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Volume 24 Issue 5 - February 2019

  • Text
  • February
  • Toronto
  • Jazz
  • Arts
  • Theatre
  • Musical
  • Performing
  • Orchestra
  • Symphony
  • Composer
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.

the latter somewhat

the latter somewhat overmatched in the mix. Back in time we go to 2009, a far more primitive time where drums, breaking glass, and bass clarinet dance about naked, without inhibition, in (deep breath) SteinHolzGummiWasser. Bogus Bogey, a trio with piano and flute (2005), is neither scary, golf-related, nor as far as one can hear, bogus; it’s just pretty cool, as in Mission Impossible (the television series) cool. Vermutung (2008) is a very hip pairing of accordion with bass clarinet (what could be hipper?). Well played, Mr. Klein, well played. Extremely well played, Ms. Schouten et al. Max Christie Electroclarinet Jean-Francois Charles Independent (electroclarinet.com) !! I must say it’s refreshing to consider a CD that includes a poem instead of traditional liner notes. The untitled poem written in French, by Alice Gervais- Ragu, seems to refer specifically to the beast that is the clarinet (most especially the contrabass and the basset). Jean-François Charles has tamed these hounds, the whole pack in fact, who wag their tails with delight on this disc. Clarinetist and composer Charles, whose series of six pieces titled ElectroClarinet make up the bulk of the disc, gives no other accounting for his work than the audible evidence: Ten tracks, recorded in Iowa City over a two-day period roughly one year ago. His métier is acoustic instrument with live electronics. He grapples with every member of the broad range of horns, from contrabass (an octave below the bass clarinet), through bass, basset horn, A, B-flat, and E-flat. Electroclarinet 1 dates from 2009; the latest and longest, Electroclarinet6, from 2014. The four in between are subtitled as Homage to… (in order) Debussy, Weber, Messiaen and Stravinsky. Delays, reverb, and a variety of granulating effects create soundscapes distinctly unclarinet-like. Anyone so inclined is welcome to delve into how the homages relate to the various composers and the works they notably added to the repertoire. (There’s something reminiscent of L’Abyme des Oiseaux in number four and flat-out quotes from Stravinsky’s Three Pieces in number five.) I recommend putting these on and enjoying the path to wherever the pooch wants to go. Max Christie JAZZ AND IMPROVISED The Romance of Improvisation in Canada: The Genius of Eldon Rathburn Petr Cancura; Kevin Turcotte; Marianne Trudel; Adrian Vedady; Jim Doxas Justin Time JTR 8613-2 (justin-time.com/en) !! The Romance of Improvisation in Canada – The Genius of Eldon Rathburn celebrates the music of the late, titular composer, who wrote more than 250 film scores, the majority of them during his long career as a staff composer for the National Film Board. This album – released through Justin Time, and helmed by Adrian Matte and Allyson Rogers, who co-produce and arrange all the album’s music – is a labour of love to the memory of Rathburn, whose music will be familiar to multiple generations of Canadians, even if his name is not. Playing Matte and Rogers’ arrangements is the top-notch ensemble of Petr Cancura, saxophone, Kevin Turcotte, trumpet, Marianne Trudel, piano, Adrian Vedady, bass, and Jim Doxas, drums. Working for the NFB, many of Rathburn’s assignments involved composing music for