The Ottawa International
Jazz Festival is celebrating its 25th anniversary this year and
is just beginning its winter lineup.
On its website, organizers tout the festival as having the “biggest
loyal audience of any event in eastern Ontario” and boast
about the big-name acts the festival has brought to the Ottawa
stage.
But have we forgotten our homegrown talents in the quest for
bright lights and big box office hits?
Among the seven acts scheduled for the winter season, only one
is Canadian – the Rosemary Galloway Quartet – while
the others are a mix of European and American performers.
Typically, there’s been a bit more of a focus on Canadian
artists during the summer festival – which is the event
of the year for organizers – through their Great Canadian
Jazz Series.
However, apart from one or two notable exceptions, the main attractions
still seem to be the international acts.
Why is this? Do we simply have no interest in local jazz performers,
or is there a real lack of good Canadian jazz?
The festival’s executive director, Catherine O’Grady,
attributes their programming choices to the existence of an already
vibrant local scene, supported by the festival and the network
of Canadian musicians.
On the other hand, however, smaller venues like The Bayou or
Café Paradiso might not have the time and money to bring
in international names. This is where the Ottawa International
Jazz Festival works their organizing magic.
“We believe we can afford to show significant artistry and
support local artists at the same time,” O’Grady says,
adding she feels it’s important to showcase a diverse range
of work that will appeal to a broad audience.
So, is our domestic talent being fully nurtured and cultivated?
It still seems like there are American and South American jazz
performers arriving in the international scene by the truckload,
while Canada struggles to make a name in popular jazz for itself
by offering up a Michael Bublé or a Diana Krall every
so often.
It’s curious why we flock to see Wynton Marsalis and Herbie
Hancock, but know very little about Jillian Lebeck or John Geggie.
While it’s true there are only a few truly exceptional performers
who can break out into the international markets and find success,
it’s also an issue of marketing and promotion, and getting
our jazz musicians out there so people know who they are and
what they’re about.
That’s where the American music industry excels, and at
least some of our focus should be on promoting our local talent
as well.
It’s been argued jazz has always been an intimate affair,
one that doesn’t (and shouldn’t) need a spotlight.
But it’s still interesting to note the recent surge in the
popularity of jazz, and wonder whether local performers are getting
a piece of the action. |