Saturday, March 25, 2017
   
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A tuba (and jazz) fantasia with the Keith Hartshorn-Walton Quartet (review)

The Keith Hartshorn-Walton Quartet
Live @ Record Runner
Record Runner Rehearsal Studios
Friday, February 24, 2017 - 7:30 p.m.

View photos by Brett Delmage of this performance

I admit it: I'm prejudiced in favour of the tuba. I've always found that instrument's deep sound to be rich and beautiful and wonderfully resonant in a room. I've enjoyed the very occasional times I've heard American tuba masters like Howard Johnson.

Keith Hartshorn-Walton (tuba) listens to Michel Delage (drums) in their Live @ Record Runner show ©Brett Delmage, 2017

But opportunities to hear the tuba in a jazz context in Ottawa have been rare – until Keith Hartshorn-Walton moved here in 2015. As he's gradually increased his performances with a variety of local jazz groups, we've had more chances to hear the tuba in unexpected places. This concert, though, was his first show as leader.

By the end of the show, you could see why Hartshorn-Walton is such an advocate for the tuba and its abilities, as he deployed it in roles ranging from lead horn to bass background, and did full justice to a wide variety of classic jazz pieces.

For this show, he teamed up with three well-known Ottawa jazz musicians: John Geggie on double bass, Michel Delage on drums, and Peter Hum on keyboards. Hum also contributed two of his own recent original pieces to the set list.

For the remainder, Hartshorn-Walton picked jazz standards and classics – a few well-known, but most less commonly heard. Some Latin, some swing, some show tunes, some blues, but primarily enjoyable music that connected with the audience, and gave all the musicians room to play and innovate.

Read more: A tuba (and jazz) fantasia with the Keith Hartshorn-Walton Quartet (review)

 

Simon Denizart Trio wins over NAC audience with energetic, multi-faceted jazz

The Simon Denizart Trio
NAC Presents
National Arts Centre, Back Stage
Saturday, March 4, 2017 – 7:30 p.m.

View photos by Brett Delmage of this performance

At their NAC première, the Simon Denizart Trio easily won over their audience with original music produced with liveliness and zest. From their first song onwards, the Montreal jazz trio's pieces evoked strong applause, and culminated in a standing ovation.

Simon Denizart on piano, Jeanne Corpataux on double bass, and Simon Bellemare on drums kept the energy level high and the musical interplay intense at their NAC premiere March 4. ©Brett Delmage, 2017

Their music was a celebration – and an expansion – of the classic jazz piano trio form, with each piece taking an initial musical idea and stretching it, while retaining accessible melodies and rhythms. The trio released their second album, Beautiful People, last November, and, at this concert, performed all the tracks from that album, plus two songs from their first CD, Between Two Worlds.

The audience's warm reception wasn't because of familiarity – these pieces hadn't previously been performed in Ottawa. And while the trio is well-known in Quebec and has toured twice across Europe, Ottawa is the only city in Canada outside Quebec they've ever played in.

Denizart is the composer in the group, but all three musicians – Denizart on piano, Jeanne Corpataux on double bass, and Simon Bellemare on drums – contributed substantially to the sound. It was a highly interactive 90-minute show, with the music flowing easily among the musicians.

Read more: Simon Denizart Trio wins over NAC audience with energetic, multi-faceted jazz

 

Chris Maskell and Gentiane MG play approachable yet complex jazz

Chris Maskell and Gentiane MG Duo
Live @ Record Runner
Record Runner Rehearsal Studios, Ottawa
Friday, January 27, 2017 - 7:30 p.m.

View photos by Brett Delmage of this performance

The minimalist configuration of tenor sax and keyboards is not your usual jazz group. Most musicians would add a rhythm section of bass and drums and possibly another horn. But Chris Maskell and Gentiane MG (Michaud-Gagnon) showed that the two instruments could speak very well together in an intimate show in Ottawa.

 ©Brett Delmage, 2017

Saxophonist Maskell and pianist Gentiane MG met through McGill University, where both are currently studying in the demanding Masters in Jazz Performance program. They've played several shows together in Montreal, and demonstrated an easy camaraderie in this show, which was Gentiane MG's Ottawa debut.

This was also only the second show in the Live @ Record Runner series. The Record Runner Rehearsal Studios are somewhat hidden away in the west-end Colonnade Road business park, which was bleak and dark that January evening and could have used street numbers more visible from the road. However, there is regular OC Transpo service to the park, with bus stops right at the building. Once inside, the studios were notably warm and welcoming, and even offered refreshments at the intermission.

