©Brett Delmage, 2019
Out Loud CD cover by James Anderson. The original 20"x20" collage includes clips "from a mix of different magazines and comic books; among them Vice, Rolling Stone, Guitar Player and Guitar World (largely from the 80's and 90's), Playboy, Bart Simpson, Archie, and a World of Warcraft strategy guide. A few of the pieces were clipped from fast food flyers."

Carleton University music student James Anderson recently recorded his debut album, at the university. Out Loud is "a collection of songs of resistance, survivance, and dreaming of better days", performed in a jazz fusion vein with a strong punk influence. The CD is eminently listenable modern jazz, which a version of Chick Corea's "Spain" fits in nicely. Don't let the words "punk" or "fusion" scare you away before listening! This is the only album we've seen with "Ottawa Jazz" on the CD cover.

Anderson will release the album next Wednesday at the "OUT THERE SOUNDS" show at House of TARG. Full details and a link to a related music video are at the end of this story.

OttawaJazzScene.ca's Brett Delmage sat down with him last week for an extensive interview, learning about how the album marks his determination to live his life "out loud" as a queer musician, and about the similarities in ethical approaches between punk and jazz.

We recommend you listen to the interview podcast recording if possible, which conveys Anderson's enthusiasm, conviction, humour, and uncertainties best

OttawaJazzScene.ca: On your Out Loud CD launch announcement, I’m interested that you identified yourself as a jazz guitarist, but you state that you approach jazz from an outside perspective with a unique and eclectic musical vocabulary.

What elements of influence: punk, blues, house and video game music do you like to draw upon as a composer or guitarist?

And to add to that, are there any elements you dislike or would like to leave behind?

James Anderson: I started out in punk music and so I really come from that, and I don’t think it’s something I can really escape. It’s something in the way I construct my melodies, in my technique, in my tone. It’s everywhere. It’s everywhere and it’s something very close to me , something very near and dear to my heart. And it’s something I’d never leave behind frankly.

You know, funny enough, even though I do identify as a jazz guitarist because that’s what I’ve been trained to do and that’s what I call this music, all my favourite guitarists, all my favourite musicians, save for a few, are punk musicians.

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© OttawaJazzScene.ca, 2019

Ya. And then I’d say the other influences listed there are a little bit more periphery. Blues, I was more into when I was just starting out. For me, the White Stripes, they were very, very big for me, because when I first started playing, I was learning punk music on my own at home. And then through the Blues in the Schools Program, I first learned from Jan Holland who’s a local accountant. And then Terry Gillespie. When I think of Blues I think of the White Stripes, which kind of shows I’m not quite a traditional blues guy, but that’s (laughing) that’s where I’m at.

The White Stripes were really the perfect in-between whenever I was starting out because they’re both punk influenced and blues influenced. They really draw from a lot of different things.

As far as House music. House music doesn’t come, I suppose you don’t see it as much in this CD. In future CD’s I’d like something a little more rhythmic in that way, something a little more groove-based.

And the last one, video game music. Funny enough about video game music and its influence. On me, it mostly comes out in my soloing I find, and is some of my aesthetic choices. Because when they were first composing on the NES [Nintendo Entertainment System], on the Game Boy, they’re only limited to four or five tracks. With that you see a lot of thirds and fourths in the melodies. And that’s something I’ve really taken to, doing a lot, in my soloing. I really like to harmonize whatever melodic line I’m playing with thirds or fourths.

Something I find is that if you’re looking for something, especially in patterns, you’ll often find it. So if you want to look for the punk influenced things, you’ll find it. If you want to look for the jazz-influenced things, you’ll find it. And so on and so forth. And I think in that sense, it makes for a pretty interesting lesson, especially if you were to go to the trouble of seeing all the other influences. Or even just some of them. I don’t know if I entirely believe in death of the author but I think it’s a very valuable idea, and I think it’s something that shouldn’t be written off.

