Volume 29 Issue 6 | June, July & August 2024

that on a track like

that on a track like Sweatered Webs (Hey Mom) string scratches are overlaid with reed flutters while Smith’s vibraphone reverberations harmonize with lyrical vocal recitation. Climax is reached when altissimo saxophone screams and triple tonguing is contrasted with a thick, processed bass and drum groove. Clarinet riffs are prominent throughout. Noriega’s jaunty flutters add to the airiness of drum paradiddle and wordless scatting on Minimalism with the same clarity that his harsh clarion smears join trumpet triplets, programmed overdubbed vocals, unison strings and intense drum beats on Disco Inferred to inflate the resulting sound to almost orchestral capacities. Without neglecting percussion comprehension and connections, Smith provides another instance of how drummers’ rhythmic architecture also often make them sensitive and inventive composers. Ken Waxman Richard Nelson – Dissolve Makrokosmos Orchestra Adhyaropa Records AR00053 (richardnelsonmusic.bandcamp.com/ album/dissolve) ! The realms of modern jazz and new-age classical, improvisation and composition mix and mingle for a unique sonic experience on composer, guitarist and bandleader Richard Nelson’s latest musical endeavour. Featuring a lineup of 15 talented musicians, including co-leader saxophonist Tim O’Dell, this record is the debut for a new and adventuresome group called Makrokosmos Orchestra. The album is set up essentially as a contemporary classical-jazz fusion symphony in three movements, each of them having their very own distinctive flavour and story. Not only do we see Nelson’s talents as a bandleader highlighted throughout the record, but also his experimental and progressive compositional style. What fascinates listeners is how Nelson has masterfully navigated both jazz and classical genres and brought aspects of both into his compositions, which are a completely seamless blend of the two. Take Dissolve as an example: winding bass lines and catchy drum grooves paired with a full, powerful orchestral sound, with feathery flute melodies and strong horn lines taking us into a world where new possibilities and opportunities of combining the old and the new are found. Improvisational sections with syncopated solos contrasted with beautifully written and thought-out cohesive parts within the pieces are what keeps the listener captivated, just waiting to hear what’s around the next curve. This disc would be perfect for those looking for an album that excites and draws in, that both energizes and allows for contemplation and reflection. Kati Kiilaspea Disaster Pony Disaster Pony Love Town Records LTR-003 (disasterpony.com) ! Remaining sonically and aesthetically consistent while taking continual risks can be a difficult balancing act, yet Gordon Hyland’s Disaster Pony project seems to thrive on this razor’s edge. Much like the narrative one can glean from scanning its wonderfully bemusing track titles, Disaster Pony is equal parts pleasurable and unpredictable. Tracks like Fruit Flies in Cola are imbued with an infectious sense of humour and yet in the same breath will dismantle conventional wisdom on the dynamic range of a cello, completely rendering any timbral distinctions between instruments non-existent until all the ear is left with is a disarming, uncannily human cry. This instance of cellist Liza McLellan’s counterpoint with Hyland’s saxophone completely commands the listener’s undivided attention in a way the rest of the soothing ambient track does not and yet this climax was not reached abruptly. The old (scientifically-debunked) allegory about a frog in gradually boiling water applies to this album very well, as it is easy to get lost in the head-nodding grooves and gorgeous repeating sections, to the point where any drastic changes to the music are almost imperceptible as they occur. For the music to constantly operate on stealth-mode and flow this organically means that the hypnotic effect extends even to repeated listening. Grab a book, hit the loop button and feel an afternoon slip away. Or, simply lean forward. Foreground or background, Disaster Pony is a form of time travel. Yoshi Maclear Wall Transfiguration James Brandon Lewis Quartet Intakt CD 400 (intaktrec.ch) ! Putting an individual stamp on a common jazz grouping, tenor saxophonist James Brandon Lewis and his quartet of pianist Aruán Ortiz, bassist Brad Jones and drummer Chad Taylor stretch the configuration’s parameters, but maintain steadying cadences that balance exploratory flights. Backed by bass pops, supple percussion chops and keyboard dynamics, like John Coltrane before