Late Bloomer
Fuat Tuaç
Independent (fuattuac.com)

With the release of his debut CD, Turkish/Canadian vocalist, Fuat Tuaç has presented an intriguing, multicultural jazz recording, comprised of freshly arranged, under-trodden standards and Tuaç’s original title track. He is joined here by a superb group of musicians, including Paul Shrofel on piano, Dave Watts on bass, Richard Irwin on drums and Dave Turner on saxophone. Tuaç is equally comfortable singing in English, French, Turkish, Portuguese and Italian – easily capturing the lyrical essences of each language.

Manha de Carnaval (A Day in the Life of a Fool) is a standout. The rich, rhythmic arrangement is enhanced by Turner’s warm, mellifluous alto lines, which soon metamorphose into a gymnastic and powerful solo; Tuaç’s acoustic, unvarnished, exotic sound is beautifully complemented in this Luis Bonfa classic. Another highlight is Ellington’s Caravan. Profound, throbbing bass lines from Watts and Eastern rhythmic patterns succinctly executed by Irwin define this interpretation, as Tuaç seamlessly segues between straight ahead bop and heady pentatonic vocal motifs. The scent of exotic spices and the sight of auburn-tinged Bedouin tents are almost palpable here.

Two additional highlights include a vigorous and contemporary rendition of Chick Corea’s Spain, in which Shrofel’s luminous musicianship and Irwin’s inventive, Iberian and rock-steady propulsion are featured; and also the cinematic Rendez-vous vers huit heures (Drault), which is an elegantly performed possible movie theme in search of a black and white French film – Tuaç is reminiscent of the late Charles Aznavour here... musical, mysterious, evocative and très sensual!

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Lotus Blossom
Dave Young
Modica Music (daveyoung.ca)

Lotus Blossom is a fine disc that was recorded immediately after One Way Up, the acclaimed previous album by Dave Young and his band. I enjoy hearing these top Canadian jazz artists in fine form, interacting and supporting each other with spontaneity and precision. At the centre is distinguished acoustic bassist Dave Young, whose playing I would not label a harmonic and rhythmic foundation because from high-up thumb position to the lowest bass tones his style is so melodic. In Dexter Gordon’s Fried Bananas, his solo is richly lyrical, followed by the fluent playing of guitarist Reg Schwager. Terry Clarke accompanies with a wet cymbal wash preceding his own dry turn on the theme. On the jazz waltz title track, Young’s plaintive bass and Clarke’s cross-rhythms are affecting for me while pianist Renee Rosnes displays a mastery of touch and tone, creating a pensive, languorous mood in dragging the tune’s return. The tasty interplay between Schwager and her on Modinha, along with Clarke’s playful drumming and Young’s convincing solo, make this track a highlight.

By contrast to Rosnes, pianist Bernie Senensky’s energetic style on Bolivia and I Thought About You is chord-rich, with blazing riffs and hard swinging in the latter that evoke Oscar Peterson (who Dave Young played with regularly). Finally, trumpeter Kevin Turcotte and tenor saxophonist Perry White join in with able two-part counterpoint on Softly as in a Morning Sunrise. Highly recommended.

Sudoku pour Pygmées
Jean Derome
Ambiances Magnetiques AM 242 CD (actuellecd.com)

Composer, saxophonist and flutist Jean Derome has been a central voice in Quebec’s musique actuelle movement for decades, along the way creating works that fuse improvisation with larger structural forms. Here he leads his quartet Les Dangereux Zhoms and nine other musicians in a cross-country retrospective of works commissioned by Canada’s landmark mixed-method contemporary ensembles.

The title track, originally performed by Halifax’s Upstream in 2010, uses the idea of the Sudoku puzzle to create polyphonic canons of pentatonic scales in a way that suggests Pygmy vocal music. It’s a scintillating work, leavening its complexity with sonic transparency and some brilliant reed soloists, most notably Derome on baritone saxophone and André Leroux on tenor. 7 danses (pour <<15>>), originally performed by Toronto’s Hemispheres in 1989, demonstrates Derome’s longstanding interest in creating hybrid works, juxtaposing popular and serious genres that mingle Bernard Falaise’s rock-inspired electric guitar with abstract harmonies.

