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Volume 26 Issue 3 - November 2020

  • Text
  • Recording
  • Artists
  • Concerts
  • Musicians
  • Choir
  • Orchestra
  • Jazz
  • Toronto
  • Musical
  • November
Alanis Obomsawin's art of life; fifteen Exquisite Departures; UnCovered re(dis)covered; jazz in the kitchen; three takes on managing record releases in times of plague; baroque for babies; presenter directory (blue pages) part two; and, here at the WholeNote, work in progress on four brick walls (or is it five?). All this and more available in flipthrough HERE, and in print Tuesday Nov 3.

eacting to or against

eacting to or against programmed samples of reed improvisations and other intonations propelled by his synthesizer. Rife with static crackles, noises and pauses, the results are as changeable as if he were duetting with another player. With advances in programming, timbres from the synthesizer take on multiple identities from bagpipe-like tremors to plastic kazoo-like screeches; yet most frequently, organ-like motifs serve as several tracks’ continuum. Meanwhile Chayer’s parallel acoustic tone is snarly and metallic, dedicated to high velocity fluttering or calm multiphonics. Extended tracks such as Organisation Off and Master Forgery play with the implicit plasticity of the program. For instance, the former positions a biting reed solo atop massed saxophone timbres and climaxes as the soloist squeals past altissimo with key percussion echoes below. The latter track balances calliope-like patterning that remains unchanged as vibrating reed split tones expand to twitters and trills, sometimes vamping roughly against one another. Like a Pimp may be the defining track however, as newer samples keep being added to the stop-time exposition so that a simple melody is present from a singular reed line along with electronic flanging and reverberating tongue pumps. Chayer’s stated aim is creating reed programs that move between analog noise and musique concrète. Adding a hearty dose of improvisation, Gebilde proves that he has attained this goal. Ken Waxman Thirty years in between Barre Phillips VICTO cd 132/08 (victo.qc.ca) ! Proving that an old double bass soloist can still learn new tricks isn’t the point of Thirty years in between. Instead, coupling a genre-defining 1989 solo disc from the now 85-year-old American bassist Barre Phillips with a new set of live solos from FIMAV 2019 makes clear how mature savvy has replaced adroit swagger. Not that the 1989 tracks aren’t dazzling, as Phillips was pioneering a novel approach to soloing. With fluid variation at both ends of the timbral spectrum, he maintained a warm expansive tone, whether he was pummelling pumping variables from the bottom tones or using hard-edged spiccato to extract narrowed multi-string squeaks, By 2019 however his strategy has been distilled to its essence. Pared away from sometimes baroque-like formalism and showy staccato runs, he concentrates on moody narratives. Mellow in his echoing tones, Phillips still makes use of col legno slaps and spiccato reverberations, with some passages taken prestissimo. But by keeping most interpretations at a low simmer he isolates rubs and pops then plays up the suppleness of variously angled string sets and the instrument’s woody reverb. Animated with harsh stropping when needed, as on Abate? Arise?, silences are also prominent. The concluding A new take strings together old and new techniques. Alternating between cultured sweeps and gaunt shrills, a display of triple stopping is followed by thin moderated slides to the finale. Obviously Phillips was a master solo bass player three decades ago – and he retains that skill. Ken Waxman Spirit Science Tom Guarna Destiny Records DR-0030 (destinyrecordsmusic.com) ! Renowned jazz guitarist Tom Guarna, often named alongside greats such as John Scofield and Bill Frisell, has released a delightful record, taking the listener on a pleasing and progressive journey through a spacious jazz world; each track like a different chapter of the trek with its own distinct moods and soundscape. All tracks are penned by the guitarist himself and feature an all-star group of musicians including Ben Wendel on tenor saxophone and bassoon, Aaron Parks on keyboards, Joe Martin on bass and Justin Faulkner on drums. Such a unique instrumentation only serves to further highlight Guarna’s compositions and breathe an additional energy into them. The album has been mentioned as having a cohesive theme that is inspired by “the science of sacred geometry” which is reflected in each piece; while singular instruments meander on their own set melodical paths within the songs, they come together as a satisfying and coherent whole that calls to mind a geometric shape. Specifically, in Metatron’s Cube, this organized progressiveness is noticeable, with the rhythmic groove and distinct bass melody lending structure to the piece while soaring sax, guitar and piano solos create the sense of spaciousness and freedom. Crossing over seamlessly between progressive rock and traditional jazz, the album is a must for fans of either genre that are looking for a fresh perspective on how Metheny-esque synth and electric guitar use can be taken a step further into a new and unique dimension. Kati Kiilaspea Django-shift Rez Abbasi Whirlwind Recordings WR4762 (whirlwindrecordings.com) ! In 2019, commissioned by California’s Freight and Salvage’s Django Festival to present a Django Reinhardt-centric recording project, skilled Pakistanborn and NYC-based guitarist/composer Rez Abbasi was challenged by his desire to present Reinhardt not only as a unique, mesmerizing and beloved guitarist, but also as a composer. He plumbed the depths of Reinhardt’s considerable catalogue and came upon seven stunning Reinhardt tunes, as well as two more that were strongly associated with the magical, Roma-Hungarian guitarist. In order to bring his present-tense, genre-blending vision to life, Abbasi called upon the ubertalented Neil Alexander (organ, synthesizers and electronica) and Michael Sarin on drums. Abassi’s rhythmic, 6/8 arrangement of Django’s Diminishing feels like a tip of the hat to the great Thelonious Monk – and Abassi freely admits that Monk’s odd, juxtapositional style influenced several tracks. Abbasi’s organic understanding of complex rhythmic patterns and his exquisite guitar technique defines this standout project, and longtime collaborators Alexander and Sarin have jumped down the proverbial rabbit hole right along with him – never missing a nuance. Of particular innovation is the invigorating use of organ and synthesizers (including guitar effects), coupled with the contiguous, pulsing drum work by Sarin. Reinhardt’s classic Swing 42 is barely recognizable here, but this new perspective on the tune brings an unbridled urgency and the gorgeous ballad, Django’s Castle, displays the fine trio at their lyrical best. A favourite of Django’s, Anniversary Song (Ivanovici), is arranged here as an odd-metered funky trip and one of the most compelling tracks is certainly Abassi’s take on Kurt Weill’s melancholy September Song. Abassi’s sumptuous tone and emotive interpretation of this classic are beyond compare. Lesley Mitchell-Clarke You Me & Cole Noa Levy; Shimpei Ogawa Belle Records BEL-002 (noalevylive.com) ! Over the years, there have probably been as many Cole Porter jazz renditions as there have been people on the planet. However, against the odds, vocalist Noa Levy 44 | November 2020 thewholenote.com

