Speak Easy

Cadence

Independent CD-3 (www.cadence-unplugged.com)

How is it that four men with no instruments play trumpet and snare so well? Is it not enough that the bang-on vocals and supremely crafted a capella arrangements and retro-stylings transport us nostalgically back to that era so cleverly reproduced on the “Hi-Fi” cover?  Seriously, I’m thinking of asking these guys (who, by the way, offer school workshops) to teach our kids how to play an instrument without having to shell out the dough to purchase one! It’s easy to see why they have performed alongside Bobby McFerrin as well as being nominated for a couple of Junos and playing sold out concert halls across the land.

This album mixes new interpretations of classic Cole Porter, Van Heusen/Cahn, Lerner/Loewe with some great original tunes and even innovative arrangements of Joni Mitchell, Neil Young and Paul Simon tunes. Don’t know if they’ve got some Louis Jordan songs up their sleeves but their keen sense of humour and rollicking fun remind me a lot of his good-time musical characterizations. All four, holders of music degrees (York, McGill), obviously studied History of the Rat Pack and its influence on social strata as well as Toward an understanding of be-bop cool.

Deutsche Grammophon has issued Volume 2 of their Collector’s Edition celebrating their 111 years of leadership in the recording industry (DG 4779142, 56 CDs). The discs are presented in a cube shaped box that matches the first volume of 55 CDs issued earlier this year. Available space makes it impossible to list the contents or even the artists. Sufficient to say that this is a treasure house of superb recordings of desirable repertoire, both familiar and slightly obscure, from complete operas, Carmen and La Traviata, symphonies, concertos, instrumental recitals, vocal recitals, and the list goes on. DG’s top instrumentalists, singers, orchestras and conductors artists are all here, from Abbado to Zimerman. Each individual disc is sleeved in the original cover-art and the 140 page enclosed booklet includes complete contents and recording data. Retailing at about $2.50 per disc, this limited edition compact box that is much, much bigger on the inside, is rather difficult to resist. Check complete contents at www.deutschegrammophon.com.

Just when we thought that there were no unreleased Solomon recordings, AUDITE has licensed 2CDs worth of recordings made in Berlin by the RIAS on February 23 and 24, 1956 (Audite 23.422). Solomon, for those who are unfamiliar with the name or his superlative musicianship, was a child prodigy (so who wasn’t, I hear you say) who continued to grow to become a supreme interpreter of Beethoven, Brahms, Schumann, and Chopin. He toured North America in 1955 with recitals of works by Beethoven, Bach, Mozart, Chopin, and Schumann. In this recording we hear two Beethoven sonatas, no.3 and The Moonlight, Schumann’s Carnaval, Bach’s Italian Concerto, Chopin’s Fantasie op.49, Nocturne op.9 no.1, and the Scherzo no.2 op.31. Three pieces by Brahms conclude this two hour recital, two Intermezzos and the Rhapsody in B minor, op.79 no.1.  Exactly two hours of insightful interpretations played with ardour, elegance and panache (in the nicest sense) re-affirms Solomon’s place high on the honour role. After suffering a stroke during recording sessions in October 1956, he left the stage and lived until 1988 cared for by his wife. The liner notes have a mini bio and an appreciation of the pianist who, quite literally, became a legend in his own lifetime. Considering the artist and the repertoire, this is set to treasure.

The year was 1960. The long awaited arrival of Sviatoslav Richter on the North American concert scene was greeted with excitement and enthusiasm. He was already an iconic figure and remains the most idolized cult figure of classical piano to this day. A new release from DOREMI (DHR-7972/3, 2 CDs) brings us for the first time his historic debut with the Boston Symphony Orchestra playing the First Beethoven Concerto and the mighty Brahms Second. This extraordinary concert was broadcast across the continent and can now be heard on CD for the first time in lucent, dynamic sound. It is thrilling to hear the resplendent Boston Symphony, “The Aristocrat of Orchestras,” in its heyday under the energetic Charles Munch accompanying Richter who was in top shape, technically and artistically. Also included is the Saint-Saëns fifth piano concerto with the legendary Leningrad Philharmonic Orchestra under Kiril Kondrashin from 1955 in a performance second to none in my memory. From the year before the Beethoven Piano Concerto No.3 with Witold Rowicki and the Warsaw Philharmonic Orchestra is a classic, stylistically pure performance.

