TEKE::TEKE Brought the After-Hours Party to Ottawa Jazz Fest

TEKE::TEKE was the tip for day two of the Ottawa Jazz Festival. Hot off the release of their second album Hagata, the Montreal-based seven-piece plays a mix of Japanese folk, psychedelia and Brazilian surf music, with a debt to eleki, an obscure subgenre of Japanese soft rock that should quicken the pulse of any music nerd. Research into Hagata revealed a lush soundtrack to a vintage kung fu detective thriller that never got made, full of swerving car chases and blurry sunset vistas. Research into the weather revealed what would surely be a sweaty two hours in the festival's OLG tent, the venue for their "after dark" 10:30 slots. After a night of gentle swaying with Leslie Feist, it was time to dance.

Unlike that show, which was clearly full of long-time fans and well-wishers, the audience here was more excited and unsure, not quite knowing what to expect but anticipating something striking and unique. Many were trying to pronounce the band's name (long e's, people), amid the haunting atmospherics courtesy of flautist Yuki Isami, who stood out in a shimmering fairy dress and tiara (although props also go to trombonist Etienne Lebel's nautical chapeau, which leant a surreal heft to the off-kilter Gilligan's Island vibe the band sometimes explored).

Lead singer Maya Kuroki entered as the first big guitar riff thundered out, snapping everyone to attention. It was pretty much a big party from then on — swinging surf rhythms for immediate gratification, big cinematic moments for more contemplative grooving and charming histrionics throughout from Kuroki, whose performance art background clearly informs her work on stage. In any event, many a plastic chair was shoved to the side. 

It was a performance of mostly newer material (although learned mutterings in the audience communicated the presence of some deeper cuts), but for most it was likely an introduction to this relatively new band, whose last Ottawa show was cancelled just as COVID descended. And it definitely felt like a solid return for the likeable group, full of twists and turns, weird Zappa-esque breakdowns (a pair of pliers was in effect on a pickup at one point), and what sounded like some kind of haunted whale graveyard during one expressive moment, with Lebel's horn blasting away sorrowfully.

A strong performative element ran throughout as well, which, after the tasteful planted-foot rocking of Lord Huron across the street earlier, was welcome in this more intimate setting. A late-night shower even lessened the day's burdensome humidity; things felt aligned in the OLG tent with this exciting group.