Volume 30 Issue 2 | October & November 2024

that dying is just

that dying is just another stage in a person’s life, where acceptance eventually overcomes grief. Add audacity and London’s band aptly demonstrates those concepts on this CD. Ken Waxman Meandering Demons Peter Van Huffel’s Callisto Clean Feed CF 667 CD (cleanfeedrecords. bandcamp.com/album/meanderingdemons) ! With tandem harmonies comparable to those of the classic Gerry Mulligan quartet, baritone saxophonist Peter Van Huffel from Kingston, ON and Toronto trumpeter Lina Allemano do more than put a contemporary spin on these seven Berlin-recorded tracks. Their polyphonic counterpoint includes spiky and smeared timbres, fragmented and stretched by the electronics used by Van Huffel and pianist Antonis Anissegos, yet with the expositions steadied by drummer Joe Hertenstein’s concentrated rumbles. Alongside horizontal narratives, massive space remains for all four to personalize the expositions with raging triplets and half-valve growls from Allemando, bitten-off snarls, thickened overblowing and basement slurs from Van Huffel and just enough keyboard clips, stops and voltage-altered textures to overcome the expected. On Ravenous Hound for instance a concluding lockstep horn march is emphasized only after an impressive display of drum patterning and key clicks. With Interdimensional Planet Hopper the jokey veracity of the title is established as multidirectional tempos and pitches billow. Electronics expand and contract motifs created by raunchy reed vamps, strained brass bugling, celeste-resembling tapping from Anissegos and Hertenstein’s thickened ruffs and ratchets until all return to earth with a four-part unison finale. Although throughout quartet members can create raunchy narratives seemingly without stopping for breath, thematic control is always evident. While some sounds expressed suggest the fun pinpointed in the disc’s concluding track title – Barrel of Monkeys – it’s clear that these musical devils can also meander into the music of angels. Ken Waxman POT POURRI Jaya Raagaverse Rhea Records (raagaverse.bandcamp.com/ album/jaya) ! I have the pleasure of reviewing two albums from Canada’s West Coast this month, and it’s always a treat as a Torontobased writer to explore the musical happenings elsewhere in the country. Jaya is an exciting debut album from Vancouver collective Raagaverse, led by its vocalist Shruti Ramani. Admittedly Ramani was the member of the group I was least familiar with prior to exploring this recording, but her reputation precedes her in contemporary musical circles nation-wide. Jaya’s album design alludes to the Indian origins of its contents, eschewing the oftendrab layouts and artwork that enclose many Canadian jazz discs. Rhea Records features artists from the jazz/improvised music realm, and while Raagaverse’s core quartet instrumentation might be right at home performing originals and standards, this album uniquely evades categorization. Pianist Noah Franche-Nolan and drummer Nick Bracewell have recently become common names in Vancouver’s creative music scene, and they bring both youthful energy and mature restraint to their playing in Raagaverse. Jodi Proznick is a coveted bassist locally and internationally who shines throughout this album, notably with an energetic solo on Parindey. Ramani’s use of Indian syllables when improvising was of particular interest to me, offering a unique approach compared to wordless vocalising. There was an “Indo-Jazz” trend some years ago that led to interesting music at its best, and some strange appropriation when less successful. Raagaverse manages to enter this domain in the most organic and exciting way possible, while simultaneously existing in a realm of its own divorced from labelling. If you’re a fan of jazz, Indian music, contemporary improvisation or all of the above, I highly recommend Jaya. And even if you’re not inclined in any of those directions, I expect you’ll still find a favourite track or two. Sam Dickinson Kyiv Soul Nastasia Y Lula World Records (nastasiay.com) ! Innovative vocalist/ keyboardist/creator Nastasia Y has just released a dynamic and thoughtprovoking recording which has been informed by her remarkable journey… growing up in Kyiv while being surrounded by her late activist father’s folk songs, to eventually joining the global indie jazz coterie of Toronto’s explosive world