Soweto Kinch – White Juju
London Symphony Orchestra; Lee Reynolds
LSO Live (lso.co.uk)

Perhaps one day there will be a genre of pandemic music studied and discussed like Baroque, bebop etc. This genre could include music composed during the lockdown when live concerts mostly stopped and White Juju would be a substantive contribution. Soweto Kinch is an award-winning alto saxophonist and composer who played several concerts in smaller centres in England at the end of the first lockdown. Walking along empty streets he noticed the “imperial emblems, flags and statues” that tended to go unnoticed during busier times. 

These experiences led to the creation of White Juju, which pairs his jazz quartet with the London Symphony Orchestra to create a magic carpet ride of hip-hop, rap, jazz, dance hall music, classical influences and lounge music, all while expounding on themes of colonialism, racism and class struggles. For example, Dawn begins with some sparkling and impressionistic flutes moving into strings and oboe presenting a Peer Gynt Sunrise vibe, then some soft horns and the rhythm section develops a jazzy hip-hop beat. After some gorgeous instrumental sections Kinch begins rapping over top (“the world looks different when it’s put into reverse”) and then embarks on a bop-influenced saxophone solo. The 16 sections of this live performance contain many surprises and White Juju combines humour with beauty while offering original political insight.

the way it is… is the way it was…
Barry Romberg’s Random Access Trio
Independent (barry-romberg.com)

In his brief and somewhat self-deprecating album notes Barry Romberg says he “lost (his) mojo for creative recording pursuits” – something that lasted nine long years. However, listening to the music of The way it is… Is the way it was by Barry Romberg’s Random Access Trio it is hard to think that anything was really lost. Romberg’s sense of propulsion and of time is – if anything – more effervescent and masterful than ever.  

Using two harmonic instruments – the keyboard(s) played by Ewen Farncombe and guitar by Sam Dickinson – Romberg creates the effect of firing on multiple musical cylinders. Those cylinders do not necessarily equate to one-each for pianist and guitarist with the rest for Romberg. While it is true that it appears that the rolling thunder of the drums and the hiss and swish of Romberg’s cymbals make much of the delightful noise of the music. The young musicians bring a refreshing energy to songs such as Rocks on Rocks and the two-part suite We Want Miles (which also features old pal Kelly Jefferson on soprano and other saxophones).

To be correct, Dickinson also creates a myriad of electronic effects that add not just atmospherics, but also genuine harmonic riches to the music. Moreover, without much of a break in the proceedings from track to track, you feel a kind of wonderfully expansive and meaningful effect of music that is anything but randomly accessed.

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Blue
Diana Panton
Independent (dianapanton.com)

For jazz musicians, the “with strings” musical concept is often a bucket list goal. It is little wonder why. Not only have there been some incredibly satisfying recordings made with this instrumentation – Charlie Parker with Strings, Clifford Brown with Strings, Stan Getz’s Focus, to name but a few – but well-written string parts have an effervescent and lush quality capable of enlivening already swinging performances to new and exciting musical heights. 

Such is the case here on Diana Panton’s Blue. Captured again in the familiar company of longtime musical compatriots Don Thompson and Reg Schwager (this, their tenth recorded collaboration), Blue brings the talented bassist Jim Vivian into the core trio, fleshed out here by saxophonist Phil Dwyer. Great casting! 

Adding to the musical wonderment is the sweetening that Thompson’s beautiful arrangements for the great Penderecki String Quartet bring to the entire affair. How nice it is to hear this world-class chamber group, Wilfrid Laurier University’s Quartet-in-Residence, perform in such an intimate jazz setting. Speaking of setting, it would be difficult, perhaps, for any vocalist to come up short while fronting such a blue-chip ensemble. But such a risk was never a possibility with Panton, who once again leans into her strengths of crystalline phrasing and evocative lyrical nuance that she brings to a great set of music. It is a musical formula for success that has served her well on the previous nine releases, so why would this be any different.

The complimentary aspects of Blue contribute much to Panton’s already terrific discography, while the strings add just enough newness and musical freshness to uncork new possibilities for band and listener alike. Perhaps best of all, this new recording adds another important artifact into the canon of great Canadian jazz that documents the ongoing, and still developing, musical partnership of Panton and Thompson.

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Paradise Blue
Bill King
Independent (billkingpiano.bandcamp.com/album/paradise-blue)

Solo piano music fills its absolute potential when the entire dynamic, melodic and expressive range of the instrument is utilized in an uninhibited fashion that allows for the player’s idiosyncrasies to shine through. Paradise Blue manages to distinguish itself in precisely this way. The standards are tackled in an engaging and subversive manner. Bill King’s playing humbles itself, staying indebted to the original melodies, while also challenging the listener to find the tune within the margins of the creative voicings and improvisational storytelling. 

