Malcolm Goldstein is a violinist, composer, and improviser who has consistently found his own path in music, and expanded possible ways of thinking about music along the way.

Jade Mountain Soundings graphic score by Malcolm Goldstein
Jade Mountain Soundings graphic score for violin, by Malcolm Goldstein. See for the complete document, including how to read this score. Goldstein will discuss graphic scores like this in his free masterclass at Carleton University on Friday.

Goldstein is known for extending the range of tonal and textural possibilities for the violin, for experimenting with new ways of notating music through graphic and text-based scores, and as a master improviser and a writer about improvisation. He's collaborated with Ornette Coleman and John Cage – and more recently with many musicians in Montreal, where he's lived for the last 26 years.

His last performance in Ottawa was in 2011 with percussionist Jesse Stewart. On Friday, he's back for two events. At noon, he'll present a free masterclass at Carleton University on graphic scores and on improvisation. That evening, he'll have a return engagement with Stewart: a completely-improvised concert in the intimate and very quiet environs of GigSpace. Details are at the end of this article.

Now 82, Goldstein was raised in Brooklyn and has been active in the new and improvised music scenes since the 1960s. Trained as a classical violinist and with an MA in music composition from Columbia University, he nevertheless quickly moved away from the standard classical and jazz repertoire, starting with his collaboration from 1962-4 with the Judson Dance Theatre in New York City. He has written extensively on improvisation, including his book Sounding the Full Circle: Concerning Music Improvisation and Other Related Matters [1988].

For almost three decades, he's divided his time between Montreal and Vermont, living in a cabin in the woods in Vermont in the summer and wintering in Montreal, plus extensive touring in Europe, although he has slowed down recently and is now primarily in Montreal. interviewed Goldstein by phone on Tuesday, in a wide-ranging conversation about creating and listening to music. The following is a condensed and edited version of our discussion.

We began by talking about composition and a piece he wrote that was recently performed across Canada by Montreal improvisers Nicolas Caloia and Lori Freedman, which was written out in words instead of traditional musical notation.

The Carl Mayotte Fusion Quintette makes its Ontario debut on Friday, November 30, in the Live @ Record Runner series.The Montreal bassist and composer enthusiastically incorporates jazz, rock, funk and world beat into his original compositions. They'll perform "my compositions, and 2-3 arrangements of jazz fusion classics (Weather Report, Chick Corea), just to do a tribute to the music I like in this style," Mayotte told

Carl Mayotte - original photo by Sébastien Veilleux
Carl Mayotte - original photo by Sébastien Veilleux conducted a written interview with Mayotte. The interview has been edited for clarity and style. What attracts you to jazz fusion?

Carl Mayotte: My father was listening to progressive rock so I really loved this music early on. That led me to jazz fusion when I was 13-14 years old, especially because electric bass has such a great place in this music. The virtuosity of the musicians in this style always kept my attention very high. But for now, what I like of this genre is the infinite variety of other genres that you can combine in it. There are literally no boundaries. For a musician and a composer, it's a world full of freedom. I love too that it has to groove and that can make people listening to it dance sometimes. What are your jazz influences or other non-influences that may be known to jazz audiences?

Carl Mayotte: I have too many influences, hahaha, but for this Fusion project naturally my influences are Weather Report, UZEB, Return to Forever, and certainly all the progressive rock scene, especially King Crimson and Frank Zappa. But in general, some of my main influences for the bass are Jaco Pastorius for the spirit, Steve Swallow for the melodies, Richard Bona for the energy, and Alain Caron [UZEB’s bassist] for the sound. These day I listen a lot to some Japanese city pop music, a lot to Francis Poulenc, and a bit to 60'S Miles Davis.

Alain Caron influenced me A LOT. First, he is a Quebecer so I really loved him for that when I was a teenager. I have transcribed him a lot too, and love the fact that even if he was so good at the beginning of UZEB, he still evolved and progressed from Jaco-like to his original sound and technique. His fretless playing has had a big impact on mine. I'm working presently with Michel Cusson, the guitarist of UZEB, for my first album.

What sets EvenSong apart is the idealism, the warmth, and the spiritual dimension which its members bring to their playing.

