JabFung, a project helmed by bassist Julian Anderson-Bowes and Richmond Hill-born, LA-based drummer Anthony Fung, has emerged in recent years as one of Toronto’s leading presenters of collaborative jazz residencies. Anchored by the core rhythm section of Anderson-Bowes and Fung, the group’s past performances have featured excellent local and international guest musicians, including saxophonist Kelly Jefferson, pianist James Hill, guitarist Andrew Marzotto, French vibraphonist Simon Mouiller, and, for two nights at The Rex this past July, the eminent American saxophonist George Garzone.

The group’s latest residency, which took place at the Rex on December 18 and 19, continued the local/international trend, as Anderson-Bowes and Fung were joined by the LA-based pianist Isaac Wilson, who was a classmate of Fung’s at Berklee, and Cuban-born alto saxophonist Luis Deniz, a Humber College faculty member and mainstay of the Toronto jazz scene. In its current iteration, JabFung proves itself to be a rarity: a special project with the chemistry of a working band, capable of putting on an exuberant, thoughtful performance, and of displaying both virtuosity and sensitivity in equal measure.

On the second night of their two-night engagement, the group’s playing was convincing and assured from the opening bars of the first set, which began with an arrangement of Duke Pearson’s “Is That So?” that featured tight, focused solos from all band members, including a winning turn by Fung over a 7/8 vamp in the song’s penultimate section. The set continued with Wilson’s “Prized Possessions,” a medium-tempo, straight-eighths piece that showcased the strong relationship between Wilson and Fung, whose intuitive comping was both supportive and propulsive. “Opus Something,” a slow 3/4 composition of Anderson-Bowes’, morphed organically into a pulsing, triplet-heavy feel during Deniz’ confident, searching solo. Deniz’ work was also exemplary on Fung’s “A Call For Peace,” in which the saxophone solo began as an exploratory, communicative duet with Wilson, satisfying both in its harmonic and rhythmic sophistication.

The second set, like the first, featured mostly original material, including Deniz’ elegant “Marta,” Wilson’s bubbling, odd-metre “Bring it Back,” and “Tarnished,” another Wilson tune, on which Anderson-Bowes took an outstanding solo, displaying a well-developed sense of phrasing and a strong command of the bass’s upper register. It is a credit to the band’s maturity that such a relatively quiet moment was given the same attention as anything else on the program, and that the resulting solo – articulate, melodic, and displaying a clear sense of direction – was just as engaging as the more bombastic solos of the saxophone and piano.    

What emerged, during the performance, is that one of JabFung’s great strengths is its attention to detail, and many of the evening’s most compelling moments were the result of airtight shifts in texture, time signature and dynamic level. There is always a risk, at the performances of the young and the technically gifted, that excitement can lead to high-volume monotony; happily, this was far from the case during the quartet’s show, which recalled, at certain points, the telepathy of Ari Hoenig’s small ensembles, and the joyful reciprocity of Danilo Pérez, John Patitucci and Brian Blade’s trio playing.

Nowhere was this attention to detail more evident than during the evening’s final number, an arrangement of Thelonious Monk’s “Boo Boo’s Birthday,” which toggled back and forth from energetic up-tempo to medium swing, and which, in the wrong hands, could have easily become a repetitive, predictable blowing vehicle. Instead, the time-feel changes allowed the group to showcase its superb dynamic command, and for Deniz and Wilson to execute some of the most interesting (and fun) solos of the night. It should come as no surprise, perhaps, that a group co-led by a bassist and a drummer might prioritize group interactivity over individual heroism, but the result – an absorbing performance, equal parts serious and ebullient – seems well worth the effort.

JabFung performed at The Rex in Toronto on December 18 and 19, 2017.

Colin Story is a jazz guitarist, writer, and teacher based in Toronto. He can be reached through his website, on Instagram and on Twitter.

Every year in mid-December, audiences gather at churches and concert halls throughout North America to hear performances of Handel’s Messiah, the 1741 masterpiece that, although written for Lent, has become synonymous with the Christmas season. First performed in Toronto in December 1857, it was also the first work performed in Massey Hall when it opened in 1894, with hundreds of singers and players and thousands of attendees.

