Musique-Politique: Anthologie 1971-1974
Le Quatuor de Jazz Libre du Québec
Tour de Bras TDBHIST0001 (tourdebras.com)

This has been a momentous year for the documentation of Quebec’s entry into the world of free jazz. First came Eric Fillion’s book Jazz Libre et la révolution québécoise : Musique-action, 1967-1975 (M Éditeur: 2019) and now this ambitious four-CD set to provide sonic evidence of the achievement of the founders of free jazz in the province, Le Quatuor de Jazz Libre du Québec. The CDs, drawn from the group’s archives of performance tapes, are supplemented by a 24-page, LP-size volume that includes essays in French (including ones by Fillion and producer Éric Normand) and reproductions of manifestos, news stories and even a cover questionnaire from the group’s social outreach program, all of it providing context for the most radical Canadian-born jazz movement in history.

The group existed from 1967 to 1975 with two constant members, tenor saxophonist Jean Préfontaine and trumpeter Yves Charbonneau. If jazz has rarely been political in Canada, Le Quatuor was insistently so, creating a distinct connection between the ferment in Quebec society and the ferment in their own music, initially inspired by American free jazz as played by Ornette Coleman and Albert Ayler. The music here is very much a soundtrack to the times, an intense element in the rise of Quebec nationalism that followed on the FLQ crisis and the War Measures Act, enacted in October 1970. The quartet’s reach into the heart of Quebecois culture included the founding of an artist commune (Le Petite Québec Libre), a later performance space (L’Amorce) and public self-analysis of their work (interspersed here between the performances).

The music here runs from 1971 to 1974, arguably the group’s strongest period despite shifting support. Jean Préfontaine, born in 1926, is the strongest presence here, a musician who found free jazz after a career in a military band. His extended opening solo on a September 1973 performance is a riveting example of all that free jazz saxophone could be: a radical soliloquy that’s part jeremiad, part exhortation, part abstract interior monologue cut through with doubt and excitement at the coming day. Yves Charbonneau is a fine foil, a subtler provocateur, adding thoughtful solos and detailed support as the set documents the band’s developing sense of a commanding freedom. The presence of American cellist Tristan Honsinger on the 1973 material, passing through en route to a brilliant career in European free improvisation, signals a broadening musical language and the achievement of the group’s final period.

The set adds substantially to the history of jazz in Canada, casting new light on its most intense moment, as well as a significant contributory stream to Quebec’s diverse concept of musique actuelle, perhaps the most vigorous scene in contemporary Canadian music.

Come Back
Emma Frank
Justin Time JUST 262-2 (justin-time.com)

It’s not often that you come across a multi-faceted voice that could fit into any genre of music imaginable. Boston native Emma Frank demonstrates her ability to seamlessly blend genres within songs and navigate between them with her stellar voice on her latest release. Frank’s pieces are introspective, telling stories in such a way that any listener could directly relate to. Her vocal style is reminiscent of highly acclaimed Canadian indie pop singer Feist with a delicious hint of Diana Krall that aids in creating the perfect blend of jazz and art pop throughout the album. This album provides a welcome updated jazz sound that is suitable to listeners new to the genre and aficionados alike.

Frank’s songs are of a milder tempo but have plenty of movement, allowing the listener to fully process every musical element and nuance within the pieces without growing weary. The soundscape is strewn with plenty to listen and pay attention to thanks to musicians such as Aaron Parks on piano and synthesizers, Tommy Crane on drums, Zack Lober on bass and co-producer/guitarist Franky Rousseau with whom Frank has previously collaborated. While her record has a modern touch, it is pleasing to hear hints of traditional jazz throughout, especially within pieces such as Sometimes, Promises and See You. This fourth release by the stunning and golden-voiced vocalist is an incredibly pleasing journey through genres that leaves something new to discover around every corner.

Mirror Image
Matt Herskowitz
Justin Time JUST 263-2 (justin-time.com)

To play jazz on the piano, a musician must – at some point – come to terms with the weight of the instrument’s history. The modern drum kit started to come together in the 1920s; the electric guitar, which, unlike its classical forebears, would be played through an amplifier, primarily with a plectrum, would not be manufactured until the 1930s. But the piano – so central to the sound of mainstream jazz – predates the genre by over 200 years.