EvenSong CD cover
EvenSong CD cover (photo: Scott Doubt)

The Ottawa jazz quintet will release its first CD on Sunday evening in a concert at MacKay United Church. It's a collection of jazz and popular tunes and one hymn – easily recognizable pieces – to which the ensemble has added its own jazz voice. The tunes have been audience-tested, not just in local clubs and festivals, but also at fundraisers and church events, to be touching and emotionally resonant.

The band's motto is “hope and affirmation”, says its saxophonist, Peter Woods.

“Especially in our current society and political climate around the globe, to be hopeful and affirming isn't just being naively optimistic. To really dig into being hopeful, in the current global climate, is to resist the trend towards divisiveness and hatred and despair and all those things. I think there's a real edge to being hopeful, and it's not just being optimistic. You are saying: we are going to affirm the good things in our community and in our world and what we find in individuals – and play to that! Play music that affirms that and hopefully feels like a soundtrack or background music for that sort of resistance work.”

EvenSong began in 2016, with Woods and pianist James McGowan. Woods is the minister at MacKay United Church in New Edinburgh, while McGowan is director of music at Trinity United Church in west Ottawa as well as a professor of music at Carleton University. Both regularly play in various jazz groups in Ottawa.

Updated December 5, 2018
Latest news as of March 13: Our story on who's appearing at the 2019 Ottawa Jazz Festival and the full 2019 Ottawa Jazz Festival Line-up and prices

Fewer concerts on fewer days at fewer venues – that will be the 2019 Ottawa Jazz Festival.

©Brett Delmage, 2018
Listeners were unhappy to be sitting on the unpleasantly hot concrete ice pad with the sun in their eyes at the new City Hall location for the Ottawa Jazz Festival in 2018. The festival expects to have to remain in the City Hall grounds in 2019, eventually returning to Confederation Park only after construction work there is completed.   ©Brett Delmage, 2018

The festival lost nearly $200,000 this year, primarily because of lower ticket sales. As a result, it will have a “smaller, more focused” programming budget next summer, president John Freamo told the festival's annual general meeting Tuesday.

“Programming is by far the biggest expense and biggest financial risk for the festival. We will still present some big-name concerts and many world-class jazz artists, but we'll scale back somewhat on the number of different series and venues.”

He said the festival would also “scale back a little bit on some of the series that happen simultaneously” – based on patron feedback over the past few years where some don't like not being able to attend a concert because another is happening at the same time and “they can't be at both places at once”. This year, the festival had five series which all began in the 6:30 to 7:30 p.m. timeframe.

The exact reductions are still to be determined, Freamo said, depending on previous commitments and which artists are touring.

The festival's website had shown the summer festival running from Thursday, June 20 to Monday, July 1, 2019. Festival programming manager Petr Cancura said it would now start on Friday, June 21. It may also go dark for a Monday or Tuesday in the middle of the festival, as Bluesfest does.

Cancura said the places to be cut first will be “things that cost us the most”: for example, concerts on certain days like Sundays at the National Arts Centre that require paying staff double time.

“There might not be an actual series missing, but some of them might be thinned out where we know that the production costs are just too excessive, as well as thinning out the number of days that we do.”

François Jalbert ©Brett Delmage, 2016
François Jalbert: Having the harmonics of guitar and piano "blending together is very beautiful if it can come up naturally.” ©Brett Delmage, 2016

UPDATE November 22: This concert is now free and has been moved to the Peter Herrndorf Place (back of the Atrium) at the NAC.

In their acoustic jazz duo, guitarist François Jalbert and pianist Jérôme Beaulieu play music with no place to hide.

“There's no cheat. It's very real. There's no reverb. There's no editing. It's basically like we were playing in a living room – that's exactly how it would sound like,” Jalbert said.

The two Montreal jazz musicians released a duo album of their original compositions last fall. They'll give it its Ottawa debut in the quiet and cozy Fourth Stage – where listeners can curl up in plush barrel chairs to listen – at Canada's National Arts Centre on Thursday, as part of the NAC Presents series.

It's melodic, intimate music, with some influences from bluegrass and folk. The individual voices of piano and guitar are each clearly heard, both in solos and in playing different intertwining lines. No effects are added. It's pure acoustic sound.