educational shorts, including the endearingly titled Fish Spoilage Control; the theme gets an up-tempo swing treatment on this album, with a jagged melody set atop a tense pedal point. The Industrial Revolution Comes to Canada, at a mere 31 seconds, is a brief foreboding delight; likewise the three sections of the Ox Driver’s Blues suite. Fresh Fish Delish! Le Poisson se mange frais! is a bouncy, bluesy number, which, like so much of the album, balances humour and levity with the ensemble’s sophisticated improvisational prowess; Vedady, Turcotte, Cancura and Trudel all take concise solos. An excellent and unique album, appropriate for those interested in Rathburn, jazz, Canadiana or any combination thereof. Colin Story This Is Autumn to Me Ben D’Cunha Independent (bendcunha.com) !! On his debut recording, compelling pianist, vocalist and composer, Ben D’Cunha culled the selection of tunes here from 27 original songs captured in a single four-hour recording session this past summer. D’Cunha’s voice is rich and lustrous, and his jazz sensibility and phrasing are superb. As a pianist, he is in the pocket, connecting on a psychic level with the superb musicians also featured on this fine recording – Bob Brough on tenor saxophone, Jordan O’Connor on acoustic bass and Mike McClelland on drums. The CD gets going with Earworm – an up-tempo, beboppish salute to the great vocalese progenitors, such as Lambert, Hendricks and Ross. D’Cunha bops and scats joyously throughout this delightful tune, punctuated by the trading of fours with Brough, O’Connor and McClelland. Of special note is the title track, a lilting bossa with a charming lyric and thoroughly gorgeous vocal. D’Cunha seems to channel the late, great, Kenny Rankin here with his pitchpure and vibrato-controlled vocal sound. Also of note is Where Are You Now – a touching ballad of a past love, loss and reflection. The pristine canvas of piano, bass and drums is the perfect setting for this deeply moving piece. The ten tasty tracks continue with Sweet Honey Bee (Won’t You Walk With Me) – a bluesy, funky tune featuring the soulful tones of Brough on tenor; and also the brilliantly lyricized, You Expletive You – a contemplative ballad about toxic love. O’Connor sets the sultry tone with the wonderful voice/ bass duet that kicks off this boppish ballad, and Brough’s languid solo is masterful, as is O’Connor’s. Lesley Mitchell-Clarke Trioliloquy A/B Trio Chronojazz CR065 (chronographrecords.com) ! ! While the slyly clever play on words in the title may suggest drama and a certain angular structure to the music, nothing can really prepare you for the fierce energy that leaps out of the opening chords of the A/B Trio’s opening chart Lenny’s Beat. It’s an immensely exciting start to a recording that has you on the edge of your seat. Primary colours abound in the textures that often rustle in the raw silk of Dan Davis’ saxophones that receive a mighty fillip from the brassy ones that special guest, trumpeter Kevin Turcotte, brings to the trio. All this while bassist Josh McHan and percussion colourist Thom Bennett keep the music on a tight rein, with rhythms and phrasing that are tight and alert. It’s quite a shock to also see how fast the music can move from the tempestuous opening chart to the stately canter of the romantically inclined How Suite It Is, where the musicians take an elegiac view of the written material and work around it to produce something quite magical even in a 78 | February 2019 thewholenote.com

