Winther demonstrated that it's possible to combine lyricism with a more forward-looking approach. His solo on the Ellington classic "In a Sentimental Mood was a prime example, poignant and sweet without being syrupy. Winther's solo, which ended with him blowing his horn into the piano and setting off subtle sympathetic vibrations, literally brought the house down. Franck's sound is reminiscent of Joe Lovano by way of Dexter Gordon—bold without being brash, assertive without being jagged. Closing the set with his own composition "Bombay, Franck was powerful, building his solos with flurries of notes, yet never overbearing or superfluous. Bodilsen, who has been playing with Thigpen for the past seven years, delivered strongly melodic solos, but it was his empathic interaction with Thigpen that truly signaled his abilities.

And what can be said of Thigpen, one of the few remaining masters of his generation? He was constantly finding understated ways to drive the music, creating delicate pushes and always-in-context accents that lent weight to everything going on around him. Eyes closed and often with a smile on his face, Thigpen was clearly having a terrific time. He may be one of the few remaining artists at his level to work with younger players in a mentoring role. He's keeping the oral tradition of jazz going, and Ottawa was fortunate that the festival, along with cooperation from the Danish Embassy, was able to bring him to town.

In her performance at the Confederation Park main stage, opening for saxophonist David Murray, Montreal pianist/composer Lorraine Desmarais showed, as Hugh Fraser did the previous evening, that not only is the Canadian jazz scene alive and well, but it has a surprisingly large community of players deserving of recognition on an international level. Her sicteen-piece big band is comprised of the cream of the crop from the Montreal scene, and her set was loaded with strong charts and outstanding solos.

Desmarais leans towards the romantic, but not in any kind of melodramatic or overly sentimental sense. A fine pianist coming out of the Evans school with clear references to Chick Corea and Lyle Mays, her original compositions ranged from light contemporary fare with nods to Latin rhythms, to a greater energy and intensity that emerged as the set progressed. Still, Desmarais' music remained eminently approachable throughout, regardless of the context.

Tenor saxophonist André Leroux, who raised the bar for contemporary fusion when he played with ex-UZEB guitarist Michel Cusson and his Wild Unit group in the mid-'90s, soloed with an almost reckless abandon, yet he never lost touch with Desmarais' sometimes-challenging arrangements. Alto saxophonist Jean-Pierre Zanella, a hit with his own group in Ottawa a couple of years back and soon to appear with his own quartet on the main stage on June 28, is another outstanding player with the kind of advanced harmonic conception that makes every solo challenging yet wholly compelling. He's also a captivating flautist, able to range from soft gentility to broader-stroked flourishes with riveting self-assurance.

Desmarais's big band, with firm and inventive support from double-bassist Frédéric Alarie and ex-Ottawa native Camil Bélisle on drums, is evidence of a strong Montreal and Canadian scene. The only thing that's curious is why one of the larger record labels based out of Montreal—Effendi or Justin Time—have not picked up on Desmarais and recorded her work. Based on her performance last night, it would be a shame for her accessible yet substantial work to go undocumented.

Saxophonist David Murray has long carried the torch for the more extreme approach to free playing spearheaded by players including Albert Ayler and Archie Shepp in the '60s. Still, with his Gwo-Ka Masters group he's managed to find a way to make his more intense playing palatable to a larger audience by combining it with infectious and danceable African rhythms. His headlining show at the main stage had all the pieces in place—a strong percussion foundation from drummer J.T. Lewis and Guadeloupean gwo ka drummers/singers Klod Kiavue and Francois Ladrezeau; a nimble and multi-faceted bottom end from bassist Jaribu Shahid; and Senegalese guitarist Herve Sambe, who continued to surprise with his inventiveness, as both accompanist and soloist, throughout the set.

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