Home » Jazz Articles » Live Review » 2013 TD Ottawa Jazz Festival: Ottawa, Canada, June 21-26, 2013
2013 TD Ottawa Jazz Festival: Ottawa, Canada, June 21-26, 2013
Ottawa, Canada
June 20-July 1, 2013
Having made the decision, in 2012, to broaden its stylistic purview to include not only music on the periphery of jazz, but artists with no real connection to the founding raison d'être of the festival, the 2013 TD Ottawa Jazz Festival continued to bring extracurricular music to its main stage in Confederation Park, looking to both bolster its bottom line and bring a younger demographic to an event now in its 33rd year. While controversy continues to exist about whether or not a jazz festival can be called a jazz festival if it's anything but pure—a subject covered in the 2012 AAJ article, When is a Jazz Festival (not) a Jazz Festival?—there's still no doubt that the TD Ottawa Jazz Festival is a jazz festival. There may be acts like ex-Talking Heads singer David Byrne and his project with St. Vincent and even (gulp!) the Doobie Brothers (more about that in a moment), but during each and every day of the festival's 12-day run, there's so much jazz going on at venues like the National Arts Centre's Fourth Stage and Studio, Dominion-Chalmers Church and the OLG stage—a party tent located across the street from Confederation Park at Festival Plaza, which hosts late evening shows largely aimed at a younger demographic—that the TD Ottawa Jazz Festival remains an event still easily and justifiably jazz, keeping its name and continuing to be true to it.
One of the most notable achievements that the OJF has successfully accomplished in its extracurricular programming is to bring prestige artists to Confederation park, whether it's Robert Plant or Elvis Costello, who put on terrific shows last year, or this year's opening night with Willie Nelson, which was a smashing success, according to Director of Marketing, Sponsorship and Media, Suzan Zilahi, a woman who wears many hats but, amongst them all—and despite being seen in almost constant motion during the festival—always manages to take care of accredited journalists and photographers as if they were the only ones covering the festival, thanks to her own work and that of her efficient and friendly staff. Perhaps the only bump in the prestige road was the festival's booking of the Doobie Brothers—nothing but a nostalgia act at this point—but when the festival's original show with the legendary
Aretha Franklin
vocals1942 - 2018
And so, with the Doobie Brothers matching all three criteria, it may not be the most prestigious find for the festival, but it did bring a large crowd to Confederation Park and so, if nothing else, when it comes to finding acts to bolster the bottom line and fund the smaller shows at the Fourth Stage's Improv Series and Studio series—including the spectacular Dutch group
BOI AKIH
band / ensemble / orchestra
Trondheim Jazz Orchestra
band / ensemble / orchestrab.2000
Peter Van Huffel
saxophoneb.1978
Courtney Pine
saxophoneb.1964
Steve Kuhn
pianob.1938
Steve Swallow
bassb.1940
Joey Baron
drumsb.1955
With the addition of Dominion-Chalmers this year—a venue the festival has often used for its off-season programming, so using it makes good sense, even though it's a little farther away from the ground zero of Confederation Park (which abuts the National Arts Centre) and still within walking distance—there was a new and ideal home for acts ranging from gospel maven
Mavis Staples
vocalsb.1939
Chucho Valdes
pianob.1941
Jason Moran
pianob.1975
Wayne Shorter
saxophone1933 - 2023
Of course, there's more. While the festival originally canned its late night jam sessions, citing financial reasons—and a small but very vocal group of dissenters demonstrated that there is value in making some noise—a sponsor came in at the eleventh hour and saved it. The problem? Its location in Westboro (absolutely not walking distance to Confederation Park) at the sponsor's club, AlphaSoul. Local bassist
John Geggie
bassb.1960
Nick Fraser
drumsb.1976
The festival also continues to support local musicians with its series at the Rideau Centre, but it's also giving a select group of artists the opportunity to play in a better environment, the OLG Stage, with noon-hour and 3:00PM shows featuring groups including reformed Ottawa legends Los Gringos, Chocolate Hot Pockets, singer Nicole Ratté's Jazz Quintet, and a trio featuring guitarist
Wayne Eagles
guitarb.1964
For the first time, The Brookstreet Hotel, a luxury resort/hotel located in the far west end of Kanata, will also be hosting jazz artists throughout the week, including western Canada's Hutchinson Andrew Trio (bassist Kodi Hutchinson, pianist Chris Andrew and drummer Karl Schwonik, who also played Confederation Park's Great Canadian Jazz series), Toronto's Hobson's Choice, Vancouver pianist Tyson Naylor, and Cuban expat pianist Rafael Zaldivar. It's a smart move as, despite Ottawa's relatively small size, there are those who never leave their residential areas to venture into the downtown area and so, rather than enticing them to come downtown for the festival, the TD Ottawa Jazz Festival is bringing it to them.
