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TD Ottawa Jazz Festival 2016
Ottawa, Canada
June 22 -July 3, 2016
It's hard to believe, with seasons that move quickly from spring into summer, that it was time, once again, for the TD Ottawa Jazz Festival. Now in its 36th year, the festival has grown from a weekend event into a full-blown, 12-day festival with a broad cross-section of artists from around the world. The past few years have seen further growth, with the introduction of new series and a lineup that has slowly seen the festival address issues documented in an earlier All About Jazz article, When Is a Jazz Festival (Not) A Jazz Festival?, in particular the challenge of finding a way to draw a younger demographic that will ensure the festival's existence beyond its original and still-primary age group, the aging baby boomers and beyond.
Yes, the Main Stage at Confederation Park—where the festival can draw its largest audience—has become a more egalitarian blend of jazz, blues, pop, folk and more, diluting the purer jazz landscape of the festival prior to 2011. But with a bevy of outstanding artists performing at a number of venues in the adjacent National Arts Centre—ranging, this year, from the 140-seat NAC Back Stage (replacing the Fourth Stage, currently out of commission as the multi-venue arts venue undergoes major renovations) to the 350-seat Studio...and, for the first time, the 1,100-seat Theatre—there are rooms intimate enough to handle the smaller draws and large enough to suit bigger-name artists.
It may be true that some of the artists playing in the Theatre this year could be seen as suitable Main Stage fare but the truth is that getting the chance to experience artists like rising star
Kamasi Washington
saxophoneb.1981
John Scofield
guitarb.1951
Joe Lovano
drumsb.1952
Stacey Kent
vocalsb.1968
Trombone Shorty
tromboneb.1986
Wynton Marsalis
trumpetb.1961
Chick Corea
piano1941 - 2021
Christian McBride
bassb.1972
Brian Blade
drumsb.1970
Meanwhile, the increasingly popular Improv Series was renamed the Discovery Series, but with the festival's knockout international cadre of artists, no matter what you called the series it was a certainty that the music would be as unpredictable and attention-grabbing as ever. Genre-busting " data-original-title="" title="">The Claudia Quintet made its first, very eagerly anticipated TDOJF appearance, while a global representation of pianists coming from the UK (
Alexander Hawkins
pianob.1981
Marcin Wasilewski
pianob.1975
Myra Melford
pianob.1957
Anat Fort
pianob.1970
Gianluigi Trovesi
saxophone
Arild Andersen
bass, acousticb.1945
Tommy Smith
saxophone, tenorb.1967
Paolo Vinaccia
drums1954 - 2019
The Thing
band / ensemble / orchestra
Mats Gustafsson
woodwindsb.1964
Ingebrigt Håker Flaten
bassb.1971
Paal Nilssen-Love
drumsb.1974
Charlie Hunter
guitarb.1967
Bobby Previte
drumsb.1957
Alan Ferber
tromboneReed fans were also happy to find
Colin Stetson
woodwindsKamasi Washington
Jazz Warrior Series
National Arts Centre Theatre
June 22, 2016
While the festival's "official" opening date was June 23, the opportunity to bring Los Angeles-based tenor saxophonist
Kamasi Washington
saxophoneb.1981
The real question was: could Washington deliver the same kind of energy and élan as on The Epic—where his suite of sixteen compositions (all sporting plenty of room to stretch out) was performed with, in addition to a core group drawing on a dozen members, a fourteen-piece choir and nine-piece string ensemble on some tracks?
The answer? A conditional yes.
