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  1. Photo: Mike Bouchard A conga line was formed with the encouragement from Cris Scabello. It took over the tent winding and snaking from the front to the back of the tent, and back again. But it was the tiger shirted guitarist and keyboardist Mauricio Fleury that stood out. His sun glasses and orange t shirt with a stunning black guitar and frizzed out hair had him looking like a mid 1970’s California porn star. Way too cool for school. His wiry guitar playing gave them a real authentic Nigerian feel. Near the end of the set Mauricio had a chance to shout out his appreciation for those who help bring Bixiga 70 to Ottawa, with a special nod to the Soul Jazz Orchestra. A few sobering words about the turmoil that Brazill is facing with a near coup d’etat that is taking place against the present corrupt government underlined the thought that music is still a driving social force for brining people together and creating meaningful change. The set list as taken off the stage reads Niran Lembe 100 % /3 Canjira Di Dancer Portal Especial 1000 Vidas Kalimba Primeiramente Bac Boa Morte
  2. Bob Dylan doesn’t give a fuck. He doesn’t give a fuck about you. And he doesn’t give a fuck about me. That’s what makes Dylan, Dylan. His never ending tour came through town last night, and Dylan does what Dylan does best, and that’s play what he wants, and do as he sees fit. He pleases himself. Last night was pretty indicative of where Dylan is nowadays… a reworked back catalogue with smattering of American standards made famous by crooners and represented on his latest Triplicate and the two previous recordings. Dylan, at 76 years old, is slowing down, and has reached a comfortable place to perform from. His band has settled in as well. A few years back they seemed to be a musical distance that separated the band from Dylan the performer. Dylan is notorious for not practicing with his bands. Often they are set to learn the material by themselves, with Dylan coming in close to the live dates to run through the material. This band has been behind him for years, touring in a Never Ending set of dates (roughly 2000 shows). It has all gelled now. The Bob Dylan backing band is like “The Band”… in fact Dylan eludes to this approach by calling the evening a night with “Bob Dylan and his Band”. Similarly to The Band, himself, is the approach to the songs. Part of The Band’s magic was to be able to play all at once, not trading off solo’s one after the other, which is unfortunately all too often the norm, but soloing all together as it were… All of the musicians are playing muscularity and finding room in the music. There is just enough space for each musician to explore the song, but not be featured in it. If you listen closely every one is contributing to the melody and rhythmic structure all the time. The music is full, almost bursting with life. Listening to old live shows from The Band with Dylan (especially the 1974 tour) you get the sense that this is complex music from simple songs. This band is getting it out there as well. The set list varies very little from show to show. Usually a few songs might be swapped out, but he has been playing shows with less song variation then he did when he was at his most powerful stage of the Never Ending Tour. Years ago, between 1997-2004 Dylan had Larry Campbell and Charlie sexton (1999 -2003, with some shows featuring Colin Linden instead) along with Winston Watson and Tony Garnier. They did Dylan songs justice, I’ve seen at least 30 Dylan shows and nothing compared to this band. The set list varied a lot more, and the band could reach deep into the extensive Dylan catalogue and pull out blistering versions of Masters of War, or Leopard Skin Pill Box Hat. I think it was as early as 1986 with Tom Petty and the Heart Breakers as his backing band, a bill that included the Grateful Dead at Rich Stadium, that I discovered Dylan as a rock machine. A year later, he collaborated directly with the Dead and did six shows that changed Dylan’s perspective of live performance. THE NEVER ENDING TOUR SPRUNG OUT OF THIS RELATIONSHIP… although the collaboration on those six shows was received with mix reviews, the 270 minutes of studio rehearsal outtakes, that circulated widely among tape traders, proved that there was deep fertile ground that the two crossed into. This is the base of Dylan’s live sound ever since… a band that plays so well together, that it becomes intuitive and organic… melody lines and riffs collide as they negotiate the space where they can let loose… never quite stepping on each others toes, but brushed right up against each other… think of it as not colouring in or out of the lines, as much as creating a picture by filling up all the available space… whereever you look closely there is detail, step back and you see the whole. A picture with nuance. The present band is almost as good as anyone who he has played with. I was excited to see Charlie Sexton again on lead guitar. He compliments Dylan’s sound just perfectly. The multi instrumentalist Donnie Herron (pedal steel, lap steel, electric mandolin, violin) is untouchable. Donnie replaces the void left by Larry