On It Could Happen to You, King weaves an intricate rhythmic tapestry, punctuating every run and turn of phrase with inspired left-hand comping. The runs themselves are dizzying, incredible spiral staircases, seeming to ascend and descend at the exact same rate. While soloing, it can be evident that King is keeping a given song’s written melody in mind for pretty much the entire piece, often cleverly burying offhand references to it in increasingly unthinkable corners. The amount of fun being had is infectious, with stretches of the album having the same sense of adventure as an Easter egg hunt. 

These upbeat bits contrast perfectly with watershed moments like Redemption Song. In the intro, the way King unapologetically sustains each note gives the classic song an almost mournful quality, leaving us with no option but to meditate with them. The piano can be, above all else, an interpreter of expression and feeling. Exhibit A: Paradise Blue.

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David Blake – Fun House
David Blake; Thad Bailey-Mai; Brad Turner; Conrad Good; Bernie Arai
Cellar Music CM101521 (cellarlive.com)

There is a unique vibe present in Canadian jazz music that sets it apart from the goings on south of the 49th parallel and in other continents. Guitar might be the most distinctive example of this sound, conjuring up names like Ed Bickert, Lenny Breau and Nelson Symonds. All were influenced by the American fathers of this music, but they managed to never sound starkly beholden to the tradition. 

The aforementioned three guitarists spent most of their time in the eastern half of Canada, but Western Canada’s largest city currently boasts some outstanding players too. Enter David Blake. A Vancouver native currently living in New York City, Blake shows off his tasteful modern playing and composing on his latest release Fun House. It is well worth noting that this recording is tracked, mixed and mastered by another great Vancouver guitarist, David Sikula. 

An enthralling artsy photo of Blake lies inside of Fun House’s digipak for anyone who’s purchased it in CD form, and to me it was almost a surprise to see the guitarist holding a traditional looking archtop jazz guitar. The tones heard on these nine tracks are quite modern, but blurred lines are a theme heard throughout. Jon, No Jon and Devil Stick are both rhythmically labyrinthine despite being grooving and fun, while the two tracks that follow could be described as ballad-like. 

Blake treats Strayhorn’s classic The Single Petal of a Rose beautifully as an a cappella number, and after repeated listening this writer can’t quite tell what sort of ambient pedal effects are present.

“Fun indeed” was a note I took upon first hearing this recording, and that’s a perfect way to describe the multitude of dimensions Fun House provides its listeners.

Valse Sinistre
Billy Drummond and Freedom of Ideas
Cellar Music CM111022 (cellarlive.com)

Elegant, dynamic and innovative jazz drummer Billy Drummond has just released a stunner of a recording that not only embraces his seminal influences, but illuminates his musical path moving ahead – replete with nods to iconic figures in Drummond’s musical journey, including the title track, composed by the luminous Carla Bley, with whom Drummond performed. Drummond’s accomplished Freedom of Ideas quartet includes Micah Thomas on piano, Dezron Douglas on bass and Dayna Stephens on saxophones. 

The opening salvo is Little Melonae, where the incomparable Jackie McLean’s bop legacy is elegantly celebrated with a face-melting, rapid fire arrangement. Douglas’ commanding tenor solo is rife with pumpitude, and the relentless rhythmic force is propelled by Drummond, who phases us into a new dimension, creating an incendiary background for this incandescent celebration of a much missed grand master. 

The title track is an intriguing contribution to the program. Drummond’s close musical relationship with Bley is apparent here, invoking images of an exotic Eastern European circus, with madness and excitement in equal portions. Also of note are Grachan Moncur’s Frankenstein – where Drummond explores musical cognitive dissonance, while Stephens’ rapier-like soprano breaks through all imagined boundaries – free and exuberant. Drummond’s compelling composition, Changes for Trane & Monk is an invigorating joy. Other stellar tracks include the diaphanous Clara’s Room written by the eminent saxophonist Frank Kimbrough. A true standout is Drummond’s arrangement of the Tony Williams classic Lawra, where, although he is clearly channelling Williams’ creative spirit, Drummond makes his own mark on an exquisite tune.

From the Pen of… Fraser MacPherson (with lyrics by Joani Taylor)
Various Artists
Cellar Music CMFM002 (cellarlive.com)

Toronto may have a reputation for being the Mecca of Canadian music, but there is ample evidence to suggest that Vancouver might actually have as much (if not more) to offer as hockey-crazy Toronto. You have only to recall the late but still ubiquitous musicians such as Hugh Fraser, Ross Taggart and Fraser MacPherson to remember that musical Vancouver was a musical city nonpareil. 