On the solo album Mirror Image, released on Montreal’s Justin Time Records, the accomplished pianist Matt Herskowitz demonstrates his command of both the jazz and classical traditions through a mixture of original pieces, compositions by the likes of Ravel, Satie and Schubert, and a jazz standard. The fusion of jazz and classical has its own rich history; third stream music has enjoyed a degree of popularity since the 1960s. This synthesis is used to great effect by Herskowitz, not as a way to showcase two separate skill sets, but as a framework with which to display an intelligent, well-developed, honest approach to music making that honours the pianist’s personal experiences on the instrument. Highlights include bluesy, gospel-tinged flourishes on Gottschalk’s The Last Hope, the percussive title track Mirror Image, and My One And Only Love, which closes the album. Herskowitz’s truest success, however, is the thread with which he so effectively and confidently connects the album’s many elements into a sensible whole.

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Counterstasis – Refracted Voices
Bill Gilliam; Glen Hall; Joe Sorbara
Independent MPBG-006 (gilliamhallsorbara.bandcamp.com)

Counterstasis – Refracted Voices is a new album of improvised music from the trio of Bill Gilliam (acoustic piano, preparations), Glen Hall (woodwinds, electroacoustics) and Joe Sorbara (drums, percussion), recorded at Number 9 Audio Group in Toronto. Gilliam, Hall and Sorbara are veteran improvisers, and bring a wealth of creative experience to their shared practice, which takes its influence from a variety of musical traditions. The heart of this project, as described in the liner notes, is to “counter stasis, to foster change, to create a music in which [the musicians’] individual voices can be bent by, refracted through the voices of their co-conspirators.” To these exploratory and interactive ends, Hall uses an assortment of live effects, including the OMax AI improvising software and the CataRT synthesis program, both by the Paris-based Institute for Research and Coordination in Acoustics/Music (IRCAM).

Hall’s electronic contributions range from subtle additions to the trio’s acoustic instruments (as on the opening track, Sinuous Movements), to major structural components (as on Radio Chatter, which does indeed feature radio chatter, and Cave Ritual, the album’s longest offering, in which eerie atmospheric sounds form the basis for the overall shape of the tune). Throughout the proceedings, Gilliam, Hall and Sorbara play with maturity, confidently committing themselves to the realization of a shared musical vision that privileges communication over individual athletics. The album offers many highlights, but is best heard in one listen, as the spontaneously composed event that it is.

Triio
Alex Fournier
Furniture Music Records (alexfournierplaysbass.com)

Toronto-born bassist Alex Fournier has gotten together some exceptionally talented musicians for this newest album simply titled Triio. Fournier himself has penned every song on the record and it is a true and great testament to his compositional talent. For those wondering about the interesting spelling of the album title, the band leader himself mentioned that he merely added in another ‘i’ to indicate that the group is not a true trio; it was meant to originally have four members but eventually grew into the sextet that is heard on the record.

The album as a whole is an interesting musical journey. It offers plenty of opportunity for experimentation and improvisation but also manages to have a certain character and, to an extent, structure, throughout. It is very easy to lose yourself completely in the unique sound of the record. The music has a variety of textures, almost as if you can physically feel the different character and flavour of each piece. The track ESD is almost what you could call “trippy,” a complete improvisational journey that fittingly starts off the record. Giant-Dad and Noisemaker have some underlying elements of traditional jazz slyly inserted into the bigger musical picture. Dusk has beautifully captivating and haunting melodies by great talents Bea Labikova on alto sax as well as flute and Aidan Sibley on trombone. This record offers something for both seasoned listeners of jazz and for people new to the scene.

There From Here
Tune Town
Independent TSLCD-310 (tunetownjazz.com)

There From Here is the debut album from a fresh collective on the Canadian jazz scene, a scintillating trio of Canadian talent: Kelly Jefferson on saxophones, Artie Roth on acoustic bass and Ernesto Cervini on drums. With grooves that get your foot tapping to captivating melodies and rhythms, this collection of original pieces will breathe life into an otherwise dull and meticulous day. The album is a breath of fresh air in today’s world of constant musical shuffling; it is meant to be listened to as a story from top to bottom, acting much like a concept album. Listeners are in for a pleasing journey through various genres.

The Monks of Oka harks back to the era of jazz greats, specifically Thelonious Monk. It is easy to spot the influence of his music in the piece. Sophisticated Lady takes the tempo down a notch in order to showcase the great talents of Jefferson and Roth as they take you along on a smooth and pleasing melodic voyage. The album does an astounding job of “seamlessly assimilating elements from the avant garde, funk and jazz worlds.” Especially in the track Split Infinity we hear a great funk groove supported by Roth and Cervini throughout the piece. For those tired of the rush-rush world that we live in, this is a fantastic album that allows you to sit down and take in a complete musical story.