It's another banner year, with some of the additional acts worth checking out including guitarist
Kurt Rosenwinkel
guitarb.1970
Julian Arguelles
saxophoneb.1966
Kit Downes
keyboardsb.1986
Ken Vandermark
saxophoneb.1964
Joe McPhee
woodwindsb.1939
Billy Drewes
saxophone
Gilad Hekselman
guitarb.1983
Gregory Porter
vocalsb.1971
Larry Goldings
organ, Hammond B3b.1968
Peter Bernstein
guitarb.1967
Bill Stewart
drumsb.1966
Lenny White
drumsb.1949
David Sanborn
saxophone1945 - 2024
Bob James
pianob.1939
Steve Gadd
drumsb.1945
Scott Colley
bassb.1963
The Bad Plus
band / ensemble / orchestrab.2000
Tom Harrell
trumpetb.1946
June 21: Tom Harrell Quintet and Strings
Sadly missing the first night of the festival and what was meant to be a superb performance by the Trondheim Jazz Festival, the following evening at the same venue, the NAC Studio, trumpeter Tom Harrell delivered a show that combined unfettered group interaction with what seemed like, at the start of the show, to be support from a local five-piece string ensemble fronted by cellist Julian Armour but ultimately became something much more integrated by the 80-minute set's midpoint.
Harrell has been working with the same core quintet ever since he began what is now a seven-year relationship with HighNote Records, beginning with Light On (2007) and culminating in last year's surprising Number Five (2012). Still, while this group now has five albums under its collective belt, Harrell's set didn't include a single track from those recordings. Instead, he looked back to three albums dating as far back as 1990's Sail Away (Fantasy), culling its popular title track, to 2003's Wise Children, whose vocal track with
Jane Monheit
vocalsb.1977
But the majority of the music came from Harrell's 2001 recording, Paradise (RCA/Bluebird), which featured music arranged for a richer, more bottom-heavy string quintet that featured one violin, two violas and two cellos, along with a harpist and quintet that included bassist
Ugonna Okegwo
bass
Wayne Escoffery
saxophone, tenorb.1975
Danny Grissett
piano
Johnathan Blake
drums
Beginning with the multi-sectioned "Paradise Spring," Harrell slowly, softly counted in the string quintet's opening solo passage only to come to a pause, where the trumpeter then counted in the quintet, reiterating the same passage but, in conjunction with the strings, becoming lusher in tone while remaining decidedly balladic. It was only when the third section came, with the quintet picking up the pace and leading to solos from Escoffery, Grissett and Harrell, that the music really began to swing, with Blake proving an effervescent player who, nevertheless, never overpowered the overall group dynamic.
Harrell's tone remains, paradoxically, one of the most buttery and pungent in jazz, whether on trumpet or flugelhorn, and while he largely stood inanimate when he was not playing—and only spoke to the audience to identify the names of his fellow players—when he picked up his horn it was something else entirely. Harrell's ability to get deep to the heart of his writing and deliver solos that combine inimitable ingenuity (that only matched the originality of his writing) with sublime lyricism has always been a trademark, but here, in a "with strings" context that, for some, turns good music saccharine, Harrell managed to sidestep that potential trap with ease.
