FRAYNE FUELS MUSICAL DREAMS
Ottawa jazz musician Rob Frayne continues to demonstrate that artistic dreams trump his injuries.
In 2004, following a car accident in Bells Corners, he suffered a stroke. He spent more than two months in hospital, battling pneumonia, partial paralysis and a left lung that didn’t work. He recovered sufficiently to return to making music, although because he can’t swallow, his ability to play saxophone has been much diminished.
Still, Frayne is a beacon of creativity and persistence, and on Wednesday night he mounts his latest Dreamband project at the National Arts Centre’s Fourth Stage. The new ad hoc big band will debut new arrangements by Frayne, and feature some highpowered musicians from Toronto and Montreal pitching in.
Frayne, 60, discusses what will happen when his latest musical dreams come to life.
Q When and why did you come up with the idea for your Dreamband?
A I came up with the concept of the Dreamband in 2011, with the idea of doing a gig with my “dream” musicians — people I had known for years and had worked with. Since I couldn’t really play the tenor after my 2004 accident, the idea was to get back to writing music, and writing for a larger, 12-piece ensemble. I wrote each part with a specific musician in mind.
Q Tell me about the Dreamband lineup, circa 2018. Who’s coming back, and why?
A The returning Dreambanders are trumpeter Bill Mahar and saxophonist Frank Lozano ( both from Montreal), guitarist Roddy Ellias, drummer Mike Essoudry, organist Don Cummings, percussionist Alvaro de Minaya, vocalist Megan Jerome and reed players
Janet Geiger and Sylvie Duchesneau. They are all my heroes and groove with abandon!
Q Who will be new to be band? A New Dreamers are Liz Hanson, marimba and Brazilian percussion, and Dr. Keith Hartshorn-Walton, on tuba, both from Ottawa, and from Toronto, William Carn on trombone and Tara Davidson on alto sax.
Q Why did you change some of the personnel?
A My concept for the Dreamband keeps evolving as I meet or hear new players and their music. A couple of years ago, I met William Carn at the JazzWorks summer jazz camp, and was really captivated by his playing and musical esthetic. I had also heard about Tara Davidson, who is a protégé of Mike Murley’s, an old friend of mine. She also happens to be William’s partner, so it was a one-two punch bringing them in.
Q How have you grown as a composer, arranger and bandleader? A After turning 60 at the end of last year, I decided to go for it more in my own way — African groove (Dollar Brand) meets classical (Charles Ives) meets big band (Don Ellis).
Plus, every time I write for this group, I develop my orchestral voice, getting more precise and detailed. I really draw on inspiration from the players in the band.