Ori Dagan
Toronto, Ontario, Canada | Established. Jan 01, 2010 | INDIE
Music
Press
The best tribute albums are typically those that go beyond the obvious signature tunes, digging deeper into repertoire and/or offering fresh perspective on the honoree’s legacy. Ori Dagan scores on both counts. The Canadian vocalist’s backing includes pianist Mark Kieswetter, guitarist Nathan Hiltz and bassist Ross MacIntyre, recalling the classic Nat Cole/Oscar Moore/Wesley Prince trio, alongside some stellar guests. Dagan bears little likeness to the creamy-rich Cole, his vocal style more aligned with the Mark Murphy/Kurt Elling school—a fundamental difference that is key to this salute’s unique appeal.
Dagan opens with a straight-ahead reading of “Lillette,” a charming boy-girl ditty recorded by Cole’s trio in 1947, then dives into the first of five originals, “Sting of the Cactus,” a zippy paean to the rigors of pursuing musical excellence. “Nature Boy,” invariably ethereal, is given a bolder, brisker treatment that proves affecting, while the usually dreamy “Unforgettable” is reimagined as a frisky swinger. Two more Dagan compositions speak more directly to Cole: The bouncy “Bibimbap” leverages the popular Korean dish to craft a contemporary companion to “The Frim Fram Sauce,” while the somber “Complexion,” featuring Jane Bunnett on sax, recalls the racial intolerance Cole faced and so classily rose above.
Fellow Canuck vocalist Alex Pangman joins Dagan on a velvety “Pretend,” and Bunnett adds spirited flute filigree to the peppery cha-cha “El Bodeguero.” The cherry on this delectable sundae: Dagan’s union with 88-year-old Sheila Jordan on a scat-fuelled “Straighten Up and Fly Right.” - Jazz Times
Award-winning jazz singer, songwriter and recording artist Ori Dagan is taking jazz in a new and visual direction. His latest record, Nathaniel: A Tribute to Nat King Cole, is the first visual album in the jazz genre. Each video features a variety of artist mediums, from stop motion, to claymation, to a felt jazz outfit. The rich mahogany timbre of his voice pairs well with his tongue-in-cheek lyricism, and makes him the most personable modern jazz singer. Equally as engaging in live performance, he surrounds himself with Canada’s finest musicians, performing an engaging mix of material which is always fresh and in the moment.
"Sting Of The Cactus" is built on the back of a speedy walking bass and a driving piano line. Dagan's spirited scat singing falls in line with the bright, pale energy of the song. Backed by a score of felt musicians, Dagan brings a lively, springtime energy to a genre that's become more of a reference point than its own work of art. - Ear Milk
Ori Dagan releases a new video today, called “Sting Of The Cactus.” It’s from his latest album Nathaniel: A Tribute To Nat King Cole. Produced by Doug Romanow, the album features the talents of bebop icon Sheila Jordan, Grammy nominee Jane Bunnett, Nathan Hiltz, Mark Kieswetter and Ross MacIntyre. The visual version of the album, a collection of twelve music videos, releases tomorrow, October 24. The collection embraces live action, cartoons and lyric videos.
Born in Israel, raised in Toronto, Canada, Dagan started out as a classical pianist and then discovered a love for jazz. In 2015, he won “Best Jazz Vocals” at Toronto’s Independent Music Awards. Dagan’s perspective toward jazz is provocatively charming, ingenious and extremely sui generis.
“Sting Of The Cactus” blends smooth jazz with hints of bebop into a cool buoyant West Coast jazz melody. Guitar, bass and piano provide the short intro, followed by the entrance of Dagan’s mellow voice. The rhythm of the tune rides the infectiously brisk texture of the bass. The sparkling twinkle of the piano adds bright flavors and the piano solo knocks your socks off with its dynamic presentation, which segues to a zinging guitar solo, followed by a swaying bass solo. The overall flavor of the tune is delightfully retro and deliciously avant-garde at the same time.
PHOTO CREDIT: JUAN CAMILO PALACIO
The highlight of the song is Dagan’s rich silky voice as he scats with magnetic abandon. The scatting baba doo dips and dubeh dubeh dubehs delivered in rapid-fire cadence is both alluring and persuasive. His phrasing and articulation evoke a flavorful peppy pizzazz that’s inordinately contagious. Dagan’s ability to scat indubitably demonstrates his talent because effective scatting is extremely difficult, which means Dagan’s vocal genius is off the charts, achieving a whole new level.
The lyrics of “Sting Of The Cactus” offer a droll take on the life of anyone involved in music.
“Being a musician is absurd / Memorizing melodies and notes and words / Everybody tells you that you’re crazy but you’re not / Some people make millions others zip / Others plan to see for years and let her rip / Sting of the cactus / You really must practice / Do it do it do it / And then do it again / Following your dream is hell / Heaven knows you want your dream to sell / Sting of the cactus / You always must practice / Do it do it do it / And then do it again.”
Merely saying Ori Dagan has it going on is akin to saying the sky is blue, a massive understatement. “Sting Of The Cactus” dispenses an upbeat contagious melody, vibrating rhythm and that ooh la la feeling provided by exceptional jazz music. Coupled with Dagan’s astonishing scatting, “Sting Of The Cactus” is nothing less than yazum.
Find out more about Ori Dagan here and here. - Huffington Post
Toronto-based jazz singer-songwriter Ori Dagan made his SXSW debut last weekend, accompanied by Nathan Hiltz on guitar and Brandi Disterheft on bass. The only Canadian jazz artist selected this year, Dagan played a set of standards and originals to a standing-room-only crowd at popular Austin jazz haunt, The Elephant Room. Dagan received support for his March 17 midnight showcase from FACTOR and the SOCAN Foundation.
MUSIC
Sometimes you have to fly miles to meet people who work in your backyard! Such was the case for me with some of the great Canadians SXSW booked this year. My favourite of the ones I saw and heard was Lisa LeBlanc who is a singer-songwriter who rocks out on guitar and banjo as well. Originally from Moncton, New Brunswick, the Acadian artist is now based in Montreal. I loved her catchy songs, energetic performance style and strong connection to the audience. Another Canadian who brought the house down at Canada House was soul singer TiKa. Her confident performance matched larger-than-life pipes that brought the house down repeatedly. It was great to hear the excellent singer-songwriter AHI in action again – he ended his set with a memorable cover of Sam Cooke’s “A Change Is Gonna Come.”
There’s such a diversity of artists on display at SXSW – while hanging at the Artist Village I was introduced to several “dream pop” groups including Winnipeg’s Living Hour and Brooklyn-based Harrison Lipton. Hip-hop was strongly represented at the festival – my favourite such show was by Talib Kweli who got the audience singing and brought some fantastic guests to sit in on his show at Container Bar.
It was also a real treat to run into Austin’s own “Traveling Pianist” Adam Lozoya who was frequently seen and heard on 6th Street, charming passers-by with jazz-inspired renditions of pop tunes in a way reminiscent of Scott Bradlee. I just love a brilliant busker! Follow Adam on Instagram at @thetravelingpianist
Ori Dagan, Nathan Hiltz and Brandi Disterheft at SXSW
Ori Dagan, Nathan Hiltz and Brandi Disterheft at SXSW
FOOD
Meat lovers rejoice at Cooper’s Old Time Pit Bar-B-Que, from their popular brisket to a delectable jalapeno mac n’ cheese, you won’t leave this friendly establishment hungry. After checking this place out on the first day, I brought the band later on in the trip and we were so happy we forgot to take a photo. Great place for Meat-Up!
In an effort to break a world record, Wisconsin Cheese presented an unprecedented 70-foot-long cheese board, leaving SXSW badge holders speechless if a bit gassy. When you can sample several dozen delicious cheeses, how can you not taste them all? My favourites were the dill Havarti, jalapeno cheddar and buttermilk blue. The palate cleansers were brilliant too, including candied pistachios and dried mangos. Cheesy does it!
For years now March 14, or 3.14, has been known as “pi day” and as such, it has trended as “Pie Day” to the delight of pastry fans across the globe. At the Austin Convention Center it was great to learn that the City of Kyle (population 40,000) is known as the “Pie Capital of Texas” with complimentary little masterpieces in apple, cherry and pecan flavours. To pie for!
For the sweet tooth in us all, it’s great to have places like Maggie Louise Confections. Their delectable chocolates are individually hand-painted – and the best part is they ship to anywhere in North America! You’re welcome.
FOLKS
Austin might be one of the friendliest places I’ve ever visited! Priding itself on the support of independent businesses, it’s hard to find a McDonald’s; there is a great appreciation here for small shops and their operators, reciprocated with smiles and warm greetings.
The friendliest and coolest little record shop I found – specializing in blues vinyl – is called Big Henry’s. There I picked up a killer title by Lavern Baker, “Real Gone Gal!” the title track a cover of Nellie Lutcher! #VinylAddict
One of the unique elements of SXSW is being a meeting place for music, film and interactive. I was glad to sample the latter two worlds if only for a few hours. One definite highlight was Showtime’s meet and greet with two stars of the show Shameless, which I was lucky to score tickets to on St. Patrick’s Day. This event was a lot of fun particularly thanks to the bubbly friendliness of Shanola Hampton who bartended in and out of character at the Clive Bar.
Ori Dagan just came back from SXSW this week, one of just 12 Jazz artists out of SXSW’s total lineup of 600 musical acts, and the only Canadian Jazz artist on the bill. And as you likely know, his Nathaniel: A Tribute to Nat King Cole is jazz ’s first-ever visual jazz album. The release debuted at #1 on the iTunes Canada Jazz Chart and is doing really well on the Jazz Week charts in the US with over 83 spins this week - and rising up the charts pretty fast.
Editor's Note:
Ori Dagan has also racked up an impressive series of International awards and accolades, as well as hefty growth as a beloved fan favourite genre-wide. Hitting more than 100k collective views on YouTube within days of release, Nathaniel’s visual album also took home Global Music Awards’ Silver Medal Winner for Best Album, Nevada International Film Festival’s Winner of Platinum Reel Award for “Sting of the Cactus”, Open World Toronto Film Festival’s Winner of Best Music Video for “Sting of the Cactus”, Australian Port Shorts Film Festival’s Official Selection for “Sweetheart”, India’s Arthouse Asia Official Selection for “Bibimbap”, and many more. - Cashbox Canada
Nat “King” Cole gets modernized on this tribute from vocalist Ori Dagan. He teams up with Mark Kieswetter/p, Nathan Hiltz/g, Ross MacIntyre/b for some nifty trio sessions that allude to, but don’t imitate, Cole’s vintage years on pieces like a cozy “Lillete” and Dagan’s own “Sting of the Cactus” with “Bibimbap” that display a strong and warm baritone voice. Drummer Mark Kelso adds extra push on a nifty but not nostalgic “Straighten Up and Fly Right” with Sheila Jordan and Jane Bunnett brings soprano sax and flute for a modern sounding “Complexion” and a Caribbean “El Bodeguero” respectively. Strong and personal millennial swing. - Jazz Weekly
« Le Tanjazz est un rendez-vous impressionnant »
La 19ème édition du Festival Tanjazz au Maroc tenue du 20 au 23 septembre 2018, a donné lieu à des spectacles inédits. Parmi les artistes têtes d’affiche ayant réussi à conquérir les cœurs des nombreux spectateurs du Palais Moulay Hafid de la ville de Tanger, Ori Dagan du Canada se démarque remarquablement. Au terme de son spectacle qui a reçu une standing ovation, cette voix de baryton du jazz canadien nous a livré ses impressions.
Africulturelle : Votre spectacle a reçu un véritable standing ovation à la fin. Comment pourriez-vous décrire votre musique et quel est votre secret?
Ori Dagan : C’est du jazz. Et ce qui caractérise le jazz c’est sa capacité à créer quelque chose de nouveau à chaque fois, se renouveler. Et donc chaque performance est différente de celle de la veille. Avec mes musiciens je suis dans une quête permanente du nouveau, afin d’éviter les stéréotypes et les concepts pré-définis et c’est cela la clé du jazz.
Nous savons qu’il y a plusieurs écoles de jazz qu’autant de styles. De quelle école de jazz vous réclamez-vous ? Quelles sont vos influences ou références ?