Cory Weeds, the Cellar Music supremo is almost alone in gently reminding us that Macpherson is also deserving of a different kind of attention due to his prodigious compositions. From the pen of… Fraser MacPherson pays homage to that side of a musician we might recall as just a saxophonist. MacPherson was not really a prolific composer. Yet if the 11 compositions we have on this disc are any indication then clearly Macpherson is much more deserving as acomposer than is generally credited.

 The eloquent bellow of Scott Hamilton’s tenor or the luscious glide of Harry Allen’s saxophone on Night Spot and Waltz for Willi respectively and Bernie Senensky, Neil Swainson and Terry Clarke playing on Our Blues clearly mark this as a masterful disc. It is also the liquid virtuosity of clarinettist Virginia MacDonald (Queen’s Pawn), the volcanic heat of Jocelyn Gould’s guitar and voice (It’s a Human Race), Joani Taylor’s questing vocals (For Your Love) and James Danderfer’s elegantly growling bass clarinet (Theme) that add to the enormous allure of this disc.

Joy
Ernesto Cervini
TPR Records TPR-010 (ernestocervini.com)

JUNO award winning multi-instrumentalist, composer and bandleader Ernesto Cervini has been at the forefront of Canada’s modern jazz scene, becoming a beloved and desired musician both locally and nationally over the years. It’s not very often when an in-demand performer has either the time or opportunity to be able to release an album that is entirely a personal project such as this release is, which makes it all the more special. It is clear that it has truly been an “absolute labour of love” as Cervini himself mentions, right down to the fact that the musicians in the backing band were hand picked by Cervini as he imagined them specifically playing the solos on the album. Featured are widely known talents such as Emily Claire-Barlow on vocals, Adrian Farrugia on piano and Dan Fortin on acoustic bass. 

The record directly harkens back to a series of mystery novels by Louise Penny centring around Chief Inspector Armand Gamache and life in a Quebec village called Three Pines. Each piece is an incredible soundscape on its own, reflecting the personalities of specific characters throughout the books, calling forth images of beautiful landscapes and just generally giving a great overview of the world of Three Pines and village life through distinctive rhythms and melodies. Captivating and thoroughly engaging from beginning to end, this album is an enticing deep dive and journey, which the listener will want to continually explore further.

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Tardif
Brûlez les meubles
Tour de bras; Circumdisc TDB900058cd; microcidi030 (tourdebras.bandcamp.com)

L’appel du vide
Brûlez les meubles
Tour de bras; Circumdisc TDB900059cd; microcidi031 (tourdebras.bandcamp.com)

Brûlez les meubles (a name that translates to Burn the Furniture) suggests a doffing of the proverbial hat more towards the kind of existentialism and Jean-Paul Sartre’s primary idea that people, as humans, are “condemned to be free.” This may seem to be at cross purposes with the kind of Impressionism that has come to be associated with – perhaps even the clarion call of – many contemporary musicians.  

The consistent use of distortion – not simply harmonic dissonance – suggests that these two musicians are flying more than the flag of Impressionism that became associated with many who are influenced by Debussy. 

The duo Brûlez les meubles – guitarist Louis Beaudoin-de la Sablonnière and bassist Éric Normand – claim that they owe as much to Jim Hall as they do Bill Frisell. But that tells only part of their story. The real proof of their musicianship lies in the effect that the repertoire on these two discs under review has on the senses. 

Listening to Tardif (which means Late) it would seem that songs such as Stoique and Journée pédagogique are indicative that the musicians want us to listen for a deeper meaning in their music. The aforementioned distortion is not simply a musical gesture that frequently runs through this music, but a device to provoke putting a keener ear to work, to listening more deeply to this music. 

The duo’s free association with noise together with saxophonoist Jean Derome and the arrhythmia of principal guest John Hollenbeck’s drumming sends a powerful musical message. When we get through the repertoire of Tardif and come to the recording’s climactic conclusion J’en ai connu d’autres we find ourselves wondering if the sense of alienation – or otherness – is not what really propels the musical intention of Brûlez les meubles . 

If there was any doubt as to the depth of thought that they want you to listen out for, the album L’appel du vide (The call of The Void) ought to make it eminently clear where these musicians are coming from. Songs such as Nous ne savions pas, L’appel du vide, Diapositive and La suite des choses suggest a powerful tide that goes against the flow of convention. 