And his quintet matched Harrell's every move. Escoffery may be a player more often associated with incendiary post-bop, but here he demonstrated a softer side, his solo on the darker ballad "Nighttime" showing not just tremendous allegiance to the needs of the song, but control, in particular in the altissimo register of his tenor. Grissett may have been stuck rather far in the back in order to accommodate the added five string players on the studio stage, but his presence was felt throughout, especially in his particularly lovely intro to "Nighttime." Okegwo soloed rarely, but when he did he demonstrated why he's also been the choice of everyone ranging from saxophonists
Bob Belden
arrangerb.1956
Sam Newsome
saxophone, sopranob.1965
Jacky Terrasson
pianob.1966
Spike Wilner
piano
While he wasn't brought back for an encore, Harrell enjoyed the response of an audience that became increasingly enthusiastic as the set progressed—reflecting, in ways that most probably could not articulate, a set where interaction and integration turned Harrell's Quintet and the string ensemble into a true dectet—all the more surprising, considering that Armour and his fellow string players only had one rehearsal with Harrell the day before the show. It demonstrated the strength of Ottawa's classical scene that these five players could be brought into this context so quickly and apparently easily, as well as Harrell's ability to lead them through a set of music that will resonate in the hearts and minds of those in attendance for a long time to come.
June 23: Mavis Staples / David Byrne & St. Vincent
The festival's fourth night was an evening of uplifting joy and a reminder of the power of nature, with two separate concerts at Dominion-Chalmers Church and Confederation Park.
First up, at 6:30PM,
Mavis Staples
vocalsb.1939
Arriving onstage with a cane, Staples may have been walking a little slowly, and needed both a mid-set break—which gave her three-piece rhythm section, also including drummer Stephen Hodges, a chance to shine even more than it did throughout the rest of the well-paced 75-minute set—and, for a couple songs, the opportunity to sing seated on a piano bench, but her voice was as strong as ever.
Holmstrom may have looked like a businessman when he walked on, but the minute he picked up one of his two vintage Telecasters, he morphed into a visceral, animated, blues-drenched guitarist whose tasty tone, ability to move between the sparest of accompaniment and screaming solos at the drop of a hat, and his constant support for Staples throughout the set demonstrated why this unlikely-looking six-stringer has racked up a resume filled with credits like Smokey Wilson, Johnny Dyer and
John Medeski
organ, Hammond B3b.1965
Largely culling material from her two recent recordings produced by Wilco's Jeff Tweedy—the Grammy Award-winning You Are Not Alone (Anti-, 2010) and about-to-be-released One True Vine (Anti-, 2013) (literally due the following day), Staples lived up to her initial promise with a set that was filled with spiritual joy and positive energy. She was also a generous leader, giving her backup singers their own moments in the spotlight on songs like One True Vine's "Can You Get That," where Gerrard demonstrated his surprisingly broad range, and, of course, on
The Band
band / ensemble / orchestrab.1967
After Staples finished "The Weight," Staples screamed out "Levon ... Levon ... LEVON!," in tribute to the recently deceased drummer from The Band, Levon Helm, whose voice helped define the original version on Music From Big Pink (Capitol, 1969). It was a fitting tribute to the drummer who maintained, until his passing, that much of The Band's material attributed to guitarist Robbie Robertsen should have been co-credited to the rest of the group. "Our brother Levon had to leave us, but he left so many memories and so many great songs," she said, asking the crowd to "give it up for Levon Helm" before jumping into the roots-driven medley of "Too Close" (once again featuring Gerrard) and "On My Way to Heaven," where Mavis picked up the baton for a deep-throated rendition backed by Holmstrom's note-perfect, tremolo-driven guitar.
By the set's end, Staples had the entire audience on its feet, clapping and singing; Staples may have continually referred to this as her first visit to Ottawa—having forgotten past appearances like her double bill with the Blind Boys of Alabama, at the city's Bluesfest—but hopefully it won't be her last. In times of trouble, everyone— regardless of their spiritual predilection—needs someone like Mavis Staples to bring a little happiness, inspiration and powerful healing vibrations into their lives.