“It's been actually one of the main challenges of that record is that it's just so naked,” Beaulieu told, and Jalbert agreed: “Yes. If it doesn't groove it's your problem!”

When interviewed the two by phone last week, the conversation was just as interactive as their playing, with each of them building on what the other said. It reflects their long musical and personal friendship – with the music evolving naturally from years of playing together.

Jalbert and Beaulieu met when studying jazz performance at l'Université de Montreal.

“We used to just go and jam together in rehearsal spaces, just for the fun of it, on our lunch breaks from school,” Beaulieu said.

“We just started playing for fun,” Jalbert explained. “We were like jamming at parties, just songs that we liked. Gypsy jazz, or bluegrass, or covers of pop songs. We played basically any style that we liked, with no restraints. So that's why there are a bunch of influences [in the music].”

“It became a sound, because we learned how to position ourselves towards one another. And then it became a thing, but it wasn't really thought up from the beginning to go in that direction,” Beaulieu said.

“We just got quickly to this point where basically we found out that we each have all of the possibilities on our respective instruments, so we figured we'd be able to do some music together, and position ourselves into those different roles that are acceptable to us by our instruments. It just got very natural very quickly and it was a lot of fun.”

©Brett Delmage, 2018
The Alex Moxon Quartet (l-r John Geggie, Michel Delage, Steve Boudreau, Alex Moxon) previewed Alex's new CD at The Record Centre November 3 and will be at Brookstreet's Options Jazz Lounge on Saturday, before heading into the recording studio November 21 and 22. ©Brett Delmage, 2018

Guitarist Alex Moxon has been a highly visible player in Ottawa's jazz scene for the last decade, primarily in groups where he shares the creative duties with others (the HML Trio, the Chocolate Hot Pockets, F8-BIT, and Modasaurus).

Next week, he steps into the studio to record his first CD as leader, with a quartet of sure-handed Ottawa musicians showcasing his own compositions. Some pieces, he's played before with his other groups, but others are new – and all are in a more acoustic and reflective mode. He doesn't use pedals or effects with his guitar on these tunes, unlike in the more groove-oriented CHP.

Moxon and his quartet have been preparing for the recording by playing this material in different contexts: a house concert, as host band for Jazz Mondays most of this month at Le Petit Chicago, and this Saturday evening (November 17) at the Options Jazz Lounge at the Brookstreet Hotel in Kanata. Performing with him are Steve Boudreau on piano, John Geggie on double bass, and Michel Delage on drums – all musicians he's played with before, but not in his regular bands.

Sammy Davis Jr first appeared on his own CBC TV show 'Parade' when U.S. television did not welcome black performers

" seems the first thing people try to do is classify you. They’re all trying to figure out whether to call you a rock singer, a folk singer, or whether you have a country sound. The only sound I have is me."

That's how Anne Murray introduces CBC TV's new series ‘From the Vaults’ in an opening archival clip. It's an observation that could often be said about jazz, which is frequently evolving, embracing, extending - and hard to classify sometimes.

The series’ six weekly shows – to which was given an advance view – span 60 years of Canadian music on CBC-TV. They include segments which will be of specific interest to jazz and blues fans. Other segments have interesting angles on Canadian musical history, and on our society and the culture which helped create and shape it. The first show airs on Thursday, November 15 at 9 p.m. on CBC TV. It will also be available on the CBC TV streaming app.

Episode 1, 'Land of Opportunities' features Sammy Davis Jr performing jazz standards in his own CBC special. ‘Parade’ aired during a tumultuous time in U.S. history when it would have been impossible for him to appear on U.S. television as a black performer. Another segment shows Muddy Waters and other well-known blues musicians performing together in a pioneering CBC show whose producers improvised to create a successful and unique show.

The jazz band Way North crosses borders – in several senses.

Petr Cancura ©Brett Delmage, 2017
Ottawa saxophonist Petr Cancura shares his love of jazz and roots music with the other three members of the cross-border group Way North  ©Brett Delmage, 2017

Its four members – saxophonist Petr Cancura, trumpeter Rebecca Hennessy, bassist Michael Herring, and drummer Richie Barshay – live in three cities in two countries. And its music defies simple categorization: “when I have to describe it, I cannot be more specific than saying 'folk-world-roots-music-inspired' ”, Cancura says.