OttawaJazzScene.ca: How did you select your fellow musicians and instrumentation for the album?

Anderson: Well that was interesting. So this band that we’re current with, apart from Matt Jakeman, he was one of my first friends I met here. I played on his juries. He played on mine. And so with that we developed a working relationship that way. But all the other guys, believe it or not, we initially started as a video game jazz band. As in a jazz band that plays video game music in a jazz context, much like what Alex Moxon’s band is doing. We were called OutRun, named after the 1986, I believe, SEGA arcade game. And that was going somewhere but it was a lot of hurdles.

But over the summer I started thinking, what if... I might have some money here. Maybe I can make a record. And then I realized ‘you’re not going to make any kind of money selling things that are hard to get the rights for. Video game music is difficult to cover legally because although the authors are listed AND similar, some of these songs have never been sold as stand-alone music, as CDs. So that complicates things.

And also, I said, part of the reason I chose to market myself as James Anderson and not ‘insert band name’ is that whenever you have a band name, when someone leaves, then you have to change the name and you’re rebuilding your name over and over and over again.

To expand upon that point, although it is very common in the jazz tradition to just say ‘this is a Miles Davis record’, ‘this is a John Coltrane record’, “this is a Django Reinhardt record’, it’s not really common in punk music. And so with that I questioned it but then I found Jeff Rosenstock, and I said ‘OK! I’m good!’ (laughing).

OK, I forget what the main question was.

OttawaJazzScene.ca: Selecting your band members or instrumentation. I don’t know what direction you came from in producing this.

Anderson: We already had the band, OutRun. And then I said, “OK, I want to make a solo record.” And they backed me entirely, which I was very happy about. And is just came down to that. It was the simplest way to go about it. Also, we don’t have any B flat or E flat instruments which makes things simpler. It means I don’t have to rewrite the charts or find charts in different keys. It’s very simple and straight-forward. Frankly, I’d say that’s a lot of it.

Also, I really like guitar as an instrument, witnessed by the fact that I am a guitarist. And I was just really comfortable playing with those guys. So essentially we just added Matt Jakeman because I knew he was a really great soloist and someone I really enjoyed playing with.

The lineup for this CD, it’s myself on guitar, Matt Jakeman on guitar, Liam McMullen on bass, Ramel Bautista on drums, and Tristan St-Pierre on piano. The record was recorded at Kailash Mital Theatre in seven hours, something I'm pretty proud of. And we did the recording with John Rosefield and Rob Cosh. Rob Cosh did the mastering. He did a fantastic job.

I can't say enough good things about John – just fantastic.

OttawaJazzScene.ca: Every time I've seen him in there, he's bubbling with enthusiasm.

Anderson: Yes. And also whenever we were recording, he did such a great job at keeping everybody calm and keeping it fun, playful, relaxed. Which is really important, especially considering our short time frame.

OttawaJazzScene.ca: It could really stress you up, right?

Anderson: Yes, for sure! I won't hide it – it was a stressful experience, but also I think it made a good product. I'm pretty happy with that.

It's funny – there was one specific part: “Pretty Boy”, which is one of the shortest songs. I think it's only 1 minute 15 seconds. All the other songs we did two, three, maybe four takes of. “Pretty Boy”, we did like 15 takes. The first I don't know how many, it just wasn't clicking. And I was really starting to panic a little bit. I remember at one point I was almost dissociating. I was just looking down and I was thinking “Omigod, I spent all this money to make this record and we can't get this one song? Omigod, what's going to happen? What's happening!?”

And then John came on, the Voice of God in the speaker, and said, “Hi there, James! Would it help if we gave the drummer some headphones?” “Yeah!!” (he laughs) And then we were fine from there on.

OttawaJazzScene.ca: The voice of experience... He done a few of those. I'm sure he's been through the jitters for lots of people.