For an artist whose visibility may be increasing rapidly but who is still a relatively nascent face on the jazz scene, it was not only astonishing to watch the 1,100-seat Theatre fill up to capacity in the thirty minutes leading up to the 8:00PM show; it was a welcome surprise to find a (for Ottawa) disproportionate number of younger people in the crowd. And they weren't just there because of the buzz; when Washington announced the second number, "Re Run," the amount of applause went beyond the merely polite to suggest that The Epic was known to a good number of people in the audience. And while Washington's music undeniably incorporates some of the more urban vibe of his other work, there's no mistaking The Epic for anything but a jazz record, with a near-encyclopedic view of the genre that is remarkable for a group of relative youngsters (Washington is 35); in its heavily orchestrated modality there are references to pianist
McCoy Tyner
piano1938 - 2020
Brandon Coleman
pianob.1988
Herbie Hancock
pianob.1940
So, yes, The Epic is undeniably a jazz record...and appeals to a broad demographic ranging from dyed-hairs to gray hairs and no hairs. Washington's group—a septet first, with Washington and Coleman joined by drummers Tony Austin and Ronald Bruner, bassist Miles Mosley, trombonist
Ryan Porter
tromboneRickey Washington
saxophonePerhaps a bit too much so, if there were to be any criticism of the show. With two drummers, there was the potential to create a tumultuous undercurrent, and when it was effective—as it was, much of the time—it was really effective. Still, there were times when it was a bit much...as was also the case with Mosley's use of effects on his double bass: creating sonics rarely heard on his instrument, especially during an extended solo on his own "Abraham," the title track to the bassist's own upcoming album, due this fall, where he demonstrated impressive chops and an ear for expanding his instrument's textural potential; but other times creating a bit too much sound, resulting in a cacophony that was effective at times, but elsewhere could have used a little more space.
That Washington gave so much space to a tune from his bassist that doesn't appear on The Epic might seem unusual, but almost everyone in the saxophonist's group is a member of the "West Coast Get Down" collective; and every member of the collective is an in-demand player, striving to break down another boundary: that New York City is the centre of the jazz universe...rendering it difficult for jazz artists outside that city to garner the attention they deserve. Washington may be the first member of the collective to make a big noise, but with new albums in the offing by Mosley and pianist
Cameron Graves
pianoMosley also proved himself a capable singer on "Abraham," but it was Quinn, often seen whirling around with her arms outreached, who excelled at being a front-woman on the expansively anthemic "Henrietta Our Hero" and more buoyantly soulful set-closer, "The Rhythm Changes." When not singing lyrics, Quinn also contributed wordless voice to the group and, consequently, expanded the number of front-line melodic voices from four to five (when flautist/saxophonist Washington was onstage).
Washington proved a more than capable saxophonist, even on long-haul solos; and while everybody in the band was featured at least once—Coleman receiving a little more space than Porter and saxophonist Washington, delivering consistently imaginative solos whether on electric piano, a Keytar-like Moog Liberator synth or a definitively funky Hohner Clavinet—there was no doubt that this was the saxophonist's gig. His introductions to the material were relaxed, engaging and entertaining, with stories of his childhood helping to dissolve the border between audience and group, creating an intimate, relaxed vibe despite the occasionally overpowering nature of the music. And after delivering nearly two hours of music that ranged from modal workouts to booty-shaking, hip hop-infused groove-meisters, the standing ovation was so enthusiastic (even more than usual for already effusive Ottawa audiences) that there was no denying the audience a final tune, which broke mould by being, rather than a more relaxed tune that would ratchet down the crowd's energy, was instead a chops-heavy burner featuring a searing tenor solo from Washington.
One of the other questions was how would Washington create a road-ready group capable of performing music from The Epic and more, without the benefit of a larger core group and the added strings and choir? The good news was that Washington managed to scale down the music without losing any of its key ingredients. No, there was no choir or strings on "The Magnificent 7" but, with Quinn, the two Washingtons, Coleman and Porter, there was more than enough to deliver the key parts, driven with fierce energy by both drummers.
As an unofficial opener to TD Ottawa Jazz Festival 2016, Washington and his group put on a performance that will, no doubt, be talked about throughout the festival...and after it has concluded. It's too early to say whether or not Washington's show will emerge as one of the festival's best, but there's no doubt it was a great way to start the festival.
John Scofield/Joe Lovano Quartet
Jazz Warrior Series
National Arts Centre Theatre
June 25, 2016
Sometimes all you need is a good guitar, a good amp and a good cable.
John Scofield
guitarb.1951
Miles Davis
trumpet1926 - 1991
Dennis Chambers
drumsb.1959
Medeski Martin & Wood
band / ensemble / orchestrab.1991
Steve Swallow
bassb.1940
Bill Stewart
drumsb.1966
B.B. King
guitar, electric1925 - 2015
Steve Cropper
guitar, electricb.1941
But while Scofield began his career with the pure, unadulterated sound of his guitar plugged, sans effects, straight into an amp, resulting in a fat, slightly overdrive tone that's been as much a signature as his unmistakable ability to navigate inside and outside of his music's oftentimes challenging changes, in recent years he's also created a distinctive breadth of sound through the use of a bevy of effects—ranging from pitch shifting and chorus to delay, reverse-attack and more—it's welcome to learn that, when the context is right, he's happy to return to the unadulterated sound of nothing more than his guitar plugged directly into an amplifier (and in mono, to boot).