Claudio Arrau established himself as one of the very top classical pianists of all time. Almost 20 after his death he remains on the short list of critically acclaimed, elite pianists of the 20^th century. His repertoire highlights were from the late classical and romantic eras, notably Brahms and Beethoven. Arrau probably led the field in live performances of the two Brahms Concertos, of which he made many esteemed recordings. Into the 1960s Arrau was still a titan of the keyboard and at the full technical and interpretative powers. He played both concertos in a memorable concert on May 31, 1968 in Moscow accompanied by Gennady Rozhdestvensky and the USSR TV and Radio Large Symphony Orchestra. Melodiya engineers were on hand to document this special event, subsequently issuing a limited edition of two stereo LPs. DOREMI has resurrected and restored these obscure recordings on a two CD set (DHR-7890/1). These are towering performances distilling the late pianist’s lifetime of devotion to this repertoire and his total understanding, absorption an insights supported by an empathetic conductor and his orchestra. They are heard in splendid stereo sound thanks to Melodiya’s engineering and DOREMI’s transfers. Two Beethoven sonatas, nos.13 and 26, from the same Moscow visit fill out these two discs.

In November 1977, Herbert von Karajan and the Berlin Philharmonic Orchestra toured Japan. They opened with the Brahms Symphonies in Osaka from, including the Violin Concerto, the Double Concerto and the Second Piano Concerto. Their last concert there ended with a Karajan speciality, Ein Heldenleben. In the Fumonkan in Tokyo they performed the nine Beethoven Symphonies and two concertos with Alexis Weissenberg on six consecutive evenings. Tokyo FM has issued the nine symphonies on five CDs derived from their masters recorded in concert. The soloists in the Ninth Symphony (TFMC 0029) are soprano Barbara Hendricks, alto Heljä Angervo, tenor Herman Winkler, and bass Hans Sotin. The chorus is from The Tokyo University of the Arts. The sound in all nine is exemplary, quite perfect with enormous dynamic range and clarity, easily capturing the identity of every instrument. In the Ninth the tiers of sound of orchestra and choir alike are inspiring. These performances, all nine without exception, are a triumph for Beethoven.  They do not represent a looking back at Beethoven but the promethean Beethoven’s declaration of independence without any pussy-footing at all from conductor or orchestra. In the Ninth, the soloists are really into it, while the choir is plainly elated and elating. To my mind, in every respect, this set is in a class by itself, eclipsing the other Karajan cycles and also those I have heard from other conductors. I bought my set from HMV Japan www.hmv.co.jp. Check Classical and then Karajan.

Orlando di Lasso - Lagrime de San Pietro

Studio de musique ancienne de Montréal; Christopher Jackson

ATMA ACD2 2509

Orlando di Lasso (c.1530–1594) was highly respected by the courts of Europe, not least by his main employer, Duke Albrecht V of Bavaria. William, Albrecht’s successor, continued to employ him for fifteen years despite ongoing disagreements, a testimony to di Lasso’s expertise.

Those last years saw di Lasso suffer what are now believed to be manic depression, a stroke and acute fear of death. They also saw him compose 20 Italian spiritual madrigals and one Latin motet, all for seven voices. The pieces constitute the Lagrime di San Pietro, poems that describe Peter’s torment after he denied Christ.

Di Lasso identifies himself with Peter in the latter’s grief. From the start there is a celestial quality to the singing, soothing as the painful sequence of Biblical events is played out. No detail of Peter’s ordeal or Christ’s reaction is spared. Perhaps most poignant of all is the last track, the one in Latin, where mankind is rebuked by Christ for its ingratitude towards him.

It would have been good to attribute each of the sung parts to the individual performers but there is no indication as to which of the eleven singers are performing on any given track. Which is a shame considering their passionate interpretation of this composition.