Campbell (who went on to be Levon Helms band leader after playing with Phil Lesh for a while- now he can be found on tour with Teresa Williams). George Receli (drums, percussion), and Stu Kimball (rhythm guitar) joined shortly after Larry Campbell left, and have been stalwarts of Dylan’s ever since. Continuing to hold down bass is Tony Garnier, playing both an electric and stand up acoustic bass. In general, I hate large shows, but when Dylan comes around, i usually buckle under and go. It’s not the number of people necessarily, it’s not the size of the venue, especially since the sound quality is so good these days. It’s mostly the fake and frustrating hoops that security make you jump through. This creates an oppressive atmosphere. Somehow it seems forgotten that I am a paying customer, who is in effect supporting these events through my money, and I, like all the rest, have come to commune with Dylan to free ourselves from the daily grind. The treatment and invasion by security in the name of safety and the like, has gone too far. The average age at the Canadian Tire Centre was easily 50. This is mostly a grey haired set. There were no 40 oz of Jack Daniels being traded around, instead it is a bunch of middle aged white people sitting on their hands, and in the case of last night they barely noticed that Dylan and his Band had finished the show and had left the stage. A slow burn of appreciation was lulled out of slumber coaxing a two song encore that Dylan would have played regardless. So why the metal detectors, so why must I empty my pockets, why do I have to watch an illegal and invasive search of my wife’s purse. It was pouring rain, and a hastily an “umbrella” check was set up… what exactly was the danger of an umbrella… some one might get impaled by the 80 year old beside me??… i guess. The truth is, if there was someone who wanted to do harm they would not be set back by any of this fake security measures. The metal detectors only react to a metal density as determined by its programmed setting. This is for simplicity sake a “gun or knife” density… my carabiners didn’t set it off, my credit card knife didn’t set it off, my lighters and lighter fuel went undetected … anyone who had a grudge and moment to plan would by pass the security with out too much hassle, yet we conform… Now Dylan has every right to control his image, and the reproduction of it. So there was a strict no camera or recording policy… fine, i understand, it is his performance and his image, and as Dylan often gets burned by the media, I get his need to address this… However, everyone has a cell phone, and on those devices they generally have a camera…. the request is to stop recording and taking photo’s, not to stop a paying audience member from texting home to tell the babysitter what time to expect them. Or write something, check out Tinder, or even play a video game, if they so desire. So it came as quite a shock when security warned every one in the front row the if they see a phone out of your pocket at any time during the show, they will be evicted! What? Nowhere in this scenario can there be an expectation to have people not access their personal property, especially as long as they are not violating any safety or policy requests that are reasonable. What I do with my phone, or a pen and paper, or my hair brush is my business… also, this is a discriminatory policy that is impossible to police… sure as I’m in the front row and it is definitely possible to monitor my actions, but what about 10 rows back, middle of floor, or section 220 , or anywhere in the darkened arena, really! The gentleman beside me has a child with special needs at home. Is it conceivable to have him cut off from his child in order to enforce a no picture rule? These are mutually exclusive actions, taking pictures is not texting. So i said no, and the response is almost always the same… speak your mind and project a reasonable argument and you will be surrounded by a bunch of security guards. A fairly standard practice for them is to intimidate anyone who has an opposing voice to their “demands”. Guess what? Like Dylan, I don’t give a Fuck. An unreasonable policy, especially one that goes against my rights and autonomy needs to be stood up against. I wish we would stop being so complacent with security, they have limited rights, and you should protect the ones you have left, before they are gone as well. I use my phone to take notes. Imagine that. I will continue to use my phone as a work tool. I respect Dylan’s right to control his image, and the reproduction of that. But no way can he or the CTC control my right to access my belongings. And so it went. I had a security guard stare directly at me for the first hour of the show, about three feet away, a dead mans stare. Fine. If that makes them feel better, go and get paid for it. When I turned the power of the gaze back onto her, and stared back, she would look away. Eventually, what I would later find out was the head of security, came out to watch as well. After the show, I had a great talk with him. He was very polite and personable, and understood that my intentions were valid and relatively innocent. But why was any of this necessary? I