The concluding 5 pensées (pour le caoutchouc dur), composed for Vancouver’s Hard Rubber Orchestra in 2001, encompasses a range of moods and inspirations and highlights some of the group’s strongest voices. The playful second pensée, suggests Thelonious Monk’s work, with Lori Freedman’s bass clarinet approaching comic speech, while the third invokes Duke Ellington’s sacred music, with a pensive, reflective lead provided by trombonist Scott Thomson. The concluding Pensée matches a rapid hoedown with anarchic collective improvisation, literally an ultimate stylistic collision, and the ideal conclusion for this boundary-blurring set of works.

Going to Market
JV’s Boogaloo Squad
Flatcar FCR-009 (jvsboogaloo.com)

In 2015, Toronto-based keyboardist Joel Visentin got together with fresh, younger talents, guitarist Adam Beer-Colacino and drummer Jeff Halischuk, to form JV’S Boogaloo Squad. Their long-awaited debut album has finally reached eager audiences and is a soulful, funky kick in the pants that will get anyone bopping and tapping their foot on the dreariest and coldest of winter days. Visentin’s riffs and solos on the unique and instantly distinguishable Hammond B3 organ are the powerhouse and driving force behind the music. All pieces except for one are original works by Visentin.

Slacktivison starts off the record with a great groove and catchy beat provided by Beer-Colacino and Halischuck respectively. As we move through pieces such as Fashionably Lazy, Forty Filth and Different Times, it is apparent that the fluidity and cohesion between musicians is fantastic and that the talent concentrated within this group is immense. The collective has been mentioned as having a “vintage yet modern sound” and that is clearly showcased by the timeless sound of the B3 throughout the pieces. Yet, modernity comes into play when paired with the sultry riffs of Beer-Colacino and Halischuck’s contemporary beats. A personal favourite is Squadzilla, which has a true funkiness and energetic quality to it with a smooth hint of tenor saxophone contributed by Kelly Jefferson.

In a music scene where pure funk and soul have been slightly pushed aside, this record is a true breath of fresh air.

Take the Neon Lights
Steph Richards
Birdwatcher Records 008 (birdwatcherrecords.com)

Accomplished quartet music played and composed by Canadian trumpeter/flugelhornist Steph Richards, who already excels in solo playing, Take the Neon Lights’ eight selections are melodic without neglecting timbral analysis, and moving without being shackled to a beat. Ably assisted by pianist James Carney, bassist Sam Minaie and drummer Andrew Munsey, New York-based Richards still experiments with singular diversions like mouthpiece oscillations, rapid capillary dot-dashes and evacuated plunger tones. But these dissonant rejoinders often now vibrate within passionate tone poems.

Internal body tube metal may be audible on Transitory (Gleams) for instance, but after subtle piano chords meet supple brass-tone outlines the result is a mellow chromatic showpiece. Featuring Carney’s keyboard shuffles and inner piano string plucks, Skull of Theatres extends the pianist’s mid-range voicing to meet Richards’ high-speed rubato trills plus plunger growls, so that together the two settle into unpretentious swing in the tune’s second sequence, allowing the lines to harden with more emphasis on bass and drums.

Richards’ experimental skills are highlighted on Brooklyn Machine, where she manages double counterpoint from both her horns – one with brassy thrusts and the other with crafty smears – in such a way that they seem to accompanying one another. Still, the well-constructed Stalked by Tall Buildings is the apex of the brass player’s art. The warm melody line is stretched, as elevated trumpet tones squeeze beauty from repeated tongue twists while dramatic piano flourishes and truculent percussion pops maintain the melody’s ingenious fluidity.

Path of Totality
Quinsin Nachoff’s Flux
Whirlwind Recordings WR 4733 (quinsin.com)

Partially recorded when he was artist-in-residence at Calgary’s National Centre, using the studio’s keyboards and synthesizers, Torontonian-turned-New Yorker Quinsin Nachoff takes full advantage of Canada’s artistic resources to produce this notable two-CD set, Each of the soprano and tenor saxophonist’s six compositions cannily bolsters the intense textures created by his group Flux, which also features alto and C melody saxophonist David Binney, keyboardist and synthesizer player Matt Mitchell, and percussionists Kenny Wollesen and Nate Wood plus supplementary sound contributions.

