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Matthieu Hallé and Linsey Wellman: May the Waves Rise From Its Floor
Friday, November 30, 2018 – 8 p.m.
Two different worlds collided Friday evening, in a rare aural-visual live improvisation.
On one side of the room, Linsey Wellman stood upright and played baritone saxophone. On the other side, filmmaker Matthieu Hallé sat on an equipment case on the floor, bent over his film projector, electronics, and two burning candles. And between them, projected on a large white wall, were the constantly-shifting images that Wellman was responding to in his playing, and which Hallé was manipulating in response to Wellman's performance.
For 45 minutes, the audience in General Assembly was immersed in a stream of images and sound, as Hallé presented his new piece, “May the Waves Rise From Its Floor”. It was a flowing and mostly calm stream of images and music, developing in smooth transitions between barely-there penumbral shapes and bright sunlit images, and back again. Sometimes it felt like one's hazy vision on waking up; other times like multiple layers peeking through clouds.
The Lebanese Palace
Tuesday, November 20, 2018 – 7:30 p.m
It was a night of vibrant and melodic jazz, as Stay Tuned/Restez-à-lécoute showcased two vocalists in two sets at the Lebanese Palace on Tuesday, November 20.
The Ottawa jazz ensemble attracted an almost-full house, as it played an upbeat mix of standards and a few originals. The group has been often heard hosting JazzWorks jam sessions and performing at benefits for causes like equitable land development in Africa or support for Eritrean and Syrian refugee families, but its dedication and skill was completely professional.
Their spokesperson, pianist Karl Nerenberg, has frequently said that the group's mission is to bring the love of jazz to everyone – and you could see that in how their music connected with the audience, who regularly applauded and even occasionally got up to dance. Nerenberg added to the outreach through his friendly introductions, comfortably talking about the composers and telling anecdotes about the songs and their historical background – and perhaps reflecting his own background as a journalist and documentary filmmaker.
Michèle Castonguay was the vocalist for the first set, of which I heard most, but not all, because of a time conflict with another event. She sang with a smile and added bright scatted sections to standards like “You'd Be So Nice to Come Home To” and “Taking a Chance on Love”. On ballads like “'Round Midnight” and “Georgia”, she put her heart into the lyrics, giving them their full emotional due. She easily navigated the different time signatures in the Freddie Hubbard hard bop number “Up Jumped Spring” and gave it a warm, conversational vibe that was a hit with the audience.
Tariq Amery and Miguel de Armas Jr.
The Art House Café
Saturday, November 24, 2018 – 7:30 p.m.
“It was great! Just instant chemistry,” says saxophonist/flutist Tariq Amery of the first time he played with Miguel de Armas Jr., at the Beeched Wailers' Tuesday night jam at Irene's Pub. The duo shared that chemistry with a small but highly satisfied group of listeners in the cozy confines of the Art House Cafe on Saturday.
For the past month, Ottawa has had a new Cuban import. Miguel de Armas Jr., the son of the well-known Ottawa-based Afro-Cuban pianist/composer Miguel de Armas, is visiting Canada for the next six months – and performing around Ottawa. De Armas Jr., who is also a pianist, recently graduated from Cuba's rigorous university music program.
“I love his phrasing and the way he forms his lines. It's just a very unique approach. His energy when he's playing – he just takes you with him,” Amery said of his brief experience playing with de Armas Jr. That connection was clearly evident in their musical collaboration and the extensive improvisation it allowed in this performance, their second formal show together.
Outside, it was dark and dauntingly cold, with freezing rain making the experience more unpleasant by the minute. But inside, one completely forgot about that as the two musicians drew everyone into their obvious joy of making music together, interspersed with laughter and dialogue. There was enthusiastic applause after each number. One couple had heard them at their previous coffeehouse gig and came out to hear them again.
Canada's National Arts Centre, Fourth Stage
Thursday, November 15, 2018 - 8:30 p.m.
