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2018 Merrickville's Jazz Fest
Holy Trinity Anglican Church
Sunday, October 14, 2018 – 10:30 p.m.
The final day of the 2018 Merrickville's Jazz Fest began with a jazzy worship service and ended with a concert reminiscent of a revival meeting, in a jam-packed day of mainstream jazz.
Because a donor offered us a ride to the festival, OttawaJazzScene.ca was able to review and photograph almost all the Sunday concerts, with the exception of the dinner shows which had sold out. We heard Ripple Effect, the Elliott/Boudreau Quartet, the Landen Vieira Quartet, a few minutes of The Nick Maclean Quartet, and Kellylee Evans.
Sunday morning was full of joyous sounds, as Ripple Effect provided the musical soundtrack to the worship service at Merrickville's Holy Trinity Anglican Church. The quintet, led by pianist Ginny Simonds, opened and closed the service with pieces by Canadian jazz composer Joe Sealy, whom they had played tribute to in several concerts earlier this year.
They also included several other Sealy compositions in sets during the service, as well as sunny numbers from Stevie Wonder, Pete Seeger, Harold Arlen, and Dino Valenti – and even a regular hymn. But regardless of the source, the music had a strong jazz vibe from the combination of keyboards (Simonds), tenor and soprano sax (Peter Woods), double bass (Howard Tweddle), and drums and cajon (Lu Frattaroli).
Friday, October 12, 2018 – 7:30 p.m.
In a vivacious and entertaining trio show Friday, vocalist Diane Nalini demonstrated that jazz can originate in many lands and be communicated in many languages.
Nalini has traveled around the world, including studying in England and Australia. Well-known as the resident vocalist for the Ottawa Jazz Orchestra, she's recently presented several of her own trio shows. For this concert at GigSpace, she teamed up with Ottawa jazz stalwarts John Geggie on double bass and Mark Ferguson on piano and trombone.
She described this show as “a musical journey across the Americas” but those used to just the Great American Songbook would have felt some cognitive dissonance. Up first was a song in French, then one in Portuguese, then a Spanish number, before Nalini finally sang in English. In fact, only a quarter of the songs on the set list were in English. Even the Cole Porter number was one of the few he co-wrote with French lyrics!
But at the same time, the feel and the style of the music was emphatically jazz, and definitely crowd-pleasing. It included jazz classics, jazz interpretations of pop songs, and several originals by Nalini.
IMOO Fest 2018, Day 2:
The Nick Fraser New Quartet – 9 p.m.
This Is It! (Satoko Fujii, Natsuki Tamura, Takashi Itani) – 10 p.m.
Saturday, September 22, 2018
We weren't sure we were going to be able to get to the second day of IMOO Fest 2018 – and afterwards were very glad we'd dashed back to see it.
The headliner for that evening, and for the festival, was the This Is It! trio led by Japanese pianist Satoko Fujii, with her long-time partner, trumpeter Natsuki Tamura, and with percussionist Takashi Itani. They were on an extended Canadian/U.S. tour that took them from Montreal to Vancouver, and from Philadelphia to Los Angeles.
Starting at a relatively late time of 10 p.m., the trio nevertheless enthralled their audience with a vigorous and highly inventive set of four improvised pieces in slightly more than an hour.
From the first notes, it was obvious they were going to explore the full (and less conventional) capabilities of their instruments. Fujii opened by playing very lightly inside GigSpace's Yamaha grand piano on its strings – a tiny beautiful sprinkle of notes – while Itani bowed the edges of his cymbals, creating a swelling and moaning sound. Tamura cupped his hands around his mouth to create his own mouth trumpet noises.
Fujii used prepared piano in this concert – and one of her signal sounds, which I hadn't seen from other avant-garde pianists, was to run a string under and around piano strings. Then, holding one end of the string in each hand in a “V” above the piano, she pulled the string back and forth, rubbing it against the piano strings to create curious sounds, sometimes echoing, sometimes buzzing.
It was one of several times that she played inside the piano. Another time she began with light rustling notes, and let the vibrations swell as she plucked individual strings. The sound was notably Japanese in feel, like single raindrops falling. It developed into a pattern, and then Fujii played on the piano keyboard against this repeating pattern.
