let up during the
let up during the duration of the piece and combined with Blade’s continuous rhythms and riveting saxophone melodies, makes for a positively bopping piece. In contrast, If You Forget Me takes it down a notch, with Koppel Jr.’s bluesy, soulful sax line just tugging at the heart strings and creating a beautiful, melancholy soundscape. What makes the record such an incredible musical journey is that it manages to both feel new and like a nostalgic throwback simultaneously. A hark back to different times, bringing that complexity and emotion into today’s world. Kati Kiilaspea Being Human Lynne Arriale; Alon Near; Lukasz Zyta Challenge Records CR 73572 (lynnearriale. com/shop/being-human-1) ! Luminous pianist, composer and arranger Lynne Arriale has graced the stages of the most prestigious temples of jazz throughout the world and with the release of her 17th recording, Arriale is joined by internationally renowned musicians, bassist Alon Near and drummer Lukasz Zyta. Ten moving and insightful original compositions are included in this jazz suite, with Arriale having taken inspiration from remarkable individuals such as environmental activist Greta Thunberg and Nobel Peace Prize Laureate Malala Yousafzai, as well as from positive human qualities and the variety of emotions and needs that we all share – musically and etherically eclipsing the “great lie” of human separatism. First up is Passion dedicated to Thurnberg. This arrangement is rife with youthful enthusiasm, tinged by the melancholy of the high emotional price that young people can pay for their dedicated, nascent mono-vision, having connected with their pure, focusdriven path early on. Written by Arialle for the Human Race, Love is stunningly beautiful, and a reminder of how unique every soul is and that the potential for illumination resides in each one of us. Arriale’s playing here embraces both the contrapuntal aspects of a classical composition, as well as a refreshing purity and simplicity. Near and Zyta are in a rarefied communicative state with Arriale, at once supportive and creative, imbuing each nuance with their individual sound and skill. Highlights include the free Curiosity, dedicated to autistic mathematician/physicist Jacob Barnett, where universal mysteries and chaos are plumbed. The swinging Soul (dedicated to Amanda Gorman, National Youth Poet Laureate) is a groovy, rhythmic trip that not only features a hard-driving four from the rhythm section, but Arriale’s dynamism and encyclopedic knowledge of the bop canon. The suite closes with a reprise of Love utilizing “voices” on the Yamaha Clavinova, which underscore faith in humanity and a mutual commitment to unity and a brighter, inclusive future. Lesley Mitchell-Clarke Evolver Bruno Raberg Tentet OrbisMusic OM1323 (brunoraberg.com) ! Music – especially the music called jazz – is always an evolutionary process. So having workshopped this music for a considerable period, its shepherd, Bruno Råberg rightfully, albeit whimsically, called its recorded iteration Evolver. Listening to it being played by the ace alliance he calls the Tentet you will be beckoned seductively by the dramatic twists and turns of each piece on this record. Plunge in then as if you intended to discover the secrets of the source of the music, as if it were the water of life to its composer. The technical aspects of this music – arranged for ten performers who read exceedingly well – is one way to regard the music of Evolver with its six individual pieces and the final four-part work, The Echos Suite. However, penetrating the skin of the music to mine its secrets is more spiritual, shamanic and ephemeral. In ephemeral terms the wellspring for Råberg’s compositions are perceived as shamanic affirmations translated into musical synchronicities. The melodies, harmonies and rhythms are signs he is doing precisely the right thing at the right time. This is how his labyrinthine melodies flow into harmonious tributaries and eloquent and complex rhythmic variations. Thus, Råberg marshals his musicians through a masterful expansive musical odyssey; Greek myths (Peripeteia, Erbus and The Echos Suite), the Swedish countryside (Stilytje) and with Mode Natakapriya, through the diabolical complexities of the South Indian music tradition. Raul da Gama Live at Smalls Jack Walrath; Abraham Burton; George Burton; Boris Kozlov; Donald Edwards Cellar Music CMSLF008 (jackwalrath. bandcamp.com/album/live-at-smalls) ! Devotees of the titan of music and musical successor to Duke