told him about Wilco’s Solid Sound Festival that I just returned from. I told him that the only time I had even seen a security person was at the gate when they took the ticket, and did a cursory look into any bags (Note: they did not touch anything in the bag, as that is not permitted - unlike the CTC- if they wanted to see anything further, the owner of the bag is requested to show the item). The rest of the three day festival was a beautiful, life affirming, family friendly, forward thinking event. OH, and guess what? When I left the main lawn on the third day, there was not a piece of garbage on the ground… not a spec… an example of a self policing audience using mutual kindness and respect. When you start an event with a heavy handed security, the tension is built, people are not respected, and inevitably some joy is lost. Fuck them. And Fuck me if Dylan wasn’t great. A typically dressed Dylan in a white Jacket, blue patterned shirt with white trim on the collar, pocket and down the buttons, a bolo tie, black tuxedo pants with a bold white strip down the leg, and incredible two toned leather brogue shoes. A back handed cowboy look filtered through the 1920’s. All members of the band wore suits and bolo ties, mostly in grey. A grand piano was stage left, and this is where Dylan played from most of the night. Sometimes standing, sometimes sitting. He came out from behind a few times taking centre stage. He played no guitar this night. He did however do his best crooner pose with mic stand in hand and head arched just so… oddly Dylan had three additional microphones on stage that he did not use… two of those are the classic RCA Radio design, which would have put the crooner pose into overdrive. Six out of the twenty songs had Dylan centre stage. Often, he would nestle way back on the stage and settle in between the drummer and guitarist. Occasionally walking in circles or posing with one hand on his hip, you could tell that the body is stiffing and aging has set in. His voice as well has been ravaged by time, now it is mostly a gravelly growling roar. His phrasing is also very different. Shorter in duration, and often with a lot of air and hang time before it’s delivery. Every classic song was reworked. Both musically and vocally. It prevented the classics from being reduced to sing a long, feel good moments, and I am thankful for that. His voice, at least from where I sat, was clear and articulate. I’ve seen Dylan so drunk on stage that he would forget the words and purposefully mumble the lyrics. Not these days. Every word was clear and with intention. Lots of incredible interplay, high lighted by beautiful pedal and lap steel guitars or softened by brush stokes on the drum kit. Mostly I was impressed with how good Dylan’s piano playing has gotten. Muscular and detailed, much better than the electric keyboard he was using with this band a few tours back. Dylan was very musical all show, dominating some of the melody lines and falling back into the fray over and over again. My favourite moments came at the beginning of each song, as the band would suggest sounds and shape and form them into a melody. A space/ jam intro to every song. The “Duquesne Whistle” was especially notable as it is, along with the opener “Things Have Changed”, written during the Charlie Sexton years of studio recordings. Bob Dylan as Gun Slinger. A Honky Tonk Dylan, if you like. It was the most rave up they would be all night. Simple and understated lighting exemplified the tone of the evening. The band played really well, but always looked like they had more in the tank. They never reached into the reserve tank, but blossomed during the best version of “Desolation Row” that I have heard. Building crescendo’s, full of hills and valleys. Two fan favourites “Blowin’ in the Wind”, and “Ballad of a Thin Man” were the encores. Here was the only obvious guitar solo of the night with Charlie Sexton stepping out and shining bright. The set looks odd, but the show had a nice flow. A pace that seemed to suit Dylan, his head space and his age. Not that he would give a FUCK. Setlist: Things Have Changed Don't Think Twice, It's All Right Highway 61 Revisited Why Try to Change Me Now bob centre stage (Cy Coleman cover) Summer Days Make You Feel My Love Duquesne Whistle Melancholy Mood bob centre stage (Frank Sinatra cover) Stormy Weather bob centre stage (Harold Arlen cover) Pay in Blood Once Upon a Time (Tony Bennett cover) Tangled Up in Blue Early Roman Kings Desolation Row Soon After Midnight That Old Black Magic bob centre stage (Johnny Mercer cover) Long and Wasted Years bob centre stage Autumn Leaves bob centre stage (Yves Montand cover) Encore: Blowin' in the Wind Ballad of a Thin Man
  3. On-sale date(s) include a 1-Day pre-sale: Thursday, February 23 at 10 a.m. (Ends at midnight.) Tickets available: Youth Festival Wristband, Adult Festival Pass, Club VIP Pass. (Parking and Extras will also be available as add-ons.) General On-sale: Friday, February 24 at 10 a.m. All ticket-types available, including day passes, Pick-3 passes, 'Kickoff' (July 6-9) and 'Homestretch' (July 13-16) weekend passes, Metropolitain VIP Zone, etc. See ottawabluesfest.ca for more details.