Nobil Donna

Suzie LeBlanc; La Nef; Alexander Weimann

ATMA ACD2 2605

Maffeo Barberini (1568-1644) is better known as Pope Urban VIII, who reigned from 1623-1644. His family crest was changed to incorporate bees, a symbol of industrious behaviour, and under his patronage composers flocked to him like bees to a honey-pot.

Seventeen of their compositions are collected here. This is not just the conventional baroque string ensemble; Giovanni Kapsberger’s Corrente Quinta is embellished by Matthew Jennejohn’s cornetto playing, while there is a virtuoso harpsichord solo as La Nef’s conductor Alexander Weimann plays a ciaccona by Bernardo Storace.

As for Suzie LeBlanc, her soprano voice is thoroughly tested from the spirited Amarillide, deh! Vieni to the far more profound Nobil Donna in rozzo manto by Marco Marazzoli with its tragic classical narration, and then to the jocularity of Amanti, io vi so dire as it pokes fun at the tribulations of young lovers.

The legend of Orpheus features often on the CD and one must mention Suzie LeBlanc’s rendition of Lasciate Averno with its account of tragic events, this time perhaps reflecting in its intensity Luigi Rossi’s then-still-recent loss of his wife.

With nine instrumental and eight vocal pieces, it is difficult to say which is the more moving or inspiring genre but then it is difficult to imagine a finer introduction to seventeenth-century Italian courtly music.

Britten - Divine Music: Late Works for Tenor and Harp

Lawrence Wiliford; Jennifer Swartz

ATMA ACD2 2623

The works of this collection date from the final years of Benjamin Britten’s life (1913-1976), a period marked by recurring heart problems which surfaced in 1968. It was not until 1973 however that radical surgery was attempted, the composer having in the meantime devoted most of his energies to the completion of his final opera, Death in Venice (1971-73). The operation proved ineffective and led to a stroke that compromised his ability to play the piano, threatening an end to the numerous recitals he enjoyed presenting with his life partner, tenor Peter Pears. Britten subsequently passed on his accompanist’s role to the trusted Welsh harpist Osian Ellis, with whom he had collaborated since 1959, and composed and re-arranged material for Pears and Ellis to perform in concert.

The fruits of this creative partnership are lovingly recreated in this striking album on the ATMA label. It features a selection of Britten’s celebrated folk song settings re-cast for voice and harp and the world premiere recording of the Five Songs from Harmonia Sacra from 1975-76. Tenor Lawrence Wiliford exhibits a wide range of colours as the occasion demands, sensitive and intimate in the sacred songs, more forceful in the folk-derived arrangements and fully at ease with the quaint Scots dialect of A Birthday Hansel composed for the Queen Mother’s 75th birthday. His brilliant partner Jennifer Swartz shines in the solo Suite for Harp composed for Ellis in 1969. The balance between voice and harp is superbly recorded and full texts and translations are provided.

Concert Notes: Lawrence Wiliford is featured in Opera Atelia’s production of Acis and Galatea October 30 to November 7 and Tafelmusik’s Handel: Dixit Dominus November 11 to 14. The COC’s production of Britten’s Death in Venice continues to November 6.

The English Tuba

Eugene Dowling; London Symphony Orchestra; Paul Freeman; Edward Norman

Tromba Bassa Records TBCDD595 (www.cdbaby.com/cd/EugeneDowling)

While one of my personal all time favourite recordings is a collection of duets for tuba and guitar, the tuba isn’t usually thought of as a solo instrument. Therefore when a complete recording of tuba solos appears, it warrants more than passing mention. This is doubly so when all of the works on the record are by English composers. In that regard we give Mr. Handel the benefit of doubt and call him English.

More than any other composer of note, Ralph Vaughan Williams liberated the tuba from the back of the orchestra to centre stage when his Concerto for Tuba and Orchestra was premiered in 1954. Since its introduction, this work has become the benchmark for aspiring tubists. In this performance with the London Symphony Orchestra Canadian Eugene Dowling, a long time member of the Victoria Symphony and faculty member of the University of Victoria, proves beyond any doubt that the tuba deserves to be recognized as a solo instrument capable of many moods and styles.

