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Volume 24 Issue 9 - June / July / August 2019

  • Text
  • Orchestra
  • Listings
  • Concerts
  • Quartet
  • Musical
  • Theatre
  • Jazz
  • August
  • Toronto
  • Festival
In this issue: The Toronto Brazilian bateria beat goes on; TD Jazz in Yorkville is three years young; Murray Schafer's earliest Wilderness forays revisited; cellist/composer Cris Derksen's Maada'ookkii Songlines to close Luminato (and it's free!); our 15th annual Green Pages summer music guide; all this and more in our combined June/July/August issue now available in flipthrough format here and on stands starting Thursday May 30.

elatively little-known

elatively little-known Canadian expatriate Brion Gysin, a literary collaborator with William S. Burroughs. Gysin’s playful, vibrant, hipster verses fall naturally on modern jazz inflections: when Derome joins his voice with Young’s on Blue Baboon, the group creates a witty update on the scat vocal group of the 1950s who rarely found lyrics this germane. Stuart Broomer Coco Swirl Ratchet Orchestra Ambiances Magnetiques AM 248 (actuellecd.com) !! From Nimmons ‘N’ Nine Plus Six to Vancouver’s NOW Orchestra, despite the economics, Canadians have somehow produced highly creative big bands. Montreal’s Ratchet Orchestra was a quintet in 1993; today its founder-composer-bassistconductor Nic Caloia leads a 19-member ensemble with the breadth and force of Sun Ra’s Arkestra or a Charles Mingus big band. Like them, it invokes Duke Ellington’s legacy of rich textures and intense turbulence while emphasizing distinctive solo voices. It has a traditional big band’s power, with five reeds and five brass, but expands its palette with violin, two violas and the eerie profundity of bass reeds and tuba. Caloia’s compositions range from the traditionally modernist to the avant-garde, with a band composed of individuals who define Montreal’s free-jazz community. The opening Tub features the brilliant alto saxophonist Yves Charuest, as abstractly evasive as Lee Konitz. The rousing Raise Static Backstage, fuelled by Isaiah Ciccarelli’s rampaging drum solo, might appeal to any fan of Dizzy Gillespie’s legendary bebop big band, while Blood, an atmospheric setting for Sam Shalabi’s distorted guitar, touches on the later works of Gil Evans. Caloia’s most personal and ambitious work is saved for the conclusion, the six-part Before Is After, a weave of compound rhythms and evasive fragments knit together with unlikely matchings of instruments and forceful soloists, including violinist Joshua Zubot and bass saxophonist Jason Sharp. Ratchet Orchestra is both a distinctive Montreal institution and national standard bearer for a creative tradition Stuart Broomer Clockwise Anna Webber Pi Recordings P179 (pirecordings.com) !! Reaching an elevated trajectory following her last CD, BC-born, New York-based tenor saxophone/ flutist Anna Webber aided by a seasoned septet, re-conceptualizes impressions of 20th-century composers’ percussion works into new compostions. Percussiveness not percussion is the major focus, even though her studio reassembling of Ches Smith’s echoing tympani on the Feldmanesque King of Denmark II is suitably staggering. Mostly though Smith sticks to drums and vibraphone to provide the precise clamour and ringing clatter that swing alongside Jacob Garchik’s emotional trombone flow; place-marking stops or sweeping glissandi from Christopher Hoffman’s cello and Chris Tordini’s bass; pulsing chromatics from pianist Matt Mitchell; and stylistic chirps or snarls from Webber and tenor saxophonist/ clarinetist Jeremy Viner. Oddly separated