Fine State
Heather Bambrick
Heather Bambrick Music HBCD-004 (heatherbambrick.ca)

Heather Bambrick, that beloved – and often goofy – voice familiar to anyone who tunes in to JAZZ.FM91, weekdays between 9am and 1pm (and nightly on Wednesdays), shows off her attractive pedigree with another solo recording. This album, Fine State, also confirms her growing reputation as an artist of the first order. Her voice throughout is fairly light and limpid, though not without sinew.

Bambrick’s diction is exceptional, reflecting real imagination behind repertoire that spans standards as well as thoroughly interesting new work composed by her as well as other writers of repute. This is ingeniously selected music, reflective of the high quality of the production by the drummer on this date, Ben Wittman, and Jono Grant, a longtime Bambrick associate, together with the vocalist herself.

If it’s hard to single out one track as being the most perfect example of Bambrick’s musicianship, it is equally hard to pick a favourite (because that would change with each playing of the recording). However, I would posit that Bambrick’s version of Milton Nascimento and Fernando Brant’s utterly beautiful song, Bridges (sung here with Gene Lees’ English lyrics) might be described as this disc’s crowning glory. Here we have a song, the poetry of which is infused with a sense of nostalgia and melancholy, its fluid melody delicately painted by a candid voice urged on by wistful instruments. Clearly an album to die for…

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Mi Alegria
Itamar Erez
Independent (itamarerez.com)

Itamar Erez’s music refreshingly defies categorization, though “world jazz” seems a reasonable option for DISCoveries review purposes. His is a rich, borderless musical world, with influences ranging from Bach to Brazilian choro. For Israeli-born, Vancouver-based Erez, a world-class guitarist, pianist, composer and educator, his myriad sources of inspiration reflect a wealth of musical traditions including Middle Eastern, flamenco, Latin, classical and the aforementioned jazz.

This array of influences is readily apparent on the breathtaking new release, Mi Alegria (Spanish for my joy). With each track a compelling example of Erez’s elegant and masterful musicianship, it’s hard to know where to draw one’s attention, but the title track is as good a place as any. Dedicated to his daughter Mia, Mi Alegria (get it) is as close to a classic jazz arrangement as you’ll find on the CD. With Erez on piano, bassist James Meger, drummer Kevin Romain and Ilan Salem on flute, it swings with a jaunty energy. On the other hand, Yahli’s Lullaby, named for Erez’s 12-year-old son (whose artwork graces the front cover), is an evocative and touching piece with a Middle-Eastern flavour.

For Erez’s pyrotechnical guitar work, listen to Choro Sentimental. It is truly jaw-dropping. Endless Cycle has a driving momentum, with Erez playing piano and guitar, sometimes both at the same time! Peppered throughout the album, François Houle (clarinet), Celso Machado (percussion) and Hamin Honari (tombak) contribute sumptuous layers of sound.

Mi Alegria is just that: a joyful, musical celebration by a truly engaging artist.

Cooper’s Park
Gordon Grdina Quartet
Songlines SGL 1630-2 (songlines.com)

Vancouver guitarist Gordon Grdina has gradually emerged on a larger stage, convening bands with distinguished international figures in addition to his regional ensembles. For this Vancouver session, Grdina is joined by New Yorkers Oscar Noriega, on alto saxophone and clarinets, Russ Lossing on piano and keyboards, and Satoshi Takeishi on drums. Grdina first unveiled this quartet on the 2017 CD Inroads, presenting crisp versions of nine of his compositions. Here the emphasis has decidedly changed. There are just five tracks here, four of them together stretching to an hour and filled with both controlled evolutions and vigorous improvisation.

That focus on group interaction results in Grdina’s strongest recording to date, whether he’s emphasizing formal coherence, insistent intensity or both. The 18-minute title track sets a fluid standard for the program, generating episodes from lambent reverie to pensive conversation to pitch-bending wails. There’s a special link between Grdina and Lossing everywhere here, blurring their identities on lyrical near-acoustic flights or matching distorted guitar with the harsh electric edges of Lossing’s clavinet (a keyboard that served to launch some of Sun Ra’s stellar travels). Noriega is an inspiring presence, generating rapid coiling lines at once raw and adroit on both alto saxophone and bass clarinet, while Takeishi’s complex drumming can unite impetus and commentary.  

Grdina has challenged himself consistently since his 2006 debut Think Like the Waves with Gary Peacock and Paul Motian. Here he takes another significant step forward.