him, Lewis is free to open up improvisations that undulate and advance to reed cadenzas that roar, ripple and reverberate into split tones and harsh smears. Yet no matter how many textures he crams into his solos, as on the session defining Per 6, other players’ timbres are there not to harness invention, but to mix tradition with transfiguration. Ortiz outlines melodies as often as his modal time suspensions or rhythmic note sprinkles impressively challenge the saxophonist’s pivots to double-tongued altissimo on the balladic Trinity Of Creative Self or to preaching glossolalia on the intense Empirical Perception. Never exceeding tasteful boundaries, Lewis’ saxophone control means that his onomatopoeic cries, bites and peeps are harmonized as well as transformative. He harmonizes with the others throughout, constantly returns to the theme by tunes’ conclusions and somewhat manages to quote Rhapsody in Blue during his solo on the title track. Transfiguration is the band’s third outing, each of which is sturdier and tighter and more coordinated than the previous one. If this trend continues this may become the most significant jazz quartet of the beginning of the 21st century. Ken Waxman Jet Black Satoko Fujii Tokyo Trio Libra Records 203-073 (librarecords.com) ! The paint chips and the frame splinters, allowing the textures to deepen, the gradient to sharpen. The level of tonal and timbral depth that has been achieved on this recording is incredible; you can constantly sense the impact of strings on neck, finger upon key, hammer upon trembling copper and reverberations within receptacle. So strikingly vibrant are the gestures of each musician, each exchange of spontaneous notions leaves the impression of rainfall on one’s shoulders. Yes, Satoko Fujii is a legend in the field of improvised music, but her playing and creative direction here pushes that stature into something that feels more meaningful and interpersonal. This is dialogue that lays the processes of its interlocutors bare, enticing the listener to guess and guess, but never making the anticipation laborious, only subliminal. During the first few minutes of Sky Reflection, Takashi Sugawa takes a simple extended technique – the act of dragging the horse hair of the bass bow perpendicular to the string rather than across it – and whips up a feast for the ear, a roaring 74 | June, July & August 2024 thewholenote.com

sound vacuum populated with a bouquet of rasps and scrapes. It is out of this jagged tranquility that a secondary drone materializes, one that is low and drawing ever nearer. Ittetsu Takemura’s first drumstick drops, suddenly assuming the form of that tension created, while Sugawa’s arco dusts your spine. The paint deepens and the frame sharpens, allowing the textures to chip, the gradient to splinter. Yoshi Maclear Wall POT POURRI Temporal Waves Temporal Waves People Places Records PPR | 051 (peopleplacesrecords.bandcamp.com) ! Montréal-based Shawn Mativetsky, one of Canada’s foremost tabla players, is an accomplished performer of Hindustani classical music and a sought-after tabla educator. He’s equally at home in genres as diverse as world music, jazz, pop, composing and performing for dance and theatre productions and working with contemporary Canadian concert composers. Nicole Lizée, Tim Brady and Dinuk Wijeratne have all included his tabla playing in their work. Featuring production and performance contributions from Jace Lasek (Besnard Lakes), the eponymously titled Temporal Waves reveals yet another side of Mativetsky’s musical persona. Here sonic atmospheres are dominated by retro analog synthesizer sounds and aesthetics, by drum machine and electronic effects, all framing his masterful tabla playing. Rooted in Mativetsky’s demoscene community involvement in the 1990s, Temporal Waves is a touching nostalgic look back to his youthful days steeped in the DIY electronic music scene that congregated around “tracker” software and the music of early video games. All these features are reflected in the album, with Mativetsky’s un-ironic tabla upfront in the mix, and skillfully integrated musically too. Listening to Temporal Waves occasioned numerous surprises. Luminous Objects for example is in a five-beat rhythmic cycle outlined by a delightful diatonic sequenced melody, while the next track is in seven. Importantly, both odd meters give plenty of opportunity for tabla displays. Mativetsky was a member of the Montreal group Ramasutra 25 years ago, and recently has collaborated with live coder David Ogborn. This attractive new release is yet another step in his Indo-electronic journey, one which has substantial