March Macabre for instance adds the rhythmic slides and stomps of a tap dancer, plus layered vibrations from five additional horns to fill out the sequences, as Nachoff’s soprano buzzes and percussion splashes elaborate the narration. Craftily ambiguous, marimba, glockenspiel and vibraphone echoes replicate textures of the designated instrument on Toy Piano Meditation, contrapuntally challenging Mitchell’s precise or clamorous patterns on standard piano. While both saxophonists’ criss-crossing tones animate that composition with twittering screeches and end it with a spectacular penetrating trill, linear storytelling is never disrupted. Cleverly arranged, the remainder of Nachoff’s compositions otherwise add subordinate motifs arising from a laboratory full of electronics or Mitchell’s lucid harpsichord plucks to straight-ahead blowing from the core quintet. Overall this combination shows how well-thought-out composing and improvising can be adventurously matched without losing the allure of professional, swinging creativity.

Pacific
Brad Turner
Cellar Music CM090418 (cellarlive.com)

Released on Vancouver’s Cellar Music label, Pacific is a new album from trumpeter Brad Turner. Turner – who is also an accomplished pianist, drummer and, as attested to by Pacific’s liner notes, mixing engineer – is joined by organist/keyboardist Chris Gestrin, drummer Joe Poole and the American tenor saxophonist John Gross, who appears on three of the album’s nine tracks, all of which are composed by Turner. Although he may not be a household name to all listeners, Gross has had a long and illustrious career in jazz, playing, since the 1960s, with artists such as Lionel Hampton, Warne Marsh and Toshiko Akiyoshi.

Pacific begins with Not A Robot, a bouncy, medium-up song that showcases the group’s assured rhythmic sensibilities; it also eschews any chordal comping, with Gestrin sticking to synth bass throughout, including in a dynamic trading section with Poole in the tune’s back half. Pacific’s title track is a satisfying, hard-swinging affair that gives plenty of room to all four musicians to stretch out in their respective solos. Gross’ solo, which begins as a duet with Poole, is a highlight, as is Poole’s own brief solo over the vamp that precedes the melody.

In Pacific’s liner notes, Phil Dwyer writes that the album is, perhaps, evocative of the Larry Young album Unity, and the comparison is apt. But the album is made special by the band’s commitment to its constituent voices, to Turner’s compositions, and to honouring the unique musical moments found throughout this compelling album.

No Hay Banda
The Counterfictionals
Good Music GMCD006 (counterfictionals.dk)

Rarely, if at all, do industrial and fine art come together in a package so well thought out (from concept and presentation to imaginative musical execution, and in the sheer invention and hyper virtuosity of the performing Danish musicians) than on the Counterfictionals production entitled No Hay Banda.

No Hay Banda has been conceived of and directed by Kristoffer Rosing-Schow, a multi-instrumentalist who plays everything from bass clarinet to invented instruments such as the hydrofonium, described here complete with diagram, how it works and, best of all, how ethereally beautiful it sounds. Speaking of which there is the not-so-small matter of the music itself. The ten songs, bring back to life key scenes in famously well-made and notoriously badly made films from David Lynch’s Mulholland Drive (Counterfictionals’ song: Club Silencio), Sergio Leone’s For a Few Dollars More (song: Lee Van Cleef) to Alan Parker’s Angel Heart (song: Looking for Johnny Favorite) and Lars von Trier’s Antichrist (song: The Three Beggars).

In each case, brilliant musicians get closer to the chilling, sardonic heart of the film – scenes depicted in the songs with immensely powerful performances combining cast-iron virtuoso discipline with heady imagination and sheer fantasy, all of which matches the originality of Rosing-Schow’s artistry and vision. Let neither the ironic band name nor the album title be lost in this magnificent mêlée of music either, for what could a name such as Counterfictionals suggest but No Hay Banda (There’s no band)?

Rosa Parks: Pure Love
Wadada Leo Smith
Tum CD 057 (tumrecords.com) 

Since 2012, trumpeter Wadada Leo Smith has created several powerfully elegiac suites: Ten Freedom Summers, Occupy the World, The Great Lakes and America’s National Parks. With Rosa Parks: Pure Love, he returns explicitly to the theme of the first, the African-American civil rights movement. Rosa Parks is an oratorio, with music and songs by Smith, employing his distinctive compositional method that focuses on contrasting durations and textures. Smith’s heterodox ensemble includes a string quartet, a trumpet quartet, drums, electronics, pipa and three singers.