Anderson: Oh, certainly. And also something he was really good to emphasize, too: he emphasized “Know your limits. Make sure that you take breaks when you need to, you don't try to push yourself more than you have to.” It's funny, because one of those times that he said that, he said that right after we did “Spain” [by Chick Corea], and I'm like, “OK, I'm going to hit my limit. I'm going to put everything into this and then we can go eat.” I set up some snacks for everybody, chips and chocolate and stuff. So I just said, “OK, I'm going to put everything into this. Then we're good.” And then it was done! (laughing)

OttawaJazzScene.ca: Why did you record there?

Anderson: Well, it was a couple of different things. One is that I’ve been there and I’m comfortable there. I like the sound of the place. It’s good. But also, throughout my academic career I’ve had this habit of, I look at what someone else is doing and say ‘OK, if they can do that, I can do that.’. And so, for example, “Spain”, which is one of our signature songs now, I only learned it because Matt Jakeman was learning it. And so once he learned it I said, ‘OK, if he can do that, I can do that.’

And similarly, I heard James McGowan’s band, Modasaurus, they recorded kind of the same record. Different songs of course, and a different band. But more or less the same layout, same venue, same people, and I really like the sound of it. So that’s really why we went about picking Kailash Mital, and John Rosefield and Rob Cosh.

It’s proof that they’re professional, that they’re great. Because I really love that Modasaurus record.

OttawaJazzScene.ca: You were pleased to finish the recording in seven hours. Tell me about the process.

Anderson: Well, the way I really looked at it, I wanted to do something similar to the way hardcore punk guys did recording in the 80s.

OttawaJazzScene.ca: … which I don’t think all our jazz listeners are familiar with.

Anderson: No! So bands like Minor Threat, Black Flag, The Minutemen, The Minutemen is one of my absolute favourites. D. Boon is one of my favourite guitarists of all time, easily.

So the way they would do things is they’d practice and practice and practice and practice and practice. And then they’d go in, take one or two takes, and then it’s done. And then that’s it. And that’s the record. And they did it because they had to, essentially. That was the money they had. And in the case of the Minutemen, funny enough, you have to think back to when we were still recording on tape. So what they would do, they would record songs in the order that they wanted them on the record so they didn’t have to pay editing fees to move the [songs] from place to place to order the songs (laughing).

So that’s what inspired me to go about it that route. Also the first recording project I had was my cousin Liam, we were just a funny little punk duo, we were named Nosredna – it’s Anderson backwards – because his last name is also Anderson. It was like a little ten or fifteen minute demo and we did it in two hours. And so I feel like it’s kind of the same idea.

Now granted, we had a lot on our side for this recording. We had seven hours of time which, it’s not a lot of time, but it’s also a lot of time. And we also had editing. Which wow. The things they can do with editing! (laughing) You really need that whenever you’re making a jazz record because obviously there’s a lot more variables involved. One perfect solo for one person might be a really bad solo for someone else. John edited it all together and it’s seamless. You could hardly tell.

OttawaJazzScene.ca: How did the improvisations work out in the context of the whole process and compositions and lots of advance practice?

Anderson: Ya, practice! I suppose that’s the other thing I should mention. Whenever I said we practiced a lot, we did. We practiced once a week for anywhere from two hours to three hours from September all the way up until our recording date on December 17. We missed a couple: there was a tornado, that was a problem. There’s freezing rain. That was a problem.

Ya, so we had a lot of opportunity to really explore the charts and make sure our improvisation was strong. Some pieces are more improvisatory than others. “Birds of Paradise”, although it has a form, it’s very, very, very improvisatory. Essentially, that piano part is the only thing that has a sense of direction. I had a written melody but we just scrapped it, and just played what we felt. That’s what came out of it and I think it’s probably one of the best songs on the album. I really enjoy it.

OttawaJazzScene.ca: What was your compositional process? How long did it take? Did you do it all in a big batch one evening or a year or five?