Love, anguish, and triumph are celebrated in jazz vocalist/pianist Elizabeth Shepherd's latest album, a personal tribute to many visions of Montreal. She gave the album its premiere in Ottawa on Thursday at Canada’s National Arts Centre.
It was the first stop on her launch tour for MONtreal (a play on the French for “my Montreal”), that will shortly take her and her four bandmates across Western Canada, as well as to Toronto and of course Montreal – and next year over to Europe.
The album, though, is very specifically tied to Montreal, which Shepherd considers her home town. At the NAC show, she performed all 11 tracks on the album, plus two tunes on earlier albums, to a welcoming and interested reception from the audience.
As she told the crowd, each track on the album is associated with a specific location in the city, and based on an interview with someone living there, telling the story of their Montreal. Some, like her mother, she knew well; others were complete strangers picked at random. Over a five-year period, she interviewed 40-50 people, then culled the interviews down to 11 and wrote and recorded the songs.
The Grey Jazz Big Band: A Concert to Remember
Centrepointe Studio Theatre
Friday, November 9, 2018 – 2 p.m.
The Grey Jazz Big Band has members who were living during World War II – a claim few other bands can make, and one which made them a perfect choice for a “Concert to Remember” on the Remembrance Day weekend.
It was the second consecutive year that the band had performed on this weekend at the Centrepointe Studio Theatre, with a programme which remembered popular and big band swing tunes from across the 20th century. The matinée show sold out the 220-seat theatre in 2017 and came very near to that this year, with only a few seats empty.
There were 17 instrumentalists on stage, plus band director Brian Boggs as conductor, and vocalists Mary Frances Simpson and Bill Luxton. Each wore a poppy in his or her lapel, and several also wore military or RCMP service pins or military service ribbons. The men also wore red neckties, several Canada-flag-themed.
It was an engaging and energetic show, played by musicians who clearly loved and were familiar with the music – so much so that they put too many tunes in the set list and had to drop a few on the fly! They opened with George Gershwin's martial-themed “Strike Up the Band” and rolled right into twirling rhythms of Glenn Miller's WWII-era tune “Tuxedo Junction”, with Luxton explaining that this title referred to a jazz and blues club in the Birmingham, Alabama area.
Keith Hartshorn-Walton, Richard Page, Craig Kennedy
The Barrhaven Neighbourhood Jazz Series at Anabia Cupcakery Cafe
Friday, November 9, 2018 – 8:30 p.m.
One evening a month, musicians living in Ottawa's southern suburb bring jazz to their own neighbourhood.
Tuba player Keith Hartshorn-Walton only lives a few minutes away from the Anabia Cupcakery Café, a cozy café and bar in a Barrhaven mall, and for the last five months has brought in different combinations of jazz musicians, mostly from this area, to play on a Friday night. There's no cover charge, but the musicians did draw attention to their donation basket several times during the show.
OttawaJazzScene.ca was there for the November show. Outside there was driving rain, wet snow, and soaking-cold slush, but inside it was bright and cheery, with retro-style paintings of women in 1940s styles on the walls. Tables and armchairs were set up around an open area reserved for the performance. Every table was taken in the café, with lots of coffee cups steaming on them, and most of the customers were listening to the music.
National Arts Centre Theatre
Friday, November 2, 2018 – 7:30 p.m.
Holly Cole takes her music from many sources: the Great American Songbook, Tom Waits, pop songs. But in her voice and with the backing of her skilled band, they all turn into golden jazz.
At her National Arts Centre concert Friday, Cole received two standing ovations – and moments of complete silence and attention as well – as she presented tunes from across her career. The show was both an introduction to her latest CD, Holly, from 2018, and a selection of favourites reaching back to her first full-length album, Girl Talk, in 1990.
It's been 2½ years since Cole last performed in Ottawa, and 6 years since she was at the NAC, and her audience was as enthusiastic as ever. The 897-seat NAC Theatre was about 80% full, and from the very first song, the audience responded with very strong applause and cheers – to which Cole made the effort to respond in both French and English.