Once again the music is driven by a powerful, percussive pulse that suggests urgency and anger and even a sense of viewing their soundscape through a reflection in the dark shards of a shattered mirror. Clearly Brûlez les meubles are thinking musicians as well as musicians who believe that they are capable of seducing listeners like us into their world that is musical, yet one full of bitter sweetness and bluesy orientation, where musician and listener can co-exist “condemned to be free.”

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Twelve
Noam Lemish Twelve
Three Pines Records TPR-0012 (noamlemish.com)

When a ten-year labour of love comes to fruition in a beautifully designed CD, all that’s left to do is hold your breath and send it out into the world. Well, pianist/composer Noam Lemish can certainly heave a huge sigh of relief because his latest project, Twelve (the aforementioned labour of love), is exquisite.

During his doctoral studies, Lemish composed some of the music on Twelve while composer-in-residence with U of T’s then newly formed jazz 12tet. And now, leading his own 12tet – an all-star chamber orchestra of Canadian jazz artists – in a recording of six original, innovative, cross-cultural, captivating, expansive and evocative compositions, professor Lemish is in his element. 

While solidly grounded in the jazz idiom and Western classical music, influences from Lemish’s Israeli roots and Eastern European Jewish heritage – it turns out he has serious Romanian klezmer cred – appear throughout the CD. How else to explain the magnificent Beethoven’s 7th Visit to Romania, complete with 13-voice choir and outstanding solos by half the band? Or Between Utopia and Destruction, which invokes, poignantly, two “lost world” melodies by Soviet Jewish composers? 

Perhaps The Nagila Mayster says it best. A title drawn from English, Hebrew and Yiddish and roughly translating into “The Master of Joyfulness,” it showcases Lemish’s richly creative and diverse musical journey.  

Twelve is indeed a masterful expression of joy. Space limitations prevent my naming all 12 stellar musicians involved, so you’re just going to have to explore this superb album for yourself.

Pathways
Gordon Grdina; Mark Helias; Matthew Ship
Attaboygirl Records ABG-5 (gordongrdinamusic.com)

Gordon Grdina, Mark Helias and Matthew Shipp have sculpted what can be described as a sound network. All their lines intersect, interlace and interpolate into each other, as if making a coordinated attempt to weave an airtight sonic fabric in real time. The improvisational passages constantly ramp up the character of tension, but this effect is achieved with density before volume. None of the songs start with an easily identifiable rhythmic cell per se, but the pieces still manage to gradually crank up the intricacy dial, until the listener can’t help but marvel at all the dizzying syncopated architecture.

Along with the album’s unceasing subversion of pace, an astonishing equilibrium of creative input is maintained. If one were to isolate any 30-second segment at random, it would take much deliberation before they identified a bandleader. Therein lies the beauty: there isn’t one. Doing research beyond the surface, this was released through Grdina’s label, and Grdina is on production duty. However, remove Matthew Shipp’s piano wizardry from the equation and the music loses most of its dynamic range. If Mark Helias wasn’t present, the music would lose its underlying pulse and percussive edge. All the compositions are co-written by the trio, and the sum is informed by its parts. Helias moves when Grdina does, who waits for Shipp’s cue, who anticipates Helias’ whims long before they exist. Pathways is the epitome of impromptu alchemy.

Upon First Impression
Saku Mantere; Various Finnish and Canadian Artists
Orchard of Pomegranites (sakumantere.ca)

Finnish-born Montreal-based jazz vocalist/composer Saku Mantere’s ten-song debut release is a very personal musical project, touching on his diverse, emotionally moving life experiences. Mantere divides his time between Canada, where he works as a McGill University organizational theorist professor, and Finland. His English original compositions and cover song arrangements were recorded in Montreal and Helsinki with his musical collaborators from both countries.

Mantere’s setting of Welsh poet Dylan Thomas’ And Death Shall Have No Dominion, is a storytelling jazz and pop mix. Canadian musicians support Mantere’s clearly articulated wide-pitch-range vocals like Lex French’s opening trumpet to mid-tune improvised Kate Wyatt piano and Adrian Vedady bass duet, to Jim Doxas’ upbeat drums throughout. Mantere reharmonized Tom Waits’ Time, upon which his childhood friend renowned Finnish arranger/conductor Jussi Lampela based his nonet score featuring Finnish instrumentals-like counterpoint and trills contrasting Mantere’s especially touching high-pitched singing and vocal whispers. 

Mantere’s originals are amazing. Highlights include his classic slightly edgy jazzy ballad Radio Silence, with broken-hearted emotionally sad lyrics and softer vocal and instrumental held notes. Nice change of pace with his closing upbeat tango-nuevo song Leap of Faith. His colourful vocal duet with Jennifer Gasol about a couple drifting apart, perhaps referencing Mantere’s own marriage breakup, and virtuosic Finnish musicians’ instrumental solos held together by drums is super fun.