Ellington, Charles Mingus, will remember trumpeter Jack Walrath from Me Myself an Eye (Atlantic, 1979), from the final era of Mingus’ epic oeuvre. That album began with Three Worlds of Drums, the bassist’s composition for large ensemble with two bassists and three drummers. Why remember Walrath? It was the trumpeter who gave wings to Mingus’ idea for the work, which the bassist “…noodled into a tape recorder,” said Walrath. Many years after that epic recording, a wizened Walrath made what I believed to be his finest recording. Invasion of the Booty Shakers (Savant, 2002), with the brilliant vocal gymnast, Miles Griffith. That recording began with Walrath’s iconic piece, Black Bats and Poles, a work that graced Mingus’ album Changes Vol. Two (Atlantic, 1974). Having his song immortalised on a Mingus album says a lot about Walrath, the trumpeter. Mingus didn’t simply “pick” trumpeters, he bonded with the best. (Remember Johnny Coles, and the great Clarence Shaw?) Like those men, Walrath is an artist of the first order, a master of his instrument. He shows us just that on this brilliant recording Live at Smalls. He is a player of remarkable virtuosity and expressive élan. He announces his compositional provenance especially on the erudite Grandpa Moses, and the brooding Moods for Muhal. Saxophonist Abraham Burton, pianist George Burton, bassist Boris Kozlov and drummer Donald Edwards interpret Walrath’s compositions with idiomatic brilliance. Raul da Gama POT POURI Peni Candra Rini – Wulansih Peni Candra Rini New Amsterdam NWAM185 (newamrecords.org/albums/wulansih) ! Indonesian vocalist and composer Peni Candra Rini is a specialist in the art of sindhenan, a style of solo female Javanese gamelan singing most often performed with gamelan ensembles. She was mentored by renowned Javanese composer Rahayu Supanggah (1949-2020), a pioneer of experimental gamelan music whom I had the pleasure of meeting years ago at his Surakarta home studio. Looking beyond the conventional role of the sindhen, Rini has developed a practice which embraces experimental vocalise, dance and video – along with a unique approach to composition. I recently heard her work performed by Kronos Quartet in Toronto. Rini’s eight-song album Wulansih effectively layers traditional Javanese and experimental music in several ways. With lyrics by Javanese musical innovator Andjar Any, the love song Jenang Gula 52 | September 2024 thewholenote.com
is arranged in a gamelan-influenced hybrid “string band” genre called Langgam Jawa. Rini renders the song with warmth, effectively accompanied by guitars, percussive cello, bass – and a supportive Moog synthesizer. Prominent on several tracks is the pinjo, a plucked chest resonated stick zither which produces subtle acoustic overtones and phasing effects. Uncommon on records, it’s eloquently played by American ethnomusicologist Andy McGraw. On Esamu it pairs superbly with background synth bass drones and washes. This acoustic-electronic texture serves as background for Rini’s intimate voice, counterpointed by I Gusti Putu Sudarta’s reverb-bathed distant vocals. I don’t want to give the impression that Wulansih is only about unusual instrumentation and novel music hybrids. Rini’s professed goal for her music is “to give love through sound with sincerity.” Mission accomplished. Andrew Timar The Thunder and the Bay Lori Cullen (loricullen.com) ! Fun fact: last year, Lori Cullen was hired to perform at Drake’s Christmas party, along with piano player Aaron Davis, and Drake posted a brief video clip of them performing to his Instagram account with its gazillion followers. I’m not sure if that experience had an influence on the direction Cullen has gone on this new album (I suspect not), but it is decidedly more “poppy” than the singer/songwriter’s usual blend of folk and jazz on her previous eight releases. Not that that’s a bad thing, especially when it’s as artful as The Thunder and the Bay is. For this project, Cullen has teamed with James de Pinho, an EDM-style producer and songwriter. Filled with electronica, the ten tracks that make up this latest album take us on a chill trip through sounds that evoke the dramatic Northern Ontario landscape that inspired the project. Despite the departure from her usual style, this is still very much a Cullen album, with her pretty and emotive vocals at the centre of the tracks. A few favourite “sophisti-pop” bands came to mind while listening, such as Everything But the Girl and Zero 7, especially on Feel You First with its