  4. Go here for more photos 20 minutes after the soft-opening of the 2016 edition of the Ottawa Jazz Festival kicked-off, the first song of nearly a 2 hour set by Kamasi Washington and his dynamically led band had finished their first number. Kamasi thanked and welcomed the crowd to tremendous applause, and began his evening long pattern of personal storytelling. Of how he met each of his band mates, how they affected him musically, and why they are here. “ It’s not what you have in life, it’s what you do in life that’s important ” He introduced a song that he wrote about his grandmother while also inviting his father, who "taught me everything I know" to the stage. Kamasi mentioned that his mother always said "It's not what you have in life, it's what you do in life that's important", and he followed that theme throughout the evening. What he did up until this point was to get real good at what he does. At playing the sax, at composing music, at producing albums, and on display this night, band leading while directing focus on some of the works of the masters in his ensemble. Kamasi told the story of meeting trombonist Ryan Porter back when he was in school. This story described how he heard the most emotional playing he'd ever heard in the hallway. Expecting to find an old 87 year old man who lost 3 wives and 7 grandchildren, he was surprised when he came upon Ryan. He asked "what happened to you man? where's all this coming from?". Ryan responded "This morning, I wanted to make a peanut butter and jelly sandwich. Turned out, I was out of bread." That's when Kamasi knew he had to play with this guy. Then he introduced a song composed by Porter and tore the place up. Miles Mosely, who balanced against his upright bass which also sported his Twitter callsign @milesmosely on the massive pick guard, was introduced as the greatest bassist on the planet, "though I've heard there is someone on Mars". Miles was then featured for one of his own songs on an upcoming album "Abraham" (due in September). He started working the bass with a bow, then added some wah pedal (that's when it was evident that he had a string of electronics to play with as well), added a bit of distortion, began shredding a bit, started singing while grooving as the band joined in to complete this powerful fucking jam. It was incredibly dynamic. It started so delicate and quiet and just exploded into fireworks. The drummers were also featured prominently, and both were stars in the stories of Kamasi. Tony Austin as the 4 year-older super cool guy, when Kamasi was only 8 (they watched ninja turtles together), and Ronald Bruner Jr. was the baby prodigy drummer when Kamasi thought his own three-year-old self was the supreme shit on drums only to be surpassed by a baby at a birthday party. "Hey, let the baby play your drums." "Ah shit! no man. He's still in diapers. What if something happens?" Both were given some time together on stage to "talk. as drummers do". Both tossed out impressive solos after passing beats back and forth. The dual drummer setup has been done many times, but these two literally made stereophonic sounds they way they countered each other. Imagine hearing one snare in your left ear, and one in your right, back and forth at differing rhythms…that's what they sounded like, except they had around 30 pieces (give or take) of drums between the two. Kamasi's father, Rickey Washington, performed between Kamasi and vocalist Patrice Quinn for most of the evening. When he wasn't playing flute or soprano sax, he was grooving and grinning to the music. Patrice spent most of the evening dancing and sometimes providing some scatted unison over some of the horn lines. She was reminiscent of a dancing Donna (grateful dead) however, this lady can SING. She performed the song written about Kamasis grandmother, and at least 2 others. One other was called " ", and it actually may have a few times throughout that song and the evening in very complicated ways. Brandon Coleman really filled in the grooves and many times sounded like a funky guitarist on that Nord keyboard or Rhodes maybe. Speaking of guitar, yes, he also picked up one of those keyboards you hold like a guitar. The left hand seemed to be controlling pitch and voicing but it looked alot like he was fingering notes on a guitar. Not sure how that thing works but it was really fascinating. Kamasi Washington's mashup of funk, soul, R&B all rooted with master-level jazz was a super treat. It didn't feel anything like any other night of standard jazz. It was pure spectacle, incomprehensible talent that made everything seem effortless. It was powerful musically and emotionally. If there were no seats, the crowd would have been bouncing all night. Chair dancing came naturally. What he did in life tonight was open the audience members attention up to his ensemble, his history, his family, and where his music comes from, where it's going, and where they are all going. It seems clear that this was a special night and the intimate vibe of a smallish venue may be difficult to experience again as this band leader continues to impress everyone that is fortunate enough to experience him perform.