Mantere’s music is superb. A song sung in Finnish next time would be illuminating too!

Avi Granite’s In Good Hands
Avi Granite; Various Artists
Pet Mantis Records PMR015 (avigranite.com)

Suffice to say, Avi Granite is in good hands with this one. The concept of this record is one of humility and gratitude, with Granite enlisting his distinguished friends in the Canadian jazz scene to interpret 11 of his compositions. Granite strictly plays the role of sonic curator on this album, and while one could argue, it’s difficult to fall short when working with such talent, In Good Hands proves that a steady hand can go a long way. 

In this reviewer’s mind, the biggest concern before listening was whether a scattered project of this nature could earn the “album” qualifier. An album is a collection of songs, sure, but there also normally exists a unifying logic that connects the various parts comprising an overall sum. If there are dissonances in this regard, they are intentional, or they unintentionally add intrigue to the overall atmosphere. 

In Good Hands is an example of everything falling into place. For starters, the way Granite sequences the tracks is nothing short of brilliant. Going beyond mere aesthetics, there is not only an even distribution of the specific instruments, but if one were to display images of all 11 sine waves alongside each other, they alone would tell a story. It is truly a revelation how many different ways there are to interpret a composition. Ted Quinlan makes Like John sing triumphant, while Nick Fraser’s Critical Eddie is a modest detonation in a wormhole.

Rich in Symbols II – The Group of Seven, Tom Thomson & Emily Carr
Chet Doxas
Justin Time JTR8636-2 (justin-time.com)

You couldn’t create a more Canadian session than this one involving Montrealer-in-Brooklyn saxophonist/clarinetist Chet Doxas’ modernist musical interpretation of paintings by the Group of Seven, Tom Thomson and Emily Carr. Doxas, who says he hears music whenever he looks at a picture, curates an art gallery’s worth of his own compositions which sonically reflect the mostly rural, remote and rawboned canvases. 

Intriguingly the tracks, which resonate with energetic but understated syncopation due to drummer Eric Doob’s nerve beats and hard ruffs, bassist Zack Lober’s controlled pulse and pianist Jacob Sacks’ calm comping and bent-note accents, reflect both Arcadian and urban impulses. Mellotron fluctuations and electronic whizzes provide an oscillating background for some tunes, while muted old-timey field recordings and echoes and clangs from Joe Grass’ pedal steel or banjo evoke rustic timelessness on others. 

That means a performance like Thomson’s The Jack Pine rotates among preserved radio sax licks and live assertive reed slurs as current drum rumbles overlap shaking steel-guitar licks. Still it ends with irregular tongue stops from Doxas. Or note lap steel echoes which join loon-like cries to describe Lawren Harris’ North Shore, Lake Superior and climax with string-shaking bass and piano harmonies topped by undulating saxophone runs.

CanCon that doesn’t have to apologize for expressing Canuck pride, the rich symbols defined here can be easily appreciated both musically and visually. Plus, the tracks also posit new concepts to consider when you next observe that iconic visual art.

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Water & Tools
Jairus Sharif
Telephone Explosion Records (jairussharif.bandcamp.com)

The fattest and grimiest of synth tones kicks this one off. It gives way to a shimmery soundscape that cascades down both channels, akin to a chorus of wind chimes, while the harsh drone reintroduces itself with the panicked urgency of a boat horn. Then, the tides part briefly for a rubato saxophone statement, with just the right amount of reverb and panning sprinkled on it to slice through the noise. All this simmering tension is released in sublime fashion when the drums arrive in an explosion of ecstasy, adrenaline and violence, setting the spectator free. 

The aforementioned sonic elements in dialogue have one thing in common: they were curated by one-man ensemble Jairus Sharif. Sharif’s canvas is the bedrock of uneasy tranquility his music unfailingly returns to and, sprawling across this induced tabula rasa, the continuum of visceral sonic paint he draws from is emphasized ingeniously throughout this album. 

The textures and shapes the music evokes bears a striking resemblance to the vibrant cover art. While sounds coexist altruistically, there is also a separation created in the way they disrupt each other, creating concrete space between these expressions. On the track Earth III, the drum groove moves like it spitefully diverges from the electronic blips, each additional snare hit feeling like an evasive maneuver. Maximilian “Twig” Turnbull is credited with mixing this album and what he pulls off is nothing short of astonishing. Dissonance is embraced, but so is clarity.