The concert was held in a cozy and comfortable 37-seat “Great Room”. Record Runner owner Paul Adjeleian has made a point of designing good acoustics and sound separation into the studios. Gentiane MG’s keyboard sounded clear and warm using the room's built-in speakers. The room was full, including some of Maskell's friends and family from Ottawa.

The set list was primarily standards, but performed with intense attention. The duo began with “Gemma”, a ballad by Maskell which he's performed in other Ottawa shows. It contrasted rough-edged saxophone with quiet piano in an expressively romantic piece.

I liked how Gentiane MG opened “Solar”, with careful, spacious piano lines reminding me of a nursery rhyme – and then gradually modulating into a more resonant and emotional rendition. Maskell's saxophone entered quietly, and they embarked on a thoughtful conversation, finding variations in the piece's theme.

Read more: Chris Maskell and Gentiane MG play approachable yet complex jazz

 

The Rachel Beausoleil Quartet evokes the elegance and beauty of Jobim's music

The Rachel Beausoleil Quartet: “Happy Birthday, Tom!”
Doors Open For Music at Southminster
Southminster United Church, Ottawa
Wednesday, January 23, 2017 – 12 noon to 1 p.m.

To many North Americans, the composer Antonio Carlos Jobim is synonymous with Brazilian jazz. With his Grammy-winning albums in the 60s and his elegant melodies and subtle bossa rhythms, he created such a recognizable sound that it defined a genre.

In Brazil, he's an icon. In fact, one of the mascots for the Rio Olympics was named “Tom” (the Brazilian nickname for Jobim) after a public vote.

While everyone's heard “The Girl from Ipanema” and “Corcovado” (Quiet Nights), Jobim also wrote many other memorable songs which are not as well known. And, sung in the original Portuguese, his melodies sound even more fluidly beautiful.

It was, therefore, a real treat to have Ottawa vocalist Rachel Beausoleil sing an entire programme of Jobim in Portuguese, for a concert at Southminster United Church in their Wednesday noon series. She was accompanied by guitarist Garry Elliott, bassist Mark Alcorn, and drummer Marilee Townsend-Alcorn.

Beausoleil is currently writing her doctoral thesis on “Música Popular Brasileira” (MPB), a major genre of Brazilian music which includes Jobim's compositions. She's made three extended trips to Brazil in order to take classes from master vocalists, attend conferences, and perform with musicians there – and gained considerable fluency in Portuguese and knowledge of Jobim's music.

Read more: The Rachel Beausoleil Quartet evokes the elegance and beauty of Jobim's music

 

The Caroline Cook Trio shares jazz grooves in a warm mid-winter show

Jazz Grooves for the February Blues
The Caroline Cook Trio

Les Brasseurs du Temps, Gatineau
Saturday, February 4, 2017 – 8 p.m.

View photos by Brett Delmage of this performance

On the set list for this concert, each song had a rhythm marked against it: bossa, medium swing, jazz waltz, groove, jazz shuffle, gypsy jazz, and more. But they all had this in common: an approachable vibe which warmed the audience on a blustery winter evening.

Vocalist Caroline Cook enjoyed listening to the other two members of her trio - Normand Glaude on bass and harmonica and  Kevin Barrett on guitar - in her trio show at BDT. ©Brett Delmage, 2017

This was the first time that Ottawa vocalist Caroline Cook had played professionally with Toronto guitarist Kevin Barrett, whom she met when he was on the faculty of the JazzWorks Jazz Camp. As she told the audience, “I said to Kevin we're going to play together one day – and we did!”

Together with Ottawa double bassist Normand Glaude, they had originally planned to do a house concert in Manotick. When that series was cancelled, Cook moved the show to BDT, where she had previously held several successful shows.

It was very much the jazz trio show it was billed as, rather than vocalist with accompanists. In fact, Cook wasn't even on-stage for the first song of each set. Instead, she left the opening numbers to Barrett and Glaude – and particularly Glaude's harmonica and the evocative melodies he can coax from it.

Read more: The Caroline Cook Trio shares jazz grooves in a warm mid-winter show

 

Sung Ra extravaganza inspires standing ovation

Sung Ra
with Rakestar Arkestra, Tone Cluster Choir, and Christine Duncan
Church of the Ascension, Ottawa
Sunday, January 22, 2017 – 7:30 p.m.