On the balance of the recording, Dowling is accompanied by pianist Edward Norman. These works include Elgar’s Romance for bassoon, Malcom Arnold’s Fantasy for Tuba and Six Studies in English Folk Song arranged by Paul Droste. Gordon Jacob, a student of Vaughan Williams and teacher of Malcom Arnold, is represented by his eight movement Tuba Suite. The most familiar work for aficionados of band music, will be Handel’s ubiquitous Harmonious Blacksmith, long a part of the repertoire of euphonium soloists. Dowling’s skill is such that in places it is hard to realize that we are hearing a tuba and not its more agile cousin, the euphonium.

Ravel; Stravinsky; Gershwin - Piano Concertos & Capriccio

Ian Parker; London Symphony Orchestra; Michael Francis

ATMA ACD2 2656

This is Vancouver born, New York City based, Ian Parker’s debut CD, and what an auspicious debut it is! For starters, the CD was recorded at Abbey Road Studios, “the most famous recording studio in the world,” Parker notes with delight in a YouTube clip taken during the recording session. Secondly, Parker records the Ravel and Gershwin concerti, in G major and F respectively, and the Stravinsky Capriccio, with the acclaimed London Symphony Orchestra, under Michael Francis.

No stranger to accolades and awards himself, Parker, who hails from piano-playing Parker pedigree – he is a younger cousin to concert pianists (and brothers) Jon Kimura and Jamie Parker – made his Lincoln Center recital debut in 2004 and his debut as a conductor with the Windsor Symphony in its 2008/2009 season. During his studies at Juilliard (where he completed both Bachelor and Master of Music degrees), he was awarded the Canada Council for the Arts’ Sylva Gelber Career Grant, given annually to the “most talented Canadian artist.”

Parker tackles this 20th century repertoire with gusto, sensitivity and intelligence. The featured works were written between 1925 and 1931; all three composers knew and admired each other, their works being influenced by one another’s compositional styles to varying degrees. In Parker’s masterful hands, the Ravel, with its hints of jazz, sparkles and shimmers in all the right places, the Stravinsky is playful, charming and spirited, and the Gershwin, sophisticated in its use of French melodic and harmonic idiom, is a complex, jazz-infused joy.

Clearly, Parker is in his element here, and judging by the smile on his face and the enthusiasm in his voice in that YouTube clip, he enjoyed every minute of the experience. It comes through in his playing. In all three pieces, Parker demonstrates controlled, restrained phrasing, a refined sensibility and a precise, uncluttered technique.

Ursula Bagdasarjanz Vol. 1: Bach; Nardini; Mozart; Bartok

Ursula Bagdasarjanz; Luciano Sgrizzi; Fernande Kaeser

Gallo CD-1248

Ursula Bagdasarjanz Vol. 2 - Othmar Schoeck

Ursula Bagdasarjanz; Gisela Schoeck

Gallo CD-1249 (www.bagdasarjanz.com)

When the Swiss violinist Ursula Bagdasarjanz retired from the concert stage in the late 1990s, she compiled a CD collection of radio and live recordings of her performances. These were, in turn, re-mastered two years ago for a commercially available series that currently stands at four volumes.

I must admit Bagdasarjanz, now 76 years old, is a new name to me, but given the standard of her playing on these two fascinating discs it’s difficult to understand why.

Volume One features works by Bach, Nardini, Mozart and Bartok, recorded between 1960 and 1969, and demonstrates not only Bagdasarjanz’s performance range but also the consistent elements in her playing: a big, warm tone; faultless intonation; a fairly heavy (but not wide) vibrato which is always used intelligently and sensitively; and a sophisticated sense of phrasing. The Bach A minor solo sonata is technically flawless, with a great sense of line and some remarkably tight triple-stopping in the Fuga. The big tone is evident in the Nardini D major sonata, the Mozart Bb major sonata K378, and Bartok’s First Rhapsody. The piano sound is slightly fuzzy in the Nardini, but otherwise the transfers are excellent.