and bassist Shimpei Ogawa manage to deliver a truly fresh set of Porter classics on their new release. Firstly, to set the obvious aside, a bass/vocal duo coming out with a songbook album is a rare sight indeed. Trying to play and improvise over standard changes without anything resembling chordal accompaniment is no simple task. This particularly rings true when dealing with contrabass and voice, as those may be the two instruments in the jazz idiom where tuning is of the biggest concern. In spite of the challenge, Ogawa’s intonation is spotless to the point of being superhuman and Levy’s ability to adapt to these circumstances is nothing short of incredible. The biggest draw of this album is how beautifully the arranging talents, diverse musical backgrounds and novel ideas of the duo converge. Levy and Ogawa season the proceedings with pinches of everything from klezmer to Bach, and the brightest moments come with their shared fluency in tango. Their chemistry is something to marvel at, as they constantly take unexpected risks and play in seamless dialogue together without so much as a misstep. Renditions are also sprinkled with charming gifts to the listener, including overt Mingus and James Bond references. Refreshingly fun. Yoshi Wall Alive in the Wilderness Endless Field Biophilia Records BREP0019 (endlessfieldband.com) ! Two wellknown NY players, Ike Sturm, bass, and Jesse Lewis, guitar, have teamed up together to become the duo Endless Field. Their album Alive In The Wilderness is a thoughtful road trip descriptive of our connection to the natural elements; songs which carry titles such as Life on Earth, Wind, Fire¸ Water… The album is beautifully played, with great energy and dynamic interaction between the players. Resonant bass and gorgeous lush melodies evoke a film score. With both of their backgrounds being in jazz, the album is a surprisingly laid-back, free-play wander around streams and underneath stars (literally); spontaneous feeling with lots of breath, some folk elements and some just genuinely beautiful storytelling. The selections are diverse but manage to hang together with the earthly theme, helped by the continuous backdrop of running water or birds in many of the tracks. A road trip between friends, I especially enjoyed the rhythmic play in Zim and loved the looseness and the sweetness of the journey of Old Man. The album comes as a download only, which is intended to save on plastic as well as the toxins used to create CDs, and all proceeds are donated to conservation. There is however a gorgeous hand-folded origami album sleeve available from the NY label Biophilia; their artists are united by a common interest in having a positive impact on the environment and communities, and collaborate with organizations that specialize in conservation, sustainability and outreach initiatives. Check them out, they do good stuff and represent some really top NY players. Cheryl Ockrant Axioms // 75 AB Tropos Biophilia Records BREP0017 (troposensemble.bandcamp.com) ! The enigma of Axioms // 75 AB begins with the CD jacket which unfolds like an elaborate origami to ten panels: on one side is a mural which includes a quote from George Lewis, the other side contains track information, instrumentation, abstract diagrams and liner notes handprinted in a small font. If you prefer clearly typed text, you can head to the Tropos Bandcamp site. In fact, you must head there anyway, because the CD jacket contains no CD, just a download code! Axioms // 75 AB is a tribute to Anthony Braxton on his 75th birthday (June of 2020). Of the 11 compositions, the first five are by members of Tropos while the rest are by Braxton and all contain both composed and collectively improvised elements. Vocalist Laila Smith, saxophonist Raef Sengupta, pianist Phillip Golub, bassist Zachary Lavine and drummer Mario Layne Fabrizio met at the New England Conservatory and created this album as a token of their love for Braxton’s music. Many of Braxton’s works have always presented an alternative and highly original reality for jazz: they certainly swing, yet are in a very different tonal realm to Stardust or Ornithology. Tropos delivers exciting and intense playing and it is clear they are steeped in the tradition of Braxton, Ornette Coleman, Lewis and others. One quibble is that on some pieces, like Braxton’s 23c, Smith’s vocals add nuance while balancing with the rest of the group, but in other cases it is mixed too prominently and overshadows the collective. Ted Parkinson POT POURRI Monochrome Dan Pitt Dan Pitt Music (dan-pitt.com) ! Call this a cynical outlook, but I generally see likening one artist to another, particularly in music, a cheap trick employed by unimaginative writers. A saxophonist with avant-garde tendencies quickly “calls to mind Ornette Coleman.” Likewise, any legato-leaning guitarist post-1990 becomes “Metheny-esque” when described in banal jazz prose. During my second listen to Dan Pitt’s Monochrome, I ate my above words as I subconsciously likened many of his tones and textures to modern guitar greats like Bill Frisell and Ben Monder. On this 2020 release of contemporary solo guitar music, I would argue these influences merely show that Pitt has done his homework. The music presented is far from ever sounding derivative, but its uniqueness as an album also largely stems from diversity throughout its ten tracks. Pitt’s use of electric and acoustic guitars, as well as effects and samples, creates tasteful contrasts to the pieces presented, without taking away from the album’s cohesiveness as a whole. As the COVID-19 pandemic places many aspects of our lives in limbo, I am not envious of those releasing albums this year, forcedly adapting to the new normal of limited capacity and online album releases. To offer a silver lining for Monochrome, I hope that this album can benefit from the quarantined or working-from-home audience, who now have time to give it the uninterrupted 38 minutes of listening it deserves. Sam Dickinson Espiral OKAN Lulaworld Records LWR011 (lulaworldrecords.ca) ! Afro-Cuban music fused with jazz elements and rhythms from around the world, this album is impossible to listen to without moving one’s feet and occasionally breaking into dance. These talented women have heart, they have a groove, and they are backed up by an impressive list of talented musicians. Elizabeth Rodriguez (vocals, violin) and Magdelys Savigne (vocals, percussion), classically trained Cuban-Canadian musicians thewholenote.com November 2020 | 45

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
Volume 26 Issue 2 - October 2020
Volume 26 Issue 3 - November 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 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

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)