on opposite ends of the disc, three variations on King of Denmark and two of Korē are equally striking. Sparkling piano chords mixed with squirming saxophone riffs build up to a heraldic crescendo in the first part of King of Denmark. Meanwhile Mitchell’s intermittent comping, percussion breaks and audacious plunger vocalizing from Garchik’s trombone bring passion to the Xenakis-inspired Korē I. Webber even manages to extract a melodic groove from Array, a homage to Babbitt. Her delicate flute whistles are challenged by precision trombone glides and clarinet swells, until the piece becomes harder edged with Mitchell’s keyboard cadenzas, but still maintains unexpected warmth. Overall the performances, which also touch on Cage, Varèse and Stockhausen influences, aren’t merely turned clockwise, but highly original creations directed by Webber. Ken Waxman POT POURRI Libre Amanda Martinez Sola Records (amandamartinez.ca) !! Singersongwriter Amanda Martinez delves deeper into her background with the release of Libre. The daughter of a Mexican father and South African mother, Martinez has been exploring her Latin roots for years now, so it’s the African side that’s new here. Produced by her longtime collaborator, guitarist Kevin Laliberté, Martinez has enlisted a handful of singers and songwriters – such as Canadian jazz singer Kellylee Evans and Cuban-born Pablosky Rosales – for the ten original songs on Libre. Kevin Laliberté's distinctive guitar playing and Donné Roberts’ beautiful warm vocals blend perfectly with Martinez’s light pretty voice. Bassist (and Martinez’s husband) Drew Birston and percussionist Rosendo “Chendy” Leon round out the core band. Standout tracks include Begin and En La Distancia. The album has a predominantly Latin sound to it (Mexican and a little flamenco here and there) and I found the African touches to be quite subtle. This is partly due to the fact that most of the lyrics are in Spanish. For those of us who don’t understand that language, translations are available on Martinez’s website. The poetic lyrics’ main themes are love and longing in its many forms – for a land, a lover or a child. Or you could not worry about what the lyrics say and just let the music wash over you and carry you away. The album has a sweet, old-fashioned feel to it that gives us a welcome escape to gentler times and idyllic places. Cathy Riches 3 The Gloaming Justin Time JTR 8617-2 (justin-time.com) ! ! For their third salvo, contemporary Irish fusion quintet, The Gloaming, has released an intriguing piece of work that not only embraces traditional Irish motifs, but seeps into the modalities of contemporary and neo-classical, piano-driven musics. This is authentic, indigenous, world music enfolded sumptuously into a thoughtprovoking new music setting. Pianist (and producer) Thomas Bartlett is the spine of the ensemble, fearlessly injecting skilled, rhythmic elements into the music. The haunting, sibilant vocals of Iarla Ó Lionáird inform much of the material, and transport the listener back into the mists of time. With three Irish and two Irish-American members, the music also speaks to the inter-generational scars of the near genocide of the Irish people, and the resulting painful, global diaspora. The splendid, passionate and skilled work of generational fiddler, Martin Hayes, gauges the intensity of the music and Hardanger d’Amore player Caoimhin Ó Raghallaigh consistently elicits a warm, substantive sound from his viola-like instrument (with sympathetic strings). Along with guitarist Dennis Cahill they establish the musical pulse, the 96 | June | July | August 2019 thewholenote.com

