We greatly appreciate her support. Please join her and consider becoming an OttawaJazzScene.ca donor to help support our independent and in-depth reporting.
The 2016 Juno Award nominations, announced this morning, include one Ottawa jazz group, and many jazz or jazz-related artists who have appeared in Ottawa. But not all their nominations are in jazz categories – even for the jazziest artists.
Ottawa's Souljazz Orchestra released its latest CD, Resistance, here in September, and then toured it across Europe. It's nominated in the World Music category.
Emilie-Claire Barlow debuted several of her songs from her new album, Clear Day, with the NAC Orchestra in December. That album is nominated in two categories: Vocal Jazz and Producer of the Year, where Barlow and her co-producer, Steve Webster, are co-nominated for two songs, “La Llorona” and “On a Clear Day”.
Other vocal jazz nominees include Alex Pangman (who was warmly received at Merrickville's Jazz Fest in October), trumpeter/vocalist Tara Kannangara (at Brookstreet's Options Jazz Lounge in May and in February with Elizabeth Shepherd), and Jaclyn Guillou. But most unexpected entry in this category is drummer Dan Brubeck, whose Live from the Cellar album celebrates the music and lyrics of his father and mother, Dave and Iola Brubeck, and features bassist and vocalist Adam Thomas.
In January 2015, improvising saxophonist Linsey Wellman invited listeners to participate in the live recording of his bilingual, solo CD, Manifesto. On January 27, the one-year anniversary of the recording, he invited listeners back to DAÏMÔN in Gatineau for its release. The event, which included a 35-minute solo saxophone performance, marked the official start of his CD release tour.
OttawaJazzScene.ca attended the event, where Wellman talked to us on-camera about his philosophy, the development of his music since his first solo saxophone CD, Ephemera, and his relationship with listeners and live performance. Our video story also includes excerpts from the performance.
For more details in both official languages visit LinseyWellman.com
– Brett Delmage
The Manifesto CD release tour
- Montréal – 31 janvier/January (185 Van Horne)
- Guelph – 4 février/February (Silence)
- Toronto – 5 février/February (The Music Gallery – emergents)
- Hamilton – 6 février/February (HAVN – Zula presents)
- Linsey Wellman invites jazz fans to hear his new CD being recorded
- Linsey Wellman: a jazz improviser explains how he constructed his CD
Montreal bassist and composer Fraser Hollins thinks of people first when developing his musical projects.
“Relationships are so important, you know, and I think those things translate into the music. I don't think so much, 'I want to have a certain instrumentation'. It's really about the people. When I did my first record, I just knew exactly who I wanted to have on the record. It was the most important thing to me: I want these guys.”
And his latest, star-studded project, which Ottawa audiences will hear on Friday, February 5 at the NAC Fourth Stage, is a perfect example. In Hollins' quartet are two Americans, drummer Brian Blade and pianist Jon Cowherd, and another Canadian, saxophonist Joel Miller – and they're all musicians he has known and loved playing with for many years.
With those players, “I just knew if I put those elements together, it would really work.”
Joel Miller he's known since they were both students in Montreal more than two decades ago, and has played with frequently. Jon Cowherd he roomed with and played with during his almost five years studying in New York City, starting in 1999. Brian Blade he met through Cowherd, and played with as well.
But getting all four on stage together has proved much more difficult. Next Friday's concert in Ottawa will be truly a “rare opportunity” to hear them – it will only be the second time they've performed publicly as a quartet.
A rare opportunity to repeat “une soirée magnifique”
The first was in June, 2012, at the Montreal Jazz Festival, in two back-to-back shows at the Upstairs Club. “Just getting the opportunity to play with those guys was blissful,” Hollins said.
The reviews were blissful as well: a Montreal Gazette reviewer described the show as “two sets of swinging, cerebral music that showcased everyone’s talents”. In La Presse, reviewer Alain Brunet said it was “une soirée magnifique dont les fruits méritent d’être exhibés davantage”.
When she arrived for her interview with OttawaJazzScene.ca on Monday, Ottawa jazz singer Karen Oxorn was toting a bag of her favourite LPs.
She'd recently bought a new turntable and got back into listening to vinyl, she told editor Alayne McGregor, and she wanted to show off some of the music which had influenced her over the years. She pulled out one of the first records she ever bought – Elton John's first album – as well as an LP by her favourite vocalist Ella Fitzgerald, and the soundtracks to the musicals Funny Girl and My Fair Lady, and talked about the memories they inspired.
The musical journey encompassed by those LPs and more will be reflected in her two concerts this weekend, which will also celebrate her 60th birthday. On Friday, January 29, she'll perform with pianist Steve Boudreau at GigSpace in Ottawa, and Saturday at the Baldachin Inn in Merrickville.
Oxorn has specialized in interpreting the Great American Songbook, but with her own touches and a great deal of care and polish. She's organized and performed in tributes to many of her favourite vocalists of yesteryear – including Blossom Dearie, Peggy Lee, Ella Fitzgerald, and Billie Holiday (twice).
But the sources and inspiration for this show are broader, including different interpretations of songs by different jazz vocalists.
OttawaJazzScene.ca recorded our chat with Oxorn. You can listen to the entire interview below. Here are some highlights of what Oxorn said about the two shows and her plans for 2016, 2017, and her next 20 years.
On women being considered invisible after age 45: “[These days], society as a whole is looking for the art of things and less concerned about what somebody looks like, how old somebody is. They want to really see what they have to bring to it and the experience that enriches what they do. So I think for me – and also having started so late in music, I was already in my 40s – I don't think that's been an impediment.
Pauline Oliveros and Friends
Canadian New Music Network Forum 2016
First Baptist Church
Saturday, January 16, 2016 – 8 p.m.
American accordionist, composer, and musical theorist Pauline Oliveros has been rethinking and overturning ideas about avant-garde composition and improvisation for the last five decades. She's influenced many performers, composers, and free jazz improvisers with her ideas on deep listening – including some of those who performed with her in her Ottawa concert on Saturday.
The concert was an extraordinary blending of many voices, with nine musicians collaborating in a completely free improvisation on a wide variety of instruments. And the result was not just ear-opening and often beautiful music; it also exemplified Oliveros' music-making theories.
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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