  5. Jeff Tweedy - Wilco More Photos The growth of Folkfest to Cityfolk is almost staggering to where we are today. Each step in the evolution has provided me with bittersweet memories. This latest jump was far better than any expectation one could come up with. Surely I miss Britannia and especially Sir Charles Tupper when Folkfest had the perfect combination of high quality acts with a small hometown feel but this is now the big-time thanks to the wonderfully redesigned Lansdowne layout. The harmonies from Lucious perfectly fit everyone gathering their bits. Upon reflection of our day’s music, this band ended up being slotted perfectly because a tone was set. Attention was grabbed and formulas were going to be thrown out the window. Lucinda Williams and the Buick 6 provided the perfect sundown soundtrack, unlike any I have really seen before. It was a mesmerizing set of Bakersfield outlaw country. Towards the end of that we headed to see our resident player ‘ersh perform with Terra Lightfoot and I melted at one of my favourite performances of the day while they pummeled In The Pines. It was joyously sparkling with angst. Built to Spill Built To Spill then stepped up to the plate and drove us into an alternate existence. “Where am I again?” – usually you have to imbibe for a band to take you on such a journey but not with these guys. They drip psychedelia and their interplay is underrated for how far they get out there. I laughed when I felt ripped off things were over after they covered How Soon Is Now. We somehow make it to the main stage for Wilco and adjusted our mindsets realizing they were performing most (if not all) of their latest album Star Wars. By the way, I love Wilco but to be honest I am really pissed off they had the nerve to name an album Star Wars. Thankfully a knee bending Where Do I Begin into Cold Slope every question I had. Those two numbers should remain a part of Wilco’s repertoire for years. Forget The Flowers and Handshake Drugs exploded after the material from the new album while a nod to the recent past may have provided Wilco’s shining achievement during this set, The Art Of Almost. That was most likely the song of the show. Tweedy played a Les Paul during I’m Always In Love which really gave that song punch and benefited I’m The Man Who Loves You later in the set. Impossible Germany described the course of the set and before I knew it everything was over and I was making my way to all the people I lost during the last 30 minutes on the main stage. Sure enough, they were at Everyone Orchestra. ‘ersh was pounding keys, Andrew Barr was layering rhythms and the conductor looked like the mad hatter from Alice In Wonderland while he showed each of us what our dream job is. This was easily the best band of the day and one of the best improvisational collaborations I have ever seen. Everyone Orchestra More Photos CityFolk have really upped the ante on what we may see come through town. It’s entirely possible this becomes my go-to Festival each year. It’s a shame the sound at the Ravenlaw Stage could use some help but that is a minor complaint considering how the grounds are set up perfectly. The bar has been set high for Cityfolk and I am already looking forward to the line up for 2016.
  6. The Barr Brothers revisited Ottawa's CityFolk Festival to close off their current tour for a fab, yet short one hour set that could be described as a standard set of their tunes from both "The Barr Brothers" and "Sleeping Operator". It was a mostly soothing set that matched the afternoon vibe rather than their higher energy shows when presented with a more complete evening set. The tail end of the set brought out some jams out with "Half Crazy" that could have lead into a crazy extra half hour or so of extended jammy times. Don't miss The Barr Brothers return for a full show in Gatineau at the Salle Odyssée on Dec. 4th.