crossover appeal. Andrew Timar Migrant Voices Itamar Erez; Hamin Honari Independent (itamarerez.com/itamarhamin-duet) ! Free improvisation requires trust and understanding, qualities not often found within longheld national political divides, and yet this is very much present in the music made by Israeli-Canadian guitarist Itamar Erez and Iranian percussionist Hamin Honari on Migrant Voices. The opening track, Departure, defines the difference and commonality between Erez’s accomplished guitar and Honari’s finesse on the tombak (Persian hand drum). With nods to Spanish and classical western styles, Erez’s guitar leads Honari’s drum in a counterbalanced union. The title track, Migrant Voices, the only composed work, displays in Erez’s hands, Middle Eastern elements and sounds I associate with the oud, while adding western classical trills and ornamentation. It takes the migrant on a wandering journey over hills and through valleys requiring attention to the path. Honari’s drumming enriches the landscape, while suggesting its dangers. After its slow opening Embrace, one of the strongest tracks on the recording, finds a delicate interplay when Honari’s drumming enhances Erez’s expressive lead. The multiple turns and transitions surprise and delight and occasionally recall the American John Fahey’s always inventive improvisational guitar fingerpicking. Another highlight, Forgotten Sands, offers a Spanish style bolero where Honari’s finger drumming leads the dance and Erez’s guitar provides elegant pomp and flourish in their combined movement across the majestic dance floor. Throughout the excellently produced recording the musicians bring together two nations under one music-making roof and speak with understanding and coherence. Edwin Gailits Comfort Food Kiran Ahluwalia Independent KM2024-1 (kiranmusic.com/music) ! The idea that multiculturalism can become a bloated kind of tribalism is not a stretch. You only need to experience what happens when the serpent of nationalism strikes at the heel of rainbowed societies that have long since lived harmoniously. Kiran Ahluwalia sings of this phenomenon, born of her painful experience living in India, and Canada as well. As she lifts her voice to a characteristic, existential wail, painting a disturbingly beautiful tapestry woven from the threads of conflict in the universal confrontation between religious faith and political torment. She calls her album of songs Comfort Food because she lends her poignant voice to each song, the heart of which beats most affectingly in slow pulsating movements which she shapes in the doleful blend of Sufi arias made up of impassioned lyrics. As on previous albums masterfully created with her husband, the extraordinary guitarist and producer Rez Abbassi plays with meticulous diligence, placing his focussed, wailing sound, velvety fluency and acrobatic vibrancy at the service of his wife’s eloquently sculpted music. Ahluwalia treads nary a wrong step, bringing together Abbassi and a full complement of brilliant Canadian journeymen including multi-instrumentalist Louis Simao, accordionist Robbie Grunwald, bassist Rich Brown, tablachi Ravi Naimpally, drummer Davide DeRenzo and percussionists Mark Duggan and Joaquin Nunez. Every lightfingered performer is keenly responsive to Ahluwalia’s outpouring of lyricism, especially on the wonderfully mystical Ban Koulchi Redux co-written with Algerian Souad Massi. Raul da Gama Nadah El Shazky – Les Damnes Ne Pleurent Pas Nadah El Shazky; Various Artists Asadun Alay Records (asadunalayrecords. bandcamp.com) ! The British- Moroccan independent film director Fyzal Boulifa released his latest film, Les Damnés ne Pleurent Pas (The Damned Don’t Cry) in 2022. Already the winner of several awards, it is scheduled for release with English sub-titles in the near future. The music for the film was created by the Cairo-based composer, producer and vocalist Nadah El Shazly, and the vast majority of it is performed by a trio consisting of violin, double bass and electronically modified harp played by Nicolas Royer-Artuso, Jonah Fortune and Sarah Pagé respectively; El Shazly provides the vocals on one track, Adi. For a gritty mother-son drama set in Morocco, one might expect the film to feature some plaintive, evocative, Arab-scented music and you will find some lovely, complex examples of that on such tracks as Mausoleum, Haircut and End Credit. Special mention here goes to El Shazly’s deeply satisfying vocals on Adi and to beautifully effective moments where some non-Western tuning turns the harp into a sort of folk instrument. There are thewholenote.com June, July & August 2024 | 75