From the dissonant fanfare, Smith has compounded his own idiom, at once intimate and multi-dimensional, in which strongly lyrical passages alternate with moody, atonal strings and sometimes harsh, flaring brass. Strong individual voices emerge out of the fissures opening in the collective sound: violinist Mona Tian, cellist Ashley Walters, drummer Pheeroan akLaff and Smith himself, soloing only in the penultimate movement. Smith has matched each song’s character, as well as range, to each singer’s voice: Karen Parks’ touch of gospel; Carmina Escobar’s hard-edged precision; and Min Xiao-Fen’s soaring command of microtones. Each brings a special presence to Smith’s multicultural palette.

Embedded in the oratorio are excerpts of early recordings by Smith and close associates Anthony Braxton, Leroy Jenkins and Steve McCall, musicians who first played free music together 50 years ago, and who are, by extension, partners in Smith’s ongoing commemorations of the necessary struggles for freedom, reinforced in his concluding quotation from Martin Luther King.

Moya
Ivan Mazuze
Losen Records LOS 209-2 (losenrecords.no/release/moya)

With his fourth album, Mozambique-born saxophonist and composer Ivan Mazuze, now based in Norway, continues his exploration of interrelations between traditional and contemporary music. The result is Moya, an elegant synthesis of the melodies and rhythms of African and Indian music with contemporary jazz elements. Mazuze is a polished and particularly sensitive saxophone player. His musical language is both delicate and passionate, his expression clear and meaningful. This album also features a wonderful crew of musicians from around the globe, including Olga Konkova (on piano), who has a great synergy with Mazuze, and Bjørn Vidar Solli (on guitar), who delivers some truly impressive solos.

Moya opens with contemplative Rohingya. Inspired by the Rohingya people of Myanmar who were recently displaced from their homeland, this piece has a melancholy feel driven by a rhythmical tabla pulse. It flows naturally into Mantra, a lively tune featuring an alluring combo of vocal chanting and instrumental discourse. The most interesting track on the album for me is Lunde, inspired by Norwegian folk music and highlighting cool vocals by Hanne Tveter. And there is Moya, the focal point of the album. It’s meaning in the Mozambican language is spirit/soul and it is immediately apparent that it holds special significance for Mazuze. The interplay between sax and piano captivates the listener with changing colours and meaningful dialogue.

This album has funky grooves, soulful melodies and, most importantly, a distinct and catchy sound. Highly recommended.

Vanishing
Fides Krucker; Tim Motzer
1k recordings 1K043 (1krecordings.com)

For 35 years Toronto-based classically trained vocalist Fides Krucker has explored contemporary vocal practice on the highest level as a singer in contemporary opera, interdisciplinary and electroacoustic works, as well as in chamber music and orchestral settings. Her career has taken her to numerous international stages. She’s appeared on diverse albums and film and video productions.

The phrase I found on my search engine while looking for Krucker’s website is, “emotionally integrated voice.” And her performance on the six Vanishing tracks powerfully delivers just that. She projects a wide palette of emotions through her voice alone, employing vocal techniques that move comfortably between classical Western and extended voices, often without lyrics.

Krucker is superbly supported on Vanishing by Tim Motzer a veteran Philadelphia jazz/improvising guitarist with 80 albums to his credit. He is best known for his textural acoustic-electro guitar playing utilizing looping, bowing, sampling, electronics and various prepared techniques, all richly displayed on Vanishing. The album is cinematic in scope. In its spontaneously composed sonic world each scene in the undefined – sometimes airy and melodically lush, sometimes unsetting – vocal storyline is created though the intimate musical dialogue between Krucker and Motzer.

My favourite track is the epic-length Density, which according to the liner notes, “Broods on the state of the world, gathers weight with each motif, steps the listener outside of civilized sound.” Some days taking a walk on the sonic wild side is what the doctor should order.

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In This Body
Fides Krucker; Rob Clutton; Tania Gill; Germaine Liu
Independent FK-01-2018 (fideskrucker.com/productions/in-this-body)

Anyone who knows the multi-dimensional and multi-disciplinary work of Fides Krucker is naturally going to wonder how much of the dance and – more importantly – the theatre that defines Krucker’s art this CD is going to capture. It is, after all merely audio. Fortunately, however, Krucker is a highly evocative vocalist and she spares nothing to imbue her music with atmosphere and even the nuanced auras of her often spiritual and always colourful work.