music/independent music scene. Nastasia’s potent material is really a fusion of folk songs, or as Nastasia says “Ukrainian Blues,” with a liberal dash of jazz and funk. On this unique project, she has assembled a gifted complement, while celebrating the proud legacy of resistance and Ukrainian patriotism of her late, heroic father, Kost’ Yerofeyev. The recording also explores the depths of Slavic ancestral magic and the incredible fortitude and bravery of the Ukrainian resistance, as well as the nature of war and the nature of love. The repertoire here has all been composed/ adapted by Nastasia, including Salgir River, a traditional Crimean song of the nearly obliterated Tatar people, re-imagined with ancient, powerful and stirring vocals and face-melting contiguous guitar/synth lines. A true standout is Kupalo, a contemporary twist on the mystical Ukrainian summer solstice celebration and a fine guitar solo by KC Roberts is the icing on the pagan cake!! Also superb is the Carpathian ballad, Pod Oblachkom, which dives deep into the nature of infatuation. Nastasia’s crystalline, pitch pure soprano inveigles the listener into the magical, mysterious depths of passion. And the incendiary closer, Bez Vas, is a contemporary Ukrainian power ballad, not only embracing President Zelenskyy’s vision, but musically highlighting the eternal cultural identity of Ukrainians and of their sovereign nation. Lestley Mitchell-Clarke Recuerdo Amanda Martinez Independent (amandamartinez.ca) ! With the release of her fifth recording, dynamic Latina vocalist/composer Amanda Martinez has presented a programme of original compositions and collaborations that is rife with ideas, instrumental skill and deft arrangements,all embraced by her sumptuous 82 | October & November 2024 thewholenote.com

vocals. Martinez has also assembled a stellar complement here, comprised of fine musicians and composers, including trumpeter Alexander Brown; Osvaldo Rodriguez on violin and piano; producer Kevin Laliberte on guitar, keyboards, drum and bass programming; co-producer Drew Birston on acoustic and electric bass, ukelele, accordion and piano and Rosendo “Chendy” Leon on drums, percussion and back-up vocals. Additional featured vocalists include Aviva Chernick, Donne Roberts and guitarist Waleed Abdulhamid. Every track here is an inspired work of art, but must-listens include the stunning title song, Recuerdo (I Remember), which was written by Martinez and Laliberte in honour of her late father – a fearless man, filled with optimism and a zest for life and music. No te vayas (Don’t Go) was penned by Martinez, Chernick and Birston and brilliantly interweaves Hebrew and Spanish lyrics in this sumptuous ballad about the complex emotions of having to say the final good-bye to our ailing, much adored fathers. Of special beauty is Sol de ayer (Martinez/ Rosales), which features Birston on accordion and Laliberte on luminous guitar. The moving closer, Nostalgia, presents Martinez at her most evocative, while the magic of Laliberte’s guitar supports and embraces her gorgeous vocal interpretation of this deeply emotional exploration of love and loss. Lesley Mitchell-Clarke Island Hopping Gabriel Evan Orchestra Independent n/a (gabrielevanorchestra. bandcamp.com/album/island-hopping) ! This is New York saxophonist Gabriel Evan’s third album and continues his investigation of delightfully retro genres from the context of Caribbean jazz. When I first heard Island Hopping it brought to mind Earl Bostic, the American alto sax player who played a combination of jazz, swing and jump blues from the 30s to the 60s. Evan’s primary instrument is soprano saxophone and his “orchestra” has Charlie Halloran on trombone, Josh Dunn (guitar), Kris Tokarski (piano) Pete Olynciw (upright bass) and Jafet Perez (drums and percussion). All the tunes are lively and delightful and many date from the 30s (such as Carmencita, a classic Lionel Belasco waltz) while two are Evan’s originals. In the latter group, Boychick Calypso is a playful shuffle full of sophisticated energy and delightfully melodic solos while Habana Hammock is gently relaxing as its name suggests. Island Hopping’s upbeat swing is infectious throughout and you cannot help but smile from beginning to end. Ted Parkinson Cuckoo Lemon Bucket Orkestra (lemonbucket.com) ! There is so, so much exciting world music performance energy in Toronto-based Lemon