It was an evening of joyful, exuberant singing, dancing, and instrumental performance – with some stretching of the musical edges and even some preaching, as Ottawa's Rakestar Arkestra along with the Tone Cluster choir and vocalist and conductor Christine Duncan – 30 musicians in total – paid tribute to the music of its inspiration, American jazz icon Sun Ra.

Rakestar Arkestra baritone saxophinist John Sobol gave a rousing welcome to Sung Ra ©2017 Brett DelmageThe Church of the Ascension was packed, with last-minute arrivals having problems finding seats. Listeners were treated to two sets of a fast-moving, multi-layered music that was rooted in the jazz tradition and then rocketed into the ionosphere.


View photos of Sung Ra's concert on January 22, 2017 by Brett Delmage

View photos of Sung Ra's dress rehearsal on January 21, 2017 by Brett Delmage


The concert was the vision of Ottawa percussionist and composer Rory Magill, a founding member of Rakestar, who had also previously written choral pieces for Tone Cluster. Magill contributed two pieces to the show – in particular, the opening piece, “Ready”, in which the the choir introduced the audience to Sun Ra in beautiful, close-knit harmonies.

Baritone saxophonist John Sobol intoned a welcome to open the show, followed by the choir, directed by Kurt Ala-Kantti, brightly singing “Ready”. The music was presented in a steady journey through space throughout two sets and kept the audience riveted to the stage. The compositions were primarily by Sun Ra, rearranged by Rakestar for this show, but also included originals by Magill and David Broscoe.

Christine Duncan led the choir in extraordinary sound-making: sometimes melodic, sometimes rhythmic, sometimes recreating the animal noises from a Middle Eastern market. She also sang as a soloist with Rakestar, creating some astounding vocal pyrotechnics. In “Today is the Shadow”, she delivered a full-on revivalist sermon , raising everyone's spirits for the end of the show.

Don Cummings' Hammond organ reverberated through the church, sometimes caressing, sometimes deeply ominous. Tone Cluster's pianist, Vincent Mar, added piano and organ embellishments on many pieces, particularly “Ready”, which beautifully accompanied the choir. Mike Essoudry on drums energized the music, as well as playing sinuous clarinet. Scott Warren not only provided unusual percussion and drums; he also contributed other-worldly recorded sound clips, and acoustic augmentations. Magill's bright xylophone playing added a magical feel throughout. The four saxophonists (Broscoe, Sobol, Rob Frayne, and Linsey Wellman) fired up the music both in unison, and with extended, impassioned solos.

Read more: Sung Ra extravaganza inspires standing ovation

 

First Jazz Night at The Brass Monkey presents three bands to an appreciative audience

There was a big smile on Jumpin' Jimmy Leroux's face on January 12. Leroux coordinates the music on Thursday nights at the Brass Monkey, a brightly-lit basement pool hall and performance space on Greenbank Road in Ottawa's suburban west end.

Diane Ross and Jim Mattson were clearly musically at ease together as the second act of the evening ©2017 Brett DelmageView photos by Brett Delmage

That evening was an experiment, the hall's first jazz night instead of the local rock bands Leroux usually programs for his new talent showcase. And to his delight, it attracted about 35 interested listeners to hear three Ottawa-area jazz groups, filling almost all the seats available. They enthusiastically applauded the music, and even Leroux's between-set jokes.

“It's a cold Canadian night,” Leroux told the audience, “and the easiest thing is to stay home on your couch. But here you came out to support music. Thanks!”

Up first on stage was Easy Living, a quartet providing smooth and easy-going versions of jazz standards including “But Not For Me” and “Summertime”. Vocalist Fiona George provided a flowing and clear version of “My Little Boat”, with guitarist Jim Mattson, bassist Len Leclair, and drummer Dan Quinlan warming the place with bright samba rhythms.

Read more: First Jazz Night at The Brass Monkey presents three bands to an appreciative audience

 

Original voices shine in holiday show

Saorsa (Patrick Smith, Dan Pitt, Harrison Vetro)
Keagan Eskritt and Roddy Ellias
Pressed
Wednesday, December 21, 2016 – 9 p.m.

View photos by Brett Delmage of the Eskritt/Ellias performance
View photos by Brett Delmage of the Saorsa performance

Two up-and-coming Ottawa musicians demonstrated another growth spurt in their music in a eye-opening, two-part performance at Pressed in December.