Je dois reconnaître que les artistes des années 30, 40 et 50 m’inspirent beaucoup. Entre autres artistes qui m’ont vraiment marqué, je peux citer, Ella Fitzgerald et Charlie Parker. C’était des artistes incroyables, qui ont marqué plusieurs générations.
Depuis ses origines, on sait que le jazz est surtout porté par la langue anglaise. Cependant, en plus de l’anglais vous chantez également en français. Est-ce pour agrandir votre auditoire ou il y a un autre objectif inavoué ?
Je dois avouer que je le fais d’abord pour moi-même. Car je me lance assez de défis. Mais également pour ceux qui aiment m’écouter chanter en français. Et surtout pour le public venu nombreux au Festival Tanjazz qui nous a permis de vivre ces grands moments. Je me suis dit qu’il fallait offrir quelque chose d’exceptionnel à ce public.
Visiblement, le public a justement très bien accueilli votre spectacle…
Cela fait énormément plaisir d’être si bien accueilli par un public que je découvre à peine et qui apprécie bien ma musique. Mes musiciens et moi avons passé un moment très agréable avec le public.
« A Tribute to Nat King Cole », votre dernier album en date a reçu la Médaille d’Argent 2017 du « Meilleur Album » aux Global Music Awards. Comment êtes-vous arrivé à ce niveau ? S’il vous est permis de retracer votre parcours en quelques phrases que diriez-vous ?
La musique a bercé toute mon existence. Dès mon jeune âge je nourrissais une grande envie pour la musique. J’ai pris des cours de piano pendant 10 ans. La suite, ça a été le travail sans cesse !
C’est votre première fois en Afrique et également au Festival Tanjazz. Quelles sont vos impressions sur cet événement et quels meilleurs souvenirs pourriez-vous en garder ?
Je pense que c’est une excellente chose que le Tanjazz accueille tous ces artistes chaque année pour continuer à faire vivre cette belle musique qu’est le jazz. C’est un rendez-vous impressionnant. J’ai découvert ici, des gens merveilleux et je repars vraiment satisfait. C’est vrai que c’est ma première fois en Afrique et à ce festival également, mais je garderai surtout le beau souvenir de personnes très chaleureuses. - Africulturelle
The most-awarded musician in Canada in 2018, jazz artist Ori Dagan will be performing on Sept. 8 at Sudbury Jazz Festival.
Ori Dagan will perform his critically acclaimed release, Nathaniel: A Tribute to Nat King Cole, as well as showcase the album’s accompanying videos that formed the genre’s first ever visual jazz album that has garnered more than 50 nominations and awards around the world in 2018.
For more about Dagan and the Sudbury Jazz Festival, go to www.jazzsudbury.com. - The Sudbury Star
There were higher profile vocal tributes to the great “King” Cole in 2017 but none were better than this surprising effort from the up and coming Canadian baritone. Ori Dagan keeps proceedings fresh by using his customary sense of humor and by adding 5 of his own compositions, most of which are quite good. In fact, a couple fit in so well, that I assumed that they were quirky, novelty rarities from the King Cole Trio’s heyday, until I read the liner notes. Mr. Dagan also wisely avoids anything that would even approach a perceived impersonation of one of the great voices and stylists of the 20th Century. So, what do we get? We have one of the unique talents of contemporary jazz singing, bringing us his interpretation of some tunes closely and not-so-closely associated with the legend. I like what he was going for, and overall, I loved how it turned out. Plus, he’s got the estimable Sheila Jordan, guesting on a delightful take of “Straighten Up and Fly Right”. Even a Cole fan like me, couldn’t ask for much more. - Curtjazz.com
Best Male Vocalist
Winner
Ori Dagan
Jazz singer Ori Dagan can be seen and heard at local clubs like Trane Studio, the Jazz Bistro and the Gladstone. But appreciation for his smooth vocals doesn’t stop at our city’s boundary. The Israel-born, Toronto-bred artist won CBC Radio’s nationwide Canada’s Next Top Crooner contest in 2010. His latest album, Less Than Three, reimagines Elton John, Frank Sinatra and Lady Gaga, among others. - Now Magazine
When talented vocalist Ori Dagan performs, he does it from the heart, engaging his audience with his boundless warmth and authenticity. The sultry tones of his rich bass-baritone voice bring the world of jazz to a new generation as he delivers his powerful performances.
CBC Radio has named him Canada’s next top crooner, and he was nominated for the 2012 Toronto Independent Music Award in the Best Jazz category.
Dagan’s repertoire varies from the classical jazz of Ella Fitzgerald, Billie Holiday and Louis Armstrong to the beloved show tunes of Harold Arlen, George Gershwin and Andrew Lloyd Webber.
Yet, he is also a musical adventurer who enjoys reaching out to young audiences, drawing them into the jazz landscape by reimagining the music of current artists such as Elton John, Madonna and Lady Gaga.
His recent series of elegant Sunday brunch performances, at the newly renovated Jazz Bistro in Toronto, showcased his impressive range of musical styles.
Born in Israel, Dagan was already playing classical piano by the age of six. After considering a literary career and studying English at the University of Toronto, he fell in love with jazz and decided to pursue a musical education.
He earned a Bachelor of Fine Arts degree at York University before entering Humber College’s prestigious jazz program where he studied performance, song writing and improvisation. Now that he is doing what he loves best, he said, “I’m glad I listened to my heart and said I really want to do music.”
Dagan’s critically acclaimed CD S’Cat Got My Tongue (2009) established him as a formidable presence on the Toronto Jazz scene. His new CD, Less than Three, is a creatively blended mix of old standards and innovative interpretations of contemporary artists. The CD also has two Hebrew songs, one of which he wrote himself, and hopes to perform in Israel one day. He believes that performing the music of Jewish composers over the years has brought him closer to his Jewish roots.
“Along the journey,” Dagan reflected, “I realized that a singer’s gift is the lyrics. No other instrument can do that. Telling a story is truly our gift, to be able to move an audience and give them something. Telling a story and singing from the heart takes so much courage and vulnerability.”
Dagan has that courage and demonstrates this beautifully, as he weaves his musical tales.
He will be performing at the Toronto Jazz festival at Noon, on Sat., June 22 at the Pure Spirits Patio in the Distillery District, 55 Mill St.
Admission is free. Visit the festival website, www.torontojazz.com, for more information. - Jewish Tribune
Though he may be known to some music aficionados as a crooner courtesy of his win in a radio contest, downtown Toronto resident Ori Dagan is a jazz man through and through.
Dagan has been studying music virtually his whole life, taking up classical music at the tender age of four and studying classical piano from the time he was six, though he jokes that his passion for song began well before that.
“I started off kicking in the womb musically,” he said.
It was not until he was 18 that he was turned on to jazz, though once he heard the songs of Ella Fitzgerald, he was instantly hooked.
“It became the healthiest addiction I ever had,” he said.
“I had a healthy obsession with listening to her records and then I started singing along.”
While he loved the beauty and romance in her music, Dagan was particularly drawn to Fitzgerald’s scat solos.
“There was this amazing element of improvisation to them, and I was struck by the fact that you’re using yourself as a musician,” he said.
After a while, Dagan expanded his horizons by listening to other jazz singers and instrumentalists and found the same improvisational feel kept him coming back for more.
He decided to embark on his own jazz career in 2000 and eventually worked up the courage to add his own scat solos into his songs. It was not until around 2008 that he actually felt comfortable with scat in his own act.
“The hardest part was just having the guts to do it because you’re making crazy, crazy sounds and you could fall flat on your face,” he said.
“Before you start, you have to accept that you might sound stupid sometimes.”
Though he has played around Toronto as a jazz musician for more than a decade, Dagan stands out to some after winning a CBC radio competition to uncover ‘Canada’s Next Top Crooner’.
He entered the competition on a lark with no expectation that he would come out on top, but he managed to pull out the win.
“You had to sing a swing song and then do an 80s song in a crooner style,” he recalled.
“I chose Madonna’s ‘Like a Virgin’ because I thought it would be fun and somehow I wound up winning.”
Dagan still does not think of himself as a crooner, but is hardly offended when others identify him that way. Winning the competition actually turned him on to that musical style.
While he has a style all his own, he always tries to incorporate other elements and twists into his act.
“The cool thing about doing (music) for a career aside from it being so challenging is that I learn something from every experience and get to add something to my act all the time,” he said.
Dagan loves living in the downtown core, which suits his lifestyle perfectly.
“It’s so diverse and full of interesting people,” he said.
“I find Toronto’s really starting to move toward a New York vibe, so when you’re at Yonge and Dundas, you think ‘oh, this almost looks like New York.’”
Dagan will play two gigs at the upcoming TD Toronto Jazz Festival – a free show at Pure Spirits Patio in the Distillery District at noon on Saturday, June 22 and another show in the upstairs piano bar at Pauper’s Pub at 6 p.m. on Thursday, June 27.
For more information on Dagan, visit www.oridagan.com, and for a full lineup of TD Toronto Jazz Festival acts, visit www.torontojazz.com - Insidetoronto.com
“I’m thinking of dedicating something to Ella because truly if it wasn’t for her I don’t know if I’d be a singer,” confesses singer Ori Dagan when recalling his inspiration for getting into jazz. “It was hearing Ella Fitzgerald that changed my life. I started off just singing along to her scat solos, and then I started performing them at parties and then it became the best addiction I ever had,” he says with a laugh on how he was drawn into scat singing. “Thank you, Ella!”
Dagan has been steadily building a name for himself in the Toronto jazz community—as well as branching out with performances around Canada and even a few in Manhattan—as one of the most talented and unique voices on the scene. His booming baritone and proficiency at scat is setting him ahead of the pack and helping to expose the genre to new audiences both young and old. Not bad for a young man who noodled in classical piano before finding his voice in the classics.
“I was young and I just kind of stopped when I was about 16,” Dagan recalls of his first years in classical piano. “I never had the passion enough for it to practice, but I loved music.” It was hearing Ella scat that caught the young singer’s ear—and heart—and set him on a new trajectory that found him not only performing the great songbooks of jazz legends, but taking on the art of scat singing.
“There’s not a single scat singer who just becomes a scat singer without practice. It’s really all about the discipline.”
“I scat sing every single day and I’ve been doing that since about 2000,” Dagan explains as to how he’s developed his proficiency for the art. “But I have to say it took me about eight years of doing it every day until I actually felt comfortable and it’s very hard to do and requires a lot of discipline. The cool thing about it is that it’s all about freedom. It’s all about being able to improvise, so you start off just imitating. The way I did it is I just started studying everybody, every scat singer that I heard and then I really became better at it when I started to study instruments. Especially Lester Young and Miles Davis and Charlie Parker and just imitating them and then eventually I kind of found the freedom in it so that on stage I can just pull it out of my ear. It’s actually really liberating and fun.”
“It’s basically using your voice to imitate an instrument,” he continues, explaining the intricacies of scat. “When Ella started doing it, one of the first songs she did was called Flying Home, which was an instrumental piece by Illinois Jaquet, who was a saxophone player. She recorded an actual record where there was an orchestrated background and she started [Ori begins to scat the song], so it was just like an instrumental thing. You start off with just copying melodies and then you improvise. Here’s the interesting thing; a saxophone player, any jazz instrumentalist, they are the people who really scat because they’re able to express their ideas; they think like that. You have to be able to think like a saxophonist, and that’s really the challenge.”
Because Dagan is so fleet-tongued when it comes to scat other singers wanting tips on upping their own abilities often approach him. He has one single piece of advice for all: practice, practice, practice. “There’s not a single scat singer who just becomes a scat singer without practice. It’s really all about the discipline,” he says. “I think the hardest thing about it is having the guts to do it and falling flat on your face several times.”
“As the great instrumentalist Ornette Coleman said, ‘jazz is the only music where you can play the same not every night but play it differently’. I love that.”
Ori Dagan performing at Canadian Music Week 2013
While Dagan loves the timelessness of jazz and plumbs the catalogues of some of his favourite performers, he’s not planning on being a jazz jukebox. He has recorded two albums of standards—S’Cat Got My Tongue and 2012’s Less Than Three—that he has put his own spin on, plus a smattering of originals and some very clever and unexpected versions of some very well known pop songs by current artists. Instead of this being some sort of hook to increase audiences, he sees it as a natural expression of the heart of jazz: interpretation.