By far the most significant of the two CDs, however, is Volume Two, which features the complete works for violin and piano by the Swiss composer Othmar Schoeck. Recorded for Swiss Radio in 1961, only 4 years after the composer’s death, the three sonatas feature Schoeck’s daughter Gisela as the accompanist in performances that The Strad magazine rightly called “so authoritative… that it is impossible to imagine them ever being superseded.” All three sonatas – Op.16, Op.22 and Op.46 - are not part of the standard repertoire and are rarely performed these days, which is a real shame; the first two in particular, dating from the early 1900s, are strongly personal works reminiscent of Brahms and Franck. Again, the re-mastered sound is excellent.

If you know Bagdasarjanz’s playing – and recordings of her have always been pretty scarce – then you won’t need to be told to get these CDs; if you don’t know her playing, get them anyway – you won’t be disappointed!

Neue Bilder - Music of James Harley

New Music Concerts; Robert Aitken

Centrediscs CMCCD 16010

One of the benefits of the endangered CD format is illustrated by the release of compilations such as this revealing in-depth look into the oeuvre of Canadian composer James Harley (b.1959).

On one hand we have detailed programme and biographic notes in the booklet allowing one-stop exploration of the creator’s mind and life leading up to compositions spanning 22 years. On the disc, we have the star performances of Toronto’s venerable New Music Concerts (NMC). Celebrating 40 years of dedication to new music this season NMC’s musicians consistently present interpretations of a high level, and these performances – many recorded live – live up to those standards of excellence. As a stellar example, NMC co-founder and internationally renowned flutist Robert Aitken’s brilliant performance of Harley's early solo flute piece Portrait (1984) is a demonstration of virtuosity in the service of the composer’s lyrical musical vision.

While the spirit of the Second Vienna School is alive in the eloquent and elegant music of Harley’s composition Neue Bilder (1991), the notes reveal that the work is actually based on the music of an earlier Austrian composer. “Algorhythmically” transforming abstracted material from an illustrious aria from Mozart’s opera The Magic Flute, this work is a testament to the magical possibilities inherent in musical metamorphosis in its many forms.

Judging from the five works here Harley, who presently teaches Digital Music at the University of Guelph, has a rare gift for sustained melodic line. The passionate flute and cello solos in Epanoui (1995) and the breathy, delicate bass flute exhalations in Tyee (1995) provide ample evidence of that. It’s a gift I appreciate receiving, repeatedly.

Marc-André Hamelin - Études

Marc-André Hamelin

Hyperion CDA67789

Up to now, the Montreal-born Boston-based pianist Marc-André Hamelin has been rightly regarded as something of a pianistic supernova, a musician whose technical prowess and innate musicality have gone hand in hand with his efforts at promoting piano music by lesser-known composers. But with this new Hyperion recording, titled simply “Études” we see him in a new role, that akin to a 19th-century “pianist-composer.” The CD is comprised of original material written over a 24- year period, featuring 12 Etudes in all the minor keys, Little Nocturne, five movements from a set of pieces titled Con intimissimo sentimento, and finally, a Theme and Variations.

Of the twelve études, eight are based on works by other composers, along the lines of Godowsky’s re-creations of the 24 Études by Chopin. For example, the first in the set, written in 1992, is based on the Chopin Étude Op.10 No.2, while the third is a clear adaptation of the famous Liszt-Paganini étude La Campanella – but very much taken a step further! These pieces are breathtaking in their virtuosity – amateur pianists such as myself can only marvel at the brilliant technique displayed here, which at the same time demonstrates such subtle nuances of tone and colour. The Little Nocturne from 2007 provides a languorous contrast to the pyrotechnics of the études, while the pieces from Con intimissimo sentimento are quietly introspective, showing a wholly different side to Hamelin’s creative style. Over the years, more than a handful of composers have written music expressing their love for a “significant other” and Hamelin is no exception. His Theme and Variations (“Cathy’s Variations”) is a poetic and intimate love-song honouring his fiancée Cathy Fuller.