Keagan Eskritt and Roddy Ellias' performance attracted an intent audience ©Brett Delmage, 2016

Saxophonist Patrick Smith and drummer Keagan Eskritt grew up here in Ottawa, played in local student bands, participated in the jazzfest's Jazz-Ed program taught by master guitarist Roddy Ellias, and won scholarships and awards. For the past few years, both have been studying jazz performance at the University of Toronto – but over the holidays they came back, and performed for a home-city crowd.

The show opened with a 45-minute duo performance by Eskritt and Ellias, followed by an hour-long set by Saorsa, an improvising jazz fusion group which Smith has formed with two fellow U of T students, guitarist Dan Pitt and drummer Harrison Vetro.

Ellias is one of Eskritt's mentors and they've played together several times before. They opened the show with a lyrical set of guitar and drums, very much in the jazz tradition but with strong original voices of their own.

Read more: Original voices shine in holiday show

 

Miguel de Armas brings in 2017 with a bright Latin beat

Miguel de Armas Septet – New Year's Eve
Options Jazz Lounge, Brookstreet Hotel
Saturday, December 31, 2016

View photos by Brett Delmage of this performance

If you were looking for a hopeful, happy way to kick 2016 out the door and look forward to 2017, you couldn't have done better than listening to the upbeat music from Miguel de Armas and his bandmates on New Year's Eve at Brookstreet.

The Miguel de Armas Septet got listeners up and dancing to celebrate the start of 2017 ©Brett Delmage, 2016

The Cuban-Canadian pianist is ferociously energetic, and he surrounded himself with equally dynamic Latin musicians for this show. Most were from his Sabor de Cuba band, but he also brought in bassist Roberto Riveron – a fellow Cuban who has lived in Toronto since 2007 and has performed with Cuban bands Cubanismo and Klimax, and with Toronto jazz musicians Luis Mario Ochoa, Eddie Bullen, Jane Bunnett, and Hilario Durán.

By the time the music started at 8:25 p.m. – a few minutes early – there was a full house, with all the tables in the main part of the lounge filled. de Armas opened with a lively and flowing standard, supported by Riveron on six-string electric bass and Arien Villegas on congas. Drummer Frank Martinez joined in on the second song, and they remained a quartet for the first hour-long set.

Read more: Miguel de Armas brings in 2017 with a bright Latin beat

 

Renée Landry adds swing and originals to holiday songs

Renée Landry Wishes You A Swinging Christmas
Live! on Elgin
Saturday, December 17, 2016 – 8:30 p.m.

View photos by Brett Delmage of this performance

Back in 1960, Ella Fitzgerald released an album called Ella Wishes You A Swinging Christmas. It quickly became a classic, because of Fitzgerald's joyful and clear vocal interpretations and Frank de Vol's well-chosen and swinging orchestral jazz arrangements. It was an album which celebrated the season and the well-known holiday songs – without being arch or ironic. Instead, it let you enjoy the songs for the well-crafted gems that they are.

Renée Landry gave expressive interpretations of the songs from Ella Fitzgerald's Christmas album at her Swinging Christmas show, backed by a fine sextet ©Brett Delmage, 2016

Ottawa vocalist Renée Landry reinvoked the magic of that compilation on Saturday, with her second annual “Swinging Christmas” concert. Backed by a sextet of Ottawa musicians who understand classic jazz well, she sang the songs from the Ella album plus three of her own – keeping the joy and avoided the cutesy.

It's a project which she said she and the musicians had been working on since October, with arrangements by saxophonist Richard Page and Landry. The 90-minute show was by no means a copy of the album – for one thing, there weren't any strings in these arrangements – but Page retained De Vol's strong jazz vitality. And the songs were presented in almost the identical order as on Ella's album, with one of the CD's bonus tracks added and one song moved to the encore.

Read more: Renée Landry adds swing and originals to holiday songs

 

Rémy Bélanger de Beauport takes the cello to wild and lonely places

Rémy Bélanger de Beauport
Improvising Musicians of Ottawa-Outaouais
(IMOO) #151
House of Common, Ottawa
Sunday, December 18, 2016 – 7 p.m.

View photos by Brett Delmage of this performance

The cello is, in essence, a wooden resonating box with a neck and strings played by a bow or fingers. The tradition is to use it to produce beautiful, elevating sounds that unroll like ribbons and sigh like lovers.

Rémy Bélanger de Beauport played one bow against another in his solo cello set at IMOO Sunday ©Brett Delmage, 2016

Judging by his Ottawa concert on Sunday, Rémy Bélanger de Beauport does not follow this tradition.