Given the tremendous number of performances offered to modern audiences, it is not uncommon to find truncated and modified interpretations of Handel’s oratorio, often billed as the “Christmas portion” or the “Easter portion,” with the occasional hodgepodge medley of movements thrown in (hello, “Hallelujah” chorus!). As you may have noticed in The WholeNote’s 2017 Messiah preview, there are also a number of ‘outside the box’ interpretations taking place this year, from arias-only concerts to electronic mashups, ensuring that every type of listener has access to Handel’s music, even if only in part.

Despite the temptation to go window shopping through these myriad options, there is something profoundly satisfying about hearing Messiah in its entirety, performed in its unabridged, three-hour original form. Tafelmusik does this every year in what is now an annual tradition, culminating in their sing-along Messiah led by Herr Handel (a costumed and in-character Ivars Taurins) himself, a massive (and massively fun) concert that gives choral aficionados from across Toronto the opportunity to be a part of the action.

An old adage says that “absence makes the heart grow fonder,” and Tafelmusik’s Wednesday performance of Messiah, led by Ivars Taurins, proved that to be true. A number of years have passed since I went to a live concert of Handel’s oratorio, in which time I had the privilege to study Historically Informed Performance and work with a number of renowned experts in the field. My early music brain, much like the Grinch’s heart, has grown three sizes since my first Messiah concert, and this return to the work as a concert piece was one of the highlights of my musical year.

From the opening orchestral chords to the closing Amen, Taurins’ interpretation, much like his style of leadership, was light, agile and energetic. The Sinfonia, a relatively brief French overture, was delightfully precise, and the relatively quick tempi taken throughout the entire oratorio ensured that there was dramatic continuity and musical flow from beginning to end. The dance-inspired forms which dominate Baroque music shone through, the essential gestures so well-articulated that I could see every slur, bow mark, and over-dotted note in my mind’s eye, a remarkable feat of focus and endurance on the part of the performers that brought every note to life. Pauses between movements were kept to a minimum: the opening chord of a recitative and aria immediately followed the conclusion of a chorus, the next chorus following closely behind, which not only maintained the narrative flow of Messiah but prevented the concert from extending into its fourth hour.

If Taurins’ conception of Messiah, with its obsessively worked-out details and sheer velocity, increased the demands on performers, it was not noticeable that evening. Soloists, chorus and orchestra met the challenge head-on, not once sounding insecure or uncertain. Indeed, the majority of those onstage have played and sung Messiah many times before, their expertise adding a level of surety and confidence that was not lost on this listener. Melismatic passages flew through the air with fleetness, fugal textures were clearly audible, and every musical aspect implied in the score was manifested in marvelous sound.

Within this overall standard of excellence, a few moments deserve special mention, the first being the on-the-spot adaptations made by the singers to accommodate ailing countertenor soloist James Laing who, being ill, was ‘replaced’ in multiple places. Soprano soloist Joanne Lunn sung the entirety of “He shall feed His flock,” thereby turning the soprano/alto duet into a range-testing solo, and choral countertenor Simon Honeyman saved the day by taking over for the magnificent alto/tenor duet “O death, where is thy sting?” Despite these impromptu adaptations (one of the perils of live performance!) the level of musicality was uncompromisingly high. The other (less nail-biting) highlights included what might be the best “Rejoice greatly” I’ve heard, a roof-raising “The trumpet shall sound” sung by baritone Brett Polegato, and an “And He shall purify” that showcased the Tafelmusik Chamber Choir at its finest, the challenging melismatic passages dashed off with apparent ease. (Of course, the “Hallelujah” chorus was expertly done as well, the audience standing at attention, some smiling at their immediate recognition of this famed moment in the context of its much larger whole.)

Regardless of whether you prefer your Messiah in whole or in part, performed in historical style, arranged in electronic modernity, or sung as in the “good old days” by a massive choir and orchestra, I encourage you to take time this year to explore this grand oratorio. Handel’s score is uncompromisingly delightful from beginning to end and we are fortunate to have ensembles such as Tafelmusik here in Toronto, consistently delivering delightful and excellent interpretations. It is rare to hear a live performance that is virtually flawless from beginning to end, much less when it involves three hours of constantly-changing music, but that is what we were treated to on Wednesday night – a marvelously nuanced overview of a quintessential Baroque masterpiece.

Tafelmusik presented Handel’s Messiah from December 13 to 16 at Toronto’s Koerner Hall, followed by a December 17 sing-along Messiah at Toronto’s Massey Hall. For information on upcoming performances of Handel’s Messiah, please visit our listings.

