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The Justin Duhaime Quartet with David Renaud
Options Jazz Lounge, Brookstreet Hotel
Friday, February 22, 2019 – 8 p.m. to midnight
If the bright, inviting rhythms of gypsy jazz are most often heard on guitar and violin, they can equally effectively be performed on guitar and clarinet. In fact, during World War II when violinist Stéphane Grappelli was in England, Django Reinhardt replaced him in the Quintet of the Hot Club of France with clarinetist Hubert Rostaing. Reinhardt wrote some of his best-known tunes, including "Nuages", for guitar and clarinet.
Ottawa guitarist Justin Duhaime has been enthusiastically promoting Reinhardt's music for the past few years, most recently teaming up with fellow guitarist and jazz manouche enthusiast Nabil Yaghi to perform music written by Reinhardt and played in Reinhardt's style. Last summer, they collaborated with accomplished jazz clarinetist David Renaud in a sold-out show of music written and recorded in Paris during the Nazi occupation and beyond.
They brought the show, for its third airing, to the Options Jazz Lounge at the Brookstreet Hotel in Kanata on Friday evening. It was a fast-paced and jam-packed evening of music, with Duhaime providing friendly introductions and explanations of the tunes. OttawaJazzScene.ca's reporters heard all of the first two sets and part of the third.
The set list included Reinhardt's own compositions, jazz standards which he recorded, and a few later pieces (such as Chick Corea's “Armando's Rhumba”) which Duhaime said were fun to imagine how he would have played them.
The Florian Hoefner Trio
National Arts Centre, Fourth Stage
Tuesday, February 19, 2019 – 8:30 p.m.
It was an evening of close listening – on-stage and off – as the Florian Hoefner Trio presented the music of their as-yet-unreleased debut album. And that listening revealed some real gems in the music.
Hoefner performs in several different groups with musicians from around the world; this is his Canadian trio. The German-born jazz pianist, who now lives and works in Newfoundland, has teamed up with two talented Toronto musicians: bassist Andrew Downing and drummer Nick Fraser. And despite living in different provinces, the three showed considerable rapport in their performance Tuesday.
The Lorraine Desmarais Trio
Bill Evans: Time Remembered (documentary film)
La Nouvelle Scène
Friday, January 25, 2019 – 6 p.m.
Before rapt listeners, Lorraine Desmarais deftly explored the legacy of Bill Evans on January 25.
The Montreal pianist, together with her long-time trio of bassist Frédéric Alarie and drummer Camile Belisle, gave an emotionally-charged performance at La Nouvelle Scène. It was her first concert in Ottawa in almost a decade, and received with distinct delight by the sold-out audience.
Evans released more than 70 albums in his 25-year career, and was known as a supremely intuitive interpreter and composer who added new concepts of harmonic language to jazz piano. He composed more than 60 tunes, many of which have become standards. His renditions of many Great American Songbook and modern pop tunes are considered classics.
Desmarais is a renowned Quebec jazz pianist, composer, and bandleader, who can easily hold her own with international stars. She was fully at ease with Evans' music – and clearly enjoying herself in the concert.
Strings in Focus
Ottawa Jazz Orchestra
National Arts Centre, Fourth Stage
Saturday, January 19, 2019
The harp sitting in the middle of the stage confirmed it. This was not going to be your typical Ottawa Jazz Orchestra concert – or sound.
Instead, it was a celebration of strings in jazz, on a comparatively large scale. On a stage lengthened by eight feet and jutting an extra four feet into the audience sat six violinists, three viola players, two cellists, one bassist, one harpist, a pianist, a bassist, and a drummer, all directed by conductor Angus Armstrong.
In the first set, they accompanied vocalist Diane Nalini in classic arrangements of songs made famous by Ella Fitzgerald. In the second set, tenor saxophonist Mike Tremblay improvised in response to their performance of Eddie Sauter's compositions for Focus, an acclaimed Stan Getz album.
Megan Jerome and the Together Ensemble
National Arts Centre, Fourth Stage
Monday, December 17, 2018 – 7:30 p.m.
It was a very personal – but also very sociable – concert at the NAC Fourth Stage as Ottawa vocalist Megan Jerome celebrated the one-year anniversary of her most recent album.
Jerome's sunny smile encompassed everyone in the room, as she praised her band, celebrated a friend's 50th birthday, told how she collaborated with choreographer Tedd Robinson, promoted everything from Pilates exercises to a friend's campaign to fund a community kitchen to teach kids in Vanier to cook, and explained how she used pictures as seeds for her songs.
Throughout, she sang her original music and lyrics, her appealing voice combining with the rich instrumentation of the musicians behind her in a stream of images, emotions, melody, harmony – and quite a few love songs.
Jerome, sitting behind her vintage Wurlitzer piano, was supported by her Together Ensemble: Don Cummings on Hammond organ (provided by the NAC so he didn't have to cart in his own), Fred Guignion on electric guitar, and husband Mike Essoudry on drums. Her latest CD, Ooh Aah! had had its release at the Fourth Stage a year before, almost to the day. She performed many of the songs from that CD, along with others across her career.
Playing Changes: Jazz for the New Century
by Nate Chinen
Pantheon Books, 2018, US $27.95, CDN$36.95
This week, I finished reading Playing Changes: Jazz for the New Century by American jazz and pop critic Nate Chinen. There aren't many books written about jazz each year, so I'd been wanting to read it since it was released last summer. I found it a fascinating – if incomplete – guide to what's on in jazz today.
What worked: it's right up to date, and covers a wide range of musicians and styles from avant-garde, to jazz crossovers with R&B and hip-hop, to Afro-Cuban, to mainstream. The musicians profiled in the book are clearly influential and interesting, and continuing to push themselves. Many will be familiar to Ottawa listeners, whether from performances at the Ottawa Jazz Festival or mentions in other jazz publications or on jazz radio.