The Quebec City cellist astonished and delighted his listeners at the last IMOO concert of 2016 with a short but very intense set of free improv. In the course of 15 minutes, he actively undercut everything they might expect from cello music, even in an improvised jazz context.

Melody was absent. The very first notes he played were jagged and raw, produced by very fast bowing, with some of his strings muted by a metal clip. de Beauport let his dissonant sounds echo around the room, soft and loud, sounding like buzzing bees and then attenuating down to barely audible vibrations.

His bow lightly rubbed the cello strings, and then pressed in again, creating at first atonal cries and then sounds like a foghorn and then high dissonant harmonics. He added occasional plucked notes to the bowing – and then increased the speed again before finally letting the last notes ring out into the space.

The audience asked for a second piece, and de Beauport obliged with harsh machine-like screeches, created by pressing a metal tuning fork within the strings. Then he threaded one bow through the strings and used a second bow to bow the first, creating a hard, crackling sound. As he sped up this two-bow performance, it almost sounded like not-quite-distinct conversation. He pressed his fingers along the strings as he continued bowing to continuously change the pitch, and then finally let the sounds fade out.

Read more: Rémy Bélanger de Beauport takes the cello to wild and lonely places

 

45north plays all-Canadian jazz with enthusiasm and flair

45north
The Record Centre
Sunday, December 11, 2016 – 4 to 5 p.m.

View photos by Brett Delmage of this performance

Every note was Canadian when 45north played the Record Centre Sunday afternoon.

A young listener (appropriately wearing a 'Canada' toque) danced to 45north's all-Canadian jazz at their show Sunday at the Record Centre  ©Brett Delmage, 2016

The Ottawa jazz sextet specializes in music by fellow Canucks – both straight jazz and jazz fusion interpretations of pop and rock songs. So Joni Mitchell's “Both Sides Now” was followed by Mike Murley's “Stanstill”, and David Braid's “Cowboy Bebop” by the Powder Blues Band's “Doin' It Right”.

The combination – lively and upbeat, with horns – was a good antidote to the looming dark and frigid weather outside. The band played to customers who came and went and a varied group of listeners who stayed and clapped enthusiastically – adding to the beat during some songs as well as afterwards. Near the end of the show, a youngster in a blue snowsuit (and a 'Canada' toque) peered through the outer door from the sidewalk in fascination for almost 10 minutes, but couldn't be coaxed inside to hear the band directly.

Read more: 45north plays all-Canadian jazz with enthusiasm and flair

 

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

 

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

 

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

 

Cole Porter without the words engages the audience at Brookstreet tribute show

Tribute to Cole Porter with Michel Delage, Allison Au, Todd Pentney, and Alex Bilodeau
Options Jazz Lounge, Brookstreet Hotel
Saturday, October 29, 2016 – 8 p.m.

View photos by Brett Delmage of this performance

Songwriter Cole Porter famously said (quoting one of his teachers) that “Words and music must be so inseparably wedded to each other that they are like one.” And yet jazz instrumentalists ranging from Miles Davis to Artie Shaw to Max Roach have had hits with Cole Porter's tunes because, even without Porter's witty lyrics, the melodies are memorable and full of joie de vivre.

Todd Pentney, Allison Au, Alex Bilodeau and Michel Delage paid tribute to Cole Porter at the Options Jazz Lounge ©Brett Delmage, 2016

Michel Delage's quartet showed off that joy and fun in a dynamic second night of a two-night stand at Brookstreet's Options Jazz Lounge this weekend. Delage on drums and Alex Bilodeau on double bass teamed up with two Torontonians – Juno-winning composer Allison Au on alto sax and her frequent collaborator, Todd Pentney, on piano – to celebrate Porter's music as part of Delage's monthly series of jazz tributes.

Over three sets, they performed songs written between 1929 and 1954, almost all for Broadway shows. The first two sets were fast-paced, including well-known pieces like “You'd Be So Nice to Come Home To” and “Get Out of Town”, while the third slowed down to concentrate on ballads like “Easy to Love”.

There's a lot to explore in a Cole Porter song. Porter was a notable innovator in song form: for example, the alternating major and minor key changes in “What Is This Thing Called Love?”, or the 108-measure length of “Begin the Beguine”. Au, in particular, used the songs as a jumping-off point for exploration, while staying true to their melodies and themes. In “I Concentrate on You”, she created tender, warm, extended lines of melody, while “Just One of Those Things” was taken at a break-neck pace with circling riffs.

