PERFORMER-COMPOSER
ReviewS & Endorsements

coast cover danny daniel dani oore (photo: scott munn)

 

“[Dani Oore] sounded the best . . . played the best language, because he had a good feel, he knew, he already had some stuff going on . . . That cannot be learned from a book, there is no pill for that, there is no drink for that, there is no costume or shirt for that, there is no prayer for that, and I can tell you right now there is no drug for that.
David Liebman, Toronto (27/03/2013)  

stunning . . .  a genuine revelation . . . masterful
Grego Applegate Edwards, Classical Modern Music Review, NJ, USA (7/09/2012)

“usigelig vakker” [unspeakably beautiful]
Jan Granlie, salt peanuts*, Norway (06/02/2024)

“I was moved to tears . . . an incredible musician! . . . Brilliant and deeply human at the same time.  Tonight I felt so connected with the world through [Oore’s] music.”
Christos Hatzis, Toronto (28/03/2014)

“Oore also danced, a long, diagonal, tortuous effort to get across the stage and later a comic entanglement with a box. Is there no end to this young man’s brilliance?
Stephen Pedersen, The Chronicle Herald, Halifax (05/12/2003)

“A fearless performer, and very funny . . . the high point of the show has to be seeing Dani Oore play a rubber boot . . . You have to see it to know how brilliant a rubber boot can be.”
Jerry West, The Daily News, Halifax (05/01/2005)

brilliant . . . a fearless artist of great intelligence and extraordinary creativity . . . I am certainly impressed and inspired by this music.”
Mike Murley, Toronto (06/10/2015)

“Daniel Oore is one of the most creative students I have met in my forty years of teaching”
Jerry Granelli, Halifax (22/07/2008)

“Daniel Oore, an extraordinarily creative musician, working first with sax, then with didgeridoo and finally with just the neckpiece followed his muse with fascinating results. Even with just the sax, he would run a scale up to the top and carry the sound beyond that into several sung notes whose unexpected timbre created something of a sensation.”
S. Pedersen, The Chronicle Herald, Halifax  (05/10/1998)

stunningly lyrical and dynamic. A third sonic element — Oore’s raw, whimsical singing — adds a timbre and approach that are neither imitative nor derivative. Oore highlights the human voice as another instrument in the ensemble rather than suggesting any semblance of a ‘traditional’ jazz vocal performance practice. In fact, the listener can hear the work that Oore has done to meld the timbres of his voice and saxophone together, producing magical moments when you’re left wondering where one ends and the other begins.
Mark Lomanno, The Rhythm of Study — The Month in Review, Miami (1/11/2023)

“Boundaries between [Oore’s] two instruments are particularly hard to spot”
Matty Bannond, Jazz Journal (16/10/2023)

“an extraordinary reed player . . . Based on what I heard last night, I’d rank him with just about any young saxophonist in improvised music.”
James Hale, Jazz Chronicles, Ottawa (28/10/2011)

“Oore’s palpable fragility . . .  is one of the most devastating things I’ve ever witnessed in a theatre.”
Dave Jaffer, Cult MTL, Montreal (13/12/2018)

palpable and genuinely moving.”
Jim Burke, Montreal Gazette (07/12/2018)

“every breath, every note sounds fragile.”
Christos Hatzis, Toronto (28/03/2014)

“There is an astonishing vulnerability in Oore’s playing as he demonstrated with an intensely glowing, radioactive performance”
Stephen Pedersen, The Chronicle Herald, Halifax (08/07/2000)

“Wow— such a Brave piece you create, so amazing to just be a part of your palettes. Fantastic thing. All my love, and deep respect”
Jerry Granelli, Halifax (23/08/2020)

“The endless faces of [his] tone, like different characters inhabiting the same body, is nothing short of stupendous.”
Christos Hatzis, Toronto (28/03/2014)

pitchperfect . . .  making us laugh with recognition . . . and cry with them in their tragedies. . . . Heartbreaking and joyous by turns . . .  told with captivating skill.”
Lizz Clark, The Reviews Hub, Salford, UK (31/10/2018)

“so naked, so dangerously and uninhibitedly exposed, it compels your attention by its striking honesty.  He’s a rare one.”
Stephen Pedersen, The Chronicle Herald, Halifax (03/11/2005)

like a hole in my heart was filled, one I didn’t know needed filling, let alone really existed at all. . . . easily one of the best displays of art and musicianship I’ve had the honour of experiencing. . . . I urge you to see this, I promise, it’s special.”
Lali Gill, Theatre Travels, Sydney, Australia (15/01/2019)

thrust upon delighted audiences with zest and a not-so-unwitting sense of raw, hardcore vigour by the performance talent of Dani Oore
Greenberg, OrcaSound, Montreal (10/12/2018)

“Oore’s soprano, pretty at first, grows ever more daring and aggressive”
Steve Greenlee, JazzTimes (19/11/2011)