Even with the suggested stasis of the title, In This Body, one cannot help but imagine the body in motion. This is a work by Krucker, remember? True to form she creates a kind of series of one-woman operatic arias. Each is expressed in an inimitable manner which can only be associated by someone like Krucker. Her version of Leonard Cohen’s iconic piece Suzanne is turned from something almost impressionistic-Cohenesque into a work of extraordinary sensuality in an almost Nabokov-like (Lolita) manner. Another wildly sensual track – Striptease – follows this one.

But Krucker also rings in the changes of mood and emotion, structure and tempo with Mary Margaret O’Hara’s Body’s In Trouble, Leslie Feist’s Let It Die, k.d. lang’s Hain’t It Funny and, of course, the forlorn and classic song Helpless by Neil Young. Along the way, Krucker is magnificently aided by bassist Rob Clutton, pianist Tania Gill and percussionist Germaine Liu. Together the musicians propel Krucker into a rarefied artistic realm where she and her music truly belong.

Talismã
Mark Duggan
Independent (markduggan.com/talisma)

Percussionist Mark Duggan demonstrates his wide-ranging abundant musical talent in this project rooted in the Brazilian styles of samba, bossa nova and choro. Be it as a composer of four tracks, arranger of six Brazilian classics, and lead and chamber performer throughout, with outstanding musicians Louis Simão, contrabass and accordion, and Marco Tulio, violão (Portuguese guitar), Duggan’s understanding of vibraphone intricacies, compositional form/style and listening skills create music for everyone to enjoy, regardless of one’s stylistic preferences.

The trio plays the covers with respect and intelligence. Astor Silva’s Chorinho no Gafieira opens the recording with an upbeat happy start, thought-out vibraphone lines, good instrumental balances, and a simple yet colourful middle section. Antonio Carlos Jobim’s Triste has slight dynamic modulations and clear phrasing with the violão chords and contrabass keeping the faster vibes part grounded to the final Jobim chord. Duggan’s compositions are great. In his Above the Rain, the hypnotic two-note accordion start, with up-and-down melodic lines, is followed by vibraphone runs, which at times double and contrast the accordion chordal swells and staccato notes. Irresoluto is slightly more atonal yet rooted in rhythmic/melodic tradition, while Shifting Sands features a relaxing more traditional vibes melody with background bass groove, and instrumental dialogue throughout. Duggan’s firm grasp of the samba form in Samba des Nues is heard in its contrabass/violão rhythmic opening, florid lines and slower ending.

Perfect production values complete Duggan’s smart, nuance-abundant, Brazilian music-flavoured release.

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The Art of the Vietnamese Zither – Đàn Tranh
Tri Nguyen
ARC Music EUCD2826 (arcmusic.co.uk)

This album features the subtly expressive Vietnamese plucked zither đàn tranh, which belongs to the widely distributed family of Asian long zithers. Its cousins are the Chinese zheng and qin, Japanese koto, Korean kayageum, as well as the çatkhan of the Khakass of southern Russian Siberia and the kacapi of the Sundanese of West Java, Indonesia.

Born into a family of literati in South Vietnam, Trí Nguyen began his music studies at an early age on the piano with French-trained teachers, eventually continuing them in Paris. His family however was strongly attached to its ancestral Vietnamese culture and also arranged đàn tranh lessons for Nguyen with the noted master Hai Bieu. Nguyen’s bi-cultural training positions him well to pursue his goal of taking traditional Vietnamese music to international audiences, combining Vietnamese musics with global genres and instruments. His approach has already garnered success: his 2015 debut album Consonnances won the Global Music Award Gold Medal for world music.

In The Art of Vietnamese Zither, Nguyen draws on this bi-musicality, presenting the đàn tranh in a transcultural context. The closing tracks are up-tempo nods to a world-music style aimed at broad audience appeal in which he adds other Vietnamese instruments, the oud and darabuka (goblet drum).

The most impressive aspect of the album however is the suite presented in the first nine tracks. Effectively arranged for his đàn tranh and Western string quartet, they feature melodies borrowed and adapted from the six schools of traditional Vietnamese music he inherited from his master Bieu.