X Marks the Spot
Thomas Heberer
OutNow Recordings ONR 037 (outnowrecordings.com)

Concise and cosmopolitan, the eight selections here offer a slice of contemporary New York improvisation, composed by expatriate German trumpeter Thomas Heberer, decorated by the supple fills of guitarist Terrence McManus and the rhythmic dexterity of drummer Jeff Davis, both locals, and driven by the mostly sensed but rarely upfront power pulse of Canadian bassist Michael Bates. Heberer’s arrangements follow this strategy, whether channelling acoustic romps (Remscheid Reggae) or sidling up to reductionism with chiming guitar flanges and shaded, valveless air from the trumpeter (The Ball is in Your Court).

Despite sequences that flirt with atonality, dissonant tendencies are kept in check, especially on pieces such as The Great Hill and Bon Ton that are introduced and subsequently driven by the echoing slaps and pops of Bates’ nearly unwound strings. On The Great Hill, the bassist creates an ostinato that buoys Herberer’s plunger growls and McManus’ chromatic flanges. At the same time, Bates’ pulse is powerful enough so that the trumpeter can switch to outputting fragile grace notes, then back to growls without upsetting the program. As for the loping Bon Ton, drum rumbles and string thumps keep it horizontal as Heberer’s near-static air propelling and the guitarist’s strums and frails evolve in double counterpoint.

Overall the spot which this group of e(X)cellent players marks is a sophisticated zone where unself-conscious modern improvising is welcome and thrives.

On Firm Ground/Tierra Firme
Jane Bunnett and Maqueque
Linn Records 270404 (linusentertainment.com)

Jane Bunnett and the all-female collective Maqueque, return for their eagerly anticipated third release. In the less than two years since their previous recording, Oddara (see my December 2016 WholeNote review), the group has been touring internationally, with visits to Colombia, Brazil, Panama and Cuba, as well as to American jazz festivals, plus the Lincoln Center. And it shows.

Their third recording – a testament to hard work, virtuosity and great chemistry – showcases 12 new compositions including three by award-winning soprano saxophonist/flutist Bunnett, plus contributions by each band member. The upbeat opener, La Linea, features an imaginative arrangement with flute doubling saxophone, amidst powerful contrapuntal vocal lines and choruses. The rhythm section is outstanding, fuelled by percussionist Mary Paz and drummer Yissy Garcia. The aptly titled Momentum, by co-producer Larry Cramer, takes off at a breakneck pace with piccolo doubling the flute melody over the percussion section. Bunnett then launches into a magnificent flute solo which leads the group into a unison vocal line and chorus to take the piece to its exciting conclusion. Sky High showcases a soaring flute and vocal melody, and a McCoy Tyner-influenced piano solo by Danae Olano.

Special mention goes to Tailín Marrero for her stunning composition, Musica en el Alma, a sonic celebration of the exhilaration and joy of playing together. There is much to admire and inspire on this recording. For Maqueque, it seems that the sky is certainly not the limit!

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Friday
Monkey House
Alma Records ACD72692 (almarecords.com)

Monkey House has been together for 25 years and has just released its fifth album, Friday. The band is made up of some of the busiest and best players in Toronto – Mark Kelso on drums, Pat Kilbride on bass and Justin Abedin on guitar – but it is L.A.-based keyboardist and songwriter, Don Breithaupt, who’s driving the bus.

Breithaupt is known for his adulation of Steely Dan, and while it shows in his songwriting on Friday, this isn’t a tribute album and the band has a sound all its own. And, like Steely Dan, the musical style is hard to categorize – perhaps sophisticated pop tinged with jazz and R&B? I don’t know. What I do know is that this is an exceptional album from beginning to end, with superb songwriting and performances, and impeccable production by Peter Cardinali with engineering by John “Beetle” Bailey.

Highlighting standout tracks when all 12 tracks are so strong is a challenge, but The Jazz Life – featuring Manhattan Transfer on backing vocals and a killer bass solo by Kilbride – is one. The love song that Breithaupt wrote for his wife, Because You, is another, especially since it is surprisingly unsentimental with its driving rhythm and complex harmonies. Another surprise is that the most ballad-y song on the album is the cover of Walter Becker’s Book of Liars. Becker – who died while Monkey House was making this record, hence the inclusion of this song on the album – certainly wasn’t known for ballads and this mid-tempo tune isn’t sappy in the least. But it is both beautiful and poignant in typical sardonic Steely Dan style. Shotgun has pop hit written all over it and you can check out the fun video, produced by Academy Award-winner J. Miles Dale, on YouTube.

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La Serena
Aviva Chernick
Independent AVGC003 (avivachernick.com)

A deep bond with another can lead to unexpected journeys in one’s life. Such was the case for singer Aviva Chernick, who began extensive studies of the Balkan Judeo-Spanish repertoire after meeting Flory Jagoda, known as the keeper of the Balkan Ladino tradition. La Serena is, in a way, an homage to Flory, Aviva’s beloved mentor and teacher, but also an intimate story of the longing for one’s homeland and tradition that is slowly disappearing.