A quick walk to Confederation Park and it was time for ex-Talking Heads vocalist/guitarist David Byrne to take the stage with St. Vincent for their show, largely drawing from the pair's acclaimed 2012 album, Love This Giant (4AD). Byrne has already surprised many in his post-Talking Heads career by proving he's had far more to give than his work with a group responsible for adding hits like "Once in a Lifetime" and "Burning Down the House" to the rock lexicon, collaborating with other artists including Brazilian singer
Caetano Veloso
guitarb.1942
Brian Eno
synthesizerb.1948
As evening began to turn to night, the sky began to cloud over after a day of high temperatures and brutal humidity, like Staples, Byrne got the show rolling with a positive message long before he actually hit the stage. As the sparsely populated, gray-toned stage—with a variety of horns and a couple of guitars lying on the ground, waiting for their players—turned to a silvery glow, Byrne's voice suddenly appeared over the PA system, telling the audience that they are absolutely fine with people taking photos...but that they've put together a show they really like, so they hope that people won't take pictures with their iPads, blocking the view of those behind them, and that they'll enjoy the show by not watching the entire performance through their tablets and smartphones.
It was a tremendously friendly and positive way to encourage the large audience to actually forget about documenting the show and actually enjoy it. And it largely worked as the group came onstage and launched into the horn and acoustic guitar-driven funk of "Who,"'s Love This Giant, a catchy opener and a great set-starter as it featured both singers, together and alone. St. Vincent—looking absolutely unlike her image on the album cover, having reinvented herself as a bushy- haired bleached-blonde—more often than not played electric guitar in contrast to Byrne's acoustic (though Byrne also played electric guitar at times).
As the clouds rolled in and rain began to come down about half-way through the set, songs like "Lightning," a slow-moving but propulsive feature for St. Vincent that came before one of three Talking Heads pieces Byrne included in the setlist, "Wild, Wild Life," from True Stories (Sire, 1985), were somehow a little prescient, as the skies darkened further, the winds picked up and lightning flashes began to pepper the sky. The storm ultimately became so strong that the festival had to pull the plug—temporarily- -on the show, but a surprising number of people hung in for when the group returned to the stage, picking up where it left off and, within just a few minutes dove into a version of "Burning Down the House" that took on a whole new meaning for this particular evening.
The group ultimately only lost one song but, unfortunately, also some of the momentum it had built with its 22-song set before the storm hit, which, in addition to including 10 of Live This Giant's 12 songs, also included material from both Byrne and St. Vincent's individual careers/repertoires. While nowhere near what most folks would call jazz, it was the kind of prestigious extracurricular programming that has made the TD Ottawa Jazz Festival's decision to look beyond the genre's broadest purview a choice that has retained its overall integrity, bringing in artists with plenty to offer in their chosen spaces. Byrne and St. Vincent may well, in fact, go down as the 2013 edition's best non-jazz main stage event, even though Willie Nelson drew more people to his show on the festival's opening night.
June 24: Christian Wallumr?d Ensemble / Bob James & David Sanborn / Gilad Hekselman Trio
The festival's fifth day was one of contrasts, from the classically informed aesthetic of Norwegian pianist Christian Wallumr?d's Ensemble and the unexpectedly strong reunion of pianist
Bob James
pianob.1939
David Sanborn
saxophone1945 - 2024
Gilad Hekselman
guitarb.1983
Jeff Ballard
drumsb.1963
FLY
band / ensemble / orchestra
Brad Mehldau
pianob.1970
First, at the National Arts Centre's Fourth Stage Improv series, Wallumr?d's 80-minute set concentrated heavily on his forthcoming release, Outstairs (ECM, 2013), performing the entire recording (though not in order) with a newly revamped lineup that substituted Sweden's Tove T?rngren for the group's previous cellist, Tanja Orning, and replaced harpist Giovanna Pessi with tenor saxophonist Espen Reinertsen—whose duo project, Streifjunko, also features trumpeter Eivind L?nning, a member of Wallumr?d's ensemble since the pianist's Fabula Suite Lugano (ECM, 2010). That album also included violinist Gjermund Larsen and the sixth member of the sextet, drummer
Per Oddvar Johansen
drums
"
data-original-title="" title="">The Source and saxophonist 
Trygve Seim
saxophone
Arve Henriksen
trumpetb.1968
Nils Okland
violin
While Wallumr?d has far from deserted improvisation in other groups, here, in the context of his own ensemble his music has become increasingly through-composed and rigorous, although the expression of the individual players means that no two performances are alike. What distinguishes Outstairs is a greater predilection for longer form: five of the album's eleven tunes stretch beyond the five minute mark (in a couple cases well-beyond), as opposed to Fabula and its predecessor, 2007's The Zoo is Far's greater preponderance of miniatures. The result is music that unfolds slowly, with tremendous patience and utmost control over dynamics. "Stille Rock," for example, built from near-silence, Wallumr?d's piano creating a dark, brooding space over which, with periodic moments of absolute silence, Johansen slowly evolved a gentle but unrelenting pulse, as the rest of the ensemble created long-toned washes for close to five minutes, before their notes began to emerge in crystal clarity.