walking rhythm. The poetic waltz Leda’s Song later in in the repertoire keeps things deliriously romantic and balletic at the same time; this before the heat is turned up once again with the raw and gutsy Bluesaholic and the tantalizing interplay of Secondary Opinion that closes this edifying music. Capture that in a recording that gives space to sound and you have a winner. Raul da Gama Live at The Rex The Uncertainty Principle Independent (andrewboniwell.com) !! With the release of pianist and composer Andrew Boniwell’s second CD with his stellar ensemble, The Uncertainty Principle, he has once again established himself as one of the most creative, non-Euclidian, improvisational jazz musicians on the scene today. For this live recording (expertly engineered by Neil MacIntosh at Toronto’s Rex Hotel and Jazz and Blues Bar), he has once again coalesced the considerable talents of Richard Underhill on alto saxophone, Kevin Turcotte on trumpet, Artie Roth on bass and Mike McClelland on drums. Boniwell serves as producer here, and has written all but one of the compositions. He is also fluent in what is possibly the only universal language – mathematics – and although the sophisticated quantum concepts that are integral to his music may not be readily understood, the exciting and unpredictable aspects of it certainly communicate the plasticity of space/ time, as well as the thrilling idea of participating in a perfect, unexpected and unplanned moment of creation. Boniwell’s opening salvo, Getting Higgy With It, Part #1 is a dream-like piano and percussion exploration which segues into the evocative Sleeping Giant, which features superb work from Underhill and McClelland. Another standout is Probability Wave #1 / HUP Poem, in which a superb bass solo and profound trumpet work lead the ensemble into a free flight of beauty and majesty punctuated by a stirring, hip, thought-provoking spoken word sequence by Boniwell. Winding up the CD are two exceptional tracks, Suite 60, where Underhill’s alto and Turcotte’s muted trumpet cling together like particles attracting, and Monk’s Well, You Needn’t, re-imagined with Latin underpinnings. Both are triumphs, as is the entire recording. Lesley Mitchell-Clarke Concert note: The Uncertainty Principle will celebrate the release of Live at The Rex on April 7 at Dakota, 249 Ossington Ave. True Stories Mike Field Independent MFJCD 1801 (mikefieldjazz.com) !! Following three previous awardwinning CDs, trumpeter/composer/ vocalist Mike Field presents a heady blend of his actual diverse, peripatetic road experiences expertly merged with compelling bits of pure fantasy. Field serves as composer here, as well as co-producer/co-arranger with noted guitarist Dominic Mancuso. In order to bring his eclectic concept into reality, Field has assembled a cast of fine musicians, including Mark Camilleri on piano/organ, Russ Boswell and George Koller on bass, Davide Direnzo on drums, Rosendo “Chendy” León on percussion, Mancuso and Tony Zorzi on guitar and Jerry Caringi on accordion. The project kicks off with Mechanic, a hard-rocking anthem, replete with burning horns, face-melting guitar and impassioned vocals by Field that tell the story of a lonely, travelling space mechanic. Following immediately is another standout, The Hotel by the Mansion, which features a klezmer-like arrangement about a very peculiar circus act, starring a woman with fire in her hair (the kind of act that you can only do once!) Field soars on Tu vuo’ fa’ l’americano – a lusty reworking of Carosone and Salerno’s Neapolitan classic, most recently heard in the film, The Talented Mr. Ripley, replete with a bombastic accordion solo from Caringi. Also of note are Magnolia, a swinging, jazzlike tune that features not only a fine vocal by Field, but also a dynamic trumpet solo, and the lyrical closer, Autumn Lovesong, which is a tender reflection on love, life, family, the turning of the seasons and the inevitable passage of time. Field sings deeply and emotionally, in symbiosis with gorgeous piano work by Camilleri. Lesley Mitchell-Clarke Concert notes: Mike Field will be far afield in the coming months with a number of dates in Germany in April and May and British Columbia next November. Check mikefieldjazz.com/dates for full details. No Codes Benjamin Deschamps Independent (benjamindeschamps.com) !! Put these four gentlemen together in the warmth of an acoustically perfect room and you instantly have a heavyweight quartet bursting forth from bar one, then continuing to carve out a niche for itself. No Codes suggests allegiance to no single style within the realm of jazz but there is certainly a reference to the rippling boppish groove that soon unfolds into music with tantalizing angular melodies couched in complex tempi and abruptly changing rhythms. Alto saxophonist Benjamin Deschamps, playing his heart out, shows that he can hold his own with his veteran colleague tenor saxophonist Frank Lozano. Bassist Sébastien Pellerin and drummer Louis-Vincent Hamel frame the broodingly percussive rhythm section but every now and then they come forth from playing in the pocket to ring in the changes in mood, structure and tempo. All of this makes for a highly interesting program, from the blistering bop runs of Rules of Compression that lift the lid on this pressurecooker atmosphere around the band to the loose and funky swagger of Cool Cats and the tart, party-time thrills and spills of Double Meaning and My Steps. There is a considerable degree of balance and integration of melody, harmony and rhythm from this piano-less quartet. This is touching and toe-tapping music in equal measure. Again, composition and improvisation, exploration, individuality and tradition are all impressively maintained throughout, which makes No Codes a disc to absolutely die for. Raul da Gama Concert notes: Benjamin Deschamps performs at Stewart Hall in Pointe-Claire QC on April 14 and can be heard at jazz festivals in Toronto, Medicine Hat, Tofino, Cumberland and Calgary in June. Wander Wonder Allison Au Quartet Independent AA-18 (allisonau.com) ! ! The Allison Au Quartet has been together since 2009 and their first album, The Sky Was Pale Blue, Then Grey (2013) was nominated for a JUNO. The second album, Forest Grove, won a JUNO in 2016 for Best Jazz Album of the Year: Group. Wander Wonder is their third release and is a thoughtful and subtle work with each musician contributing their technique and inspiration to Au’s complex and layered compositions. For example, the group’s casual precision is demonstrated during the drum solo which ends Force Majeure: Fabio Ragnelli plays with abandon while Todd Pentney (piano) and Jon Maharaj (bass) lay down an understated and contrasting, repeating chordal vamp. Throughout the album, Au’s alto saxophone is light but intense and reminds me a little of Paul Desmond but leaner; it fits well with her writing where thewholenote.com February 2019 | 79

Volumes 21-24 (2015-2018)

Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)