John Geggie Geggie Concert Series
NAC Fourth Stage, Ottawa, Canada
March 6, 2010
Following up his CD release party for Across the Sky (Plunge, 2010)a quartet show that, featuring the effervescent saxophonist Donny McCaslin
, burned up the stage at Ottawa's Fourth Stage in the National Arts Centre, bassist John Geggie returned with the fifth installment of his annual Geggie Concert Series
with a group of high profile Canadian horn players (and one American). It was a rare occasion for the bassista local treasure gradually gaining wider recognitionto bring a larger ensemble to his series; in this case, one that featured enough linear instruments to create rich harmony but left plenty of freedom during solo section, unhindered by the more inflexible harmonic contexts created by chordal instruments like piano, guitar or vibes.
Toronto trumpeter Lina Allemano is no stranger to Ottawa, playing in nearby Wakefield, Quebec at the Black Sheep Inn regularly with her longstanding Lina Allemano Four. A trumpeter of strong range and clarity, she's also a fine composer, as her appropriately titled "Fidget" demonstrated, half-way through the first set of Geggie's show on March 6. Allemano also possesses a range of tonality, from velvety warmtheven in the upper registerto a tarter edge, and even a bit of grit when called for. On a tune that, with Geggie and Montreal drummer Isaiah Ceccarelli in the engine room, recalled bassist Dave Holland
's 1980s quintet with Canadian expat trumpeter Kenny Wheeler
certainly a touchstone for Allemanoit also featured a solo from upstate New Yorker, trombonist/educator Bret Zvacek, whom Geggie met in his part-time capacity as a teacher at SUNY Potsdam. Zvacek demonstrated a powerful blend of accuracy and articulation, in a solo that wound its way through the changes with melodic precision.
Two more Montrealers fleshed out the sextet. Alto saxophonist Rémi Bolduc is another regular to Ottawa stages, especially during the festival season; a mainstay of the Montreal-based Effendi label, Cote d'Ecoute (2005) demonstrated his more chamber jazz proclivities, while 4+1 (2008) was a fierier, bop-centric date featuring guest saxophonist Jerry Bergonzi
, an ideal foil for Bolduc's simmering heat. At Geggie's show, Bolduc also demonstrated his alignment with the jazz tradition on his set-opening original, "Mr. B.B.," a clever rework of the standard, "Bye Bye Blackbird," layering a solo that began in restraint but gradually took off with the kind of energy local fans have come to expect .
Tenor saxophonist Joel Miller
's reputation has, like that of his compatriots, been on an upward trajectory, in particular with his Mandala projectfirst on the folk-informed Mandala
(Effendi, 2005) and, more recently, on Tantramar
(ArtistShare, 2007). His "Boogie Gaudot," which closed the sextet's first set, was an episodic piece filled with rhythmic, melodic and harmonic twists and turns. In addition to his own soloa curiously greasy intellectualism in its emphasis on both the visceral and the cerebralGeggie took a solo that, as with his other recent work, continued to affirm his growing confidence, oblique lyricism and increasingly muscular tone. Not all shows in the Geggie Concert Series
swing, and this show was by no means restricted to any kind of convention, but the bassist and Ceccarelli sure laid down one hard-swinging groove when the music demanded it.
What also made the performance noteworthy was that, while there was no shortage of solo space for everyone, these largely original tunes were far from being just heads set up to introduce plenty of soloing. Most of the four songs that comprised the first set featured only two soloists (three at the most), though towards the end of :Boogie Gaudet," a repeating figure set up a context for the four horns to engage in increasingly free and escalating interplay that provided the set's most thoroughly exciting moments.
From left: Bret Zvacek, Lina Allemano, Isaiah Ceccarelli Rémi Bolduc, John Geggie, Joel Miller
The sextet also performed one cover in the first set, composer/arranger Gil Evans
' little-known ""Barracuda," here arranged by Miller into a fervently swinging but nevertheless open-ended version driven by Geggie's double-stops and Ciccarelli's muscular yet never overpowering playing.