Anderson: It was a mixed thing. “Layne” is something I just wrote just because I wanted to write it. It was funny because I like the chords to “James” but I didn’t like the melody. I thought the melody was kind of flowery, kind of lame. I don’t know. I probably shouldn’t be talking so badly about Pat Metheny but I just didn’t care for the melody. So I made my own.

And also I think different people get different things out of different songs and different artists and different music.

“Birds of Paradise” – Liam, essentially he wrote the piano part and he said I don’t have a melody. An d so I wrote a melody. And then we threw out the melody and just improvised (laughing).

I really like to write music, especially whenever I write instrumental music, I like to do portraits of people. Or of art.

I try to evoke what a person looks like or feels like or how they make me feel, or what I feel from a piece of art. And “Birds of Paradise” is based on the Magic The Gathering card Birds of Paradise.

Gosh. What else? There’s “Pretty Boy”. “Pretty Boy” I just wrote when I was stressed one time, and I really liked it, and so I kept it.

“Out Loud” was just me playing around with 2-5s. Just 2-5-2-5-2-5-2-5-2-5-2-5. On and on. There’s a one eventually. I quite playing on that piece because of it’s simplicity. It’s very simple but there’s also a lot to it in a way. It’s funny that way.

“Jam for Marissa Paternoster”. That one’s a really funny one. We came out of the studio with extra time. I said we have to record all this. And then if we have time we can record this demo for OutRun, and then if we’ve got some extra time we can mess around a little bit.

And then “Jam for Marissa Paternoster”, it’s the same chords as song from a video game called Katamari Damacy. So we played through it once with the original melody. I just wasn’t feeling it. And also I thought if I play the original melody then I have to pay somebody. It’s the whole thing. So I said, “OK, let’s use those chords but we’ll just improvise. I’ll just go.”

So you can hear me yelling, full force, in that tune to count us in because that was the last thing we recorded. And I said, “OK, I’m going to put everything I have into this. Let’s do one more big push. Whatever happens happens. Whatever.” And that ended up being one of my favourite tracks from there.

Marissa Paternoster is one of my favourite guitarists of all time. She’s a  guitarist from Screaming Females. And her playing is hugely, hugely inspirational to me. And i was really thinking a lot about her whenever I was improvising and playing through that piece.

She’s influential to me in so many different ways. For one, just as a punk musician, period. And just for her own music. Second, for being a punk musician who plays improvised solos and really well. She’s not floundering around and making noice. She’s making AMAZING, FASCINATING, just oh... I could go on for years about Marissa. Just my favourite guitarist, easily. And not just that – so many things, ok – two things, I'm going to limit it.

So another thing too is she was one of the first out [of the closet] musicians that I knew. Because when I was young, like a lot of people, I was homophobic. Because I was afraid of becoming gay or catching the gay, or whatever it is. And then listening to her I feel it was like one of the first steps of realizing these are just normal people. Not only are they normal people, they’re amazing people. There’s nothing inherently different about a straight person than a gay person. Or a lesbian etcetera, etcetera, etcetera.

Now the other thing: I had an interaction with her at House of TARG. This was actually the second time I met her. The first time it was just too loud. I couldn’t talk to her.

She was here over the summer a couple years ago. And so it’s really exciting to be able to play right near by where I had this interaction, this conversation. I think it was really a turning point in my life as a person and as a musician. Because when I was in about second or third year I was always overthinking my playing. Because the question was always “But is this jazz enough? Am I doing it right? But is this punk enough? Am I being true to myself? Am I lying to myself? What’s wrong? Am I thinking too much?’ Just over and over like that.”

And so I had the opportunity to talk with her and I said “Hey, you know, how do you approach soloing?” And this was someone I had been following since 2008. I have been listening to her since I was 12? 13? 14? Something like that. And I’m 22 now, so. It’s a big deal. I’ve been wondering that for so long.

Than she said, “Well, I don’t know. I’ve been told I use a lot of pentatonic scales. Do you know what those are? I don’t know what those are.”