"Bunadsbangla" was revealed with similar care, this time driven by a simple pulse from Johansen and Wallumr?d's muted piano, but with a more immediate melody emerging as the strings doubled the pianist, who then switched to harmonium to blend beautifully with the horns. As much as Wallumr?d's music explored a strange place where baroque sensibilities met more contemporary concerns and hints of Norwegian folklore, there was an equal exploration of sound—individual and in combination, as each player employed various extended techniques to both broaden their individual palettes, but to also provide the pianist (who is the group's sole composer) the opportunity to explore a multitude of permutations and combinations. Johansen, for example, moved to vibraphone on a couple of pieces, like "Tridili #2," where low, ethereal metallic tones underscored melodies which floated above, contrasting Reinertsen's almost unbelievably low-register multiphonics.
Challenging music it may have been, but it clearly captivated the near-full house of festival goers who had little knowledge of what to expect, but were treated to a sublime performance of hitherto unheard musical colors, oblique harmonies and the occasional strong rhythms and demonstrations of greater majesty. For the Christian Wallumr?d Ensemble, it may not have been about individual virtuosity, but as the set progressed and finally came to a close with the renaissance-evoking imagery of Fabula's "Jumpa," the audience was clearly impressed enough to demand a brief encore, Outstairs' closing "Exp," a particularly introspective exploration of a single motif, but one where the harmonies were changed so subtly as to give this three-minute miniature its distinctive form.
Heading back to the park, having already listened to Quartette Humaine (Okey, 2013)—the reunion of pianist
Bob James
pianob.1939
David Sanborn
saxophone1945 - 2024
James Genus
bassb.1966
Steve Gadd
drumsb.1945
Scott Colley
bassb.1963
It's not that either James or Sanborn haven't got more than sufficient cred, but with groups like 
Fourplay
band / ensemble / orchestra
Brecker Brothers
band / ensemble / orchestraThankfully, the answer was yes. When the quartet was first announced, reuniting James and Sanborn for the first time since Double Vision (Warner Bros., 1988), the question was: would it be a retread of an album (on which Gadd also appeared) that sold very well, to be sure, but was more aligned with the smooth jazz contingent? While the quartet did revisit some material from that record at its Ottawa show, with this stripped-down acoustic quartet, the group demonstrated that sometimes it's not the song, it's the arrangement. Truthfully the ambling "You Better Not Go to College" that opens Quartette Humaine could, with its easygoing vibe and catchy melody, be interpreted in a smooth context, but here, with no synths to be found, it was just a pleasantly melodic tune, driven by Gadd's effervescent swing on brushes.
It's quite likely that, with Gadd rarely touring and last seen in Ottawa with guitarist
Eric Clapton
guitar and vocalsb.1945
Except that Sanborn and James also played their asses off, in particular Sanborn, a player who has somehow managed to successfully fit into any context as well—his sadly gone and unavailable Night Music late night TV series representing the last time network television really took some risk and allowed a musical program to sometimes bring together the most unlikely partners from across the entire musical spectrum. Sanborn may have made massively accessible (and, in a time when records actually sold big numbers) massively successful records, but he has also released more outré recordings like Another Hand (Elektra/Nonesuch, 1991) to make clear that, when he aims for the commercial market, it's a choice—not a restriction.