very heartbeat of the goddess Danu herself. Highlights of this expertly recorded CD include Meachán Rudaí and Amhrán na nGleannI. The former is a setting of a poem by Liam Ó Muirthile (about a son remembering his late mother), and the latter is an ancient tune lamenting the death of a chieftain, and also a song that Lionáird has been performing since he was a small boy. Also of special note is Reo, written by the ensemble, and featuring lyrics drawn from a poem by the iconic mid-20th-century Irish poet, Seán Ó Ríordáin. Lesley Mitchell-Clarke Begin Again Norah Jones Blue Note Records B002978602 (bluenote.com) !! Begin Again is the reflection of an artist who’s continuing to develop and evolve. Norah Jones first came on the scene in 2002 with Come Away With Me, which introduced a fresh, gorgeous voice with a jazz sensibility that was a shift from the prevailing pop music of the time. That release turned Jones into a global phenomenon and over the years, she’s continued to release successful, Grammy-winning records and collaborate with a diverse range of artists like Herbie Hancock, Outkast and Foo Fighters. Begin Again is an eclectic collection of original tunes co-produced by Jones and recorded at various studios with a handful of collaborators such as guitarist Jeff Tweedy of Wilco fame and drummer-extraordinaire, Brian Blade. The tone is set with the powerful opening track My Heart is Full and many of the songs, such as Uh Oh and Just a Little Bit, continue in that experimental vein, with the musicians laying down a meditative bed and Jones layering vocals over top. The album is keyboard dominant, courtesy of Thomas Bartlett, Pete Remm and Jones herself. Although calling Remm’s sublime Hammond B3 work “dominant” isn’t capturing the subtle textures he lends to the songs. Missing from Begin Again are some of those exquisite, soulful ballads that Jones does so well – though Wintertime comes close. So while the album is a good listen and full of fine musicianship, it won’t break your heart. Cathy Riches Concert Note: Norah Jones performs June 25 at the TD Ottawa Jazz Festival and June 26 at the TD Toronto Jazz Festival. The Seasons of Being Andy Milne & Dapp Theory Sunnyside SSC 1482 (andymilne.com) !! Following his battle with prostate cancer, gifted composer and pianist, Andy Milne determined to channel the concepts of homeopathy (which he had utilized in his recovery) into a new kind of musical synthesis. This manifested into a fascinating, largely improvisational project for his long-running ensemble, Dapp Theory. During Milne’s recovery, his illuminations surrounding the relationship of musical “one-ness” and physical healing, morphed into a Chamber Music America commission, presented here as Seasons of Being. One aspect of Milne’s intent was to compose for the individual musicians in his ensemble, in non-restrictive ways that would allow them to grow, explore and also function as an integrated creative organism. Joining Milne on this recording are his venerable bandmates, Christopher Tordini on bass, Kenny Grohowski on drums, Aaron Kruziki on woodwinds and John Moon on vocals. Also taking part is an array of talented guests, including Ben Monder on guitar, Ralph Alessi on trumpet and Christopher Hoffman, cello. The CD kicks off with Surge and Splendor – a rhythmic and spoken word foray (perfectly attenuated by Grohowski’s drums) which fearlessly probes the rich embroidery of life’s components, finally segueing into a woodwind bubble from Kruziki that surrounds the entire ensemble – like a healthy, plump cell – bursting with creativity and life force, exemplified by Mondor’s vibrant guitar solo, and lovely, diaphanous cello work by Hoffman. Also of special profundity is The Guardian, featuring Alessi’s gorgeous trumpet. One need not subscribe to the practice of homeopathy to resonate with this heady recording, because no one can dispute the healing power and collaborative magic of music. Lesley Mitchell-Clarke Kamancello II: Voyage Shahriyar Jamshidi; Raphael Weinroth- Browne Independent (kamancello.bandcamp.com) ! ! The invented portmanteau word Kamancello serves as the name of the Toronto-based duo of Kurdish Iranian kamanche player and composer Shahriyar Jamshidi and classically trained Canadian cellist and composer Raphael Weinroth-Browne. Joining forces around four years ago they’ve taken audiences into transcultural musical territories as yet unexplored. They describe their music as “East-meets-West,” rendering “improvised performances [that] transcend genres and cultural boundaries.” But that’s a modest appraisal of the rich journey they take us on in Kamancello II: Voyage, their second album. Improvisation is undoubtedly present in abundance here, but there are also welldeveloped modal frameworks and formal structures at work too. There are four extended pieces titled Emergent, Tenebrous, Voyage and Threnody, each with a welldefined shape. They begin quietly without pulse, exploring ornamented melodies, slowly developing a polyphonic texture trough sensitive interplay between the musicians. The duo’s seamless exchange of lyrical melodies is influenced both by the Kurdish and Iranian modal world as well as by the pre-modern classical cello repertoire. Each performance then segues to a dance-like section with Weinroth-Browne’s virtuoso cello often providing the forceful accompaniment, performing fast-moving bowed climaxes accented by fortissimo bass notes. In places we’re reminded of his progressive metal and neo-folk affiliations. That dense energy propels the music forward, providing welcome contrast to the stillness of other sections, a kind of a narrative arch. Throughout, Jamshidi and Weinroth- Browne give each other a generous amount of breathing room to express the wide range of human experiences suggested by the track titles. On re-listening, it struck me how this music also gifts listeners the space to venture on our own inner journeys too. Andrew Timar thewholenote.com June | July | August 2019 | 97

Volumes 21-25 (2015-2019)

Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
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

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