Which is really shocking because pentatonic scales, they’re like step one. It’s as basic as it can get really. That’s the first thing you learn as a guitarist. And I said “OK, but how do you get it to sound so free? How do you get it to flow like that? To just move?”

And then she said, “Well, you know what? If it sounds free, it’s probably because I don’t know what I’m doing. So if you want to play like me, just play like you don’t know what you’re doing.”

And she shook my hand and that was it.

And ever since then I’ve realized music doesn’t matter. Which is a very strange thing to say. But the thing is that music and other works of art only have the value that you attach to them, and that you assign to them. Because music is just patterns. So why should my patterns be any better or any worse than anyone else?

And so you can get down on yourself for that and say, well my patterns are just my patterns. Or you can realize that you have the exact same opportunity to be successful as any other musician. Because your patterns are your patterns. And only YOU can make your patterns.

OttawaJazzScene.ca: Very profound. I’m so glad the song worked out!

Anderson: Ya. Otherwise we’d have another song on the end and that would be a bummer. I don’t know. It wouldn’t be the same.

And funny enough too, we recorded that because we had extra time. Even after we were done recording that we still had an extra ten minutes.

OttawaJazzScene.ca: You guys worked very efficiently.

Anderson: That’s the way I like things. I like getting directly to the point. I don’t like meandering around. Like for example, I mentioned “Spain”. Whenever I listen to the original recording I immediately skip that flowery beginning. There’s a one or two minute intro. I skip it every single time. I think I listened to it once and I said “never again” (laughing).

That's something that's kind of funny, because a lot of people think punk music is yelling, it's loud and aggressive. No, there's a lot of really beautiful moments and beautiful parts in there, but you have to look for them.

OttawaJazzScene.ca: What are the elements in punk that you think – and I know jazz is so broad you can throw it on anything these days...

Anderson: Yes, for sure

OttawaJazzScene.ca: … might connect with the typical jazz listener? What should they listen to? What to pull out?

Anderson: I'm so glad you asked! Both jazz and punk music are what one could call essentially contested concepts. They are things that there's no strict definition of. And not just that, but they're also very avant-garde genres. People who play punk music, or jazz music, unless they want to imitate a specific tradition, they're looking to make progress. And they're looking to do things that have never been done before. And they're looking to subvert expectations.

And so with that, I think that's the biggest over-arching connection for me. In addition to that, there's also a great deal [he pauses] of legitimacy in it. There's a great deal of authenticity – that's the word I'm looking for. Authenticity.

Because if you're listening to pop music, well, it's not necessarily written by the singer.

OttawaJazzScene.ca: It might be written by a computer – these days!

Anderson: Yes! Who knows?

OttawaJazzScene.ca: Algorithms …

Anderson: Yes!

And so these singers and these players, they might not really believe in what they're saying, and they might … put on a mask to perform. But both punk music and jazz music, with limited exceptions unless you're a giant, you're not making huge money. So with that, the people who play this music and people who are passionate about it, and people who really see the value in it.

And not just that, but also I think in terms of values and ethics. They're very, very comparable and very compatible, because the idea of equality is very, very important in punk music, jazz music. The idea of democracy. The idea of questioning everything, practically – questioning authority, questioning the way things are, questioning the way things should be, questioning people in power. These are all things that are very, very compatible.

And also, tying into the idea of it being an essentially contested concept, it's extremely pluralistic. So in the same way that Louis Armstrong is extremely different from Chet Baker, who is extremely different from [name any fusion band], someone like Wayne Eagles. He's a good guy!

In that same way, there's also that same kind of diversity and inclusion of diversity in punk music. I challenge anybody to say that yes, the Minutemen sounds like Black Flag, which sounds like Title Fight, which sounds like Joyce Manor.

You can make broad, sweeping ideas and say this is similar, the rhythms are similar, but especially with a band like the Minutemen, who are totally out of there – they're punk music but they're really pushing what punk music is and can be.