When the guitarist decided to reunite with
Joe Lovano
drumsb.1952
Jack DeJohnette
drumsb.1942
Bill Stewart
drumsb.1966
Charlie Haden
bass, acoustic1937 - 2014
Marc Johnson
bassb.1953
Dennis Irwin
bass1951 - 2008
Still, the opportunity to catch Scofield's quartet with Lovano, in this case, continuing to include Stewart as one of the guitarist's primary drummers of choice alongside
Ben Street
bassWhile Scofield's albums with Lovano have focused on the guitarist's writing exclusively, with the more egalitarian-monikered John Scofield/Joe Lovano Quartet there was room for some of the saxophonist's own compositions, including the brightly swinging set opener, "Cymbalism," from the saxophonist's Trio Fascination-Edition One (Blue Note, 1998), and the appropriately titled "Ettenro," a time/no-changes composition clearly informed by its namesake, free jazz progenitor
Ornette Coleman
saxophone, alto1930 - 2015
Scofield drew largely on Past Present, and if there was anything that dominated the set, it was this: no matter how far out Scofield (or Lovano) took things, and irrespective of whether the tune was an ambling swinger like "Mr. Puffy," a brighter, more buoyant mainstream piece like "Chap Dance," a gentle waltz-time ballad like "Hangover" or a second-line informed piece of greasy funk like "Chariots"—the latter representing the only track from Scofield's '90s releases (Meant to Be)—there seemed to be a particular emphasis on lyricism that felt intrinsic rather than specifically intended. That doesn't mean that Scofield and Lovano resisted the temptation to soar into light-speed improvisational forays—or, in Scofield's case, complex chordal soloing, gritty but still referential octave playing à la
Wes Montgomery
guitar1923 - 1968
Throughout, Street proved himself a capable match, with a tone that ranged from Haden-like woodiness to the kind of deep, in-the-gut resonance of
Ron Carter
bassb.1937
Arild Andersen
bass, acousticb.1945
Stewart remains one of jazz's most melodic drummers—a rare player who, whether he was taking a rare solo or providing punctuations to other soloists, could be clearly heard playing the compositions' forms. While he's best-known in the jazz arena—beyond Scofield having worked in trios with
Pat Metheny
guitarb.1954
Larry Goldings
organ, Hammond B3b.1968
Marc Copland
pianob.1948
Seamus Blake
saxophoneb.1970
Bill Carrothers
pianob.1964
Chris Potter
saxophone, tenorb.1971
Neither Scofield nor Lovano are strangers to the festival, despite this being their first appearance together. But the 100-minute set they delivered in the company of Street and Stewart turned out to be a landmark Ottawa performance for both. Scofield, in particular, was on fire; like most guitarists he has certain signatures that identify him; but that said, his playing was filled with risk...and there may be no better group in which he can take all the chances he wants than with this stellar quartet, where every player was finely attuned to each other, capable of holding a strong groove over a pedal tone, navigating more difficult compositional changes or turning on a dime mid-stream to take a solo in an entirely different direction.
An appearance from any of the fine musicians in this exceptional group would be a reason to celebrate, but Scofield and Lovano's 2016 quartet appearance will, no doubt, go down in the festival's history as one of their best to date, raising the bar on future appearances.
Arild Andersen/Tommy Smith/Paolo Vinaccia
Discovery Series
National Arts Centre Back Stage
June 27, 2016
With as illustrious a series of programs, the TD Ottawa Jazz Festival has certainly invited its share of jazz legends to perform over its 36-year existence...but never has it invited one of Norway's most important musicians of the past half century.