Matthew Whitfield is a Toronto-based harpsichordist and organist.

Watching vocalist Adi Braun take the stage at the Jazz Bistro on the evening of December 10 – beneath the bejewelled chandeliers, vaulting mezzanine and crushed velvet curtains – it was difficult to think of a more appropriate setting for the club launch of Moderne Frau, Braun’s new release on Blue Rider Records. Moderne Frau is a project that seeks to both honour and recontextualize the experiences of the women of Weimar Germany – “the original pantsuit nation,” as Braun joked to a responsive (and full) house. Like the Bistro itself, Braun’s performance of Moderne Frau evokes the charms of a bygone era, but its true success lies in her ability to move the music forward into the twenty-first century.

The concert proceeded according to the album order, beginning with the title track (a Braun original), which featured Braun ably trading scat lines with her excellent band. “Surabaya Johnny,” one of a number of songs on the program written by Kurt Weill and Bertolt Brecht, was given a medium-slow, straight-eighths treatment that allowed for nuanced interplay between Braun and pianist Tom King. Braun has excellent vocal control and a wide dynamic range, and has a particularly expressive upper register, which was on full display during the haunting, quiet ending of the song. “Buddy on the Night Shift” – another Weill piece, written with Oscar Hammerstein – is introduced with reference to the large influx of women into the workforce after World War I. As the song’s “buddies” are not gendered, Braun makes the fair point that we can just as easily imagine that they are women, rather than men, aligning the song’s lyrical content with the overarching themes of the evening.

One of the evening’s most compelling musical moments came in the introduction to “Und was bekam des Soldaten Weib?” (“And What Did the Soldier’s Wife Get?”). Another Weill/Brecht composition, the song’s lyrics detail the successive gifts that a soldier’s wife receives from her husband during his military service; the final gift is a widow’s veil. The introduction – an open, intimate voice/piano duet between Braun and King that suggested more of American jazz in the 1960s than of European cabaret in the 1920s – created a space in which the two musicians persuasively limned the simultaneous intensity and aimlessness of grief, pulling the music apart before putting it back together at the beginning of the form.

Braun’s original composition “Josephine” was a crowd favourite, eliciting much applause and no small amount of laughter (it was performed twice, the second time as an encore). Written about the American expat singer Josephine Baker, who gained fame and notoriety in the 1920s as a star cabaret performer in Paris’s Folies Bergère, “Josephine” was a swinging, up-tempo piece of musical biography, featuring Braun at peak theatricality (a slide whistle plays a key role). Though the song’s amusing flourishes may seem, at first listen, to be standard bits of cabaret fun, they are girded by the seriousness of its subject: a young woman of colour who left an oppressive America to find a measure of financial and political freedom on the stages of Europe. As such, the song’s exuberance takes on a kind of moral imperative that exemplifies the ethos of Moderne Frau: that the performative nature of cabaret could, and can, illuminate a path towards self-actualization for women living in inequitable social circumstances, and that joyful performance can be a serious and important political act.

Adi Braun’s Club Launch of Moderne Frau took place on December 10 at The Jazz Bistro in Toronto, featuring Braun (vocals, slide whistle, squeeze horn) alongside Tom King (piano), Tony Quarrington (guitar, banjo), Pat Collins (bass), Daniel Barnes (drums), Joe Macerollo (accordion), Max Forster (trumpet), Conrad Gluch (saxophone, clarinet) and Zach Smith (trombone).

Colin Story is a jazz guitarist, writer, and teacher based in Toronto. He can be reached through his website, on Instagram and on Twitter.

Start a title with the word Escape and end it with the word Egypt and depending on the preposition you link them with (from or into), you will find yourself either entering an Old Testament story hinged in time on the vernal equinox, or else a New Testament tale revolving around the winter solstice.

La Huida (The Escape) is the title of one work among the 19 in the Toronto Consort’s recently completed program Navidad: A Spanish Christmas, December 8 to 10 at Trinity-St. Paul’s Centre. It was the last song before the intermission; the silence that followed its final drumbeat was a moment of dark stillness at the centre of a swirling panoply of festive musical light. A masterfully curated moment of disquiet, of hopelessness and hope, with “escape from” and “escape to” balancing, literally and figuratively, on a knife edge.