Similarly, PUP [Pathetic Use of Potential], too. PUP is a band that I really love. The guitarist from there, Steve Sladkowski, he actually has a Bachelor of Music in jazz guitar from Guelph University. So when you hear him playing and soloing, you really hear a lot of that influence. Yes!

To tie to that, a really great quote from D. Boon, the guitarist with the Minutemen – granted I may be paraphrasing a little bit – but he said, “Punk was whatever we wanted it to be”. And that's very similar about jazz.

And Henry Rollins has a very similar story. He says, “So what is punk music? Well, however many years ago, you know they asked some famous blues musician, 'what is blues?' And then however many years ago, they asked some famous jazz musician, 'What is jazz?' And they gave the same singer. And then he gave the same answer for 'What is punk music?': 'If you have to ask, you'll never know.'

So it's very ethereal and very pluralistic, and you can do whatever you want! It's very different from classical music or anything where things have to be the way they have to be. And I really appreciate that a lot.

OttawaJazzScene.ca: Carleton's music school is eclectic and features a variety of genres together under one roof. Has that been helpful to you? How have you found this particular school, with these interests?

Anderson: I think it's been extremely helpful, especially with my teacher, Wayne Eagles,

OttawaJazzScene.ca: Who was the first person teaching rock at a university...

Anderson: And the first person to have a fusion ensemble. And he's also the person in charge of OUT THERE SOUNDS. He's a busy guy – he does a lot. I've been really thankful that I had him as a teacher, because some other teachers they might say, you came to learn jazz, we're going to teach you jazz, you're going to learn jazz. And that's what I call jazz-jazz-jazz.

So it's jazz in the tradition, like it's “supposed to be”. There's plenty of schools where you can go do that. But with Wayne – although he has shown me some things and said, “Here's a tool, this is a thing you can use, this is something you should do instead of that” – Wayne very early on made it clear that what we were going to be learning is what I wanted to learn. And with that, that made me extremely driven to go look into everything and anything that he could help me with.

So that meant learning and looking into some things that he didn't necessarily have experience in but he could show me the technique for it. That freedom is really important. And not just that, but also seeing the perspective of different types of musicians, because, frankly, I don't think I would have developed the same way had I grown up, I suppose you could say, around just guitarists, or just jazz musicians. I think there's a lot of value and insight you can gain from diversity of perspectives.

OttawaJazzScene.ca: Especially early on, when you're exploring and there's lots to be explored...

Anderson: Absolutely!

OttawaJazzScene.ca: You don't want to get stuck in a groove too early...

Anderson: Yes, I agree.

OttawaJazzScene.ca: You had told me graduation CDs are typically done for a class credit, but your CD was done independently.

Anderson: That's right. There's a course you can take. It's a 4th year performance course, like the demo CD course I think you call it.

I couldn't really get into the graduation demo thing, partially just because of my marks and just because of the way things were, but also because I think it's really to my benefit.

I don't want to bag on it too much, because I'm sure they give you enough freedom, but it's just not the system I wanted to go with then.

James Anderson width=
James Anderson  photo by Jack Martin

OttawaJazzScene.ca: Your concert announcement opens by stating, “James Anderson is a queer Canadian jazz guitarist.” Why was it important for you to identify that in your first sentence?

Anderson: Well, I think identity is a very important thing. And not just that, but a big part of my mission statement is to create more LGBTQ visibility and representation within jazz. Because although it's there – you have Fred Hersch, you have Gary Burton, you've got some other people – there's no one like me yet. So I'm going in.

I'd say that was a big part of it.

OttawaJazzScene.ca: So had you self-identified before at the school here?

Anderson: Yes, I did, but it was kind of …

OttawaJazzScene.ca: I'm just not clear on that because of the liner notes. I guess it's your words “since you considered” in your CD announcement. I was wondering, is this an official coming-out CD?

