Rain didn't quench saxophonist's fire

When budget restraint forced the dispersal of the RCMP band in 1993, most of the negative response to the decision focused on the loss of an international public relations vehicle. There was almost no mention of the role the band played over the years in training young musicians and helping to direct their careers. Toronto-based saxophonist Kirk MacDonald is one musician who matured significantly while wearing the scarlet tunic, and the Ottawa music scene was a richer place when he was stationed here in the mid-80's. On Thursday, in a Great Canadian Jazz series concert in Confederation Park, MacDonald showed that great saxophonists don't just come up through the well-trod channels. MacDonald is a player, one who has been pursuing mastery, of his horn since he was in high school in his native Nova Scotia.

He has honed his sound to a fine edge, and now has a tone so large and hard that he almost sounds like he's playing an electric instrument. On Thursday, in a light, intermittent rain, MacDonald's razor-sharp sound cut through the crowd, which started out around 250 and grew steadily throughout his performance. Adding to the impact of MacDonald's sound is an energetic, hard-blowing approach to standards like East Of the Sun and West of the Moon, How Deep is the Ocean and the appropriate Come Rain or Come Shine. He also dug hard into two originals, Kirk's Blues and Manhattan Getaway, reeling off choruses with tremendous fluidity. A lesser rhythm section might be overwhelmed by MacDonald's big sound and tireless style, but pianist Brian Dickinson, bassist Steve Wallace and drummer Bob McLaren are as tough and well-seasoned as they come. You always know that you're in the presence of a good band when the rhythm section alone sustains your attention, and these three do that and more.

Dickinson, well established as one of Canada's leading pianists, continued to show the understated elegance and lyrical innovation that has made him a favored sideman and strong leader. He plays with such a nice touch that it's easy to overlook how much fire he can provide behind a player like MacDonald. McLaren was also a ready source of heat. Like Dickinson, he has earned a reputation as a solid supporting player, and like the pianist the depth of his skills is often taken for granted. On Manhattan Getaway,he showed the kind of straightahead power he can provide, while on Kirk's Blues he churned in a more abstract style, dropping cymbal accents behind MacDonald's solo. A highlight of the show came when McLaren locked into a tight duet with MacDonald on Manhattan Getaway. Even the rain couldn't put out this fire in the park.