For anyone who is sceptical about “pianists who compose” this disc is a highly worthy addition to the catalogue. We were always aware of Mr. Hamelin’s supreme gifts at the keyboard, but now he has now shown us another dimension of his talents.

Imprints - Music by Colin Mack

Various Artists

CanSona Arts Media CAM 09001 (www.cansona.com)

This 25 year retrospective disc presents profiles of Ottawa composer Colin Mack in chamber music, songs and solo piano pieces. Mack has a confident ear, writes sensitively and idiomatically for instruments and voice, and creates arresting moments. Performances are distinguished throughout.

The atonal Starry Night for piano is particularly successful. Beautiful handling of the instrument’s resources seems to evoke not only stars but supernovas, constellations, and more mysterious astronomical phenomena. The 12-part structure derived from the signs of the zodiac is reflected in a variety of contrasting sections, clearly delineated in the convincing performance by Shoshana Telner.

The modest Piano Trio: In Memoriam Dimitri Shostakovich is an apt tribute. Only settings of Gwendolyn MacEwen poems in Shadow-Maker disappoint, despite their moving performance by soprano Doreen Taylor-Claxton. For example Dark Pines is more than a nature poem. It turns an iconic Canadian image upside down, suggesting hidden depths, dark and dangerous. Here Mack’s conventional tonal language feels too timid for MacEwen’s mystical depth and ironic bite.

But Winterseen for flute, percussion, and piano, ably performed by Robert Cram, John Wong, and Claudia Cashin-Mack, makes a fine conclusion to the disc. Evocative vibraphone writing begins a transformation: from winter to spring. Jazz-accented gestures move us forward, then magical resonances of an electronically-enhanced flute. An exciting ostinato-based conclusion enacts the bursting forth of spring’s new life. I hope that this disc will bring to listeners’ notice a composer definitely worth hearing.

Lutosławski's Last Concert

Fujiko Imajishi; Valdine Anderson; New Music Concerts; Witold Lutosławski

Naxos 8.572450

The late Polish composer, Witold Lutosławski (1913-1994) enjoyed well deserved recognition and his music was regularly performed and recorded by the world’s greatest orchestras and instrumentalists. A new Naxos CD features an elite group of Toronto musicians, the New Music Concerts Ensemble, under the direction of the composer recorded at a live concert in the Premier Dance Theatre on October 24, 1993.

The program opens with the Partita for violin and orchestra (1988) with brilliant playing by Fujiko Imajishi. Lutosławski’s complex textures are made transparent by both the crisp ensemble and a well balanced recording. The quiet and haunting Interlude (1989) was written as a bridge between Partita and an earlier concerted work for violin, Chain 2 (1985), which follows. Once again Imajishi provides a stunning performance.

Soprano Valdine Anderson also shines as she easily manages the nine delightful and quirky songs comprising Chantefleurs et Chantefables (1990) in a voice ranging from the purity of a boy soprano to broad operatic proportions.

Like Chain 2, Chain 1 (1983), the final work on this disc, is an amusing piece full of vitality and humour, somewhat reminiscent of Poulenc or even Stravinsky, executed to perfection by members of the group.

Lutosławski died at the age of 81 a few months after this concert was recorded for broadcast by the CBC and this Toronto performance was his last conducting appearance anywhere. The recording has plenty of atmosphere, taking the listener right into the theatre. Originally released independently in 1998, it speaks well of founding director Robert Aitken and his New Music Concerts Ensemble that Naxos has chosen to bring this valuable document to international attention.