Arild Andersen
bass, acousticb.1945
"
data-original-title="" title="">Manfred Eicher first began recording the bassist, along with fellow Norwegians 
Jan Garbarek
saxophoneb.1947
Jon Christensen
drums1943 - 2020
Terje Rypdal
guitarb.1947
Bobo Stenson
pianob.1944
There have, of course, been many changes over the decades, but one of the longest-lasting groups that has emerged from this group of Scandinavian artists has been Andersen's trio with Scottish saxophonist
Tommy Smith
saxophone, tenorb.1967
Paolo Vinaccia
drums1954 - 2019
Drummer
Peter Erskine
drumsb.1954
Beyond an impressive discography that includes projects like the fusion-leaning Karma (Spartacus, 2011), career-defining live ensemble performance, Torah (Spartacus, 2010) and all-star Transatlantic session Evolution (Spartacus, 2005), Smith's work in creating the Scottish National Jazz Orchestra in 1995 and the Tommy Smith Youth Jazz Orchestra in 2002 (where young players are groomed, in some cases, for an ultimate "promotion" into the National Jazz Orchestra) has been instrumental in reviving and/or maintaining that country's jazz scene. Originally schooled at Boston's renowned Berklee College of Music, Smith worked in a quartet consisting of fellow students (Forward Motion) as well as spending some time in vibraphonist
Gary Burton
vibraphoneb.1943
Michael Brecker
saxophone, tenor1949 - 2007
Vinaccia is a busy drummer/percussionist in Norway, but is also known internationally as part of another powerful trio: Terje Rypdal's Skywards Trio, with
Elephant9
band / ensemble / orchestra
Humcrush
band / ensemble / orchestra
Palle Mikkelborg
trumpetb.1941
Andersen is one of only a few bassist's in jazz who truly makes his instrument sing. With a robust tone where low register notes are truly palpable (gut-punching), Andersen's background has included being, along with his other Scandinavian "Big Five" colleagues, a player who cut his teeth as musician of choice when American artists including
George Russell
composer / conductor1923 - 2009
Stan Getz
saxophone, tenor1927 - 1991
Don Cherry
trumpet1936 - 1995
Jaco Pastorius
bass, electric1951 - 1987
The trio's Ottawa performance took place, as part of the Discovery Series, at the National Arts Centre's Back Stage: a room jury-rigged this year when the usually used Fourth Stage was rendered unavailable due to massive renovations at the NAC, but whose capacity was, sadly, even smaller (about 40 less than the 180-200 people that could fit the Fourth Stage). And so, as has often been the case with this series and venue, plenty of people were turned away—or waited outside, hoping for a seat if someone already in the room decided to leave. It's quite possible that the trio could have filled the 350-seat NAC Studio, but it's sometimes a bit of a crap-shoot for the festival to estimate an artist/group's draw. Certainly, during the trio's transfixing 75-minute set (plus encore), the room was filled to capacity...and it didn't seem like too many people were leaving. So, as has been the tradition at the festival for some time, ticket holders got first crack at entering the venue, followed by Gold Pass members and, finally, Bronze.
Andersen opened the set with an a cappella bass solo, built on layers of loops created largely con arco, that led to the title track from his 1997 album Hyperborean, a larger affair with two saxophonists, keyboards, drummer and string quartet. Still, the core melody was easy to find, as Vinaccia and Smith entered. Beyond the clear freedom that was at work in how the trio approached the music, there were specific signs of how any member of the group could push the music into a different place as Andersen changed the song's tonal center during Smith's extended solo.
"Bluesy"—also a highlight of the trio's 2014 Stavanger date—changed the pace with some free-wheeling funk where, including plenty of stops and starts, Vinaccia and Andersen, in particular, seemed joined at the hip. Smith's clean and pure altissimo was put to the test at the end of the song, where he ended by soaring into the stratosphere...even further than on Mira's original take.
The trio dug even further back than
Tore Brunborg
saxophoneb.1960
Nils Petter Molvaer
trumpetb.1960
Jon Balke
pianob.1955
Smith plays soprano in addition to the tenor saxophone he brought to the Ottawa gig, but it was nowhere to be found—likely the result of increasingly difficult restrictions that have made it even more difficult for musicians to travel by air. Still, he did manage to bring his wood flute along for "Raijin," a tune that managed to join primal rhythms together with folkloric elements that link the traditional musics of Norway and Scotland. Beginning alone, Smith's breathy staccato stops created tension that was released as he reentered with longer phrases. When Andersen and Vinaccia entered, the trio's ability to move from a whisper to a roar was particularly evident, with Vinaccia using a second, higher-tuned snare, as well as a variety of implements with which to hit his kit, ranging from traditional sticks to conventional brushes...but also, at times, actual brooms cut off close to the brushes, which he was able to use to evoke deeper, more resonant textures from his toms.