Bucket Orkestra’s fourth release. Together for 14 years, their ensemble playing has paid off again, as they cleverly combine powerful Ukrainian folk polyphony, driving Balkan rhythms, Klezmer and such modern Western music elements like punk to create their sound. The 11 tracks feature LBO’s modern arrangements of traditional folk music and original compositions. Opening track arrangement of Shchedryj Vechor, a traditional Ukrainian folk song, opens with bright singing and accented ends of phrases. Drum crashes and horn held notes and a short horn solo leads back to opening repeated singing. Title track Cuckoo draws on two Ukrainian folk songs, with whispered speaking female vocals. Energy galore comes from violin against background repeated horns, background screaming/talking, back to fully orchestrated sung melody. Unexpected clapping to repeated horn solo and quieter vocal quasi screaming. Big crash ending with screaming backdrop. Two tracks – original Mik Mik and traditional Ukrainian Da Ishly Divky – showcase special “feature” Macedonian master trumpeter/arranger Nizo Alimov from Kočani Orkestar. Petrunino combines traditional Bulgarian folk and Irish jigs and it is astounding how well these two culture’s music combines. Fun violin combines Irish, a bit of jazz, Bulgarian folk for a completely new musical genre. Lemon Bucket Orkestra is pushing the boundaries of traditional world folk music to great success, giving it a new sonic future while still respecting the original song. From intense, loud sounds to groundbreaking genre arrangements to free sections, it is party time! Tiina Kiik Lullabies After Storms and Floods Parade Elastic Recordings ER013 (paradetoronto. bandcamp.com) ! Their press release states that Parade “is an experimental poprock trio based out of Toronto, Ontario featuring Stefan Hegerat (drums, compositions), Chris Pruden (synthesizers) and Laura Swankey (vocals, electronics)” who draw on “their diverse backgrounds in jazz, classical and electronic music” to combine “improvisation and composition to create unique and immersive sonic landscapes.” Their latest album Lullabies After Storms and Floods demonstrates an eclectic and exciting mix of slightly dissonant melodies, electronic sounds which invade and regress, sweeps of drums and precise but almost emotionless vocals. The Bridge begins quietly with a soft vocal (”What moved her to cross the bridge that night….”) and builds into a more epic rock piece with some swirling drums, before returning to the opening mood. The Basin begins with a “marimba” repeating a minimalist pattern for over two minutes before it abruptly shifts to a standard rock beat with Swankey singing “In the basin, where tender thoughts coalesce… trapped in stillness, my heart is on ice…”. The vocals are eventually replaced by the recurring minimalist rhythm but with different instrumentation. Other pieces contain jazz influenced sections (the opening to Frozen Portrait deliciously evokes a late-night jazz singer and the piano work is subtle and warm). The mixture of vocals (with vibratoless and slightly dissonant melodies) and changing moods and genres, make Parade an intriguing and fascinating band and this album succeeds in producing many “immersive sonic landscapes.” Ted Parkinson Towards the Light Les Arrivants Independent (lesarrivants.com) ! This is the second release from acclaimed Montreal-based instrumental ensemble Les Arrivants. Musicians Amichai Ben Shalev (bandoneon), Abdul-Wahab Kayyali (oud) and Hamin Honari (percussion) each moved independently to Montreal during COVID, where they met and started making music together. Their 2022 first release Home resounded with their personal, resettlement and expertise of styles like tangos, classical Arabic music, traditional Persian rhythms, contemporary and improvised music. Here their development artistically expands in inspirational sounds. Each musician is also a composer, arranger and improvisor. Phoenix Landing is Les Arrivants’ “short but sweet” conversational improvisation featuring bandoneon swells/ lines, oud runs and drum rhythms. The title track is a group improvisation with guest Didem Basar (ganoun) that has touches of atonal melodies, strums, faster lines leading back to tonal short uplifting melodies. Each instrumentalist is equally memorable. The opening track City of Ashes is thewholenote.com October & November 2024 | 83