  7. More Photos Tonight was well worth getting into the Horticulture building early to catch St. Paul & The Broken Bones at the Ottawa CityFolk Festival. The crowd for Van Morrison was so freaking large, and the sound was so freaking subdued that it was pretty easy to make a night out of simply seeing Paul Janeway channel every soul singer ever tonight inside and experience the drive and capacity of his vocal pipes. Backed by a 7 piece band comprised of trumpet, trombone, baritone sax, vintage guitars, bass, organ and drums, Janeway had directed the band on every power hit with precision. These guys brought their souls from Birgmingham, Alabama to Ottawa for the first time Friday night and were clearly astounded by the possibly unexpected support and crowd enthusiasm for their set. Janeway spent many moments with a shit-eating grin, taking in the crowd's massive response to the end of nearly every tune. These weren't just tunes, they were epic arrangements with hooks and grooves which built up to some powerful moments. It must take alot of professionalism to suit up and perform with such zest in a room that had just the right temperature to incubate yeast or yogurt. It was very warm and sweaty, as evidenced by wet 3-piece suits and dripping the dripping foreheads of the musicians. Janeway dropped to the floor so many times with mic in hand to belt out words much like Otis Redding might have done if he were to take on CityFolk festival, or even John Belushi's greatest moments in the Blues Brothers. Nearly any time the lyrics and vibe referenced love, he directed it at people in the crowd pulling them in even further. It was kinda "one of those nights" that will be remembered as a special evening in the history of the festival. With so many iphones and androids rising above the heads of the crowd, one might expect some sort of speech about recording or paying attention to devices but Paul took full advantage, playing into the phones lenses, singing directly into them. It would be absolutely amazing if someone out there got them all together and made a super cut. This must happen at every show. He absolutely loved to bring everyone close and share his talent for the benefit of their social graphs. They pretty much played their entire one and only album "Half The City" along with a number of soul covers. One stand-out unexpected cover came in the form of "I Want You" (Beatles). The guitarist switched to a Gibson ES which would mimic John Lennon's Epiphone used on the original recording for perfect tone. They certainly took advantage of the loopy moments of the song without stretching it out too much since it was part of their 3 song encore. Keep an eye out for St. Paul & The Broken Bones as there's no doubt they will return once again for another festival in Ottawa after this performance.
  8. More photos It didn't take long to appreciate the new venue for the Ottawa Folk Festival which couples well with the new brand CityFolk Festival and also hosted the Avett Brothers for a supremely prodigious main event set. The new location at revitalized Landsdown park features a broader spectrum of folk music, invites the inhabiting folk and accentuates the city's ability to host incredible live music of genres that aren't as diverse as many might describe what the Bluesfest has become. It's fair to say that the organizers have been adjusting Bluesfest year-to-year in order to continue it's success as a world-class festival to a position where it can please everyone on some level, based on pop trends rather than a more focused demo. The CityFolk festival appears to be more contained within a realm of more common musical styles that likely promote the purchase of a full festival pass rather than a sales model of short 3-4 day packages. It might not be a remote idea to imagine a rebranding of Bluesfest in the near future if CityFolk festival succeeds with this year's bold alteration. It's clearly off to a great start. There is an outdoor venue that is meant to hold a large outdoor crowd as one would expect at an outdoor music festival. A welcomed partitioning of standing area and lawn chairs really made moving around much easier, without having to negotiate various sized plots of land taken up by crazy chairs in random locations. This also helps foster a more engaging connection between the musicians and the audience without having to urge folks to stand up. There are 2 indoor venues that have the feeling of being in an open space utilizing two legacy buildings to host more live music as side-stages while providing an opportunity for continued entertainment in the event of rain. However, the main interior venue only has a capacity for 750 music lovers, despite clearly having plenty of space to hold more. Bylaws ftw! There were a couple of hundred people outside while Wintersleep were playing a late set after the Avett Brothers engaging performance tonight, who would not make it inside. In order to be assured entrance, one will likely have to leave the main stage area possibly a half-hour before the main performance has finished. Speaking of the main performance, the Avett Brothers returned to the festival for their third peformance to a very happy crowd. With perfect weather (and well beyond any expectations for Ottawa mid-September), and contrary to their last visit performing in the pouring rain, the Avetts seem to have kicked up their ability to exist as a rootsy-indie-folk-rock band. Wintersleep completely poured a musical experience all over those lucky enough to pull themselves away from the main event into the Ravenlaw Stage area. This crowd was serious about Wintersleep, they were all there for the band and weren't just taking advantage of having paid for a festival pass. If there's anything worth seeing inside this building, be sure to get their early or risk missing a sweet experience *cough* *cough The CityFolk Festival doesn't just retain the charm of a smallish yet powerfully memorable music festival, but it really seems to be anchored by it. With it's new prospects, this version of FolkFest 3.0 matches the zeal towards a positive communal impact.