“I really think of myself as a traditional jazz artist even though I’m doing stuff like Lady Gaga and Madonna,” Dagan explains. “The reason I think of myself that way is because when jazz was in its heyday in the 1930s, that’s what everyone was doing, they would take Cole Porter songs and Broadway songs that everybody knew and reinvent them. To me that was a very natural idea and it’s actually interesting because if I was to do Gershwin or Cole Porter, which I love doing, I already know 50 versions of each of those songs. Whereas when I’m doing something like Lucky Star, I only know Madonna’s version so it’s easier to reinvent it, to make it a personal thing.”
“I guess one of the main singers who inspires me other than Ella i - Unvailed.com
“I’m thinking of dedicating something to Ella because truly if it wasn’t for her I don’t know if I’d be a singer,” confesses singer Ori Dagan when recalling his inspiration for getting into jazz. “It was hearing Ella Fitzgerald that changed my life. I started off just singing along to her scat solos, and then I started performing them at parties and then it became the best addiction I ever had,” he says with a laugh on how he was drawn into scat singing. “Thank you, Ella!”
Dagan has been steadily building a name for himself in the Toronto jazz community—as well as branching out with performances around Canada and even a few in Manhattan—as one of the most talented and unique voices on the scene. His booming baritone and proficiency at scat is setting him ahead of the pack and helping to expose the genre to new audiences both young and old. Not bad for a young man who noodled in classical piano before finding his voice in the classics.
“I was young and I just kind of stopped when I was about 16,” Dagan recalls of his first years in classical piano. “I never had the passion enough for it to practice, but I loved music.” It was hearing Ella scat that caught the young singer’s ear—and heart—and set him on a new trajectory that found him not only performing the great songbooks of jazz legends, but taking on the art of scat singing.
“There’s not a single scat singer who just becomes a scat singer without practice. It’s really all about the discipline.”
“I scat sing every single day and I’ve been doing that since about 2000,” Dagan explains as to how he’s developed his proficiency for the art. “But I have to say it took me about eight years of doing it every day until I actually felt comfortable and it’s very hard to do and requires a lot of discipline. The cool thing about it is that it’s all about freedom. It’s all about being able to improvise, so you start off just imitating. The way I did it is I just started studying everybody, every scat singer that I heard and then I really became better at it when I started to study instruments. Especially Lester Young and Miles Davis and Charlie Parker and just imitating them and then eventually I kind of found the freedom in it so that on stage I can just pull it out of my ear. It’s actually really liberating and fun.”
“It’s basically using your voice to imitate an instrument,” he continues, explaining the intricacies of scat. “When Ella started doing it, one of the first songs she did was called Flying Home, which was an instrumental piece by Illinois Jaquet, who was a saxophone player. She recorded an actual record where there was an orchestrated background and she started [Ori begins to scat the song], so it was just like an instrumental thing. You start off with just copying melodies and then you improvise. Here’s the interesting thing; a saxophone player, any jazz instrumentalist, they are the people who really scat because they’re able to express their ideas; they think like that. You have to be able to think like a saxophonist, and that’s really the challenge.”
Because Dagan is so fleet-tongued when it comes to scat other singers wanting tips on upping their own abilities often approach him. He has one single piece of advice for all: practice, practice, practice. “There’s not a single scat singer who just becomes a scat singer without practice. It’s really all about the discipline,” he says. “I think the hardest thing about it is having the guts to do it and falling flat on your face several times.”
“As the great instrumentalist Ornette Coleman said, ‘jazz is the only music where you can play the same not every night but play it differently’. I love that.”
Ori Dagan performing at Canadian Music Week 2013
While Dagan loves the timelessness of jazz and plumbs the catalogues of some of his favourite performers, he’s not planning on being a jazz jukebox. He has recorded two albums of standards—S’Cat Got My Tongue and 2012’s Less Than Three—that he has put his own spin on, plus a smattering of originals and some very clever and unexpected versions of some very well known pop songs by current artists. Instead of this being some sort of hook to increase audiences, he sees it as a natural expression of the heart of jazz: interpretation.
“I really think of myself as a traditional jazz artist even though I’m doing stuff like Lady Gaga and Madonna,” Dagan explains. “The reason I think of myself that way is because when jazz was in its heyday in the 1930s, that’s what everyone was doing, they would take Cole Porter songs and Broadway songs that everybody knew and reinvent them. To me that was a very natural idea and it’s actually interesting because if I was to do Gershwin or Cole Porter, which I love doing, I already know 50 versions of each of those songs. Whereas when I’m doing something like Lucky Star, I only know Madonna’s version so it’s easier to reinvent it, to make it a personal thing.”
“I guess one of the main singers who inspires me other than Ella i - Unvailed.com
When talented vocalist Ori Dagan performs, he does it from the heart, engaging his audience with his boundless warmth and authenticity. The sultry tones of his rich bass-baritone voice bring the world of jazz to a new generation as he delivers his powerful performances.
CBC Radio has named him Canada’s next top crooner, and he was nominated for the 2012 Toronto Independent Music Award in the Best Jazz category.
Dagan’s repertoire varies from the classical jazz of Ella Fitzgerald, Billie Holiday and Louis Armstrong to the beloved show tunes of Harold Arlen, George Gershwin and Andrew Lloyd Webber.
Yet, he is also a musical adventurer who enjoys reaching out to young audiences, drawing them into the jazz landscape by reimagining the music of current artists such as Elton John, Madonna and Lady Gaga.
His recent series of elegant Sunday brunch performances, at the newly renovated Jazz Bistro in Toronto, showcased his impressive range of musical styles.
Born in Israel, Dagan was already playing classical piano by the age of six. After considering a literary career and studying English at the University of Toronto, he fell in love with jazz and decided to pursue a musical education.
He earned a Bachelor of Fine Arts degree at York University before entering Humber College’s prestigious jazz program where he studied performance, song writing and improvisation. Now that he is doing what he loves best, he said, “I’m glad I listened to my heart and said I really want to do music.”
Dagan’s critically acclaimed CD S’Cat Got My Tongue (2009) established him as a formidable presence on the Toronto Jazz scene. His new CD, Less than Three, is a creatively blended mix of old standards and innovative interpretations of contemporary artists. The CD also has two Hebrew songs, one of which he wrote himself, and hopes to perform in Israel one day. He believes that performing the music of Jewish composers over the years has brought him closer to his Jewish roots.
“Along the journey,” Dagan reflected, “I realized that a singer’s gift is the lyrics. No other instrument can do that. Telling a story is truly our gift, to be able to move an audience and give them something. Telling a story and singing from the heart takes so much courage and vulnerability.”
Dagan has that courage and demonstrates this beautifully, as he weaves his musical tales.
He will be performing at the Toronto Jazz festival at Noon, on Sat., June 22 at the Pure Spirits Patio in the Distillery District, 55 Mill St.
Admission is free. Visit the festival website, www.torontojazz.com, for more information. - Jewish Tribune
In 2008 I had the pleasure of interviewing Jon Hendricks for Jazz Inside Magazine. The legendary”James Joyce of Jive” was extremely generous with his time (we talked for over two hours, including his impromptu, a capella performance of his classic lyric to J.J. Johnson’s “Lament”). He was also not shy about sharing his opinions.
One of the topics we touched on was the dearth of young male jazz singers coming up through the ranks. While we acknowledged the formidable gifts of Kurt Elling and Kevin Mahogany, we lamented the fact that there didn’t seem to be a lot of others. The young women singing jazz seem to outnumber the men by a 20:1 margin.
Mr. Hendricks offered the theory that in our 21st century culture, jazz singing is not considered a “serious profession” even in the entertainment world and that men of all stripes are pushed toward vocations that will “bring home the bacon”. Whether that is the case or not can be debated. The paucity of guys under 40 who are truly singing jazz, cannot.
However as the title of this post indicates, there is hope on the horizon. Over the past three years, there have been a number of younger men that have showed up on the scene who are quite good. Many are as versed in hip-hop as they are in the standards and they bring to the stage a sound that is fresh and promising.
Here are five that I find interesting. These are not the only five good young male jazz singers, just a few who have my ear at the moment. I have also cheated a bit in that one is slightly over 40 but he is too good to pass up because of that minor technicality.
In alphabetical order:
Ori Dagan
Born in Israel and raised in Toronto, Mr. Dagan is also a classically trained pianist. He is the best scat singer of this quintet and his improvisations, which have at times taken him from English to Hebrew and back again, are often a joy for these jaded ears. He has two albums out, which put the fun back in jazz singing: S’Cat Got My Tongue and Less Than Three
José James
The likely breakout star of this group, Mr. James has dropped successful albums on the jazz and the hip-hop sides of the street. His appearances on Letterman, Leno and other mainstream shows have helped to juice his rise. But make no mistake about it. This cat can SANG. Think of the crooning ability of Al Green mixed with jazz sensibility of Bill Henderson and you’re on the right track. His latest album, No Beginning No End on Blue Note, is a strong mixture of multiple genres. However to really hear José James the vocalist, you should also check out For All We Know, a duet album of standards that he did in 2010 with pianist Jef Neve, on Impulse! Records.
Gregory Porter
Mr. Porter has become an “overnight sensation” at age 41. Though he doesn’t have the mainstream profile of José James, he has turned the jazz world on his ear and with his powerful yet vulnerable tenor voice, he has even made some inroads into the adult R&B world, as evidenced by his 2013 R&B Grammy nomination. His two albums 2010's Water and last year’s Be Good are standouts, that earned a place on their respective year’s Curt’s Cafe “Best Of” list.
Milton Suggs
Chicago born, Atlanta bred and now living in NYC, Milton Suggs has garnered attention not only for his powerful baritone voice but for his impressive gifts as a lyricist, which he fully displayed on his latest album, the appropriately titled Lyrical, Vol. 1 ( a Curt’s Cafe Best Jazz of 2012 selection). Mr. Suggs lyrics evince a fearless creativity that is reminiscent of Jon Hendricks but with a hip-hop undercurrent that should help to keep those of his own generation listening. Definitely someone to watch. Also check out his previous album Things To Come.
Sachal Vasandani
Blessed with boyish good looks and a smooth, crooning vocal timbre. Mr. Vasandani could have easily opted to go the route of slicksters like Michael Bublé. Instead, the fact that he has toured and recorded with Mr. Hendricks and he has appeared as a guest vocalist on recent albums by artists such as Gerald Clayton and Don Braden, says a lot about Mr. Vasandani’s artistic integrity. Yes, he can sing “The Very Thought of You” in a style that is swathed in velvet but then he will turn right around and bop his way through an impressive rendition of “Monk’s Dream”; something that the Bublés of the world wouldn’t even try. Check out his two most recent albums, We Move (2009) and Hi-Fly (2011).
- curtjazz.com
The Grand River Jazz Society presents the Ori Dagan Quintet and Juno nominees the Darren Sigesmund Sextet this weekend at the Jazz Room at the historic Huether Hotel.
The Ori Dagan Quintet opens the weekend performances on Friday. Praised for his originality, charm and musicianship, Ori Dagan represents a new generation of male jazz vocalist.
Not content to just copy the traditional crooner formula, Dagan draws from and eclectic mix of inspiration including the likes of Madonna, Elvis, Lady Gaga, Sinatra, Elton, the Harlem Globetrotters and Hebrew music.
His unpretentious fun and lively instincts to engage the audience will have the audience eating out of his hands.
Joining Dagan is an exceptional quartet comprised of some of the finest young musicians on the Toronto scene. The band includes pianist Mark Kieswetter, bassist Kurt Nielsen, Morgan Childs on drums and Alison Young on saxophone. - www.waterloochronicle.ca
BANCROFT, ON - With the first real rain in weeks, organizers of the third annual Bancroft and Maynooth Jazz and Blues Fest had to think quickly on Aug. 10.
With a full night of free music scheduled for Millennium Park, the rain was not going to draw a crowd.
So the intimate jazz café planned for inside the 580 was combined with the bigger show and those who were willing to get drenched in exchange for some inspiring rhythms were greeted as they pulled in to the park by the arm-waving of award-winning musician Larry Cramer.
“It’s inside,” he shouted at the cars. “We’ve moved it inside.”
And what a great call.