Anderson: It is, because I realized, well, OK, a good way to market myself and also just to be true to myself – I'll just say it. I'll just do it. And so coming out has been a gradual process. I think I knew pretty well by about Grade 12, and of course my friends knew, but otherwise [I would] keep it quiet. You know, conservative small town.

Then I moved here, and then again a couple friends knew, Wayne [Eagles] knew after the first or second semester. It was a gradual thing until eventually I just became comfortable with it. It's not an issue, really!

I told my family recently-ish, I'd say something like six to nine months ago. Then everybody else. They're learning from my artist page, and from all the announcements and stuff. But, yes, I identify as a pansexual cisgender man. That's it.

Queer in this case, I'm using it as a blanket term.

OttawaJazzScene.ca: Are you graduating this term?

Anderson: I'll have an extra semester after this one.

OttawaJazzScene.ca: In your four years' experience in Carleton Music, has the school environment been a safe and welcoming place for LGBTQ?

Anderson: Yes! I'd definitely say so. I never had any issue with anybody saying anything like that. It's all been good, I'd say.

You hear the odd comment here and there, but whenever that does happen, you just tell them, “Don't do that.” It's a good environment to be in.

And also, relating to that, it's outside of Carleton Music, but Carleton has what's called the GSRC, the gender sexuality resource centre. I spent a lot of time in there in the past couple weeks. It was my first time going there, and I made a whole bunch of friends there. It's a really nice community to be a part of, and I'd recommend it. I'd really recommend it.

And Ottawa in generally is a really great place to be for that. Very seldom is there an issue like that. The way Wayne put it, when I came out to him, it was like: yes, people in this city don't care. It doesn't matter. I mean, it's just about as valid as like, what colour your shoes are. It doesn't matter.

OttawaJazzScene.ca: Is there anything else I didn't talk to you about that you'd like to tell me about?

Anderson: No, I think we're good.

I will mention a couple of things: my album, Out Loud, is coming out April 10. It's going to be on everything. It's going to be on Spotify, iTunes, things I've never even heard of. So it's going to be widely available. You can check it out.

We also have the release show at House of TARG April 10. I'd really recommend everyone comes out. We have the Carleton fusion ensembles opening for us, and that's always a really good show.

And also one other thing: I have a music video coming out April 2 [view on Youtube], for one of the songs off the record: “Birds of Paradise”. It's very Andy Warhol-inspired.
OttawaJazzScene.ca: Thank you very much for talking to me today. Good luck with all these launches, videos, future career, studies.

Thank you!

OttawaJazzScene.ca: We'll hope to catch you at your show on April 10 at 10 p.m. – but people should come earlier for the Fusion Ensemble!

Anderson: It's a real treat. I really recommend it.

Thank you for talking to me.

Updated 2019 April 5 to correct minor transcription errors which did not change the meaning.

OUT THERE SOUNDS presents James Anderson's Out Loud CD release at The House of TARG on Wednesday, April 10, 2019 from 10 to 11 p.m. Cover is $10 ($7 with student ID).

The House of TARG is located in Ottawa South, at 1077 Bank Street, just north of Sunnyside Avenue and across from the Mayfair Theatre. It's located in the basement (with stairs leading down from the street), and is not handicapped-accessible. OC Transpo routes 6 and 7 run on Bank Street immediately by the pub, and it's also easily accessible by bike. Try the OC Transpo Trip Planner to find your trip to the show!

The Carleton University Fusion Ensemble will open the evening in a first set from 8:30 to 9:30 p.m. It will perform material by Snarky Puppy, Chick Corea, Tribal Tech, Sonny Rollins, and original material.

The Carleton University Fusion Ensemble includes Wayne Eagles - Director of the CU Fusion Ensembles, Andrew Knox, Angelo Leo - horns, Dave Williamson, Matt Quirke, Ben Kissner - guitars, Jeffrey Gondosch, Anthony Kubelka - keys, Evan Davis, Matthew Staynor - bass, Justine Walker, Jennie Seaborn - drums

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