March 2: #96 – Keys2Drums
- Steve Boudreault – keyboard
- Jeff Asselin – drums
- Michel Delage – drums
March 23: #97 – Jackson/Pelchat
- David Jackson – guitar
- Alex Pelchat – guitar
March 2: #96 – Keys2Drums
March 23: #97 – Jackson/Pelchat
February 2: #94 – Bernard Stepien and John Higney – solos
Bernard Stepien – saxophone
John Higney – guitar, electronics
Here are a few words about Bernard’s set: Canadian Spaces
Bernard Stepien has always been attracted by world music solo players, usually street musicians, wherever he was travelling, from the Chinese Erhu players, the Turkish Aşiks, the Senegalese Kora players, the arabic Ud players, the French accordion players or the Inuit ayaya singers. These musicians play music that is usually based on tonal systems that are radically different from anything we know in the western world’s music. Some use few notes with distant intervals, complex asymmetric rhythms, some are highly cyclical or repetitive, other are based on lengthy unpredictable improvisations.
Over the last few decades, Stepien has been composing short pieces based on these world music sources. For some obscure reasons most of them were composed during the winter with the unmistakable white background. Although they are always white, Canadian winters are never the same from year to year. Some years, frost or snow come early, other have lots of rain and finally the great ones are the ones you can’t even see your neighbours anymore until spring arrives. Others came in the summer, mostly while enjoying great national parks in and around Ottawa. The unmistakable Pink Lake is among them.
Once a composition established, the next thing is to improvise on it. Here, the teachings of Cecil Taylor with whom Stepien has studied in 2001 come to help. Extracting the possible phrases one can do with only 4 or 5 notes and project them in all directions is the secret here.
This solo concert will occur only during the first set of the usual two sets format of IMOO concerts. The second set will also be a solo performance by the great Ottawa guitarist John Higney.
February 16: #95 – Mark Molnar and Bennett Bedoukian
November 24, 2013: #89 – Ken Aldcroft’s Convergence Ensemble – cd release: Saskatoon
Saxophonist Paul Newman will be playing a solo saxophone set as an opener.
This six-piece group, featuring the instrumentation of a fairly conventional modern jazz ensemble, is the primary conduit for Ken Aldcroft’s compositional and conceptual work. In performance, a set list serves less as a road map for the execution of Ken’s varied and dynamic pieces and more like a menu of possibilities; the group’s members can, individually or collectively, spontaneously arrange any of the available material. Employing a system of aural and gestural cues, the group playfully and creatively reshapes each piece in the spirit of free improvisation, the approach that underpins the ensemble’s composite musical experience. The current personnel of the Convergence Ensemble is the result of the amalgamation of various Aldcroft ensembles of and, with numerous recordings and national tours under their collective belt, the sextet is a thoroughly cohesive musical unit. Each player is as dynamic a soloist on his or her instrument as they come not only in Toronto’s lively creative music scene, but Canada-wide as well. Saskatoon is their fifth CD release, all on the Trio Records and Production label: Sneaky Pete-Slugs’ (2012) Our Hospitality (2009), Trolleys (2008) and The Great Divide (2006).
December 1, 2013: #90 – Fire Moss
live improvisational soundscapes, blending elements of synthetic drones, melodic dirges and freaked-out noise.
October 27, 2013: #88 – Mike Essoudry and Linsey Wellman
Also without Essoudrys make a Herzensbrecherin such as Jerome tender rattle and Glöckchenpercussion and Wellmans of spicy Reedton seductively at the taste buds and caps to create itself. They blow and strew bloom dust and spices of the Orient in the brain and produce hallucinations loaded by camel caravans, with oranges and Datteln. The place, to which the fantasy is carried forward, lies in the Mesopotamia, if also not the material today. RK Mashu and Uruk just like shame-has + Enkidu and Uta Napishti to set itself on the traces of Gilgamesh. The Sopranosax sinks itself in arabesque conference area, with Parekeresken trills with talks trifishes. The clay/tone becomes sometimes so rau and serious, as it requires the longing, and pretty often so beautifully that one would like itself to throw into the sand. The Gilgamesh cycle The Gadfly Suite follows, those with Shostakovichs Ol. together, and with County fair a freejazziger trip has 97 only the names on a folk festival without bustles and besoffenes people.
Rigobert Dittmann in Bad Alchemy (by way of Babelfish)
October 20th, 2013: #87 – IMOO Presents: SUPERMUSIQUE
This event will be held at CLUB SAW. Tickets will be $15, and are available online, through email, telephone or at the door (see below).
When: Sunday Oct 20th, 2013, 7pm SHARP. Doors 6:30
Where: Club Saw, 67 Nicolas St, Ottawa
Tickets: $15 (buy below)
What: Ensemble SuperMusique:
Ensemble SuperMusique features key performer/composers from Montreal’s long-standing and renowned scene of Musique Actuelle, contemporary music-making that synthesizes composition and improvisation as well as acoustic and electronic instrumentation. The Ensemble will feature works documented on its 2008 recording, Y’a du bruit dans ma cabane (Ambiances Magnétiques).
Buy tickets through telephone (Linsey at (613) 230-1450), email (firstname.lastname@example.org), or through paypal:
IMOOFEST 2013, featuring, Jean Martin and Christine Duncan, Ellwood Epps and Joshua Zubot’s Land of Marigold, the IMOO Chamber Orchestra and many more!
Friday November 8th, 2013
Saturday, November 9th, 2013
Sunday, November 10th, 2013
Where: GIGSPACE (953 Gladstone)
1 Day: $15
2 Days: $25
3 Days: $35
We would like to recognize support from the City of Ottawa.
September 22nd, 2013: #85 – Craig Pedersen, solo trumpet and workshop
Three months ago, Craig Pedersen’s creative identity was shattered into a million pieces, and he still hasn’t recovered. Join him as he tries to put it back together by sharing his music and thoughts in what will probably amount to a group therapy session. Bring an instrument, as he may call on participants to join.
October 6th, 2013: #86 – Dialoog
One Dutch magazine describes Dialoog’s dance-floor as intergalactisch. A smeltkroes of hiphop, electro, funk, jazz, and classic. Not to mention the onbereikbare niveaus van grooveheid. No translation required. Astronauts make love to Dialoog. Shit’s got grooveheid.
The universe was kind to place Yuri & Michael on either side of a townhouse wall, growing up in Rotterdam, NL. Trained at Juilliard and Berklee, respectively, it’s remarkable—while highly unlikely—for two virtuosic artists to be paired so.