The 580 went from being a sterile room, to a candle-lit club.
And as musician Jane Bunnett said, with the fluorescent lights turned off it definitely looked less like the inside of a fridge.
As the room filled up and Njacko Backo took to the stage it was clear this was going to be a great evening.
Calling up people seated in the audience to play with him, Backo handed out instruments and immediately broke the ice.
With a communal exhale, the week, the rain and all stress was forgotten and the Club 580 got its groove on.
The evening was unique in that musicians jumped in and out of sets. If a song needed a trumpet or a trombone- it just showed-up.
Laura Hubert was raw with her sultry voice and dance moves that were no doubt repeated by concert-goers after the show.
The room was drawn-in and just as everyone started thinking a harp would sound pretty great, up jumped Ron Kapitain for a brief but heavy moment alongside Hubert.
Swooning is not often seen in Bancroft but as Israeli-born Ori Dagan took to the stage men and women alike started fanning themselves with show programs.
It was fiery.
His voice was velvet and even from the back of the 580 Dagan’s eyes smouldered.
His lyrics were smart and Dagan even managed to make the search engine Google sound sexy.
With the crowd ready to get up and move, the Heavyweight Brass Band stole the show with their power house renditions of Justin Bieber’s “Baby” and the classic, “Why can’t we be friends.”
With trombones, sax, Sousaphone, drums and whatever else was available, the 580 broke new ground proving itself as a great venue for live music.
And through the evening, with Jane Bunnett jumping in on tunes and Larry Cramer rhyming intros for musicians, those who came out for some free music left with a huge debt to a line-up of some great musicians who treated us like family and delivered a great night of art. - BancroftThisWeek.com
Ori Dagan
Less Than Three
Scat Cat
By Christopher Loudon
Actually, the album’s title is <3, the emoticon that symbolizes the heart. Love is indeed abundant across these 10 tracks, extending from the ancestral pull of “Eretz Zavat Chalav” and the companion plea for peace “Nu Az Ma?,” penned by Dagan, to the irresistible pulchritude of “Sweet Georgia Brown” and tender devotion of Elton John’s “Your Song.” Amor even figures into the peppy “Googleable,” a paean to the search engine’s ubiquity; it includes the fact that googling “love” nets two trillion results.
Though the disc runs a scant 34 minutes, Dagan packs it with plenty of interpretive punch. His “Strangers in the Night” gallops with frantic urgency. Conversely, Madonna’s ebullient “Lucky Star” is reimagined as an inky ballad, ideally suited to Dagan’s roguish bass-baritone. He takes the fiery foreplay of Evita’s “I’d Be Surprisingly Good for You” and, with exquisite assistance from Jane Bunnett on soprano sax, transforms its devilish lure into near-angelic yearning. Lady Gaga’s “Bad Romance” ignites a brief but rigorous display of his considerable scat skills. And, perhaps most ingenious, “I Want You, I Need You, I Love You” is stripped bare of Elvis’ throbbing desire and remodeled as a delicate valentine.
- JazzTimes
Ori Dagan (twitter @oridaganjazz) seems to me like a man on a mission. With a rich baritone voice, he has tried to craft a jazz album that is both hip and playful, and, at the same time, a genuine jazz album, complete with standards and heavyweight musicians, and some original tracks as well. Dagan’s album, Less than Three, is a tasty stew of standards and originals with a classic Hebrew song thrown into the mix, and one from his own pen: Nu Az Ma, a call for peace of truly universal dimensions.
After an opener of Madonna’s Lucky Star (yep, THAT Madonna CP ), which reminded my friend Sophie of a 60’s beat poetry track, with minimalistic base and percussion and funky vocals, Dagan moves to his mother tongue with Eretz Zavat Halav, a Hebrew song featuring the magnificent Jane Bunnett on soprano sax. Bunnett is a true jazz superstar, a multiple Juno award winner and multiple Grammy nominated musician and bandleader who has worked combining Cuban music with new and avant-garde jazz. There was a house down the street from me in west-end Toronto where people told me Jane Bunnett had moved. I used to hear her sax emanating out into the street from a third-story window. It was truly wonderful.
The material on Dagan’s CD is eclectic. I’ve already mentioned the Madonna cover. There’s also a totally scat version of Lady Gaga’s Bad Romance that is exceedingly fun and features some great scatting too. Not everybody can do that you know. And he throws in some very sensitive renditions of Elton John/Bernie Taupin (This is your Song) and Lloyd Webber/Rice (I’d Be Surprisingly Good for You), to demonstrate a surprising range that can cover modern hits to a cutting, up-tempo Sweet Georgia Brown to round off the album.
This is a very dexterous record featuring a range of styles, and Dagan’s voice is rich, and according to my friend Sophie, sexy. She’d go see him “in a minute.” -CD - The Silo
Ori Dagan (twitter @oridaganjazz) seems to me like a man on a mission. With a rich baritone voice, he has tried to craft a jazz album that is both hip and playful, and, at the same time, a genuine jazz album, complete with standards and heavyweight musicians, and some original tracks as well. Dagan’s album, Less than Three, is a tasty stew of standards and originals with a classic Hebrew song thrown into the mix, and one from his own pen: Nu Az Ma, a call for peace of truly universal dimensions.
After an opener of Madonna’s Lucky Star (yep, THAT Madonna CP ), which reminded my friend Sophie of a 60’s beat poetry track, with minimalistic base and percussion and funky vocals, Dagan moves to his mother tongue with Eretz Zavat Halav, a Hebrew song featuring the magnificent Jane Bunnett on soprano sax. Bunnett is a true jazz superstar, a multiple Juno award winner and multiple Grammy nominated musician and bandleader who has worked combining Cuban music with new and avant-garde jazz. There was a house down the street from me in west-end Toronto where people told me Jane Bunnett had moved. I used to hear her sax emanating out into the street from a third-story window. It was truly wonderful.
The material on Dagan’s CD is eclectic. I’ve already mentioned the Madonna cover. There’s also a totally scat version of Lady Gaga’s Bad Romance that is exceedingly fun and features some great scatting too. Not everybody can do that you know. And he throws in some very sensitive renditions of Elton John/Bernie Taupin (This is your Song) and Lloyd Webber/Rice (I’d Be Surprisingly Good for You), to demonstrate a surprising range that can cover modern hits to a cutting, up-tempo Sweet Georgia Brown to round off the album.
This is a very dexterous record featuring a range of styles, and Dagan’s voice is rich, and according to my friend Sophie, sexy. She’d go see him “in a minute.” -CD - The Silo
Ori Dagan (twitter @oridaganjazz) seems to me like a man on a mission. With a rich baritone voice, he has tried to craft a jazz album that is both hip and playful, and, at the same time, a genuine jazz album, complete with standards and heavyweight musicians, and some original tracks as well. Dagan’s album, Less than Three, is a tasty stew of standards and originals with a classic Hebrew song thrown into the mix, and one from his own pen: Nu Az Ma, a call for peace of truly universal dimensions.
After an opener of Madonna’s Lucky Star (yep, THAT Madonna CP ), which reminded my friend Sophie of a 60’s beat poetry track, with minimalistic base and percussion and funky vocals, Dagan moves to his mother tongue with Eretz Zavat Halav, a Hebrew song featuring the magnificent Jane Bunnett on soprano sax. Bunnett is a true jazz superstar, a multiple Juno award winner and multiple Grammy nominated musician and bandleader who has worked combining Cuban music with new and avant-garde jazz. There was a house down the street from me in west-end Toronto where people told me Jane Bunnett had moved. I used to hear her sax emanating out into the street from a third-story window. It was truly wonderful.
The material on Dagan’s CD is eclectic. I’ve already mentioned the Madonna cover. There’s also a totally scat version of Lady Gaga’s Bad Romance that is exceedingly fun and features some great scatting too. Not everybody can do that you know. And he throws in some very sensitive renditions of Elton John/Bernie Taupin (This is your Song) and Lloyd Webber/Rice (I’d Be Surprisingly Good for You), to demonstrate a surprising range that can cover modern hits to a cutting, up-tempo Sweet Georgia Brown to round off the album.
This is a very dexterous record featuring a range of styles, and Dagan’s voice is rich, and according to my friend Sophie, sexy. She’d go see him “in a minute.” -CD - The Silo
Less Than Three
Ori Dagan
ScatCat Records ODCD02
www.oridagan.com
In the follow up to his well-received 2009 debut, S’Cat Got My Tongue, Israeli-born Toronto jazz vocalist Ori Dagan has imbued his latest recording with a healthy dose of intriguing material, cool musical sophistication and superb musicianship. The title, Less Than Three, refers to the online symbol of a heart — illustrating Dagan’s theme of “love” in its many guises.
Recently named “Canada’s Next Top Crooner” by CBC Radio, Dagan’s rich and sonorous baritone plumbs a depth of feeling above and beyond what his title would indicate. The CD boasts a line-up of gifted musicians, notably the Bill Evans-influenced pianist Mark Kieswetter and recent Order of Canada recipient, the luminous Jane Bunnett on soprano sax. All of the impressive arrangements are by Dagan and Kieswetter, including eclectic takes on tunes from Madonna, Elton John, Andrew Lloyd Webber and Lady Gaga, as well as two original compositions — the entertaining and witty Googleable, and a moving ode to peace, Nu Az Ma?, sumptuously rendered in his native Hebrew.
Noteworthy is a rhythmic and wickedly sensual version of Madonna’s disco-era hit Lucky Star, as well as Eretz Zavat Chalav — sung with energy and authenticity (as only a “Sabra” can) and elevated to a thrilling level by Jane Bunnett’s stirring improvisations. Other tasty tracks include a scat-o-riffic roller coaster ride on Lady Gaga’s Bad Romance and a pure and elegant rendering of Elton John’s and Bernie Taupin’s first big hit, Your Song. No doubt there will be many more treats in store down the line from this talented and inventive vocalist. - The Whole Note
Less Than Three
Ori Dagan
ScatCat Records ODCD02
www.oridagan.com
In the follow up to his well-received 2009 debut, S’Cat Got My Tongue, Israeli-born Toronto jazz vocalist Ori Dagan has imbued his latest recording with a healthy dose of intriguing material, cool musical sophistication and superb musicianship. The title, Less Than Three, refers to the online symbol of a heart — illustrating Dagan’s theme of “love” in its many guises.
Recently named “Canada’s Next Top Crooner” by CBC Radio, Dagan’s rich and sonorous baritone plumbs a depth of feeling above and beyond what his title would indicate. The CD boasts a line-up of gifted musicians, notably the Bill Evans-influenced pianist Mark Kieswetter and recent Order of Canada recipient, the luminous Jane Bunnett on soprano sax. All of the impressive arrangements are by Dagan and Kieswetter, including eclectic takes on tunes from Madonna, Elton John, Andrew Lloyd Webber and Lady Gaga, as well as two original compositions — the entertaining and witty Googleable, and a moving ode to peace, Nu Az Ma?, sumptuously rendered in his native Hebrew.
Noteworthy is a rhythmic and wickedly sensual version of Madonna’s disco-era hit Lucky Star, as well as Eretz Zavat Chalav — sung with energy and authenticity (as only a “Sabra” can) and elevated to a thrilling level by Jane Bunnett’s stirring improvisations. Other tasty tracks include a scat-o-riffic roller coaster ride on Lady Gaga’s Bad Romance and a pure and elegant rendering of Elton John’s and Bernie Taupin’s first big hit, Your Song. No doubt there will be many more treats in store down the line from this talented and inventive vocalist. - The Whole Note
Ori Dagan’s Less than Three <3, ScatCat Records, features the young crooner’s talents as vocalist, scat-singer, composer and arranger. The setlist includes three originals, two in Hebrew, one in English (“Googleable”) with pianist Mark Kieswetter; covers of tunes associated with Sinatra, Gaga, Elton John, Madonna, and for old time’s sake, “Sweet Georgia Brown.”
Ori’s baritone is syrupy smooth viola-mellow, comfortably seeking the middle register. His phrasing can be daringly improvisational, with a tendency to round off corners to support that smooth effect he’s after. He can scat fast, no doubt about it, and he has a sense of fun. I’m not crazy about smooth, but a direct thing in his approach is attractive.