By the end of the set there was no doubt that the trio would be asked to return for an encore, and perhaps no better choice could be made than
Burt Bacharach
composer / conductor1928 - 2023
Duke Ellington
piano1899 - 1974
Claudia Quintet
Discovery Series
National Arts Centre Back Stage
June 29, 2016
While cultural and stylistic cross-pollination in music seems de rigueur these days, there are few groups on the scene as difficult to pigeonhole as " data-original-title="" title="">The Claudia Quintet. Formed over fifteen years ago by drummer/composer
John Hollenbeck
drumsb.1968
Charlie Parker
saxophone, alto1920 - 1955
Wayne Shorter
saxophone1933 - 2023
There are other components as well, but even the group's configuration is unusual: alongside Hollenbeck's drums and percussion, there's double bass (
Drew Gress
bassb.1959
John Abercrombie
guitar1944 - 2017
Marc Copland
pianob.1948
Fred Hersch
pianob.1955
Matt Moran
vibraphone
Luciana Souza
vocals
Theo Bleckmann
vocals
Ellery Eskelin
saxophone, tenorb.1959
Chris Speed
saxophone
Dave Douglas
trumpetb.1963
John Zorn
saxophone, altob.1953
Jim Black
drums
Uri Caine
pianob.1956
Tim Berne
saxophone, altob.1954
Lotte Anker
saxophoneb.1958
As for Hollenbeck? In addition to playing with artists including
Meredith Monk
vocalsb.1943
Theo Bleckmann
vocals
Bob Brookmeyer
trombone1929 - 2011
Cuong Vu
trumpetb.1969
The bottom line? Every member of Claudia Quintet is a virtuoso; and while that may be true, the beauty of Claudia Quintet is that it's a collection of five outstanding players whose focus is on the music, not unnecessary displays of pyrotechnics...though there was certainly more than a few sparks flying during their Back Stage appearance.
Focusing largely on Super Petite, Claudia nevertheless looked back at its past discography, playing two tunes each from 2013's September and its 2001 debut. But from the opening moments of Super Petite's "Peterborough"—named, according to Hollenbeck, after the town in New Hampshire, and drawing laughter from the capacity audiences as he'd no idea there was a Peterborough, Ontario just 270Km from Ottawa—it was clear that this was a group with a sound like no other. Hollenbeck effortlessly shifted from delivering grooves with constantly shifting bar lines to contributing a breadth of color and challenging polyrhythms that interacted with his bandmates to create a complex weave of sound, melody and pulse, with Gress similarly acting as group anchor while, at the same time, also playing melodic foil to the three players making up the front line.
The ethereal texture of Moran's vibraphones—also creating glistening long tones when he bowed his instrument's metal bars—juxtaposed beautifully with the particularly appealing combination of Wieringa's accordion and Speed's reeds. With both instruments based on reeds, when accordion and, in particular, clarinet came together in unison, the notes were just the slightest hint apart, resulting in a subtle chorus-like effect that worked wonderfully with the tremolo of Moran's vibes. The combination made for an often shimmering sound that, even when the music itself was angular, somehow managed to make it all easier to digest...one of the reasons, perhaps, why such an avant-leaning group like Claudia has built such a sizeable following.
Hollenbeck's introductions were often comedic, and dryly so. "If you were thinking about 'September 25' on that piece," he said after the group played a particularly atmospheric version of September's "September 25 Somber Blanket," "you were right." Super Petite's "Rose Colored Rhythm," on the other hand, began in jagged angularity—and even when a pulse emerged was filled with challenging starts and stops, knotty thematic constructs and a rare solo feature for the drummer. "This one is dedicated to Senegalese drummer Doudou N'diane Rose, who had 32 children and eventually recruited them all for his band. So if you're ever starting a band and can't find anyone, that's one way to do it," Hollenbeck quipped.
But for all the levity in Hollenbeck's introductions, this was serious music that, while largely read off charts by the band, was still lifted off the page and brought to vivid life in a set that only occasionally featured extended delineated soloing, as it did on "Rose Colored Rhythm," where everyone but Gress was featured.
Elsewhere, Super Petite's "Philly"—named for the great jazz drummer
Philly Joe Jones
drums1923 - 1985
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