French actress Simone Signoret titled her memoirs, Nostalgia Isn’t What It Used to Be, and the number of uninspiring salutes to earlier jazz heroes or heroines easily bears out this sentiment. However, when the right player selects the right material to record from a celebrated predecessor’s music and – most importantly – puts his or her own spin on it, the release becomes more than an exercise in nostalgia. Each of these sessions shows how this feat can be accomplished.

Ornette Coleman: Reflecting his influence on improvised music following his sudden arrival on the scene in the late 1950s, it’s no surprise that two of the sessions honour alto saxophonist Ornette Coleman (1930-2015). What is remarkable though is that neither group plays the same Coleman compositions. Plus each takes a diametrically opposite approach.

Italian drummer Tiziano Tononi & the Ornettians’ Forms and Sounds: Air Sculptures (Felmay fy 7058 felmay.it) features an 11-piece band which, besides nine compositions by Coleman, interprets Tononi’s The Air Sculptures Suite. It’s not just Tononi’s indomitable rhythms from drum set and other percussion that animate his CD, but how soloists preserve their identities although immersed in Coleman’s sounds. Tracks such as the Tononi-composed Fireworks in N.Y.C and Fort Worth Country Stomp interpret aspects of Coleman’s music without copying. The latter track, for instance, is a country blues played with Italian panache featuring sharp staccato slurs and snorts from alto saxophonist Piero Bittolo Bon, spurred by backbeat drumming; while Fireworks in N.Y.C is straightforward swing, tempered by trumpeter Alberto Mandarini’s brassy and graceful solo plus hearty bass clarinet glissandi from Francesco Chiapperini. It climaxes with percussion outgrowths that are as African as American, highlighting Tononi’s cowbell and kalimba. This ingenuity remains with the Coleman compositions. The expected outlines of Peace for instance, are reconfigured when propelled by Tito Mangialajo’s walking bass line and penetrating twangs from Paolo Botti’s banjo (!). At breakneck tempo, Bittolo Bon’s high-pitched flute and Emanuele Parrini’s violin stops brighten the performance without losing the melody. Similarly Rushhour is played acoustically, but with a swelling sound reminiscent of Coleman’s electric band, and is led by Parrini’s sizzling double stops as Daniele Cavallanti’s bluesy tenor sax and the drummer drive everyone forward. Cavallanti brings the same intensity to Law Years paired with brassy upsurges from Mirko Cisilino’s trumpet. The lineup on Una Muy Bonita with Mangialajo and Silvia Bolognesi both playing bass plus Bittolo Bon and Chiapperini on alto saxophones, allows soloists to reconfigure Coleman with elevated tremolos or flutter tonguing as the dual basses propel the narrative.

There are only six players on trumpeter Chris Pasin’s Ornettiquette (Planet Arts 301820 planetarts.org), but two of them, vibist/pianist Karl Berger and vocalist Ingrid Sertso worked with Coleman. Beside five Coleman tunes interpreted are two by Pasin and one by Albert Ayler.

Mostly concentrating on Coleman’s earlier works, Pasin’s take on Ornettiquette is low key but inventive. For instance, as Karl Berger’s vibes elaborate Jayne’s theme, the band plays up its blues underpinnings at the same time as Pasin’s clarion blasts are pitched Maynard Ferguson-like high. Michael Bisio’s slap bass adds rhythmic emphasis and the finale is a timbral battle between Pasin and alto saxophonist Adam Siegel’s supersonic slurs. Ingrid Sertso’s scatting in tandem with vibraphone clangs and burbling horns almost transforms When Will the Blues Leave into jittery bebop. But her recitation of the title and response of “never” reasserts solemnity. Pasin’s OCDC, saluting Coleman and his trumpeter Don Cherry is more linear than the dedicatees’ compositions. Plus the trumpeter’s quirky configuration of Cherry’s role is original. Walking bass and drummer Harvey Sorgen’s positioned whacks hold the bottom so that the horns can improvise freely. 