Less than Three <3 has an all-star musical crew including the aforementioned Mark Kieswetter, piano; Ross MacIntyre, bass; Nick Fraser, drums; Chris Gale, tenor saxophone; with special guest Jane Bunnett on soprano saxophone.
This album, Ori Dagan’s second, is by design less than jazz, more something-for-everyone, especially lovers. - OpusOneReview.com
Ori Dagan’s Less than Three <3, ScatCat Records, features the young crooner’s talents as vocalist, scat-singer, composer and arranger. The setlist includes three originals, two in Hebrew, one in English (“Googleable”) with pianist Mark Kieswetter; covers of tunes associated with Sinatra, Gaga, Elton John, Madonna, and for old time’s sake, “Sweet Georgia Brown.”
Ori’s baritone is syrupy smooth viola-mellow, comfortably seeking the middle register. His phrasing can be daringly improvisational, with a tendency to round off corners to support that smooth effect he’s after. He can scat fast, no doubt about it, and he has a sense of fun. I’m not crazy about smooth, but a direct thing in his approach is attractive.
Less than Three <3 has an all-star musical crew including the aforementioned Mark Kieswetter, piano; Ross MacIntyre, bass; Nick Fraser, drums; Chris Gale, tenor saxophone; with special guest Jane Bunnett on soprano saxophone.
This album, Ori Dagan’s second, is by design less than jazz, more something-for-everyone, especially lovers. - OpusOneReview.com
Jazz
Ori Dagan
Less Than Three (Scatcat Records)
Ori Dagan begins this album with Madonna's “Lucky Star” and ends nine songs later with “Your Song,” by Sir Elton John and Bernie Taupin. If the listener heard nothing but these two tunes, the conclusion would be that the Toronto singer's second album is serving notice that a major talent is on the scene.
The tunes in between the two suggest something else, however; that Dagan, winner of CBC Radio's “Canada's Next Top Crooner” contest in 2010, isn't sure where his talent is best directed. Michael Bublé can rest easy for a while.
Dagan's hugely versatile voice modulates through a spectrum of colour and timbre over a considerable range, much of which is displayed on “Lucky Star,” where the he riffs over Jordon O'Connor's bass and Nick Fraser's drumming. It's a gutsy approach, leaving the singer nowhere to hide. . “Your Song,” done as an ingratiating leisurely waltz, sees Dagan use a breathy half-voice on the words “I hope you don't mind” to create the sort of career-defining moments when a singer happens on the sound that becomes a trademark.
Less Than Three — or <3 to give its hipper title — is designed more as a calling card than an album, with the Israel-born Torontonian scat-singing mightily on Lady Gaga's “Bad Romance” but bringing nothing new to “Sweet Georgia Brown” or “Strangers in the Night.” However the album's weaker moments are often salvaged by just the right solos from saxophonists Jane Bunnett and Chris Gale.
Less Than Three is being released with a show April 28 at the Al Green Theatre, 750 Spadina Ave.
Peter Goddard - The Toronto Star
Toronto-based singer, Ori Dagan has released his debut CD, “S’cat Got My Tongue”, and he is one of the few new singers I’ve heard lately who has a true grasp of what it is to be a jazz singer. Dagan hasn’t simply chosen a bunch of standards, hired some jazz musicians for back up and called it a jazz album. He has immersed himself in the genre, learned his craft and re-imagined these songs in his own way. Not that this is a serious, studious album - far from it. There’s lots of playful interaction, especially with the cream-of-the-crop female singers he’s enlisted for duets. Heather Bambrick gets all Louis Armstrong on Swing’s the Thing, Julie Michels is at her earthy best on Old Mother Hubbard and he and Sophia Perlman have great fun trading wicked fast scat solos in S’Qua Badu Bop, an original composition. Dagan can also croon out a beautiful ballad as in Dinde, a gorgeous, but lesser-known Jobim tune and ‘Round Midnight, with Bernie Senensky’s masterful accompaniment on piano. Dagan’s penchant for scooping can at times veer a little too far into Las Vegas lounge singer territory for my liking, but when he takes a controlled approach and cleanly attacks the notes as he does on Here’s That Rainy Day, his abundant talent shines through.
- The WholeNote
Toronto vocalist Ori Dagan has released his first CD. He’s a baritone with good delivery. There is a varied selection of original material featuring his scat singing including the title piece, S’cat Got My Tongue. In his version of the Woody Herman piece Four Brothers, he duets with tenor saxophonist Chris Gale accompanied by piano, bass and drums. His S’Qua Badu Bop is a duet with soprano Sophia Perlman. There’s also a hip version of The Surrey With The Fringe On Top. He can deliver ballads “straight” as well. This is evidenced by his Star Eyes with Hammond B3 accompaniment by Bernie Senensky. Other tunes feature piano. Here’s a “talent deserving wider recognition.” I’d compare his clever vocals to that of Giacomo Gates and Jay Leonhart.
See his website www.oridagan.com. Purchase from his website or Amazon. He also has some videos on You Tube. - The Jazz Society of Pensacola
While our gay and straight worlds have much in common on the surface, there are still cultural ambiguities that crop up in the most unexpected areas. For instance, when attending a book launch for the latest collection of essays on jazz great Ella Fitzgerald, it is perfectly acceptable to ask the person next to you if they enjoy scat. Transpose this exchange into a gay cocktail setting and you can be assured of a very different sort of conversation, largely involving digestive bodily functions and a really good hand sanitizer.
For the sake of brevity, we shall today be focusing on the first meaning of scat: a jazz singing technique. Fitzgerald is probably the most prominent scat singer and has inspired countless others with her effortless vocal improvisations and her perfect timing.
Ori Dagan is one of those devotees. The Israeli-born Torontonian became an instant fan of Fitzgerald upon hearing her Live in Berlin album during his first year at university.
Ori Dagan delivers scat solos around Toronto.(Courtesy of photography.johnbregar.com)“It was really funny,” says Dagan. “My brother got my dad that CD, and I was at that age where anything my dad thinks is cool is not cool. I tried to resist it, but that section where she makes up the lyrics to “Mack the Knife”… it just got me.”
This new fascination led to a two-year stint in Humber College’s vocal jazz program, where he studied with Rita di Ghent, herself an accomplished artist. Dagan began to explore scat singing, learning how to improvise wordlessly over instrumental music. For the uninitiated, scat is kind of like a voice impersonating a sax or a trumpet, using made-up sounds like “shoobie” or “badu-bap” instead of words.
It has to be said that scat isn’t for everyone; there’s a Vegas-lounge-lizard quotient that can be a turn-off for jazz and non-jazz fans alike, but the technique and dexterity are undeniably impressive when it’s done right.
To my ear, Dagan’s style is an eclectic blend of traditional and avant-garde; he’s clearly at home using the scat vernacular of greats like Fitzgerald and Sarah Vaughan, but he also has fun with all sorts of goofy noises that make the sound fresh and unexpected, as evidenced on the album’s title track.
“I learned to scat, essentially, by lifting every note from Ella, Sarah Vaughan and Anita O’Day,” Dagan confesses. “Then I began to build my own style.”
As Dagan honed his craft through studying and local jam sessions, he began to plan his first album. S’Cat Got My Tongue is a collection of jazz standards, with two original pieces penned by Dagan. He’s wisely surrounded himself with some of Toronto’s best musicians for his debut, including bass wunderkind Brandi Disterheft, pianist Bernie Senensky and drummer Norman Marshall Villeneuve. Other tracks feature Jordon O’Connor on double bass, drummer Sly Juhas and genius pianist Mark Kieswetter, who also produced the disc.
The music is impeccable. These guys have been on the scene for years, but their outstanding proficiency and energy still sound fresh and new. Kieswetter’s clean, intelligent arrangements complement Dagan’s resonant baritone, while four duets with some of Toronto’s leading jazz gals add spice to the vocal side of things.
There may occasionally be a little too much lounge lizard for some tastes; I can’t quite tell if Dagan’s parodying the oeuvre or aspiring to leisure-suit greatness, but it does add to the camp aspect that keeps the album light and carefree.
“Here’s That Rainy Day” is a great tune for Dagan. It neatly avoids the Sammy Davis Jr drawl that Dagan can occasionally dip into and showcases a warm, intimate side of his voice. “I Wish I Were in Love Again” is a standout, with Terra Hazelton’s pristine voice and coy delivery curling around Dagan’s in a perfect match of soprano and baritone.
Local jazz diva Julie Michels chimes in on a charming version of “Old Mother Hubbard,” sassy and dazzling in an all-too-brief scat - Xtra!
While our gay and straight worlds have much in common on the surface, there are still cultural ambiguities that crop up in the most unexpected areas. For instance, when attending a book launch for the latest collection of essays on jazz great Ella Fitzgerald, it is perfectly acceptable to ask the person next to you if they enjoy scat. Transpose this exchange into a gay cocktail setting and you can be assured of a very different sort of conversation, largely involving digestive bodily functions and a really good hand sanitizer.
For the sake of brevity, we shall today be focusing on the first meaning of scat: a jazz singing technique. Fitzgerald is probably the most prominent scat singer and has inspired countless others with her effortless vocal improvisations and her perfect timing.
Ori Dagan is one of those devotees. The Israeli-born Torontonian became an instant fan of Fitzgerald upon hearing her Live in Berlin album during his first year at university.
Ori Dagan delivers scat solos around Toronto.(Courtesy of photography.johnbregar.com)“It was really funny,” says Dagan. “My brother got my dad that CD, and I was at that age where anything my dad thinks is cool is not cool. I tried to resist it, but that section where she makes up the lyrics to “Mack the Knife”… it just got me.”
This new fascination led to a two-year stint in Humber College’s vocal jazz program, where he studied with Rita di Ghent, herself an accomplished artist. Dagan began to explore scat singing, learning how to improvise wordlessly over instrumental music. For the uninitiated, scat is kind of like a voice impersonating a sax or a trumpet, using made-up sounds like “shoobie” or “badu-bap” instead of words.
It has to be said that scat isn’t for everyone; there’s a Vegas-lounge-lizard quotient that can be a turn-off for jazz and non-jazz fans alike, but the technique and dexterity are undeniably impressive when it’s done right.
To my ear, Dagan’s style is an eclectic blend of traditional and avant-garde; he’s clearly at home using the scat vernacular of greats like Fitzgerald and Sarah Vaughan, but he also has fun with all sorts of goofy noises that make the sound fresh and unexpected, as evidenced on the album’s title track.
“I learned to scat, essentially, by lifting every note from Ella, Sarah Vaughan and Anita O’Day,” Dagan confesses. “Then I began to build my own style.”
As Dagan honed his craft through studying and local jam sessions, he began to plan his first album. S’Cat Got My Tongue is a collection of jazz standards, with two original pieces penned by Dagan. He’s wisely surrounded himself with some of Toronto’s best musicians for his debut, including bass wunderkind Brandi Disterheft, pianist Bernie Senensky and drummer Norman Marshall Villeneuve. Other tracks feature Jordon O’Connor on double bass, drummer Sly Juhas and genius pianist Mark Kieswetter, who also produced the disc.
The music is impeccable. These guys have been on the scene for years, but their outstanding proficiency and energy still sound fresh and new. Kieswetter’s clean, intelligent arrangements complement Dagan’s resonant baritone, while four duets with some of Toronto’s leading jazz gals add spice to the vocal side of things.
There may occasionally be a little too much lounge lizard for some tastes; I can’t quite tell if Dagan’s parodying the oeuvre or aspiring to leisure-suit greatness, but it does add to the camp aspect that keeps the album light and carefree.
“Here’s That Rainy Day” is a great tune for Dagan. It neatly avoids the Sammy Davis Jr drawl that Dagan can occasionally dip into and showcases a warm, intimate side of his voice. “I Wish I Were in Love Again” is a standout, with Terra Hazelton’s pristine voice and coy delivery curling around Dagan’s in a perfect match of soprano and baritone.
Local jazz diva Julie Michels chimes in on a charming version of “Old Mother Hubbard,” sassy and dazzling in an all-too-brief scat - Xtra!
While our gay and straight worlds have much in common on the surface, there are still cultural ambiguities that crop up in the most unexpected areas. For instance, when attending a book launch for the latest collection of essays on jazz great Ella Fitzgerald, it is perfectly acceptable to ask the person next to you if they enjoy scat. Transpose this exchange into a gay cocktail setting and you can be assured of a very different sort of conversation, largely involving digestive bodily functions and a really good hand sanitizer.