The chapter-long profiles of musicians such as Esperanza Spalding, Brad Mehldau, Vijay Iyer, Mary Halvorson, Miguel Zenon, and Dave Douglas were what I found most interesting. Chinen has done a good job of providing a sympathetic and music-focused profile of each of these artists, condensing their history and their ideas from different interviews and reviews, and giving an informed context for their music.
I also really enjoyed the learning more about Jason Moran's combinations of music and visual art, Chinen's excursions through Beijing's increasingly self-propelled jazz scene, or how Donny McCaslin linked up with David Bowie. The “Changing Sames” chapter about the links between hip-hop and jazz – and in particular, the continuing influence of the late producer J Dilla on both – helped me understand more about that scene and how much it added to the recent music of, for example, Roy Hargrove (and how much we lost with Hargrove's recent death).
The Ottawa Junior Jazz Band
The Nepean All-City Jazz Band
Longfields-Davidson Heights Secondary School, Ottawa
Tuesday, December 18, 2018 - 7:30 p.m.
If you'd ever wondered which is louder, a big band or a fire alarm, the question was conclusively answered last month at a joint concert by the Ottawa Junior Jazz Band (OJJB) and the Nepean All-City Jazz Band (NACJB).
The punctuated snarl of the fire alarm won.
Just after 9 p.m., the NACJB was in full flight playing Tom Kubis' “Grimey Yet Slimey Blues” in the auditorium of Longfields-Davidson Heights Secondary School in Barrhaven. The alarm went off loudly and with a bright flashing light, the music abruptly stopped, and the entire audience dutifully trooped out of the school. Three firefighters arrived within a few minutes and quickly confirmed there was no fire. Then everyone returned after a 10-minute break – to hear the band resume right where they had broken off, fully immersed again in the energy of the piece.
Each year, the two student bands present a joint concert in December. It's a shaking-in show, the first chance for new band members to perform before a live audience and play the music they had been learning and rehearsing for the past three months. OJJB Director Mandar Gumaste said it was the first time it had ever been interrupted by a fire alarm.
The concert opened with a seven-song set by the OJJB, performing a mix of big band standards and more modern pieces. It was an energetic performance, tight and clear, of innovative and generally upbeat arrangements. The band's performance of Duke Ellington and Billy Strayhorn's “Such Sweet Thunder”, with its many strong individual solo sections, garnered particularly strong applause. Gumaste noted that half of the band was new this year, but you wouldn't have known that from their smooth performances in numbers such as “Spain” and “Hot House”.
As OJJB's members were leaving the stage at the end of their set, the trombone section stayed behind and played “Jingle Bells” – an extra fillip of Christmas cheer that was nicely done.
Improvising Musicians of Ottawa and Outwards (IMOO) #187: A Very Ayler Christmas 2018
Sunday, December 16, 2018 – 7:30 p.m.
It's become a tradition. Every December for the last dozen years, saxophonist Bernard Stepien has given a new spin to familiar Christmas tunes by combining them with compositions by 1960s American avant-garde – and very spiritual – jazz saxophonist Albert Ayler.
Stepien has overcome ice storms, illness, and frequent changes in his orchestra's line-up to present this project each year – and even released a CD of it in 2011. He's continued to find new correspondences between carols and Ayler's music, fitting them together in surprisingly musical ways.
And with the aid of skilled and adventurous Ottawa-area improvising musicians, the combination works. Ayler's music, with its gospel and military overtones, comes from much the same musical sources as many of our carols and other Christmas-themed music; in each combined Ayler/carol piece, the two tunes complement and provide a new viewpoint on each other.
This year, Stepien recruited musicians who have been playing this music from the beginning: saxophonists Linsey Wellman and David Broscoe and bassist Philippe Charbonneau. To that group he added François Gravel on keyboards and electronics, David Jackson on electric guitar and electronics, and Patrick Sénécal on drums.
Bird in the Reeds
The Ottawa Jazz Orchestra
National Arts Centre, Fourth Stage
Saturday, December 15, 2018 – 8:30 p.m.
It's been more than 75 years since saxophonist Charlie Parker started shaking up jazz. He took the genre away from swing and danceable music and instead explored advanced harmonies, complex syncopation, altered chords, and chord substitutions.
His music was not easy to play – with fast tempos and difficult eighth-note runs – but it was far more interesting and gave more opportunities to build upon. As Parker said himself, “It's trying to play clean and looking for the pretty notes. The beat in a bop band is with the music, against it, behind it. It pushes it. It helps it. Help is the big thing. It has no continuity of beat, no steady chug-chug. Jazz has, and that's why bop is more flexible.”
The Ottawa Jazz Orchestra paid tribute to Charlie Parker and his compositions in the second show of their 2018-19 season. But it was Parker with a twist – not the versions you might hear in a jam session. Instead, the OJO ensemble primarily played the challenging arrangements of Parker's music written by Los Angeles composer Med Flory for his Supersax group.
HMMH (Hétu / Martel / Mouchous / Hübsch)
Improvising Musicians of Ottawa and Outwards (IMOO)
Sunday, December 9, 2018 – 7:30 p.m.
When you're operating on the bleeding edge of music, the old rules don't precisely apply.
New instruments, new methods of playing them, new combinations – all those characterized HMMH's concert at IMOO on Sunday. It was not a show that one could judge based on its fidelity to a musical text – it was, after all, completely improvised – nor was there a specific style or genre that it adhered to.
It was as much visual as aural – what exactly is making that sound? And it was almost as much of a process of exploration for the audience as it was for the musicians, as one listened to and absorbed the music that was being born in the moment.