Someone who never stinted on the improvisational or melodic content of his own compositions was Canadian-born, London-based trumpeter Kenny Wheeler (1930-2014). Fellow Canadian, trumpeter Ingrid Jensen and American tenor saxophonist/clarinetist Steve Treseler lead a seven-piece band on Invisible Sounds for Kenny Wheeler (Whirlwind Recordings WR 4729 whirlwindrecordings.com) playing nine Wheeler tunes that are audible, not invisible. Bookended by a studio and a live version of Foxy Trot, which in its live incarnation trots along courtesy of Jon Wikan’s crisp drumming and an array of arpeggios spilling from Geoffrey Keezer’s piano, the set emphasizes Wheeler’s versatility. Expressive ballads like Where Do We Go from Here are buoyed by mellow saxophone swoops and upward puffs from the trumpeter, as piano chording brings out its swing underpinning. Meanwhile, Old Time is an out-and-out funk tune with a stop-time narrative, shuffle beat, slurs and snarls from the tenor saxophonist and acrobatic pitches from Jensen’s open horn. Still the most characteristic interpretation is of Wheeler’s best known tune, Everybody’s Song but My Own. A minor key lament, its essence is reflected in harmonic horn melding, slippery tremolos from Keezer and Jensen’s supple mid-range pitch slides.

Another composer who has a Canadian connection via her late ex-husband is 83-year-old Carla Bley. The 12 tunes played by Finns, pianist Iro Haarla and bassist Ulf Krokfors plus American drummer Barry Altschul on Around Again – The Music of Carla Bley (TUM CD 054 tumrecords.com) come mostly from her creative beginnings in the 1960s, coincidentally a time when the drummer was a member of Paul Bley’s bands that first played this music. Expressing the compositions’ inflections, performances are almost uniformly unhurried and dampened with percussion accents, double bass stops and focused on piano-led themes played respectfully. That way motion and melody are exposed at the same time. The exposition on Batterie, for instance, picks up sonic colours from keyboard jumps and is extended with low-pitched bass-string stops and indirect percussion clatters, and then slyly redirected to the head. Squirming and swaying, Haarla uses kinetic glissandi to turn the title track into a fantasia that gives the bassist enough space for plump pumps. Appropriately and subversively, both And Now, the Queen and Ida Lupino are spun out in processional fashion, with the latter balancing Krokfors’ heated string stabs and Haarla’s cooler key manipulation; and the former cleanly sweeping up tempo with double bass prods that lead to unstoppable forward motion, soon intensified with variable and emphasized voicing from the keyboard. The only track to feature a drum solo that is suitably understated, Ũtviklingssang, composed by Bley in Norway not Finland, opposes Altschul’s press rolls and bass drum booms with Haarla’s recital-ready formalism that preserves the narrative.

Fealty to a single influencer isn’t the only way to express admiration and adaptation of the concepts pioneered by earlier musicians. That ‘s what distinguishes Danish drummer Kresten Osgood’s two-CD Plays Jazz (ILK Music ILK 28LP ilkmusic.com) from the other discs here. Working with a tight, balanced quintet of trumpeter Erik Kimestad, tenor saxophonist Mads Egetoft, pianist Jeppe Zeeberg and bassist Matthias Petri, the five roar with the same inventiveness and ferocity through familiar standards, lesser-known compositions and a few originals by the drummer. Although the band plays well enough on compositions by the likes of Eric Dolphy and Thelonious Monk (whose Friday the 13th, spurred by Osgood’s vigorous ruffs and pops, becomes more brawny and atonal than the original) notable triumphs result with its permutation on lesser-known gems. James Cotton’s Blues in My Sleep is revamped from bedrock blues to improv. A snaky bass line propels the theme, which is spangled with brass discord and strangled reed slurs and comes to an unexpected halt. Jerome Cooper’s Monk Funk emphasizes the second word in the title via raspy, Southwestern near-R&B from the saxophonist and rugged percussion slaps. Egetoft’s sour-sounding solo prevents Kimestad’s graceful modulations on Randy Weston’s Little Niles from becoming too slippery, as do Zeeberg’s clipped piano lines. Finally Osgood’s Tchicai in Heaven, named for the Danish New Thing saxophonist, not only shows off his percussion prowess with an introduction based around press rolls and hi-hat smacks, but also includes sparse piano emphasis that highlights Monk’s influence on the avant garde and through it, contemporary European and American jazz.

Each of these discs salutes earlier innovators, but in such a way that matches individuality with influence.