For the sake of brevity, we shall today be focusing on the first meaning of scat: a jazz singing technique. Fitzgerald is probably the most prominent scat singer and has inspired countless others with her effortless vocal improvisations and her perfect timing.
Ori Dagan is one of those devotees. The Israeli-born Torontonian became an instant fan of Fitzgerald upon hearing her Live in Berlin album during his first year at university.
Ori Dagan delivers scat solos around Toronto.(Courtesy of photography.johnbregar.com)“It was really funny,” says Dagan. “My brother got my dad that CD, and I was at that age where anything my dad thinks is cool is not cool. I tried to resist it, but that section where she makes up the lyrics to “Mack the Knife”… it just got me.”
This new fascination led to a two-year stint in Humber College’s vocal jazz program, where he studied with Rita di Ghent, herself an accomplished artist. Dagan began to explore scat singing, learning how to improvise wordlessly over instrumental music. For the uninitiated, scat is kind of like a voice impersonating a sax or a trumpet, using made-up sounds like “shoobie” or “badu-bap” instead of words.
It has to be said that scat isn’t for everyone; there’s a Vegas-lounge-lizard quotient that can be a turn-off for jazz and non-jazz fans alike, but the technique and dexterity are undeniably impressive when it’s done right.
To my ear, Dagan’s style is an eclectic blend of traditional and avant-garde; he’s clearly at home using the scat vernacular of greats like Fitzgerald and Sarah Vaughan, but he also has fun with all sorts of goofy noises that make the sound fresh and unexpected, as evidenced on the album’s title track.
“I learned to scat, essentially, by lifting every note from Ella, Sarah Vaughan and Anita O’Day,” Dagan confesses. “Then I began to build my own style.”
As Dagan honed his craft through studying and local jam sessions, he began to plan his first album. S’Cat Got My Tongue is a collection of jazz standards, with two original pieces penned by Dagan. He’s wisely surrounded himself with some of Toronto’s best musicians for his debut, including bass wunderkind Brandi Disterheft, pianist Bernie Senensky and drummer Norman Marshall Villeneuve. Other tracks feature Jordon O’Connor on double bass, drummer Sly Juhas and genius pianist Mark Kieswetter, who also produced the disc.
The music is impeccable. These guys have been on the scene for years, but their outstanding proficiency and energy still sound fresh and new. Kieswetter’s clean, intelligent arrangements complement Dagan’s resonant baritone, while four duets with some of Toronto’s leading jazz gals add spice to the vocal side of things.
There may occasionally be a little too much lounge lizard for some tastes; I can’t quite tell if Dagan’s parodying the oeuvre or aspiring to leisure-suit greatness, but it does add to the camp aspect that keeps the album light and carefree.
“Here’s That Rainy Day” is a great tune for Dagan. It neatly avoids the Sammy Davis Jr drawl that Dagan can occasionally dip into and showcases a warm, intimate side of his voice. “I Wish I Were in Love Again” is a standout, with Terra Hazelton’s pristine voice and coy delivery curling around Dagan’s in a perfect match of soprano and baritone.
Local jazz diva Julie Michels chimes in on a charming version of “Old Mother Hubbard,” sassy and dazzling in an all-too-brief scat - Xtra!
While our gay and straight worlds have much in common on the surface, there are still cultural ambiguities that crop up in the most unexpected areas. For instance, when attending a book launch for the latest collection of essays on jazz great Ella Fitzgerald, it is perfectly acceptable to ask the person next to you if they enjoy scat. Transpose this exchange into a gay cocktail setting and you can be assured of a very different sort of conversation, largely involving digestive bodily functions and a really good hand sanitizer.
For the sake of brevity, we shall today be focusing on the first meaning of scat: a jazz singing technique. Fitzgerald is probably the most prominent scat singer and has inspired countless others with her effortless vocal improvisations and her perfect timing.
Ori Dagan is one of those devotees. The Israeli-born Torontonian became an instant fan of Fitzgerald upon hearing her Live in Berlin album during his first year at university.
Ori Dagan delivers scat solos around Toronto.(Courtesy of photography.johnbregar.com)“It was really funny,” says Dagan. “My brother got my dad that CD, and I was at that age where anything my dad thinks is cool is not cool. I tried to resist it, but that section where she makes up the lyrics to “Mack the Knife”… it just got me.”
This new fascination led to a two-year stint in Humber College’s vocal jazz program, where he studied with Rita di Ghent, herself an accomplished artist. Dagan began to explore scat singing, learning how to improvise wordlessly over instrumental music. For the uninitiated, scat is kind of like a voice impersonating a sax or a trumpet, using made-up sounds like “shoobie” or “badu-bap” instead of words.
It has to be said that scat isn’t for everyone; there’s a Vegas-lounge-lizard quotient that can be a turn-off for jazz and non-jazz fans alike, but the technique and dexterity are undeniably impressive when it’s done right.
To my ear, Dagan’s style is an eclectic blend of traditional and avant-garde; he’s clearly at home using the scat vernacular of greats like Fitzgerald and Sarah Vaughan, but he also has fun with all sorts of goofy noises that make the sound fresh and unexpected, as evidenced on the album’s title track.
“I learned to scat, essentially, by lifting every note from Ella, Sarah Vaughan and Anita O’Day,” Dagan confesses. “Then I began to build my own style.”
As Dagan honed his craft through studying and local jam sessions, he began to plan his first album. S’Cat Got My Tongue is a collection of jazz standards, with two original pieces penned by Dagan. He’s wisely surrounded himself with some of Toronto’s best musicians for his debut, including bass wunderkind Brandi Disterheft, pianist Bernie Senensky and drummer Norman Marshall Villeneuve. Other tracks feature Jordon O’Connor on double bass, drummer Sly Juhas and genius pianist Mark Kieswetter, who also produced the disc.
The music is impeccable. These guys have been on the scene for years, but their outstanding proficiency and energy still sound fresh and new. Kieswetter’s clean, intelligent arrangements complement Dagan’s resonant baritone, while four duets with some of Toronto’s leading jazz gals add spice to the vocal side of things.
There may occasionally be a little too much lounge lizard for some tastes; I can’t quite tell if Dagan’s parodying the oeuvre or aspiring to leisure-suit greatness, but it does add to the camp aspect that keeps the album light and carefree.
“Here’s That Rainy Day” is a great tune for Dagan. It neatly avoids the Sammy Davis Jr drawl that Dagan can occasionally dip into and showcases a warm, intimate side of his voice. “I Wish I Were in Love Again” is a standout, with Terra Hazelton’s pristine voice and coy delivery curling around Dagan’s in a perfect match of soprano and baritone.
Local jazz diva Julie Michels chimes in on a charming version of “Old Mother Hubbard,” sassy and dazzling in an all-too-brief scat - Xtra!
While our gay and straight worlds have much in common on the surface, there are still cultural ambiguities that crop up in the most unexpected areas. For instance, when attending a book launch for the latest collection of essays on jazz great Ella Fitzgerald, it is perfectly acceptable to ask the person next to you if they enjoy scat. Transpose this exchange into a gay cocktail setting and you can be assured of a very different sort of conversation, largely involving digestive bodily functions and a really good hand sanitizer.
For the sake of brevity, we shall today be focusing on the first meaning of scat: a jazz singing technique. Fitzgerald is probably the most prominent scat singer and has inspired countless others with her effortless vocal improvisations and her perfect timing.
Ori Dagan is one of those devotees. The Israeli-born Torontonian became an instant fan of Fitzgerald upon hearing her Live in Berlin album during his first year at university.
Ori Dagan delivers scat solos around Toronto.(Courtesy of photography.johnbregar.com)“It was really funny,” says Dagan. “My brother got my dad that CD, and I was at that age where anything my dad thinks is cool is not cool. I tried to resist it, but that section where she makes up the lyrics to “Mack the Knife”… it just got me.”
This new fascination led to a two-year stint in Humber College’s vocal jazz program, where he studied with Rita di Ghent, herself an accomplished artist. Dagan began to explore scat singing, learning how to improvise wordlessly over instrumental music. For the uninitiated, scat is kind of like a voice impersonating a sax or a trumpet, using made-up sounds like “shoobie” or “badu-bap” instead of words.
It has to be said that scat isn’t for everyone; there’s a Vegas-lounge-lizard quotient that can be a turn-off for jazz and non-jazz fans alike, but the technique and dexterity are undeniably impressive when it’s done right.
To my ear, Dagan’s style is an eclectic blend of traditional and avant-garde; he’s clearly at home using the scat vernacular of greats like Fitzgerald and Sarah Vaughan, but he also has fun with all sorts of goofy noises that make the sound fresh and unexpected, as evidenced on the album’s title track.
“I learned to scat, essentially, by lifting every note from Ella, Sarah Vaughan and Anita O’Day,” Dagan confesses. “Then I began to build my own style.”
As Dagan honed his craft through studying and local jam sessions, he began to plan his first album. S’Cat Got My Tongue is a collection of jazz standards, with two original pieces penned by Dagan. He’s wisely surrounded himself with some of Toronto’s best musicians for his debut, including bass wunderkind Brandi Disterheft, pianist Bernie Senensky and drummer Norman Marshall Villeneuve. Other tracks feature Jordon O’Connor on double bass, drummer Sly Juhas and genius pianist Mark Kieswetter, who also produced the disc.
The music is impeccable. These guys have been on the scene for years, but their outstanding proficiency and energy still sound fresh and new. Kieswetter’s clean, intelligent arrangements complement Dagan’s resonant baritone, while four duets with some of Toronto’s leading jazz gals add spice to the vocal side of things.
There may occasionally be a little too much lounge lizard for some tastes; I can’t quite tell if Dagan’s parodying the oeuvre or aspiring to leisure-suit greatness, but it does add to the camp aspect that keeps the album light and carefree.
“Here’s That Rainy Day” is a great tune for Dagan. It neatly avoids the Sammy Davis Jr drawl that Dagan can occasionally dip into and showcases a warm, intimate side of his voice. “I Wish I Were in Love Again” is a standout, with Terra Hazelton’s pristine voice and coy delivery curling around Dagan’s in a perfect match of soprano and baritone.
Local jazz diva Julie Michels chimes in on a charming version of “Old Mother Hubbard,” sassy and dazzling in an all-too-brief scat - Xtra!
While our gay and straight worlds have much in common on the surface, there are still cultural ambiguities that crop up in the most unexpected areas. For instance, when attending a book launch for the latest collection of essays on jazz great Ella Fitzgerald, it is perfectly acceptable to ask the person next to you if they enjoy scat. Transpose this exchange into a gay cocktail setting and you can be assured of a very different sort of conversation, largely involving digestive bodily functions and a really good hand sanitizer.
For the sake of brevity, we shall today be focusing on the first meaning of scat: a jazz singing technique. Fitzgerald is probably the most prominent scat singer and has inspired countless others with her effortless vocal improvisations and her perfect timing.
Ori Dagan is one of those devotees. The Israeli-born Torontonian became an instant fan of Fitzgerald upon hearing her Live in Berlin album during his first year at university.
Ori Dagan delivers scat solos around Toronto.(Courtesy of photography.johnbregar.com)“It was really funny,” says Dagan. “My brother got my dad that CD, and I was at that age where anything my dad thinks is cool is not cool. I tried to resist it, but that section where she makes up the lyrics to “Mack the Knife”… it just got me.”
This new fascination led to a two-year stint in Humber College’s vocal jazz program, where he studied with Rita di Ghent, herself an accomplished artist. Dagan began to explore scat singing, learning how to improvise wordlessly over instrumental music. For the uninitiated, scat is kind of like a voice impersonating a sax or a trumpet, using made-up sounds like “shoobie” or “badu-bap” instead of words.
It has to be said that scat isn’t for everyone; there’s a Vegas-lounge-lizard quotient that can be a turn-off for jazz and non-jazz fans alike, but the technique and dexterity are undeniably impressive when it’s done right.
To my ear, Dagan’s style is an eclectic blend of traditional and avant-garde; he’s clearly at home using the scat vernacular of greats like Fitzgerald and Sarah Vaughan, but he also has fun with all sorts of goofy noises that make the sound fresh and unexpected, as evidenced on the album’s title track.