Read more: Cole Porter without the words engages the audience at Brookstreet tribute show

   

The Ken Harper Trio brings commitment and energy to new concert series at Southminster

The Ken Harper Trio with Artie Roth and Bob Brough
Concerts by the Canal
Southminster United Church
Saturday, October 15, 2016 – 7 p.m.

View photos by Brett Delmage of this performance

This fall, Southminster United Church in Ottawa South began offering Saturday evening concerts, in addition to its popular Wednesday noon concerts. The third show in this new series – and the first jazz concert – featured the long-time trio of Ottawa drummer Ken Harper with two Toronto musicians, Artie Roth on double bass and Bob Brough on tenor sax.

The Ken Harper Trio played mainstream jazz with passion, skill, and creativity at their concert at Southminster United Church  ©Brett Delmage, 2016

With busy schedules and a 450 km distance to travel, this trio doesn't get together to perform as often as they'd like – Harper estimates only about four times a year – but you could hear an easy connection and a like-minded approach in their music.

Harper and Roth met in 1988, when they both started studying music at York University, and later teamed up with veteran saxophonist Brough for this trio. Over the past two years, they've played several Ottawa-area locations: clubs, a house concert, and GigSpace, but this was their biggest Ottawa venue yet.

Other than an announcement mic that wasn’t always turned on or used properly, the concert was all-acoustic, with a beautiful, rounded sound. The musicians made a point of playing to the space, using its resonance, and playing softly enough that their instruments could be heard overlaying and complementing each other. Harper's cymbal sounds were crisp and ringing; Roth's bass was clear and full; Brough's tenor lines were rich and commanding.

Read more: The Ken Harper Trio brings commitment and energy to new concert series at Southminster

   

Sienna Dahlen's expressive music deserves an audience's full attention

Sienna Dahlen and François Jalbert
Court, mais jazz
La Nouvelle Scène
Saturday, October 8, 2016 – 7:30 p.m.

View photos by Brett Delmage of this performance

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.

God beams, short films, lots of stage fog, and audio distortion distracted from the fine musical performance  ©Brett Delmage, 2016

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.

Read more: Sienna Dahlen's expressive music deserves an audience's full attention

   

Samuel Blaser and Gerry Hemingway perform music to feed the soul

Samuel Blaser and Gerry Hemingway
IMOO (Improvising Musicians of Ottawa-Outaouais) #147
House of Common, Ottawa
Monday, October 10, 2016 – 8 p.m.

View photos by Brett Delmage of this performance

Trombonist Samuel Blaser and drummer Gerry Hemingway opened their Canadian tour on Monday with a bravura performance in Ottawa, a concentrated display of deep communication and innovation.

Trombonist Samuel Blaser and percussionist Gerry Hemingway fed listeners' souls with astonishing music for thanksgiving desert  ©Brett Delmage, 2016

Thanking the audience for coming out on the Thanksgiving holiday, Hemingway noted that, “At least we know you're not hungry. Now we'll feed the other part of your souls.”

And feed them they did, with music which explored the full ranges of their instruments, and moved from the tiniest threads of sound to all-out thunderous fanfares – to the intent interest and appreciation of their listeners.

Blaser (from Switzerland and now living in Berlin) and Hemingway (from the U.S. and now living in Switzerland) are more usually found on the other side of the Atlantic Ocean, but are touring across Canada this week. Most of their shows on the tour are with Blaser's quartet, which also includes Russ Lossing on piano, and Masa Kamaguchi on bass. Montreal and Ottawa were the exceptions, where the two were scheduled to perform as a duo as part of local improvised music series.

Blaser and Hemingway are no less formidable as a duo. They're both well-known as free improvisers (Hemingway has been playing creative music for four decades), and have performed together in several of Blaser's groups.

Read more: Samuel Blaser and Gerry Hemingway perform music to feed the soul

   

The Canto Trio blends two sax voices and bass in an evening of classic jazz

The Canto Trio
Ascension Jazz Series
Church of the Ascension, Ottawa
Sunday, September 25, 2016 – 7 p.m.

View photos by Brett Delmage of this performance

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.

The Canto Trio: Peter Woods, Helene Knoerr, Devon Woods showed the versatility of a 2-sax, chordless format as they opened the new Ascension Jazz series in Ottawa. ©Brett Delmage, 2016

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.

Read more: The Canto Trio blends two sax voices and bass in an evening of classic jazz