  9. More from Bill Burr Bill congratulated the crowd for "skating" their way to a "parking lot" to see him perform under the hot sun (his last visit here was in the winter and he commented in his podcast on how cool it was that the people of Ottawa go to work wearing skates along the canal). Of course he had to throw some hockey jabs out there and his disdain for the Habs overshadowed any cracks against the Senators. Around the 10 minute mark, Burr realized that he hadn't even started any of his material yet after just freeflowing up to this point, using inspiration from some of the audience. Bill politely reminded one guy who was capturing video with is phone from the front that he might like to put out another comedy special with material that isn't already all over youtube, while also surgically shaming him to bits. Another guy brought a homemade sign that read "Just Checking In On YAAAAA!!!" which is basically his podcast catchphrase at the top of each episode. While the sign was a funny lone prop in the crowd, Ol' Billy boy didn't hold back the jabs, while he was at least a little humoured over the fan effort. After entering into his material, he ran through current topical targets like Caitlyn Jenner, or his own personal life as a married guy, what he thinks of feminists and his take on racism. Anyone who might walk in on each of those bits, out of context, might walk away offended. Burr's material needs to be heard from start to finish. His views are usually a reflection of common ignorance, or general media perceptions on stereotypical behaviors. He makes fun of himself more than anyone else. It's really hard to describe, and it's much easier to direct attention towards one of his specials on Netflix, or even his podcast.
  10. The annual Ottawa Jazz Festival Benefit Concert and Live Auction is back! Coming Thursday, Nov. 6 at the Library and Archives Canada Chanteuse Susie Arioli will perform her latest album, “All the Way”. The three time Juno Awards nominee Susie Arioli is recognized for her gentle, warm voice that she brings to authentic interpretations of jazz and blues standards. She exploded upon the scene with the creation of her band in 1998. She and her group have opened for Ray Charles at the Montreal International Jazz Festival and have been in the limelight ever since, performing regularly at festivals, concerts, touring, and gigging in jazz venues around the world. The evening will begin with a live auction officiated by CBC’s “All in a Day” host, Alan Neal, bidders will have a variety of exciting items to bid on including: Two-night stays at the Fairmont Château Frontenac in Quebec, TD Ottawa Jazz Festival Gold Passes and a stay at the Fairmont Château Laurier, Via Rail travel vouchers, adventure packages and excursions, concerts tickets and much much more! For tickets visit www.ottawajazzfestival.com or call 613-241-2633 Thursday, Nov 06, 2014 6:30 PM EST Library and Archives Canada, Ottawa, ON (395 Wellington Street, Ottawa) Price: $50
  11. Spectrasonic and punkottawa.com present Current Swell (Victoria roots-rock, Nettwerk Music Group) www.currentswell.com Still Winter Hills (Ottawa rock and roll) www.stillwinterhills.com The Brook (Ottawa alt-rock) www.thebrook.bandcamp.com Friday October 10 @ Mavericks (221 Rideau St.) Licensed 19+ - 8pm doors - $15 advance + service charges tickets available at Vertigo Records and www.spectrasonic.com/event/676257 facebook event page: www.facebook.com/events/1458825457729011 www.spectrasonic.com www.punkottawa.com ----- www.twitter.com/spectrasonic @spectrasonic on instagram join our NEW facebook page - www.facebook.com/spectrasonic
  12. On Friday, December 12, 2014, The Back-Talk Organ Trio (live recordings are here), along with Robertson, will be playing at Irene's Pub in Ottawa, ON. The Back-Talk Trio will present a musical tribute to the recently departed Horace Silver. A Facebook event for the show can be found here. Aloha, Brad
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