“I learned to scat, essentially, by lifting every note from Ella, Sarah Vaughan and Anita O’Day,” Dagan confesses. “Then I began to build my own style.”
As Dagan honed his craft through studying and local jam sessions, he began to plan his first album. S’Cat Got My Tongue is a collection of jazz standards, with two original pieces penned by Dagan. He’s wisely surrounded himself with some of Toronto’s best musicians for his debut, including bass wunderkind Brandi Disterheft, pianist Bernie Senensky and drummer Norman Marshall Villeneuve. Other tracks feature Jordon O’Connor on double bass, drummer Sly Juhas and genius pianist Mark Kieswetter, who also produced the disc.
The music is impeccable. These guys have been on the scene for years, but their outstanding proficiency and energy still sound fresh and new. Kieswetter’s clean, intelligent arrangements complement Dagan’s resonant baritone, while four duets with some of Toronto’s leading jazz gals add spice to the vocal side of things.
There may occasionally be a little too much lounge lizard for some tastes; I can’t quite tell if Dagan’s parodying the oeuvre or aspiring to leisure-suit greatness, but it does add to the camp aspect that keeps the album light and carefree.
“Here’s That Rainy Day” is a great tune for Dagan. It neatly avoids the Sammy Davis Jr drawl that Dagan can occasionally dip into and showcases a warm, intimate side of his voice. “I Wish I Were in Love Again” is a standout, with Terra Hazelton’s pristine voice and coy delivery curling around Dagan’s in a perfect match of soprano and baritone.
Local jazz diva Julie Michels chimes in on a charming version of “Old Mother Hubbard,” sassy and dazzling in an all-too-brief scat - Xtra!
While our gay and straight worlds have much in common on the surface, there are still cultural ambiguities that crop up in the most unexpected areas. For instance, when attending a book launch for the latest collection of essays on jazz great Ella Fitzgerald, it is perfectly acceptable to ask the person next to you if they enjoy scat. Transpose this exchange into a gay cocktail setting and you can be assured of a very different sort of conversation, largely involving digestive bodily functions and a really good hand sanitizer.
For the sake of brevity, we shall today be focusing on the first meaning of scat: a jazz singing technique. Fitzgerald is probably the most prominent scat singer and has inspired countless others with her effortless vocal improvisations and her perfect timing.
Ori Dagan is one of those devotees. The Israeli-born Torontonian became an instant fan of Fitzgerald upon hearing her Live in Berlin album during his first year at university.
Ori Dagan delivers scat solos around Toronto.(Courtesy of photography.johnbregar.com)“It was really funny,” says Dagan. “My brother got my dad that CD, and I was at that age where anything my dad thinks is cool is not cool. I tried to resist it, but that section where she makes up the lyrics to “Mack the Knife”… it just got me.”
This new fascination led to a two-year stint in Humber College’s vocal jazz program, where he studied with Rita di Ghent, herself an accomplished artist. Dagan began to explore scat singing, learning how to improvise wordlessly over instrumental music. For the uninitiated, scat is kind of like a voice impersonating a sax or a trumpet, using made-up sounds like “shoobie” or “badu-bap” instead of words.
It has to be said that scat isn’t for everyone; there’s a Vegas-lounge-lizard quotient that can be a turn-off for jazz and non-jazz fans alike, but the technique and dexterity are undeniably impressive when it’s done right.
To my ear, Dagan’s style is an eclectic blend of traditional and avant-garde; he’s clearly at home using the scat vernacular of greats like Fitzgerald and Sarah Vaughan, but he also has fun with all sorts of goofy noises that make the sound fresh and unexpected, as evidenced on the album’s title track.
“I learned to scat, essentially, by lifting every note from Ella, Sarah Vaughan and Anita O’Day,” Dagan confesses. “Then I began to build my own style.”
As Dagan honed his craft through studying and local jam sessions, he began to plan his first album. S’Cat Got My Tongue is a collection of jazz standards, with two original pieces penned by Dagan. He’s wisely surrounded himself with some of Toronto’s best musicians for his debut, including bass wunderkind Brandi Disterheft, pianist Bernie Senensky and drummer Norman Marshall Villeneuve. Other tracks feature Jordon O’Connor on double bass, drummer Sly Juhas and genius pianist Mark Kieswetter, who also produced the disc.
The music is impeccable. These guys have been on the scene for years, but their outstanding proficiency and energy still sound fresh and new. Kieswetter’s clean, intelligent arrangements complement Dagan’s resonant baritone, while four duets with some of Toronto’s leading jazz gals add spice to the vocal side of things.
There may occasionally be a little too much lounge lizard for some tastes; I can’t quite tell if Dagan’s parodying the oeuvre or aspiring to leisure-suit greatness, but it does add to the camp aspect that keeps the album light and carefree.
“Here’s That Rainy Day” is a great tune for Dagan. It neatly avoids the Sammy Davis Jr drawl that Dagan can occasionally dip into and showcases a warm, intimate side of his voice. “I Wish I Were in Love Again” is a standout, with Terra Hazelton’s pristine voice and coy delivery curling around Dagan’s in a perfect match of soprano and baritone.
Local jazz diva Julie Michels chimes in on a charming version of “Old Mother Hubbard,” sassy and dazzling in an all-too-brief scat - Xtra!
While our gay and straight worlds have much in common on the surface, there are still cultural ambiguities that crop up in the most unexpected areas. For instance, when attending a book launch for the latest collection of essays on jazz great Ella Fitzgerald, it is perfectly acceptable to ask the person next to you if they enjoy scat. Transpose this exchange into a gay cocktail setting and you can be assured of a very different sort of conversation, largely involving digestive bodily functions and a really good hand sanitizer.
For the sake of brevity, we shall today be focusing on the first meaning of scat: a jazz singing technique. Fitzgerald is probably the most prominent scat singer and has inspired countless others with her effortless vocal improvisations and her perfect timing.
Ori Dagan is one of those devotees. The Israeli-born Torontonian became an instant fan of Fitzgerald upon hearing her Live in Berlin album during his first year at university.
Ori Dagan delivers scat solos around Toronto.(Courtesy of photography.johnbregar.com)“It was really funny,” says Dagan. “My brother got my dad that CD, and I was at that age where anything my dad thinks is cool is not cool. I tried to resist it, but that section where she makes up the lyrics to “Mack the Knife”… it just got me.”
This new fascination led to a two-year stint in Humber College’s vocal jazz program, where he studied with Rita di Ghent, herself an accomplished artist. Dagan began to explore scat singing, learning how to improvise wordlessly over instrumental music. For the uninitiated, scat is kind of like a voice impersonating a sax or a trumpet, using made-up sounds like “shoobie” or “badu-bap” instead of words.
It has to be said that scat isn’t for everyone; there’s a Vegas-lounge-lizard quotient that can be a turn-off for jazz and non-jazz fans alike, but the technique and dexterity are undeniably impressive when it’s done right.
To my ear, Dagan’s style is an eclectic blend of traditional and avant-garde; he’s clearly at home using the scat vernacular of greats like Fitzgerald and Sarah Vaughan, but he also has fun with all sorts of goofy noises that make the sound fresh and unexpected, as evidenced on the album’s title track.
“I learned to scat, essentially, by lifting every note from Ella, Sarah Vaughan and Anita O’Day,” Dagan confesses. “Then I began to build my own style.”
As Dagan honed his craft through studying and local jam sessions, he began to plan his first album. S’Cat Got My Tongue is a collection of jazz standards, with two original pieces penned by Dagan. He’s wisely surrounded himself with some of Toronto’s best musicians for his debut, including bass wunderkind Brandi Disterheft, pianist Bernie Senensky and drummer Norman Marshall Villeneuve. Other tracks feature Jordon O’Connor on double bass, drummer Sly Juhas and genius pianist Mark Kieswetter, who also produced the disc.
The music is impeccable. These guys have been on the scene for years, but their outstanding proficiency and energy still sound fresh and new. Kieswetter’s clean, intelligent arrangements complement Dagan’s resonant baritone, while four duets with some of Toronto’s leading jazz gals add spice to the vocal side of things.
There may occasionally be a little too much lounge lizard for some tastes; I can’t quite tell if Dagan’s parodying the oeuvre or aspiring to leisure-suit greatness, but it does add to the camp aspect that keeps the album light and carefree.
“Here’s That Rainy Day” is a great tune for Dagan. It neatly avoids the Sammy Davis Jr drawl that Dagan can occasionally dip into and showcases a warm, intimate side of his voice. “I Wish I Were in Love Again” is a standout, with Terra Hazelton’s pristine voice and coy delivery curling around Dagan’s in a perfect match of soprano and baritone.
Local jazz diva Julie Michels chimes in on a charming version of “Old Mother Hubbard,” sassy and dazzling in an all-too-brief scat - Xtra!
“I don’t want to sing a song the same way every night.” So Ori Dagan tells me in an interview, and it might as well be his motto.
Ori Dagan
The Toronto jazz singer may have had classical training at York University, but his true calling was always jazz and scat singing.
Dagan, 28, will release his debut CD on Oct. 24 at Chalker’s Pub on Marlee Avenue in Toronto. S’Cat Got My Tongue blends his love of jazz standards with his love affair with scat, the improv-heavy song genre in which the singer makes up sounds and syllables on the spot.
It’s rare to see anyone under-30 dabbling in a style associated with 1920s fedoras, finger-snaps and Ella Fitzgerald. It’s even odder to spot a male jazz singer scatting his way through a walking bass line. But Dagan says jazz always spoke to him. “Improvising makes jazz interesting,” he says. “I find it energizing and a fun challenge.” He adds that a singer can offer a riff to an audience in many ways, and it’s never the same tune twice.
He not only scats in English, but Hebrew as well.
“I’m Israeli, so it makes sense to throw in some Hebrew in there,” Dagan says, laughing.
Perfecting scat is no easy task, Dagan admits. He has to be careful about what vowels to emote during his improve singing. He also learned a valuable lesson from his past few years of scatting: “Vowels are emotion, syllables are information.” He likens scat to sound poetry, in which the rhythm impacts the music more so than the literal meaning of the words.
Dagan isn’t all scat. On his newly pressed CD, he belts out jazz arrangements and show tunes, such as I Wish I Were in Love Again from Babes in Arms. “I try to make the songs my own,” Dagan says, “even if the song is well-known to jazz fans.”
Dagan came to jazz during a stint at University of Toronto studying English. He then enrolled in York’s music program, focusing on jazz vocals and classical voice. “After a year of classical study, every teacher told me to pursue opera,” he recalls. So much for that plan.
After York, Dagan went on to Humber College to take several songwriting and voice classes. He was inspired by other Toronto jazz singers, such as Laila Biali and Sophia Perlman. “Humber has a great program, I would love to teach there someday.”
Now focused on the CD release and getting the album in as many hands as possible, Dagan is hungry to tour. So far, he’s been playing at almost every jazz club in the city. “I have my sights set on Japan,” he says. “Tokyo has hundreds of jazz clubs – I’m interested in experiencing that kind of passion for jazz.”
For now, Torontonians will get their fill of this scat master. Dagan knows he’s immersed in a bygone era, but if anyone can resurrect jazz singing and make it hip for the under-30 set, it’d be a young Israeli-Canadian with a penchant for Billie Holiday.
- The Canadian Jewish News
TORONTO - Like Michael Wrycraft’s quirky tribute shows, jazz singer Ori Dagan’s annual celebration of Ella Fitzgerald has an interesting twist.
Fitzgerald, who was known as The Voice of Jazz, died in 1996 at age 79. During a career that spanned 60 years, Fitzgerald performed with big bands, symphonies and small groups and her repertory included show tunes, jazz songs and novelties.
“What’s always kept me interested in jazz is the concept of improvisation,” Dagan says. “So, with the exception of an opening number, in which I will reconstruct a famous Ella scat solo in her honour, I won’t be imitating, but rather performing songs she’s inspired me to learn.
“In introducing the songs, I’ll let the audience know where they can be found in Ella’s discography; in singing them, I will be, as Ella always was, in the moment.”
