artists know how to use a paintbrush, so to speak. Ted O'Reilly Solo Baptiste Trotignon, piano Effendi FND035 French pianist, Baptiste Trotignon was introduced to Toronto audiences at last year's Downtown Jazz festival. Born in 1974, a graduate in piano and composition of the Nantes Academy of Music, he might have pursued a career in classical music, but fortunately jazz won out, although the classical influences remain - with echoes of Satie, for example. In the mid-nineties he established himself on the Paris scene and also made his first trip to the States. Since 1998, he has been developing his own activities as a trio leader in the company of Clovis Nicolas (double bass) and Tony Rabeson (drums), the group that played in Toronto. but this CD is a solo outing, giving him total freedom to play with rhythmic and harmonic boundaries. ln October 2002, he won the GRAND PRIX DE LA VILLE DE PARIS at the third CouRs DE PIANO JAZZ MARTIAL SOLAL and a few months later in 2003, he received a "French revelation of the year" JAZZ VICTORY AWARD. The album consists of original material - descriptive pieces which require serious listening but are worth the effort . Trotignon has an impressive technique, not two fisted in the traditional sense, but his prodigious right hand is complemented by an equally agile left. His playing is sensitive and tasteful and he has already established a personal style both as composer and musician. Fellow Frenchman and pianist Martial Sola! has described Baptiste Trotignon as "one of the most brilliant pianists of his generation." He would know. Jim Galloway 58 _______ _ Tableaux Yves Nadeau Expression JODO (Independent) JODOCDOOI The liner notes of Quebec jazz guitarist Yves Nadeau's debut CD Tableau promise much in the way of musical diversity. Mr. Nadeau claims to be influenced by folk, R&B, Quebecois folklore and Afro Cuban rhythms, and perhaps he is, but it isn't terribly evident here. Sure there are a few touches here and there that lift it out of the realm of the usual North American fusion jazz sound. For instance Quebecois-esque fiddling and foot stomping on the opening track bookend the extended solos, and there are a couple of nods to Afro-Cuban music in the form of two very short pieces. But in the main, this is a straight-ahead jazzfusion record, well played by some excellent musicians. Most notably Paul Brochu, of UZEB fame, on drums and Jean-Pierre Zanella on saxes. So if you're looking for a high-quality jazz-fusion disc with lots of Montreal based talent, give this one a listen. Cathy Riches The Joint is Jumping: Music of Fats Waller Bob Barnard; Ralph Sutton Sackville SKCD2-2059 Huh Barnard Ra:!ph Sutton b '..... ''·"··' ·J ..... . r ·:.;;;:"······ - - - -·-··-·-- - The late American pianist Ralph Sutton was a master of the 'Stride' style of playing, and probably the all-around best interpreter of Fats Waller's music. It's a given, therefore, that the international release of "The Joint ls Jumpin' (The Music Of Fats Waller)" won't miss the mark, and it doesn't. Sutton made this well-paced recording (for La Brava Records) in Sydney, Australia in April 1999 with cornetist Bob Barnard on most of the 14 selections, Ed Gaston on bass, and Bob's brother Len Barnard on drums. On a few tracks, clarinetists Don Burrows and John McCarthy show up individually, and sans , comet in a terrific two-clarinet version of Squeeze Me. The eight Waller originals also include the title track, Blue Turning Grey Over You by just Bob and Ralph, Black and Blue, and Keeping Out of Mischief Now. Fats didn't just record his own music, of course, and this release reflects that by including favourites like It's A Sin To Tell A Lie and Sweet And Slow, and less well-know titles like You Meet The Sweetest People In Your Dreams and I'm Always In The Mood For You. Keeping this style of music alive is a difficult task, since its subtleties often escape students, especially the drummers. Young musicians should all take a master class with septuagenarian Len Barnard, Bob's older brother, and a bandleader in Oz since the late '40s. He always shows great taste and swing, always propelling without ever intruding. He's a real swing drummer. and for more of his work with Bob and Ralph pick up the earlier Sackville release, "Easy Street" (SKCD2-2040). Ted O'Reilly Tova Live at The Top 0' The Senator. Theresa Tova Independent (Tova Entertainment) Classy, jazzy, and deliciou,\i.ly sensuous cabaret/Broadway singing are terms that first come to mind when listening to Theresa Tova's second CD. I was fortunate to attend the final recording session and thoroughly enjoyed reliving the experience. She was backed by a jazz quartet including Alex Dean and Steve Wallace, two of Toronto's master improvisers. Tova interleaves her two musical worlds of Broadway and the current renaissance of Yiddish culture, with some beautifully voiced French lyrics thrown into the mix. You'll hear why Tova holds her own during forays into New York's Darwinian music world. Nine of the twelve tracks are classics from the interwar golden age of musical theatre and, with an entirely apt turn, three are belted out in Yiddish. Much of Broadway's great music was created by Jewish songsmiths taking their talents uptown into mainstream America. The jazzy arrangements are also apt: jazz musicians leapt and still leap on the harmonic possibilities of Broadway classics; jazz was a natural magnet to Jewish musicians like Benny Goodman who grew up with improvised Klezmer music; and Duke Ellington transmuted Yiddish music into "oriental foxtrots". An excellent final track is the only contemporary song: a recent Yiddish poem provides lyrics about a jazz saxophonist blowing away in a New York subway station. I'd love to hear a future Tova CD centered on new songs as good as this one. Phil Ehrensaft (originally published in December 2002) Concert note: As part of an upcoming international tour Theresa Tova will perform at the Top 0' the Senator on October 19. Her independent CD is available from www.theresatova.com and lndiepool, 888-884-6343. DISCS OF THE MONTH Nomad Jesse Cook Narada 72435 93155 22 We should get one thing straight right off the bat: Jesse Cook is not a flamenco guitarist, at least not in the traditional sense. So flamenco purists will not approve of this record. What Mr. Cook is, however, is a brilliant guitarist, both from a technical and interpretive standpoint. And, for this record -·---·-www:thewholenote.com-----·---------------· october 1 - November 7 2003
Van Gelder Edition The RVG Series consists of classic Blue Note albums newly remastered !"llll'Hlij . 111.UINOl11, mII www.bluenote.ca I www.emimusic.ca