Foxy

Jon Irabagon

Hot Cup 102 (www.joniribagon.com)

This is a thrilling album. It made the hairs stand up on my neck, with accompanying shivers. Despite listening to jazz as a regular pastime, this reaction is not common. Saxophonist Jon Irabagon, who won the 2008 Thelonious Monk competition and is clearly inspired by recordings of Sonny Rollins trios (remember Way Out West? ), leads a powerful threesome through what’s basically a 78-minute solo whose 11 “tune” titles merely indicate different approaches taken by his tenor horn to the standard 16-bar form. It starts with a roar and charges relentlessly from there, backed by furious drum assaults courtesy of Barry Altschul and muscular bass from Peter Brendler. It’s a swaggering, avant-garde outing that doesn’t rely on honks and squeals but could recall full bore Dexter Gordon or Johnny Griffin. This unflagging, exuberant long form improv is all high energy, suggesting origins in hard bop, swing and the blues. Irabagon, who plays differently and delightfully outside this studio context, isn’t breaking new ground save in solo magnitude, but he has certainly created an astonishing tour de force that underscores the spontaneity that’s at the heart of jazz. It’s exhausting to hear but it’s also exhilarating. Experiencing it deserves an accompanying T-shirt!

Additional Notes

Martin Küchen; Keith Rowe; Seymour Wright

Another Timbre at29 (www.anothertimbre.com)

About the furthest sonic distance that can be imagined from a standard guitar and two saxophones CD, this noteworthy session is mostly concerned with the matchless musical magnificence that can result from the juxtaposition of unique and unexpected timbres.

British guitarist Keith Rowe, who appears at the Music Gallery on November 30 in the company of two different, string-playing sound explorers, has for years been investigating the possibilities of the electric table-top guitar prepared with add-ons and gizmos. What he does here with dual alto saxophonists Martin Küchen and Seymour Wright is subvert the expected sound of his instrument – and theirs. Radiating outwards an inchoate collection of broken chords, ratcheting strings and grinding friction, he alternately supplements or showcases the saxophonists’ tongue-stopped squeaks and shrills. Snatches of static-laden music or verbal phrases he serendipitously locates on an affiliated short-wave radio help convert this one improvisation into a constantly surprising, layered narrative, replete with concentrated drones and pulsed timbral flutters.

A climax of sorts occurs after three-quarters of the journey, when a sudden burst of sampled pop-rock guitar excess is swiftly burlesqued by Rowe’s string scraping and intermittent, reverberating distortions. This is followed by watery multiphonic runs from one reed player and a steady, unaccented line from the other. Ring modulator-like clangs eventually prod tightened saxophone breaths to expand into mouthpiece oscillations and a final, cumulative dissolving drone. Despite the title, there is no need for additional musical notes.

Various Artists

Association of Improvising Musicians of Toronto AP-04 (www.aimtoronto.org)

David Sait (b.1972), the Brampton/Toronto experimental guzheng (zheng) improvising musician and the curator of this album, has “sewn together back-to-back… sixty innovative, forward thinking musicians from all over the World.” Each of them has provided a sixty second performance identified by their own unique musical voice.

While one expects a conceptual and aesthetic musical framework around such a curating job, this unique CD has in addition a fascinating numerological frame. The organisational principal of the number sixty is evident on several levels: sixty musicians performing for sixty seconds each, carefully compiled and arranged into ten tracks comprised of ten suites of six musicians.

Moreover the resulting journey is not a simple smorgasbord of individually recorded solo improvisations. It is rather a reaffirmation of David Sait’s long-term project: to forge links between performers of experimental and traditional global musical languages. The inclusion of performers from North and South America, Europe and Japan implies a kind of emerging global community of improvising musicians. For Sait’s future projects, I would like to propose the inclusion of musical voices from the rest of the world.

The mind-boggling variety of instrumentation included on this CD already serves to blur traditional and experimental musical genres. Solos on church organ, “rubber glove bagpipes,” cello, gong, piano, signal processor, oud, Theremin, tar and “field recordings” are among dozens of different instruments. Leading Toronto free improvising musicians Michael Snow, John Oswald and Joe Sorbara present characteristic virtuoso gestures, but there are too many musical highlights and quirky moments to mention in a single review.

Listening to this CD is a satisfying international armchair sonic expedition. There seems to be something for almost every musical taste here – and if you encounter something too sonically trenchant, you can relax knowing that in less then sixty seconds you will be entering yet another new personal sound world to explore.