The song’s twelve lines of text are, in the context of this concert, squarely based in the gospel of Matthew, in the story, as Matthew tells it, of the flight of Joseph and Mary and the infant Jesus into Egypt to escape Herod’s edict to quash talk of the birth of a potential future charismatic leader of a Palestinian uprising by killing off all the (male) babies born at the time.

“Escape from” is the urgent priority of the first of the song’s two stanzas:

¡Vamos! ¡Vamos! ¡Burrito apura! it begins.
(Come on! Come on! Hurry up little donkey!
If you don’t hurry up they will catch them
Along the path, along the salitral [salt flats].
They are already slitting throats,
The dagger is already wet with blood.
If you don’t hurry up they will catch them.
¡Vamos! ¡Vamos! ¡Burrito apura!)

And then, out of hopelessness, hope.

Niňo bonito, no lloris mi amor.
Ya llegaremos a tierra mejor.
(Beautiful child, don’t cry my darling.
Soon we will arrive at a better land.
Go to sleep now, don’t cry.
I will cradle you in my arms,
Bass drums beating in my heart.
¡Vamos! ¡Vamos! ¡Burrito apura!)

One mother and father exhorting one child not to cry, on the road from hell to hope. And at the same time, a compelling evocation of the plight of the tens of millions of such people in our world today. And all this in a Christmas concert by a 45-year old ensemble ostensibly focussed on the discovery and re-creation of music 300 to 500 years old. Several very interesting things are happening here in terms of engaged artistic practice, and it’s worth taking a closer look.

Unlike the bulk of 19th and early to mid-20th century classical repertoire where every note (and most of the composer’s desired creative nuances) is captured on paper, the further back in musical time one drills down, the more complex and multifaceted the work of the musician becomes. Paradoxically, the older the music, the greater the chance that one will be playing or hearing it for the first time. Throughout its 45 years, the Toronto Consort has been driven by this spirit of inquiry, but particularly so since 1993, under David Fallis’ artistic directorship. Rather than historically informed performance, one might say that their programs are historically enlightened – not just going back in time, but revealing the timeless.

Take the subtitle of this particular show: “A Spanish Christmas.” Given the Consort’s primary interests one might safely have expected to be treated to an evening of the music of Spain of the 16th, 17th and 18th centuries. But right from the start the word “Spanish” has perhaps unanticipated resonances: During the historical period being explored, it is the primary language not just of Spain but of the conquistadors of a significant portion of the Americas. Almost all the evening’s works, as described in the program, were what is known as villancicos, “a distinctively Spanish song form that has enjoyed a long history of popularity across Spain and Latin America continuously from the late 15th century.”

But the concert widened the lens even beyond that fact: it became geography, history, religion and politics all rolled into one, starting with the first two villancicos on the program, sung in Nahuatl and Quechua (both Indigenous languages, and the latter still the mother tongue of more than 10 million people in Latin America.) Right from the start there was a tension (for those who chose to hear it) between the language and the substance of the songs, between the challenges facing a single biblical family and those that confront countless displaced or disrespected people today – with the inescapable reality of proselytizing intent, and all its historical consequences, roiling just below the surface.

At the end of the first half of the concert, La Huida, as already mentioned, stripped all the tinsel from the Christmas tree. Written by Argentinian composer Ariel Ramirez (1921-2010), it carried the truth of its message into the present without the kind of didacticism that sometimes allows an audience to distance themselves from the urgent currency of a necessary message.

As important to the Consort’s artistic practice as the integrity of their research is the extent to which they have the hunger (and the musicianship to go with it) to truly learn from their guests. In this case the catalyst was Rodrigo Chavez, who joined the Consort onstage on charango and percussion. Director of Cassava Latin Rhythms band, the Argentinian born and trained Chavez is a prominent exponent of contemporary Latino-Canadian music, with a deep interest in connecting his own creative vision with the deep roots of Native and Afro-Latin percussion, playing a prominent role in Ontario’s burgeoning global music scene.

The joy of musical exploration and shared discovery was everywhere to be seen on the Trinity-St. Paul’s stage in this concert. And the program’s effortless linking of past and present bodes well for a future in which committed musicians do not leave their consciences at the door in the pursuit of the arcane, no matter how tempting, in troubled times, escapism can be.

David Perlman is publisher of The WholeNote, and can be reached at publisher@thewholenote.com.