Make no mistake, James and Sanborn's show was eminently accessible, with plenty of booty-shaking grooves, like the funky "Deep in the Weeds," which featured an especially tasty solo from Colley, who rarely gets to demonstrate his inner funk but who clearly has it. This was accessible music with plenty of depth and, for those who'd shaped their opinions of James and Sanborn on the basis of their smooth jazz work, time to consider reassessing the situation.
Across the street at the OLG stage, guitarist Gilad Hekselman was already playing in the time it took to get out of the park and cross the street into another, waiting to get through a tight entry line where bags were being checked. A little overboard, perhaps, but the laws are the laws, and while it was only possible to stay for 25 minutes or so of the guitarist's performance with drummer Jeff Ballard and bassist
Rick Rosato
bass, acousticb.1988
Anat Cohen
clarinetb.1975
Mick Goodrick
guitar1945 - 2022
Kurt Rosenwinkel
guitarb.1970
Not that Hekselman has lost any of these attributes but, in his TD Ottawa Jazz Festival performance, his roots have become far more subsumed into a much more personal style. The guitarist's latest, This Just In (Jazz Village, 2013) is demonstrative of that growth, and a significant evolutionary step over his previous recording, Hearts Wide Open (Le Chant du Monde, 2011). This Just In is augmented, on a couple of tracks, with saxophonist
Mark Turner
saxophone, tenorb.1965
The highlight of this brief encounter was Hekselman's performance of "Nothing Personal," written by the late pianist
Don Grolnick
piano1947 - 1996
Michael Brecker
saxophone, tenor1949 - 2007
Terri Lyne Carrington
drumsb.1965
Stefon Harris
vibraphoneb.1973
Joey Calderazzo
pianob.1965
The trio, situated very close together on the larger OLG stage, was clearly about communication, with both Hekselman and Ballard facing in towards Rosato, standing roughly in the middle. Ballard was as relentlessly inventive as ever, a fountain of ideas as well as a focal point for his trio mates. There was a constant sense of push-and-pull amidst the trio, even when there were delineated solos. It was a powerful but, sadly, brief chance to hear just how far Hekselman has come in four years; hopefully the next time he comes to Ottawa there will be the opportunity to catch a full set.
June 26: Steve Kuhn/Steve Swallow/Joey Baron
With June 26 the last day of coverage for the TD Ottawa Jazz Festival, there couldn't have been a better way to say goodbye to the 2013 edition than an intimate evening with pianist
Steve Kuhn
pianob.1938
Steve Swallow
bassb.1940
Joey Baron
drumsb.1955
Joey Baron
drumsb.1955
Enrico Pieranunzi
pianob.1949
Fred Hersch
pianob.1955
Bill Frisell
guitar, electricb.1951
John Zorn
saxophone, altob.1953
John Abercrombie
guitar1944 - 2017
Laurie Anderson
violin
Jim Hall
guitar1930 - 2013
The trio's set ran just over 90 minutes, including a well-deserved encore of "The Zoo," heard recently on Sunnyside Records' The Vanguard Tape (2013) but, in that version, without Kuhn singing, tongue planted firmly in cheek, the words he originally wrote for Sheila Jordan when she first sang it on Playground (ECM, 1980), one of two records they made together for the label, but the only one included in the Life's Backward Glances—Solo and Quartet (ECM, 2009) box set. In Ottawa, when he sang the tune as it drew to a close, he even took advantage of a little Fran?ais, singing " pourquoi, rather than "why," much to the delight of the packed house.
If Kuhn was being playful with his audience, throughout the set the entire trio combined tremendous cliff-hangers with a kind of joie de vivre rarely seen so blatantly. Baron—almost always smiling—was clearly in good company as the trio worked its way through a set that included two tunes from Wisteria (the ambling, swinging "Chalet" and darker, balladic "Adagio"), a couple of standards (an impressive opener, "There is No Greater Love," and a sublime take on "Stella by Starlight," later in the set), two tunes by Swallow (the lesser-recorded "Remember," which the bassist recorded with life partner, pianist
Carla Bley
piano1938 - 2023
Henry Mancini
composer / conductor1924 - 1994
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