IMOO Fest 2018, Day 3:
The Record Centre
Sunday, September 23, 2018 – 2 p.m.
If a power outage could be considered to be an opportunity, Nomad undoubtedly made full use of that possibility to create spellbinding music at The Record Centre on the final day of IMOO Fest 2018.
Playing acoustically and without drums, they created billowing and beautiful soundscapes which filled the store and kept almost everyone there intently listening.
The blackout had still not lifted in Hintonburg, but the record store had opened briefly on Saturday and then all day Sunday, hosting two jazz shows of which Nomad was the second. Ottawa musician Keith Hartshorn-Walton was able to lend the band not only his double bass, but even more importantly a battery-powered amp for the band's guitarist. And music lovers came out – both to hear the bands, and to flip through record bins and buy LPs.
Samuel Blais Quartet
Live @ Record Runner
Record Runner Rehearsal Studios, Ottawa
Friday, September 28, 2018 – 8 p.m.
The Samuel Blais Quartet introduced their new CD before a room full of enthusiastic listeners at Record Runner in Ottawa on Friday, in a consistently dynamic and striking performance.
The Montreal-based quartet had been on the road in Quebec and Ontario for the last week, performing and fine-tuning the tunes from the CD, Equilibrium. It is music with strong contrasts and energy, displaying the talents of all the musicians in the quartet: Blais on alto and baritone saxophone, Jérôme Beaulieu on keyboards, Olivier Babaz on double bass, and Alain Bourgeois on drums.
For this show, Blais decided to shake up the order of the set list from what they'd played the previous week, and from their order of the tunes on the CD. The music flowed well in this order as well, balancing more vehement numbers with quieter ones.
John Kofi Dapaah and Roxanne Goodman
Studio Sessions with John Kofi Dapaah
Saturday, September 22, 2018 – 7:30 p.m.
Pianist John Kofi Dapaah and vocalist Roxanne Goodman have much in common. They first met and played together a decade ago when both were students in Carleton University's music program. Each regularly crosses musical genre boundaries: Dapaah performs both classical music and jazz professionally, while Goodman sings soul/R&B, gospel, and jazz, and directs the 130-member Big Soul Project choir.
In performance, their musical rapport shines through.
On Saturday evening, Dapaah opened his new concert series, Studio Series, with a duo show with Goodman. They performed standards, pop and R&B tunes, hymns, and even a musical setting of a famous final letter – but with a jazz sensibility and swing.
Unlike many parts of the city that day, south Bank Street did have power, and listeners flocked to hear the duo. The 45-seat listening room in the Ottawa Pianos store was effectively full, with several local jazz/R&B vocalists in attendance. At the start, Dapaah invited the audience to “dance, clap, whatever makes you feel good!”, and while they stayed in their seats they certainly did applaud enthusiastically throughout.
The duo opened with the classic Peggy Lee number, “I Love Being Here With You”, giving it a punchy and assured treatment. Goodman sang the lyrics with her body as well as her voice, swaying to the music, snapping her fingers, and expressively gesturing with her hands. Dapaah's vigorous piano swept along with her, adding animated solo interludes. Both changed tempo at times during the song to underline the lyrics.
IMOO Fest 2018, Day 1:
Natsuki Tamura solo
Adam Saikaley and Elizabeth Millar
The Craig Pedersen Quartet
Friday, September 21, 2018 – 7 p.m.
When we arrived at General Assembly Friday evening, there was light spilling out of the door, but not because there was any electricity in the area. The owners had rigged a fluorescent light powered by a car battery and placed it in the corner of the hall, and that was the only illumination.
It was the first evening of IMOO Fest 2018, a long-awaited festival of improvised music and jazz. A few hours before, everything looked great: the festival's Japanese artists-in-residence had arrived the previous day and run their first rehearsal, and then held a masterclass that afternoon. Other out-of-town musicians were on their way.
Then the storms hit. At 6 p.m., an unprecedented EF/2 tornado skipped across west-central Ottawa, and destroyed one of the two major local Hydro transmission stations. The electricity abruptly disappeared for about half the city. Musician Adam Saikaley saw part of that storm on his way in to IMOO Fest – a funnel cloud near Woodroffe and Medhurst – but luckily was able to dodge any debris.