acoustic guitar (samples?) and actual cello courtesy of Kevin Fox and Into the Wood which features trumpet player extraordinaire William Sperandei. Other musicians who add to the dreamy soundscape are Rich Brown on bass and Thom Gill and Kurt Swinghammer on guitars. Swinghammer, who is also a noted visual artist, provided the stunning artwork for the cover and videos. Cathy Riches That Place, Darling Heather Macdonald; various artists Independent (heathermacdonald. bandcamp.com/album/that-place-darling) ! Heather MacDonald’s debut album, That Place, Darling, is a captivating musical journey that skillfully blends the delicate tones of the oboe with vocals, guitar, ukulele and piano. Thematically employing the emotions of autumn, the album explores the poignant sensations of holding on and letting go. Heather MacDonald demonstrates her versatility and technical proficiency throughout the album. Her oboe performances showcase both lyrical beauty and adventurous exploration with techniques like gentle glissandos and multiphonics. Beyond the oboe, MacDonald’s talents extend to Something in the Air KEN WAXMAN vocals and ukulele, adding layers of richness and diversity to the musical landscape. The collaboration with guitarist Nathan Corr and pianist Asher Farber enhances the album’s dynamic range, contributing to its engaging and whimsical atmosphere. Together, they craft a unique musical experience that is both intimate and evocative. The repertoire of the album is eclectic and thoughtfully curated, featuring works by Louis Jordan, Reena Esmail, Alyssa Morris, Chelsea McBride, Johnny Green, James Pecore, Jean Coulthard and an original composition by MacDonald herself. This diverse selection not only highlights MacDonald’s interpretative skills but also underscores her commitment to exploring a wide range of musical styles and influences. Overall, That Place, Darling is more than a debut album; it is a testament to MacDonald’s artistry and creativity. It invites listeners into a world where emotions are vividly expressed through music, making it a memorable and enriching musical experience. Melissa Scott Age is just a number when it comes to Creative Music Earlier this year, Canada’s newspaper of record, the Globe & Mail, took a full two weeks to publish a story on the death at 100 of Phil Nimmons, arguably Canada’s dean of modern jazz. Media priorities differ, although reporting on the demise of pop music performers seems to happen almost immediately, but in a way this reflects the perception of jazz as a young person’s art. That’s about as bogus as any other musical cliché, and right now there are numerous improvising musicians creating memorable sounds in their late 70s and 80s. Take Argentinian-American clarinetist Guillermo Gregorio, 82 for instance. An academic dealing with architecture and art history, he played improvised music at the same time and has intensified his musical interests since he stopped teaching. Two Trios (ESP 5047 espdisk.com/5047) involves live sessions featuring the clarinetist with either cellist Fred Lonberg-Holm and vibraphonist Carrie Biolo or contralto clarinetist Iván Barenboim and cellist Nicholas Jozwiak. In sync chamber improv in both cases, the first finds the vibist alternating between front line shimmers and rhythmic thumps as Lonberg-Holm sharpens the program with string slices and stops while Gregorio elaborates themes with reed glissandi, flutters and chalumeau register lowing. Although most tracks are almost lyrical, with an emphasis on harmony, others like Degrees of Iconicity and Improvisation toughen the program with the equivalent of bell-ringing motifs from Biolo, sul ponticello emphasis from the cellist and Gregorio’s timbres fluctuating from andante to presto as he squeals split tones upwards. Even more energized, the second trio set uses contralto clarinet tones as a huffing ostinato mixed with string strums for bouncing expositions as Gregorio distills aggressive or pastoral trills from his horn, interjecting vibrations at many speeds. Still like the session with the other trio, a track like Out of the Other Notes is an interlude confirming that intense free music can also be well-balanced, moderated and linear. Full time musicians and early members of Chicago’s AACM, trumpeter Wadada Leo Smith and pianist/organist Amina Claudine Myers, both 82, combine to celebrate the grandeur of New York’s Central Park’s Mosaics of Reservoir, Lake, Paths and Gardens (Red Hook Records RH 1005 thewholenote.com September 2024 | 53