Backing Cole were Toronto jazz musicians she's played with for years: pianist Aaron Davis, saxophonist John Johnson, bassist George Koller, and drummer Davide DiRenzo. If Cole was the star, they were the muscle behind and the contrasting voices in her music – and she let them shine as well.
The Ottawa Swing Dance Society celebrated its 19th anniversary in style Friday evening with dancing, birthday cake and snacks, and most importantly – live jazz.
They brought in one of their favourite Ottawa jazz bands – Peter Liu and the Pollcats – to perform three sets of vintage swing music, and the band invited a special guest singer, JUNO-Award-winning vocalist Kellylee Evans. The Pollcats have previously invited Evans to sing with them at swing dances, and Evans had Liu guest with her at her swing-themed concert at the NAC a year ago.
OttawaJazzScene.ca was there for the band's second set, in which Evans and Liu each led the Pollcats in a lively selection of jazz standards.
Evans' flexible, vibrant voice easily navigated the lyrics to tunes that included “Pennies from Heaven”, and “I Like Pie (I Like You Best of All)”. On “Love Me or Leave Me” (from her JUNO-winning album, Nina), she was scatting joyfully and singing with her whole body; on “It's Only a Paper Moon”, she was bouncing up and down to the beat.
Afro-Cuban Meets Jazz featuring Miguel de Armas and OKAN
NAC Fourth Stage
Saturday, October 13, 2018 – 8:30 p.m.
I have rarely felt that much energy and joie de vivre pouring out of a group as in the collaboration between Miguel de Armas and OKAN this month.
For two successive evenings, they took over the NAC Fourth Stage and turned it into a Cuban fiesta, combining their own compositions, jazz standards, and Afro-Cuban songs into a joyous rush of music.
On the first (Saturday) evening, every seat was taken in the National Arts Centre Fourth Stage – and there were fans perched in the window ledges. Each song was greeted with strong applause, and by the last song most of the audience was up dancing, and stayed on their feet to give the group a standing ovation and to demand an encore.
There was a strong simpatico and easy communication among all five musicians on-stage – not surprising given their similar roots in Cuba and their performances together here. This was the third time that de Armas and OKAN had performed together (the first was last New Year's Eve in Ottawa).
Tenth Ward Shakedown
The Art House Café
Friday, October 26, 2018 – 8 p.m.
The Tenth Ward is a wedge-shaped section of central New Orleans. In jazz terms, it's best known as the home of Charles “Buddy” Bolden, a charismatic and powerful cornetist who, at the turn of the 20th century, became the father of New Orleans jazz.
New Orleans has been called “the birthplace of jazz” – in its most approachable way. Its jazz has a swinging, stomping, syncopated beat that makes people want to dance. From Bolden through Louis Armstrong and Jelly Roll Morton to modern masters like Trombone Shorty and Kermit Ruffins, the city's jazz is noted for its feel-good energy, freedom of expression through improvisation, spontaneity, and fun.
And that's the vibe a crowded room heard at The Art House Café on Friday evening.
The Ottawa jazz group Tenth Ward Shakedown – Tariq Amery on saxophone, Sean Duhaime on electric guitar, and Keith Hartshorn-Walton on double bass – has been presenting this material at the Café in monthly shows since last April. In August, they added a drummer to the line-up, contributing even more energy to the mix; for this evening, it was Andrew Ferderber.
In two sets, they played a mix of music by New Orleans musicians – Sidney Bechet, the Meters, and the archetypal Big Easy trad tune, “When the Saints Come Marching In” – plus jazz standards given a New Orleans kick.
Their energy never flagged over more than two hours of music. Amery in particular is a dynamo in concert, swirling his soprano sax around and about and constantly moving with the music. The others mostly stood still, but their fingers didn't – Duhaime produced fast flurries of notes on his guitar and high harmonics, Hartshorn-Walton deep, velvety bass lines, and Ferderber strongly propulsive drumming that drove all the tunes. Their wide range of dynamics in “Tenor Madness” was typical: from swinging, to in the groove, to super-fast, to stately and deep, to thumping drums, to swinging again.