Claude Ranger, Canadian Jazz Legend
by Mark Miller
Tellwell Talent, 2017
reviewed by Alayne McGregor
Does a story need an ending?
I've heard it argued, by authors as prominent as Philip Pullman, that a basic tenet of stories is that they must resolve. And yet in real life, not all stories have a final resolution, and sometimes they are all the more memorable because of that.
As, for example, the story of Canadian jazz drummer Claude Ranger, which jazz journalist Mark Miller recounts in his most recent book. It's a highly readable account which has many resonances with today's jazz scene.
Claude Ranger: Canadian Jazz Legend has no concluding episode because Ranger simply disappeared in 2000, after more than three decades as a notable performer, composer, and influential teacher in Canada. But, as Miller explains in this biography, it makes Ranger's story and his legend all the more compelling – and reflective of Canada's jazz scene, which "went largely undocumented" during most of the time Ranger was performing.
Miller himself has arguably been the major figure in documenting that scene, as a journalist and jazz critic with Toronto's Globe and Mail for 27 years, and the author of many books and articles about Canadian jazz and jazz musicians. For this book, he interviewed dozens of musicians who had performed with and learned from Ranger during his career, as well as drawing from earlier interviews, reviews, and articles by himself and others.
Each chapter is extensively documented with footnotes, and Miller has included a full discography of the albums Ranger played on between 1967 and 1994. That included recordings by prominent Canadian and American musicians: Dave Liebman, Michel Donato, Jane Bunnett, Doug Riley, Moe Koffman, P.J. Perry, Sonny Greenwich, and Don Thompson, among many others.
Miller became acquainted with Ranger when Ranger lived in Toronto. He interviewed him, heard him play, and photographed him (and includes several of these photographs in the book). But, while Miller includes his own impressions occasionally, this story is primarily told through the words of all the other people who performed with, learned from, or were friends with Ranger. It's an account revealed from many angles, giving it more depth and believability.
The Nick Maclean Quartet
Avant-Garde Bar, Ottawa
Saturday, August 18, 2018 – 8 p.m.
Herbie Hancock has always had an earthy and rhythmic bottom to his jazz. Not for him the highly refined and quiet piano trio; he performs jazz that speaks to both the body and mind, and combines the talents of his entire band. And this ethos was also plainly audible in the Nick Maclean Quartet's mid-August show in Ottawa, as they played from their debut album, a tribute to Hancock.
The quartet's front line – Maclean on electric piano and Brownman Ali on trumpet – is the same as Maclean's other jazz project, the electric groove group Snaggle. But this group had a different sound: still energetic and driving, but crisper and cleaner and essentially acoustic. Maclean contributed expressive piano lines and dense harmony; Ali's trumpet lines were sometimes floating and serene, sometimes brash and exclamatory; Nick Arseneau's rounded and rich double bass solos could be light and airy, or deeply resonant; Mike Rajna kept the group's momentum up with slashing drum lines, and enhanced ballads like “Feral Serenity” with barely-there cymbal and snare taps.
Justin Gray's Synthesis
Ottawa Chamberfest, Chamberfringe Series
La Nouvelle Scène
Wednesday, August 8, 2018 – 10 p.m.
Justin Gray's Synthesis created a rich and exciting mix of East and West at Chamberfest on Wednesday, combining instruments and approaches from several traditions.
In a late-night Chamberfringe show, the Toronto jazz ensemble performed tunes from their debut album, New Horizons. All originals by Gray, they featured Hindustani melodies and rhythms within a jazz framework and with classical influences. The result: energetic and engaging music that brought together the strengths of all these genres, and which worked exceptionally well in the serene acoustics of La Nouvelle Scène.
On stage were ensemble members Drew Jurecka on violin, Ted Quinlan on electric guitar and effects, Ed Hanley on tabla, and Derek Gray on drums and Tibetan singing bowls, with guest Rebekah Wolkstein on violin and Hardanger fiddle. Almost all these instruments have been used in Indian classical music, most in jazz, and some in chamber music.