Joining Dagan at the second annual C’Ella’Bration, which happens Saturday at Ten Feet Tall on the Danforth, will be pianist Mark Kieswetter, bassist Jordan O’Connor and drummer Sly Juhas. The night will also feature four guest singers and an all-star jam session.
Interestingly, Dagan credits the lionized singer’s ears for turning him on to her. Incidentally, Mel Torme hailed Fitzgerald as having “the best ear of any singer ever.”
“She learned to scat, swing and phrase by listening to and studying other musicians,” Dagan says. “Thankfully, she recognized that she had this God-given talent and was extremely dedicated to being the best she could be. This dedication I have always found very inspiring.
“Ella treated every song differently, depending on the context; sometimes she sang it straight to bring out the lyrics, other times she reinvented every aspect of the tune, but in every recording she made, her choices were right on the money,” he raves. “Ella’s genius was marked by first-rate musical taste.”
Dagan says it took him a while to appreciate her interpretation of lyrics, and that it was her famous scat singing that caught his ear.
“The first scat song that I heard by Ella was Blue Skies,” he recalls. “It definitely intrigued me, and though I didn’t understand what she was doing, it wasn’t long before I was singing along to every note, copying every syllable. This is actually how I started my performing career in jazz — by singing along to Ella at parties!”
So, what can we expect to hear if we swing by Ten Feet Tall?
“To keep my audience happy, I always ask for requests and try to present a few new songs at every show,” he says. “For this gig, though, I’m digging up some Decca sides by Ella that I’ve never done before.
“Here’s hoping I remember all the words, or make up better ones!”
NOTE: C’Ella’Bration kicks off at 8 p.m. tomorrow at Ten Feet Tall. 1381 Danforth Ave. Pwyc. 416-778-7333. - Toronto Sun
TORONTO - Like Michael Wrycraft’s quirky tribute shows, jazz singer Ori Dagan’s annual celebration of Ella Fitzgerald has an interesting twist.
Fitzgerald, who was known as The Voice of Jazz, died in 1996 at age 79. During a career that spanned 60 years, Fitzgerald performed with big bands, symphonies and small groups and her repertory included show tunes, jazz songs and novelties.
“What’s always kept me interested in jazz is the concept of improvisation,” Dagan says. “So, with the exception of an opening number, in which I will reconstruct a famous Ella scat solo in her honour, I won’t be imitating, but rather performing songs she’s inspired me to learn.
“In introducing the songs, I’ll let the audience know where they can be found in Ella’s discography; in singing them, I will be, as Ella always was, in the moment.”
Joining Dagan at the second annual C’Ella’Bration, which happens Saturday at Ten Feet Tall on the Danforth, will be pianist Mark Kieswetter, bassist Jordan O’Connor and drummer Sly Juhas. The night will also feature four guest singers and an all-star jam session.
Interestingly, Dagan credits the lionized singer’s ears for turning him on to her. Incidentally, Mel Torme hailed Fitzgerald as having “the best ear of any singer ever.”
“She learned to scat, swing and phrase by listening to and studying other musicians,” Dagan says. “Thankfully, she recognized that she had this God-given talent and was extremely dedicated to being the best she could be. This dedication I have always found very inspiring.
“Ella treated every song differently, depending on the context; sometimes she sang it straight to bring out the lyrics, other times she reinvented every aspect of the tune, but in every recording she made, her choices were right on the money,” he raves. “Ella’s genius was marked by first-rate musical taste.”
Dagan says it took him a while to appreciate her interpretation of lyrics, and that it was her famous scat singing that caught his ear.
“The first scat song that I heard by Ella was Blue Skies,” he recalls. “It definitely intrigued me, and though I didn’t understand what she was doing, it wasn’t long before I was singing along to every note, copying every syllable. This is actually how I started my performing career in jazz — by singing along to Ella at parties!”
So, what can we expect to hear if we swing by Ten Feet Tall?
“To keep my audience happy, I always ask for requests and try to present a few new songs at every show,” he says. “For this gig, though, I’m digging up some Decca sides by Ella that I’ve never done before.
“Here’s hoping I remember all the words, or make up better ones!”
NOTE: C’Ella’Bration kicks off at 8 p.m. tomorrow at Ten Feet Tall. 1381 Danforth Ave. Pwyc. 416-778-7333. - Toronto Sun
Right now, Indiegogo’s got that rhythm, with the sweet beat that can only be jazz. Today we got a chance to catch up with Ori Dagan, jazz vocalist and winner of the “Canada’s Next Top Crooner” competition. A fresh talent on the jazz scene, Ori’s unique take brings a new voice to such classic artists as Frank Sinatra and… Lady Gaga!
Right now, Ori is blazing a new path with his second album “Less Than Three” and you could help him to add the finishing touches.
With that in mind, enter Ori:
Q1: At this point, jazz is a genre with a long and storied history, yet using crowdfunding is very forward-thinking. How do you balance tradition vs. innovation in your career?
Certain elements of the jazz tradition, from standard repertoire to old-school instrumentation, have always been tops in my book. That said, the word jazz to me means music that relies on improvisation, on spontaneity, on an artist taking risks and on an audience responding. Within the context of the jazz tradition, the ability to innovate what is musically familiar has always inspired me. Come to think of it, this is precisely what I admire about my greatest musical idols, from singers like Anita O’Day and Ella Fitzgerald to instrumentalists like Charlie Parker and Lester Young. So I guess for me, innovation is in fact a key element of the jazz tradition, and being forward-thinking is definitely something I strive for.
Q2: A lot of musicians have trouble promoting themselves, yet you seem to have had success without “selling out.” Why do you think that is?
The challenge with promotion is that you have to just get out there, no two ways about it. I’m very grateful to my audience, often taking a moment at my live shows to thank them for showing up, because “It’s far more meaningful for us musicians to play for a living, breathing audience as opposed to an imaginary one!” I have spent quite a few years building an audience in Toronto and Montreal in a very grass-roots fashion. I attend jam sessions on a regular basis—especially www.gnojazz.com where you can find me just about every week – and this allows me to build my network and more importantly, to hone my chops! Being in this business is very challenging, but the great thing is, I love doing what I do. In terms of promotion, for this particular project I am very blessed to be working with two very savvy digital media producers who cross over into music, new media, television and film: Ana Serrano and Leonardo Dell’Anno, as well as photographer Juan Camilo Palacio and filmmaker Luisa Valencia who have helped shape the look and feel of this project.
Q3: You are “Canada’s Next Top Crooner.” How were you able to parlay this publicity into actual contributions?
Well, I’m not exactly sure how many people donated because of this, but I can tell you that “Canada’s Next Top Crooner” is a title that I won by way of a live-to-air radio competition in June of 2010. Fellow vocalists Shannon Butcher, Raoul Bhaneja and I were each asked to sing a traditional crooner song and an Eighties song done in a crooner style—for the latter I chose Like a Virgin, which won judge Matt Dusk over, and he selected me as the winner. This was an amazing experience for me and one of the highlights in my career so far. In a big way it also inspired me to try the jazz approach with pop repertoire,which is central to my new album, featuring jazz arrangements of songs made famous by Elvis Presley, Frank Sinatra, Elton John, Madonna, as well as a scat take on Lady Gaga! I must give a shout-out here to my musical director Mark Kieswetter, who has brought my ideas to life, no matter how crazy they initially seemed.
Q4: Indiegogo is a site with international presence. Does that play into your plans to make an impact outside of Canada?
Absolutely! I have enjoyed playing in Canada, but I am very eager to play abroad, particularly in Europe and Asia, where jazz seems to have a loyal following. As far as Indiegogo goes, I think it - Indie GoGo
Not everyone knows how to clap to jazz, so singer Ori Dagan aims to show them how in his latest release, Clap on the 2 and the 4.
The video features Dagan singing his original composition while his friends and fans of all ages, some with their pets, dance and clap to the music.
The song is about feeling the swing rhythm of jazz. “In other forms of music, pop music and especially classical, when you clap to the beat, you clap on the one and three. In jazz, the emphasis is on the second and fourth beat,” he said.
While he was writing the song, he imagined Ella Fitzgerald singing it. Dagan taught himself the basics of scatting from listening to Fitzgerald. “Sometimes when I’m writing a song I try to imagine some of my inspirations singing it. This is one of the pieces where I could imagine Ella singing the song,” he said. “She probably had the greatest sense of swing in terms of singing with jazz feeling. To me, she is the reason I sing this music.”
In the video set in downtown Toronto, shots of Dagan singing and dancing, often surrounded by brightly coloured bits of animated text, are combined with footage of adults and children clapping and dancing, sometimes with birds, dogs and even a horse.
Aside from helping audiences find the rhythm of jazz, the video is also about how jazz brings audiences together, he said.
Once Dagan had the idea for his video, he contacted friends and fans from around the world and asked them to submit videos of themselves clapping and dancing to the song. “The kids and fans added their own take on it. Some of them were really creative, choreographing a dance,” he said.
The video features two of Dagan’s well-known friends, Canadian fashion icon Jeanne Beker and one of his favourite singers, Alex Pangman, who claps along with her horse in a segment. At writing, the January 2016 release had more than 80,000 hits on YouTube.
Recorded with saxophonist Alison Young, pianist Scott Metcalfe, bassist Jordan O’Connor and drummer Lowell Whitty, Clap on the 2 and the 4 is the first original song Dagan has released as a single.
Until recently, Dagan, named the best jazz vocals winner at the 2015 Toronto Independent Music Awards, has been known mainly as a singer of other people’s songs rather than his own material. “I still love doing covers. But I think there’s a lot to be said for putting something new in the world,” he reflected. “There’s definitely something that compels me to be a songwriter, so that’s what I’m focusing on.”
Half of the tunes on Dagan’s upcoming third album, a tribute to Nat King Cole to be released this fall, will be Dagan’s originals, inspired by Cole’s life and legacy, while the other half will consist of tunes Cole made famous. “I’m in awe of the complete range of his musical talent,” Dagan said.
Along with songwriting, recording and performing, Dagan books some 40 jazz shows a month at the 120 Diner in downtown Toronto, and he writes a monthly column called Jazz in the Clubs for the music publication The Whole Note.
He’s on the faculty of the Summer Institute for Creative Adults, with singers Micah Barnes, Adreana Braun, Shannon Butcher and other artists. The institute holds a five-day summer vocal camp for adults at the Miles Nadal Jewish Community Centre.
“I absolutely love teaching people about jazz singing,” Dagan said. “I had a class where I was teaching senior citizens to sing the blues. It brought so much joy to people and it really stayed with me, so I’m really excited to be back at the JCC in July.”
Clap on the 2 and the 4 will be screened at 6:15 p.m. on March 17 at the Toronto Short Film Festival at the Carlton Cinema. - The Canadian Jewish News
Discography
Still working on that hot first release.
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Bio
Award-winning jazz singer, songwriter and recording artist Ori Dagan is taking jazz to new and exciting places. His rich baritone voice and impressive abilities as an improviser produce an instantly recognizable sound. In live performance, he surrounds himself with Canada’s finest musicians, performing an engaging mix of material which is always fresh and in the moment.
Dagan’s third recording, “Nathaniel: A Tribute to Nat King Cole” (2017 Winner: Silver Medal for “Best Album” at the Global Music Awards, Top 50 on the U.S. JazzWeek charts) features guest appearances by 89-year-old jazz legend Sheila Jordan, 3-time Grammy nominee Jane Bunnett and "Canada's Sweetheart of Swing" Alex Pangman. In addition to being a recording, "Nathaniel" is the first ever “Visual Album” in jazz history. Created collectively by 7 directors and funded by a PledgeMusic campaign, "Nathaniel" is a collection of 12 music videos which can be found on YouTube, and which have appeared on the big screen at over 50 film and music festivals around the world. Included in the collection are obscure gems, fresh takes on old classics and 5 original songs Dagan wrote with guitarist Nathan Hiltz, inspired by Nat King Cole's music, life and legacy.
A fixture on the Toronto club scene over the last 15 years, Ori Dagan has recently started to go international, headlining at the TanJazz festival in Tangier, Morrocco, showcasing at Austin's Elephant Room at SXSW 2018 and performing at South Korea's first ever public diplomacy week. He is currently touring his live show, "Talent & Soul: 100 Years of Nat King Cole" the companion piece to his critically acclaimed recording and visual album "Nathaniel".
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