When the band plays at Canada's National Arts Centre Fourth Stage on Wednesday, the audience will hear touches of blues, a strong whiff of traditional New Orleans music, hints of African and Brazilian world rhythms – and most importantly, an approach that combines jazz's improvisation and the story-telling aspects of folk music.

All four musicians have strong jazz creds: Cancura in a wide range of his own projects ranging from roots-jazz to chamber jazz to mainstream, as well as Ed Lister's Prime Rib Big Band; Hennessy with her FOG brass band, the groove-based Drumhand, and the chamber jazz group Hobson’s Choice; Herring with the JUNO-nominated jazz group Peripheral Vision; and Barshay who has played with Herbie Hancock and Chick Corea as well as in his own bands.

Cancura lives in Ottawa, Hennessy and Herring (who are married) in Toronto, and Barshay in Brooklyn, NY. It's a wide triangle to traverse – more than 800km on a side – which, along with everyone's busy schedules, explains why this is the first time they've performed together in 21 months.

The Ottawa show is part of an Ontario/Quebec tour this week to promote the release of the band's second album, Fearless and Kind.

The four musicians first started playing together in 2014 when they were (briefly) all living in the same city – Brooklyn. “Rebecca and Michael were on a study residency down in Brooklyn for about 6 months. We played a few times and then we did the first record. Then Michael and Rebecca had to go back home. I think we recorded the record the day before they went back up to Toronto,” Cancura said.

That return to Canada inspired the group's name, he said. “We were all talking about that idea that we recorded it down south but they're going back up north. Then I decided to move back up. We started playing around with the idea of north versus south, and we came up with 'Way North'.”

Two pianists, Gentiane MG and Florian Hoefner, and two vocalists, Ellen Doty and Amanda Martinez, will headline the jazz concerts to be presented next spring at the National Arts Centre.

©Brett Delmage, 2016
Florian Hoefner will bring his Canadian trio, with Nick Fraser and Andrew Downing, to the NAC on February 19, 2019. ©Brett Delmage, 2016

Their concerts were announced Tuesday as part of 30 new shows in the centre's NAC Presents series. Also included in the series is a tribute to calypso singer Harry Belafonte on February 22 including Canadian jazz singers Florence K and Alex Cuba.

Florian Hoefner is an accomplished composer and pianist, whose fluent and interlaced music has consistently evoked standing ovations and sold-out shows in his Ottawa concerts. He was born and educated in Germany, and worked for years in NYC, where he collaborated with guitarist Kurt Rosenwinkel.

In 2014, he moved to St. John's, Newfoundland when his wife was appointed a professor at Memorial University. He has made many connections here and toured several times across Canada. In 2015, he was awarded the Stingray Rising Star Award by the Montreal Jazz Festival for his compositions.

In Ottawa, he's played solo, with his international quintet, and with the German jazz group Subtone. For his NAC Fourth Stage show on February 19, he's bringing his new Canadian trio, with drummer Nick Fraser and bassist Andrew Downing.

Both Fraser and Downing are major figures in Toronto's jazz scene: highly versatile musicians who have often played together. Fraser's music ranges from free jazz to mainstream, including playing with pianists David Braid and Nancy Walker, while Downing has played everything from creative music to chamber music to mainstream jazz to world music.

©Brett Delmage, 2018
Councillor Jeff Leiper hired the Nepean High School Jazz Combo for his election night party. l-r: Patrick Vafaie (sax), Sam Alexander (drums), Kenny Hammond (bass), Thom Simons (guitar) ©Brett Delmage, 2018

Councillor Jeff Leiper (Kitchisssippi, ward 15), the leading live music industry advocate on Ottawa City Council, wasn’t the only one in the room receiving applause at his successful re-election victory party on Monday night.

At the Carleton Tavern in Hintonburg, the Nepean High School Jazz Combo – Patrick Vafaie on sax, Sam Alexander on drums, Kenny Hammond on bass, and Thom Simons on guitar – performed jazz standards for campaign volunteers and other residents to enthusiastic applause. Vafaie had performed with Leiper’s saxophonist son Nicholas in the Nepean All-City Lab Band. Nicholas Leiper is now in his first year of jazz studies at the University of Toronto, and his trio performed at the launch of his father’s campaign.