“so intense, so personal, and so out of the ordinary, few people in the audience knew what to make of it . . . This was a daring act . . . ”
Stephen Pedersen, The Chronicle Herald, Halifax (10/07/2000)

“One of the finest and most startling young saxophonists on the scene.”
National Arts Centre, Ottawa (2002)

“The first thing I noticed and appreciate about this record is how deconstructed and lean the arrangements are. There’s nary an unneeded note, stray pulse or overdone rhythm on this record.”
S. Victor Aaron, All About Jazz (24/06/2011)

“Dani projects a strong sense of form . . . I hear a logical arc to this recording that I find very impressive considering the complexity and variety of the sonic landscape and improvisations.”
Mike Murley, Toronto (06/10/2015)

“The most successful score of the evening in terms of consistency and coherence of imagery and even formal elegance, was a delicate, transparently sensitive piece by saxophonist Daniel Oore.”
Stephen Pedersen, The Chronicle Herald, Halifax (15/11/1999)

“Dani Oore plays Chaim with such delicacy . . . brings out the loneliness and shyness . . . suggests a man burdened with profound sadness . . . so amazingly talented
Christopher Hoile, Stage Door, Toronto (28/04/2019)

utterly charming in the roles, Oore as a gentle, soulful-eyed Chaim . . . Richly humorous, wildly entertaining and deeply moving”
Martin Morrow, Globe and Mail, Toronto (27/04/2019)

“The virtuosity of Dani Oore . . .  expresses an ease of playing long gone beyond technique where the instrument becomes as natural to him as his voice. . . nothing could be more ebullient, elated and effervescent than Dani Oore.”
Stephen Pedersen, The Chronicle Herald, Halifax (04/11/2005)

Equal parts crab walker, snake charmer, and bull fighter, Oore leads the swinging woman around the dance floor as if an invisible thread connects her to his sax. Dipping up and down in a Cossack hop, he still manages an intricate solo without missing a beat.”
Sam Worthington, Halifax Magazine (04/2006)

“Danced by the intensely inventive Dani Oore”
Stephen Pedersen, The Chronicle Herald, Halifax (01/06/2006)

exceptional piece of theatre . . .  unfailingly inventive, with compelling performances from Oore
Liz Nichols, 12thnight, Edmonton (10/05/2018)

“superb theatre”
Adrian Chamberlain, Times Colonist, Victoria, Canada (23/03/2019)

“Top-notch … skillful[…]”
Karen Fricker, Toronto Star (26/04/2019)

“Exuberant, spiky and moving”
Joyce Morgan, Sydney Morning Herald, Australia (15/01/2019)

Rich, rambunctious and exhaustingly affective
Kate Pendergast, The Audrey Journal, Sydney, Australia (14/01/2019) 

an excellent counter . . . This is a company that works beautifully together.”
Cassie Tongue, TimeOut, Sydney, Australia (14/01/2019)

“the scenes between Chaim [Oore] and Chaya really touch the heart.
Jo Liston, Limelight Magazine, Sydney, Australia (14/01/2019)

played with undeniable warmth by Dani Oore . . . Coady and Oore bounced wonderfully off each other, as well as personally finding the perfect moments to present their characters’ lightness and darkness.”
Samuel Barson, Theatre Press, Melbourne, Australia (31/01/2019)

“Performances by Oore and Coady are top notch. Both are extraordinary musicians as well as gifted actors. . . . an orgasm solo on the clarinet is remarkable in its veracity.”
Liane Faulder, Edmonton Journal (10/05/2018)

“Oore and Coady are both terrific. . .  . They both make the characters real
Sam Mooney, Mooney on Theatre, Toronto (25/04/2019)

portrayed convincingly by these two bright actors”
Richard Hammerschmidt, The Oxford Times, UK (07/11/2018)

“Wonderschone vertelkunst”
Frans Roovers, Theatre.nl, Netherlands (22/11/2018)

meticulously nuanced and relatable . . . spell-binding.”
Deborah Shatz, Edmonton Jewish News (10/05/2018)

“won over the crowd.”
Sandy MacDonald, The Daily News, Halifax (23/07/1991)

“He layered all this sound through a variety of electronics, co-ordinated by a laptop computer . . . It was an amazing thing to hear. You couldn’t take your ears off of it.
Stephen Pedersen, The Chronicle Herald, Halifax (31/05/2006)

“in terms of like time, sound, feel, it’s really refreshing, its really interesting . . . it’s really kinda hip to see that, I’m really impressed, its great . . . very firmly rooted in that direction and I’m not going to try to change that!”
Gary Smulyan, Toronto (22/11/2009)

“The sax virtuoso is the can’t-miss act . . . Dude’s beatboxing into a plastic drain pipe. And it sounds awesome.”
Lezlie Lowe, The Coast Magazine, Cover Story (17/07/2003)

RECORD-SPECIFIC QUOTES:
THE ECSTASY OF BECOMING  RADICAL CYCLE  PRESENT IN NATURE