Ten songs, some traditional Sephardic folk melodies and some Jagoda originals, are all arranged by Chernick and her main musical collaborators on this album, guitarist Joel Schwartz and bassist Justin Gray, in a way that brings forward the intimacy and immediacy of each tune. Mostly sung in Ladino (with some additional text in English), the lyrics are captivating and touching. Chernick’s vocals are pure in expression and unencumbered of any particular tradition or style.

The album opens with A Ti, Espanya, a simple and bright original tune by Jagoda, which conveys the love for homeland that is no more. Min Hameitzar, written by Chernick and Gray, has a mystical energy and wonderfully galloping percussion elements. La Serena, the central piece on the album, is a stunning heartfelt tune that seduces with its pure vocal expression. Esta Montanya de Enfrente features longing guitar lines emphasizing the beauty of both the melody and poetic lyrics.

A wonderful collection of meaningful tunes that will leave your heart longing for more.

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Sphere
Heather Dale
Amphis Music AM7440 (heatherdale.com)

Canadian author, playwright, poet, vocalist, composer and multi-instrumentalist, Heather Dale, is currently poised on the cusp of her 20th recording release, aptly titled Sphere. This uber-creative, multi-disciplined, golden-voiced renaissance woman has fashioned (along with co-producer/arranger/multi-instrumentalist Ben Deschamps), 11 challenging compositions, all of which reflect a mesmerizing mashup of world music motifs, ambient electronica and folk music as well as a healthy dose of contemporary Celtic folk balladering.

Dale deftly performs all vocals here, and also plays hammered dulcimer, piano, tin whistles, synths and Hammond B3. She is joined on her sonic, global journey by Deschamps on bass, electric guitar, cittern, bouzouki, mandolin, synth and viola, and co-producer/engineer Dave MacKinnon on tape loops, drums and guitar; Jim Casson on drums; Ben Grossman on hurdy-gurdy/percussion; Meghan Cheng and Amanda Penner on violin and Alex McMaster and Betsy Tinney on cello.

First up is Bacchanalia – mystical, exotic, sensual, rife with elements of Eastern music and invoking visions of ancient instruments raised in celebration of a hedonistic Roman god… a palpable, pagan scene… and yet, somehow magically transformed through poetry into a modern cautionary tale. Dale’s sonorous vocal instrument is a pitch-perfect, honey-soaked, shape-shifting tool – alternately warm and steely – ideal for telling her irresistible lyrical stories. Triumphant Return is a potent anthem, where the triumphant one is not the one returning, but the one who was abandoned. Another gem is Flower Child – perhaps autobiographical – a wonderful pizzicato arrangement which transports the listener into the middle of a seemingly insoluble familial estrangement. Something that many of us can relate to.

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Bare Knuckles & Brawn
Blue Moon Marquee
Independent (bluemoonmarquee.com)

With the release of their third recording, noted Pacific Coast duo Blue Moon Marquee has served up a sumptuous buffet of 11 original songs – all infused with elements of Depression-era jazz, swing, 1950s proto-rock and “Roma Blues.” The music is also informed by philosophical aspects of Indigenous culture, including Native Canadian legends. Consistent with their nostalgic bent, the project was recorded using vintage RCA mics, resulting in a warm, luscious analogue sound. The duo (featuring A.W. Cardinal on vocals/guitar and Jasmine Colette “Badlands Jass” on vocals/bass/drums) are joined on this fine recording by noted West Coast musicians, Darcy Phillips on keyboards, Jerry Cook on reeds, Jimmy “Hollywood” Badger on drums, Jack Garton on trumpet and Paul Pigat on guitar.

The sassy opener, Big Black Mamba is funky and soulful, with sinuous parallel baritone and bass lines establishing a fine bedrock for this swamp-circuit-style blues. The evocative vocal by Cardinal is reminiscent of a young, energetic Tom Waits. Also of note is the irresistible, Fever Flickering Flame – a bit of pure romance, dripping with nostalgia, longing and swing! Hard Times Hit Parade is also a standout, featuring a sultry vocal by Colette, beautifully accented by Garton on muted trumpet. Its heady sepia-toned imagery perfectly captures the loss, futility and desperation of the Great Depression.

Lost and Wild is the closing salvo, boasting a stunningly relaxed vocal by Cardinal, which brings to mind the lyrical sophistication and interpretive skill of Leonard Cohen. This highly musical recording is not only a delight for the ear, but it’s deep, subterranean content will continue to resonate with the listener.